Make your own brushes on Procreate 5 part 2! | Simone Sloan | Skillshare

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Make your own brushes on Procreate 5 part 2!

teacher avatar Simone Sloan, Calligrapher, Letterer, Mix Media Artist

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

11 Lessons (1h 5m)
    • 1. Intro

      1:10
    • 2. Warm up: make a monoline

      4:45
    • 3. Make a water or lettering brush

      5:12
    • 4. Make a stamp

      8:10
    • 5. Make a halftone brush

      3:54
    • 6. Make a grit brush

      9:32
    • 7. Texture brushes

      9:22
    • 8. Make a watercolor brush

      5:57
    • 9. Combining brushes

      7:33
    • 10. One stroke 2 color brush

      8:55
    • 11. Class project

      0:37
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About This Class

In this more comprehensive class you will learn to make more types of brushes, from the simple monoline and brush pen, to texture and grit, to watercolor, halftone, combining brushes and more! Experience in procreate is not required and all levels are welcome. If you always wanted to learn how to make your brushes and my last class didn’t dive deep enough for you, this one might be the answer! 

Meet Your Teacher

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Simone Sloan

Calligrapher, Letterer, Mix Media Artist

Teacher

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Transcripts

1. Intro: Hi, everyone. Welcome to my newest class. How to make your own brushes appropriate? Five. Part two. I have some fun brushes. Have half tones, watercolor, multi color. So, um, it's going to be a fun class is going to be a live recording other than screen casting this time so you can follow my hand and see where I'm clicking where my hand is going, where my pen is going. Instead of having to guess and wearing screen, everything is happening. I cover a few things on this class that I covered on my previous class on making brushes, but not everything. So if you want to take a look at the other class as well, um, special effect brushes on procreate. Five. Go ahead and do so. You don't have to take that class in order to take this one, and vice versa, so you can take it in any order. But if you want to get the complete guide on how to make brushes, I'll suggest that you take a look at that one as well. So I hope you follow along, and I hope you have a lot of fun. And let's go ahead and create some brushes together. 2. Warm up: make a monoline: Okay, so we're going to start, which is making a simple brush. So we're going to first thing open new campus so you can use screen size if you want. Um, I like to use just a regular square, so I do a 10 by 10 or 12 by 12. And, um, the procreate already has a few already sizes available. But let's just create a new once. It was 10 by 10. My 300 d p I 10 by 10 inches, by the way, and that should give me about 55 layers. I don't need that many layers because the campus is really just to test our brushes. We have a testing brush pad when we're making brushes, but I like to have the patent the campus itself to also test my brushes. So we're going to start with just, um I have a palate here, so it's just the various colors. Nothing in particular just chose a bunch of, um, pinks and purples. So we're going to start with making a new folder. So I'm just going to name my brushes. You can see I already have a full don't even buy brushes there, So that's where I test my brushes, so I'm just going to name the same thing. So I know it's the top one and we're going to click on the plus sign on the top, right? And there's the drawing pad. So when you open the plus sign, there's already a brush in there. So if you click done is just going to be a simple brush. So I'm going to Ah ah, if you go over it. Although settings, I'm not going to actually go over all of them for this one because I'm literally just making a simple monoline. So just so I can show you where you're going to go. So on the properties, you can see that you change the size up and down. So if if you go a little bit of like, 7% or 8% is more like come on a line or even a micron. Um, the ah lot of the settings will make any change will make any difference because you just making a simple brush. There's no special effects on um, so let's go ahead and let's leave the flow it max on the wet, and there's nothing that we're going to do in the wet mix. It's nothing they were going to do on the color dynamics. If you see if you lowered the delusion, it's almost like it's faded A little bits, almost like it's a watercolor effect, which we will get to that later on in on on another video. But if you go up and down and all those studies, nothing is going to change and all the settings are all default by per creates. So every time you click on the plus sign in the open to make a new brush, all the settings were going to be the same. Very basic, nothing special. No Taper. There is no pressure, sensitivity or anything is just online. So that's why it's that the easiest want to make is the monoline. One thing that I'm going to change. I'm going to a streamline put the streamline to, like 60 because I like the smooth curves, and I don't like to see all the occasional shaky, you know, hands and the max size under properties. I'm going to just increase just a little bit, just like the regular monoline day you see, that comes with per Create and, um here, you can put your name. I just put my name Simone, and it has created on that date and has the time. You can put your signature, and here you're going to just rename your blush brush. So it's, Ah, simple or custom monoline, so there's not a whole lot to it, and you click on done and clear drawing pad to cook on a drop pat, and then you can choose a color if you don't want to do black. And then there's your pink custom online. Go on your canvas and they you have it just a regularly monoline. You can go thick. You can go very thin, and you can do some sketchy Was that I know some people like to sketch with the monoline or just actually do the drawing with the monoline. Um, or you could do some lettering, and I like to test several colors, and it's usually pinks and purples and oranges and yellows. Um, just a seat if, um, if everything looks good, so there's nothing that's going to change here, and we have a simple brush that it's already named and clear that pad, and now you have a simple brush. Let's go in the next video, so we're gonna make ah water brush 3. Make a water or lettering brush: all that in this video, we're going to make water brush lettering, brushes has the pretty much the same effect. And we're going to start with clicking the plus sign. And I'm going Teoh, start with Spacey and want that zero streamline. It's up to your preference, but I like to be between 50 and 80%. And so I like the smooth curves like I've said before. So on the pressure taper, you're going to move those lines. So you have the tip, the narrowing tip on both sides. Pressure is going to go down to nine. 1% is not gonna make that much difference, so ah, but if none is better tip animation to on now, you're gonna go to touch paper, do the same thing as the pressure Teoh paid taper, and everything is going to be 20 except for the size is gonna go to Max. And the tip is going to go all the way to the max to blunt and classic. Deeper is on. Next is gonna be shape. You're going to change that. So you're going to click on the add it button at the top and you're gonna go to import source library and we're gonna go to oval right there and click on down and you can see the shape already off. The brush has changed a little bit sore. Now we're going Teoh here on the drawing packed. You can do your testing as usual and we're going to start changing the settings. So to add pressure So everything on the shape you can leave the weight as isjust leven improve, filter the grain. You going to leave under the blank square because we're not adding any texture to this one . We're going to do texture later for other brushes. But this one is just a simple lettering brushes. So there's no changes that need to be made right now. Um, go down to the zoom and putting craft everything else. You leave the way as it iss improved filtering just like before. Then the next one rendering you're gonna change too intense blending and everything. You're going to leave as is for now, the wet makes not going to change anything, except you're gonna put charged to zero and pull to 25%. So if he watched my previous class, we already go over this brush But since I'm doing a more comprehensive video, I wanted to add this one as well. So color adjustments, You're not going to change anything. Dynamics, Um, you also going to leave the way at Azad is this right now the apple pan's so however you going to change a couple of things. So the size of changed to Max and D opacity, I'm goingto zero flow at 51 or 50% and you can see already the pressure changes how the brush behaves. So there's definitely more pressure sensitivity now, which it looks more like a drawing a water brush or lettering brush so responses to none. So zero, I'm gonna clear that pad. Everything remains the same. And I'm not going to change anything about the tilt properties. Um, Orient to Scream Preview, 30% smudge At 75 I changed the preview depending on the type of brush. So, um, this much is not gonna make that much difference. So I always leave between 75 85 maximum size and don't usually leave like to the 100% just because it makes it for such a big brush. Um, I leave like between 65 85% And the minimum size I usually leave like the minimum one, and you can see on the Mac size you can adjust depending how big and how thick you want those down strokes to be. So, um, let's leave like that. You have, uh, lettering brush ready to be used. So I'm gonna test a here with another color with the word Hello? I definitely have some good pressure in there. So, um, then upstroke and thicker down stroke, we clear that change a different ward in a different color. So the streamlined definitely helps with the letters being a little bit on the smoother size. So let's go on to the next video. What? We have some more from brushes to make. See you then. 4. Make a stamp: Now, in this video, we're gonna learn how to make, um, Stamp. And, um, at the time of this recording were close to Valentine's Day. So we're gonna do a heart shape. So you just just draw a heart with any brush and you make it a solid color. Actually, let's ah, do this the right way. Let's put on some guides and, um, let's draw this heart with some basic shape, so it looks a little bit more consistent. Well, this brush is also not working. So let's go ahead and use a monoline. Do we just created so to draw a heart that it looks pretty symmetrical. You just you probably already know this, but you just draw circle duplicated, put a side by side, and then in a different layer, you draw a triangle upside down and you just hold it. So I'm gonna have to do it again, because that line was crooked. So you drew two lines almost like you going to draw a triangle in, and you hold it so it was snap into a straight line, and then you can just adjust. Adjust the lines to make sure that everything is symmetrical. Once you have those, you know, everything lined up. You can just, um, group all the layers together or not. Group the leaders together, but combined and make sure that, um, you erased those lines in the middle so you can just drop the color. And I made it black. But you can make any color you want, because when you use that ah, design, it will turn into black and white anyway, So you don't have to worry about what color you going to dio. So I'm just making sure that all the lines air smooth. There's no, like, obvious little lines coming out of the design, and you can just little things here and there. So I'm just making my heart looks like, ah, heart semi professional. Um, it doesn't have to look absolutely perfect. So once you have your heart, I'm going to turn off the drawing guide only that anymore. So you're going to make the heart as big as you can without going over the campus. So it's almost touching the edges of the camera been not going over so you don't cut off the design. So, um, just increased the size as much as you can. And I'm going to zoom in pretty soon here when you see for you to see the sides off the shape until it almost touched guia de edges. So when you increase the size, you can leave in a magnetic but also leaving in free form because you can also increase the size on the sides without increasing the size of the design as a whole. So it doesn't go on the edge on the other side. Okay, now you have your heart, and it's pretty much on the edge of the camera and you're going to go under. Add on the ranch and you're going to copy canvas and you're going to go under shape on the Left Underbrush Studio and all those settings in there. I'm just decreasing the spacing, but you go into the shape and you click on add it and you're going to click on import and you gonna click on Well, this is where all the library is, but you're going to click on paste and you're going to tap one time with two fingers, and it's going to invert the design so you see that nothing is happening because the space is down to zero. So but if you just topped with your pen, you're going to see ah heart. So I'm going to increase the spacing all the way to 100% and you're going to see those hearts. That is also pressure sensitivity. So the lighter you press, the lighter the heart will be. And you can increase the maximum size on the brush behavior on the properties so you can have, like, a little hearts or bigger hearts That's totally up to you. I usually leave Ah, in the middle. You going to go in there about this brush and you just name it before you forget? So I'm just gonna name a heart stamp. I'm not going to, um, at all the other details, but you can create a new reset point. I don't Ah, because I make so many brushes and I don't go into that. So now you have your heart. So right now is all in one size but pressure since, like a sensitive to pressure so lighter and darker under grain, you can, you know, make some changes in there. But I don't see very many changes under there, But now, under dynamics, or under apple pencil. I'm sorry you can increase the size, and it's going to be not only pressure sensitive, but it's always also going to be sensitive to the size. So if you click with more pressure, the heart is going to be bigger and darker in little pressure. Smaller heart if you and decrease the opacity right down below. Everything is going to be the same capacity all pretty dark. So I like when the hearts are a little bigger and smaller. So I usually leave the size up. Um, and now you have different size of hearts, depending on how hard to press the apple pencil into the canvas. Now, if you do this with your finger, however, and I'm gonna show you in a minute, it's all going to be the same size because for some reason there's no pressure sensitivity with your finger, always going to be the same size. You can decrease the size on the left side on that bar, but you can just press harder with your finger to make it bigger Onley with your pen and I like the opacity, like to be the heart to be very dry, so I'm just going to leave the way it ISS and you can play around with the size and see which one you like the best. So you can have, you know, little heart at the same time that you have a bigger hearts, depending how hard to press. Now that you have your stamp made less, choose a red color and try the real heart. And if you keep, if you keep drawing like writing, you're going to have several hearts. If you decrease, the spacing is going to be like a line of hearts. So if you have the spacing down to one hundreds, going to be very spaced out heart so you can see here. The hearts are very close to each other. So if you want, like a line of hearts and just go into the spacey and you can decrease or increase the spacing, so more space in between increased the spacing. The percentage less basin between you just decrease the percentage of the spacing, the jitter. If that's if you want just hearts everywhere, there's not really aligned. So if you just start writing with your pencil hearts, we're gonna go in several different directions, which I love that for some different types of stamps, and you can use for the heart to if you want to, or you can duplicate your stamp and make one with the jitter, and one went out. So then you would have already two stamps and let's move on to the next video so we can, uh, do some have towns in some texture. 5. Make a halftone brush: Okay, So in this video, we're gonna learn how to make brush like 1/2 tone. So it's easier than people might think. It looks pretty intimidating. At least a did to me before I learned. So we're going, Teoh, use the same heart shape and for shape you're gonna click on. Add it and you're gonna click on imports source library. And I like to get one that has the edge is kind of soft and under grain. We're going to actually added the heart shape. So import paste and you tap with two fingers once and an inverted design. And Niecy looks kind of weird, um, leaving under moving. And if you move, the movement around is just kind of goes. It goes into, like, a weird shape. So I don't know why my shape didn't change, but we'll change that later. So now if you changed the scale that reduced that to buy 67 or 8% you're going to see those time little hearts in there, and that's ah, half tone brush. So I'm not going to change the movement because it's it kind of makes it a little blurry and then a zoom also you can see which size do you want and to see if you want a darker or lighter. Ah, the rotation also changes a little bit of the direction. So mainly the scale and the zoom will be the tools that you're going to change or to adjust to see the exact tone. Today you won the death. Geter, or did after minimum will give a little, you know, either lighter or darker. But I usually leave the same as the default brushes. And the uniform glaze gives the little fading, um, little edges as well, so we can go ahead and try this. It's not exactly the way that I want, but it's pretty close. So I want to change the shape, not the grain. The heart is the grain, this time without the shape. So ah, gonna increase the size under properties and brush behavior, cause I like my brush to be a little big. So this is the size that I like. So now the preview is what you're going to see on the preview when you click on just collapse that how many brushes you have? That's what is going to look like. So let me change my shape again. I want something with soft edges, so source library and I'm going to try that one. And I guess I didn't click done last time. So now is click done, and now I have a more soft edge. And that's what the kind of brush that I was looking for. So I need a new layer. This is more what I was looking for, and you can even get a even softer edge. You see all the tiny hearts. It's on the scale and the zoom that I showed you earlier, and they're all pretty close to each other because you had your heart pretty much at feeling the full canvas. So if you want something even softer, we can go on source library and get this one, which is should be even softer edged like yes, so it's even a little more faded on the edges. Now you have your super easy after own brush, and now we're gonna move on to some textures and there's some fun brushes coming up. See you next video 6. Make a grit brush: Okay, so in this tutorial, we're going to do some texture, but it's going to be more like a grit, so it's gonna be just a little roughness to add to your designs or tour laddering. So I'm just going to get any brush that I think it's just a little rough around the edges, I would say. So I got under painting. I think it was the stucco, and you see how it's just, you know, there's not much to age is very rough. Um, so I'm just going to make a bunch of little marks. There's not anything to it and you don't have to get a specific brush. I just just I just chose the stucco just because it was just in front of me. But you can get, um, the inking one, or you can go under drawing and you get some of the chalk. Um, but just get whatever brush I like, preferably something that it's just very, uh, not vibrant because I'm using black, but it's not. You can't see through so very opaque, so just make a bunch of little marks, and it doesn't have to be like circles or squares or anything. just make, like, little dots, um, a symmetrical and just fill that page or the canvas with all those marks Small, medium, large. I keep it everything on the smaller sides, the smaller side you just because I want things just to look very, it looks like more like Sandy, a sandy feel. So I'm just going to put a bunch of Marx in this campus, - So I think I had enough, so I'm going to double duplicate that layer, and I'm just going to move the top layer to the corner. So I just have those same dots and little marks everywhere. Instead of just feeling the cameras with a bunch of Marx. I'm just going to move that around and have the all the marks going around the campus, so it's pretty much the same marks. I just I'm just moving them around, and I also rotate the duplicate, the duplicate canvas, so it just doesn't look exactly the same spots, which will kind of be hard to recognize anyway, because there's just a bunch of marks. There's no rhyme or reason to anything, so you don't have to do this if you just want to just mark yourself and do the whole campus that way. I'm just trying to save time so you don't have to watch me do a bunch of boring marks throughout the whole campus. So that's why I'm during this. And since all these marks are not consistent, they're very just everywhere. Different sizes, no direction. You don't have to worry about, um, lines if you make a texture brush like looking more like a seamless repeat because all those marks are just different shapes and there is not really in any shape and specifically so that's why it's OK to duplicate without making any specific, like a texture brush or a seamless repeat. So now I'm just, um I forgot to name my heart half tone, so I'm just doing that right now. And, um, let's go ahead and make that texture brush So we go into shape and I'm going to choose one with a soft edge, just like before, I'm gonna go even softer. So that's soft one on the library. Just click on that one. Click on done and then on grain. I'm going Teoh, go ahead and add it, and I copied the campus already, just like you did before and then paste top with your fingers. You invert the design of the drawing inch your ego. You already have your basic great that you cannot to your design. So then what I would do increasing the brush. That's my preference under properties, brush behavior. And I'm just gonna name this brush right now. Custom grit just so I don't forget, like a forget the last one. And, um, let's go ahead and remove that layer and right on the top one. You see, it's not very big. It adds a nice little sandy or dirt. I would say just something to your design. So it's good for lettering. I feel like it or any design. I would add this to my mosaic work. I have a Moses if Jose X Class also on skill share. If you want to take a look and I use something similar to that, so on the scale you can go bigger under grain. Um, under scale, you can go bigger or make that a little smaller. The movement will make it blurry, so I just leave that rolling. Um, let's see how it ISS see. It's much bigger, so I don't really like that. I like the smaller ones, so I will go ahead and make the changes to the scale and make it a lot smaller. So it looks like just dirt and the spacing. I will increase a little bit. Just so it kind of fades on the edges and the same with the fall off. If I do the spacing too high, then you're just going to see a bunch of circles with dirt, but not really a line. And I think I can go a little smaller, too. It's still not as small as I want, but it's a little better. So if I decrease the size of my brush and and he goes a little smaller, but I think I want a little smaller than that. So let's first try with, um, with the with the word Let's just write something just so we can test that brush. So I'm just adding a little texture to that brushes. Nothing is very basic, and I just want to see what it looks like. And if you're wondering how to add a fax to your lettering, I have a new class coming operate after this one as well um that I need to finish, But it's going to be on lettering for beginners. And I'm gonna add also how to add some effects, just like the one that I'm doing right now by duplicating the layer and changing the color , but it will have a lot more into it. So right now I'm not going to go into a so just too much information. And I just want to add that texture to the top layer off this word vintage. So let's see how is going to beat. So I'm just choosing and just the yellowish color, but very light. And that's what it looks like right now. So what I'm gonna do, I'm going to increase the size a little bit. Still not the size that I want. So what I'm doing is I'm just going back to the scale on that brush, and I'm just adjusting more and more until I get the size that I want. So, under grain, go back to the scale and keeping create decreasing the size and to your satisfied. So what I'm gonna do is I'm going to open a new layer. It's still pretty big, and I'm going to click on I'm going to lower the opacity and I'm just gonna go into all the effects by clicking on right next to the check mark on the layer. You can play with the blending modes, but if you don't want to do that right now, that's totally fine, because I'm going to go that in detail with the letter in class. So what you can do is just open a new layer. Just I'm going to down decrease that scale even a little more because I want the very small so 10%. I think this is gonna be the magic number. So on a new layer, which I'm already in right now, um, going to go all over the word and I'm just going to go on that top layer and I'm just going to click on it and I'm going to clip a click on clipping mask and it's on Lee going to be on that word and then under the blending mode, if you seal the letter and marina on that layer that it says multiply, I'm going to go over. I'm going over all the blending modes until I find something that I like. So I'd like to subtract because it makes it a little dirty year makes a little darker, and you can see some of the great that we add. And you can add as mattress Aziz little as you want. And this is the difference if you do it on the page with the different collar or the same color, but not in any blending mode. If you just want to add to the page. So there's a lot of things that you can dio. I just add it to the world just to show you what it would look like. But we can also use that for shading, which I will show you, and my next class is so now you have your grit, brush and, ah, let's go into another texture brush in the next video. 7. Texture brushes: so I have to texture brushes that I'm going to show you how to make this tutorial. So the first day we're going to do is to look for texture on on splash dot com because those pictures are royalty free. So I was working with this one, but I'm going to search for a different one just so you see the whole process. So you type in texture at the search bar on a splash dot com, and I'm just going to search for something that is just has some good texture and its it looks pretty consistent. Not a lot of shadows or shade or different tones. So it has to be something monotone, I would say. So, um, scroll down and see what I find. This one looks pretty good. It looks like a wall or ceiling. I'm not sure, but some cement, concrete, stucco, something like that. So I'm going to just take a screenshot so the on your iPad is will be the home button in the top button when I'm going to go back to procreate and I'm going to just drop that screenshot into my canvas and I'm just going Teoh, make it biggest, so it takes the whole square and I'm going to go to the ranch on their ad copy Canvas. You don't have to change the color or anything. It changes on its own when you ah, paste it. So I'm gonna go to shape at it import source library, and I'm going to choose something with soft edges so soft you see the soft edges around done. I don't know if it went through since still there, but I'll change it in a little bit. So add it under grain. So we're gonna add the texture, import paste and two taps in just one top two fingers and you see that will invert the design or the picture. Click on done, and you have your texture. So all you need to do is just adjust any ah settings, like if you want something lighter, if you want something darker, if you want softer edges, harder edges. So that would be the changes that you be making after this. So, um, if you look, that's some delicious texture right there. I want something a little bit bigger, though, so I'm going back to that brush. I'm going to leave the movement at rolling and the scale I'm not gonna go to beg because it makes the image blurry. So I'm just going to leave, you know, on a smaller side. And I'm going into the blending of the glaze. I'm just going to leave probably in the middle, So intense glades will be good under apple pencil. I changed a size a little bit, so he gives me a little bit of ah ah, effect of, ah, brush lettering. So it gives me the thick down strokes and then upstroke and the pass it is going to leave the way it iss on their properties. I will increase the brush a little bit. Just so why, you know, it's just a little bigger sisters texture I'm usually doing ah, bigger spaces, bigger area, so it doesn't need to be small, so I'm going back to shape. But I'm going to see if there's anything else. Um, it's OK to leave it at the hard edges. I just like the soft edges. So I'm going to do this again. I think I just didn't click done enough. So soft edges done. There you go. Now you can see that it has the thicker down strokes and also the soft edges. So it's kind of fades out a little bit. So it's not just such a heart line. And, um, that's the way that I usually do all my texture brushes. Okay, so I usually like to change. Um, toe try on the drawing pad. If you changed texturizing under grain, you can see that it gives a different effect. But I don't like that because it makes it all blurry. I like what it's a little sharper. The movement makes the texture of move. I think that's the best way to explain it. So that's why it it looks like blurry like they're moving so less. Test this on the different layers so you can see the texture is a little bigger. I don't need to zoom in, ask close for you to see. And I love the effect. I don't know how you would name this, but let's go ahead and just add a name for it. So out of I don't know, I let's go ahead and just do some popcorn ceiling texture, because that kind of looks like popcorn ceiling to me. But you can even whatever you want Well, texture, cement, texture, concrete texture, Um, rough texture, Anything I stucco. I don't know if that's really stuck out, so I'm just gonna go Would pop court Seeley and I can always change it later. That's not study Stone popcorn ceiling texture done. You can add your name and your signature like before. Click on Done. And you have your texture perfect. Okay, let's test it out in this beautiful orange. Okay, good to go. Now we're going to do with the different picture that I also got from on Splash that it looks like grasses or little trees, something green and I already copied from on Splash. And I did the same thing I pasted on the canvas, and I made it really big just to take the whole space of the square. Not much bigger than that. Otherwise, the image is not as clear. Gets a little blurry. So copy campus under the plus sign on the actions, I'm gonna click on the plus sign under my brush and shape ST Thing. I like the softer edges. Source. Library. Soft click on done. Now remember to check twice. Let's go on green at it. Import paste see, it's already in black and white, so you don't have to do anything. And I didn't even have to do the two top finger. I mean, one top two fingers. So now I'm going under grain. I'm still under grain, and I'm going to leave the scale in the smaller percentage Just because if you increase too much, it would lose the sharpness office. So I'm just going to leave it on a smaller side and it doesn't look like grass or trees, doesn't it? Looks more like, um, little craters or sponge. I don't even know what this will look like. So increased the pressure size also under apple pencil a little bit if you go if you because you can leave zero, that's totally fine. I usually have that on a higher side, so it just gives me that down. Stroke the thicker down stroke, like the other pence the other brushes so you can see right here. It looks awesome, but he doesn't look like grass. So that goes to show you that you can make texture out of, ah lot of things if not anything. My stained glass brushes, for example. I didn't I have a bunch of stained glass brushes that I have in my previous class on the skill share. And not all the, um, brushes were met up at a glass. I'm gonna show you a couple brushes that I made for my other class. The stained glass on procreate if you want to check it out. So I have several brushes here. Um, this is one of them. This one I actually got from, I think window or maybe a bottle. So that one I did give from some type of glass. This one is a sand, um, effect. But I have some other ones that this one I got from a gemstone. So it looks so to given an effect on some of the windows. So here it is. So, for example, I have this brush I got from a bunched up like a piece of plastic. It was not glass, but it gives the effect that I wanted, and this one is My favorite is the frosty one, and I actually got it for from cement. It was a part of a sidewalk or maybe a wall in the house so you can make texture out of a lot of things and make it look like something else. So just do, you know, just play around, get a bunch of texture, a bunch of pictures and just test it with what you're learning in this class. So let's go ahead and name this. I don't even know what to name this because such a unique texture, it looks like a little craters for air bubbles. So something like something, But I'm going to just name it well, texture. And now you have your very own texture Day you just made in this class, so don't go anywhere. We have more fun brushes coming up. So let's move on to the next video. 8. Make a watercolor brush: Now we're going to make one of my favorite brushes, which is a watercolor brush. So we're gonna click on the plus sign to open a new brush and click on shapes you're gonna go onto added in port Source library, and we're going to go down to one in particular. That looks like a watch. It looks like already a little bit of water colora rank. At least it's pretty easy to find. It's a water bleed you click on done. You don't need to tap it cause it's already inverted. You don't see much of a difference right now, so we're gonna play with the settee. So let's go on the grain, Click on add it Imports source library. And I'm just going to find something with a good texture. So I saw a wash one here somewhere that I thought would be probably a good idea. But you can try any of these textures right here. So this one it's okay. It I think this one is the rust. So go back to import source library. It's not my favorite, uh, go down a little war. There you go. The wash one, I think, is go ragged egg wash. So I top ones with your fingers click on done. And it gives me a nice texture, and it doesn't necessarily looks like wash to me. So I changed from moving to texturizing, and I make detect the scale a little on a smaller side. Um, so I can see some of the effects and then mix with the water color. I think the water bleed. I think it's gonna be a good effect. So I think it's best if we try with collar. So, um, I change some of the scale. Some of the depth, but not too much. Um, the taper. I'm just going Teoh may be making a little bit like, Ah ah, lettering brush. So not exactly, but I just want a little bit of pressure sensitivity so you can see much of it right now. So let's go ahead and change the tip to blonde. Just like for the lettering one and the spacing. I going to leave it on the very low one. Like if increased the the spacing. You see all the kind of like circles and the jitter. What kind of make it a go in different directions? So it's good for some water color effects. I just not what I'm looking for For this one in particular, I'm just I just want a basic one. And under the rendering on the glaze and blending that's where you my see some difference. And it's up to your style too. So I usually have either Heavy Glaser intense and blending from my brushes. Sometimes a light glaze will be the best one for water collar. But I'm going to leave an intense blending for now you can play with the flow also a little bit. I'm not gonna leave it 100%. I'm gonna leave like 86 for now, not completely up top. So what edges? I increased a little bit. Didn't see a lot of difference on the wet mix. Delusion sometimes is good for that kind of brush, but I don't see I don't. It's taken away the texture, so I'm gonna leave the way it ISS and all the other changes. All the other settings are not making any changes, so I'm just gonna leave the way. It is not changing anything in the color diamond dynamics for now in under dynamics. Um, I'm probably won't make any changes, either because I don't see anything except with size. Obviously, it's changing a little bit here and there and the capacity, so I'll probably just leave the on a default. But on the apple pencil, I will increase the size on a pressure so he gives it up that pressure sensitivity like a lettering brush. So testing with the pink, you can see that on the down strokes when there's more pressure, the lies or thicker. So that's what I want. Now, on the final settings and their properties, you just adjust the maximum size that you want your brush to be. This one I want to be close to, like a lettering brush. So it's not going to be too big. And the preview? I just leave the way it is. Sometimes they make a little smaller, but the way it is, that's fine for me. For now, capacity leave up to Max the maximum capacity, and this much is not going to make any changes that a significant for me to even notice. So, um, Goto about this brush, name your brush. So you're gonna put water collar. I'm just gonna put watercolor one. You could do. Cost the custom watercolor or your water. Call with your name and you can add your name or signature just like before. Click on Done. Now let's test it on your camera. Ah, there you go. I changed the color of the pink well, the shade of the pink and just increase the size a little bit. And it's just almost like a lettering brush that it has the pressure sensitivity, and I'm going to zoom in in the texture and you can see that raggedy wash texture with the water collar. The water bleed and I love it. So I will see you in the next video. I have more from brushes. 9. Combining brushes: so one of the new features off agree. Five is the ability to combine and un combined brushes. You can't combine every single brush that comes with procreate, but you can combine a lot of them. For example, this one is just a simple brush that came with procreate five, I thinks called the Salamanca, so that one you should be able to combine because it's just one brush. But under artistic, for example, this brush or it's already combined, so you cannot combine a brush that it's already combined. Originally, you can combine them, but you cannot combine twice, so this one you would need to combine in order to combine what something else. One other brush. If you're going to do that, make sure do you duplicate your brush so you have the original and you just un combined the extra one. So you're not panicking, thinking that you completely lost or deleted your brush so you can actually change the settings on each of the brushes, even after combined and or if you want to just change the settings on one of them but not the other, and you can add some pretty cool textures, so the hearts is already. It's one of the brushes that it's already combined, so you can not combine again. But there are some brushes that came The Sessa press that one is already combined so that when you cannot combine But the previous one that I showed you you can it's not already combined, so you can combine that brush. So we're gonna go ahead. I'm going to duplicate the this one that just sink you. However, sink e ink. So I duplicated that and I put under my brush because I want to combine that with another brush. So, for example, I have my water brush and the just ink ink together. You might not see a whole lot of texture on a lot of effects, but you might see something super amazing. So I'm going, um, I forgot to duplicate, So I'm duplicated my water brush that I just created in a previous video. And I'm combining with that one. So all that you dio see there's a super cool effect. It gives you a little bit of the delusion off the water color plastic ink. So what you do, you just tap on the brush and you see the two brushes in their combined. You can un combine if you want. Let's go on combined and to combine. You just click on the whatever two brushes that you want, that they have to be next to each other, I think, and then once you see like, it's almost like if you want a group together, so let me combine well with the texture. So what a brush and the texture combined. You see the combined there at the top and less tested. So I did the water color, plus the texture that we did in a previous video in Look at That. So you still have the watercolor effect with an extra texture, not just its extra that off your original brush, but also the texture that we just added. Not every time that you combine brushes going to behave this way, so sometimes you're not going to get anything out of it. But it's important that you test it. So this is a really fun way to just explore all your brushes and see what works and what doesn't work. You might make some texture that you're not going to see any difference by combining them and you might as well just use it by itself. So I do this all the time. So I'm going to try to combine this with my half tone. And I know already what the results pretty much is gonna be. But I'm going to show you so combined from the open on your layer. So they're combined and they always take the shape off the brush that it was on top on those of the brush, the list of breast. So you see here it doesn't go together because the studies for the half tone is completely different for the settings off the water color. So and what I mean by the studies is like side of size of the brush and flow and movement now, so much of the texture. But the brushes, they have to be similar on pressure, sensitivity in size, not completely the same. But they have to kind of be similar enough where they just mash. So I am combined them because they don't go together, at least not to me. But I'm going to combine the water color with a different one with a different texture. So I just duplicated my watercolor and I'm going to change the texture and you will see that sometimes two different textures will create something amazing and sometimes will be just a It won't add anything, um, spectacular to your brush selection. So all you need to do is try. So I'm going Teoh duplicate that water brush again. So I have to water color brushes with different texture. I just chose a random texture. I did the the oil one I believe in. It's nice, but it's not anything amazing to me. So I did two brushes that are very similar in size and movement and scale and all that. Even if they were a little different, the texture, they were not completely different or significantly different in order to add a different effect. So the just the regular water brush for me is just amazing. So what I'm gonna do This is our regular waterboard called rush. I'm going to, um, combined that regular watercolor brush that I have with one of the, uh, texture brushes that that we made on the previous video, and you're gonna see the difference. So here I'm just testing like spacing. Jeter delusion. You see the spacing right there the wet makes. If you increase it, it will make a little bit more diluted, just like water color. And it's nice, but it's not. You know, I'm looking for a happy little accidents, so I'm going to combine this texture right here. So the brush that we made before with the water color. So let's see what we get. So, uh, I'm going to duplicate and you're going to swipe to the right until you can group, and then you just click. Combine up up top and look at the texture. It's exactly what I was looking for, so I love it, adds a little bit of the water color and the texture, so you have to completely things that come together and to add a double texture. But to me it just looks great, and you can add that with the other texture as well. So this is just one of the benefits off combining brushes so you have that texture, which is different than the watercolor and the watercolor with a texture. So it's a little bit of both, so you don't see one overpowering the other. Let's go ahead and name that brush. Water color, texture combined And now, by this time, you have already combined and un combine your brushes. And now on their next video, we're gonna do some fun tricks with color. 10. One stroke 2 color brush: we're finally our last video tutorial, and I'm going to show you how to do a multi color brush. This one is going to have just about two colors. But if you want more colors, you should check out my previous brush making video, which has a very detail tutorial on how to make a multi color brush. And it's the foliage one so you don't have to watch all the whole video. Just that part of the tutorial and you see what I mean is the foliage. One is just so much fun. But this one, I'm just going to use our watercolor brush that we just made, and I'm going to change the color dynamic city. So we're going to start with the hue under color pressure. So if you just slight a little bit to the right and you see the color changes and the colors will change according to pressure, so saturation it will make a more fi brand of brightness is the same thing will make a brighter, um, second color. I don't like to use that because it brings like a darker hue. I don't know why, um, stroke color Jeter. It also changes the hue, but on each stroke. So every time you put your pen down in the camp A. It will be a different color, and the step color jitter will bring the hue, uh, all the colors from the whatever color you're using right now. So right now, I'm putting a little pressure on the beginning and live putting more pressure towards the end. So as the stroke gets thicker, so in the color changes at the same time, I'm also going to increase the response to Max under apple pencil because it would make the color that has little pressure increased a little bit. So it's not just a little tiny sign of the color, it would be a more prominent, so I chose a pink color. So let's name that watercolor brush to color so you can name it one stroke to color, because that's what I was aiming for. If you want to have more colors, all you need to do is increase the hue on the collar dynamic so you can have 234 or you can have the complete rainbow on that. So I just wanted to achieve the to color. This is more like a 2.5 3 color. Um, in fact, but for the people that were looking before, like that water color, one stroke to color. A fact that can they like to achieve on paper, this one is the closest that I could get so far. So I'm still working on it. But I actually like what I've got. I did, uh, a design with this brush. It was completely done with one stroke, and it was actually really cool because I didn't have to use any other brush. Just changed the collar here and there for different elements. But I didn't have to change. So one stroke. It was like one complete design with just one stroke. So you can design a flower, um, and have two or three colors, but Onley do in one stroke. So each paddle one stroke more than one color. And when I say one stroke, two colors, I don't mean that the whole design they're gonna make you're never going to lift your pen off the canvas. You will. But every stroke it's going to have more than one color, so you will need to re color or use a different brush or do any shading if you don't want to. That's the effect of that I was looking for. So, as you see, I put very little pressure in the beginning. And I get the original color that you see on the color of the little circle up there and as they put more pressure against warmer so it always gets goes to the warmer direction. If you look at the color wheel so the yellow wood of the purple will get cool, purple will get a little more pink and the it will go into the warmer direction. But this one is going to the court. Oh, but then you would turn into a purple. But so this is what I mean. You did one stroke and you've got two colors. You can always change the hue under adjustments on the little one right there. And you get that green. If you want to just color drop, you absolutely can. So let me just duplicate up because I really like degree. So let's choose like a different shade of green maybes, something completely different, and you just drop it. It would change both colors, so something to think about So I really enjoyed making this brush and using it. If you want something Ellen on the dryer side and it's still maintained the water color texture which I absolutely love. So keep in mind not ever brush will behave this way. Some brushes will not have the same effect. They will have the color effect, but they would not have the effect of like the for example for you to drop to draw or paint a petal for something like that. So you need to find a brush that works for whatever design you trying to dio. Now you have your multi color or to color one stroke brush, and I'm just gonna test it by just writing. You know, my feet famous Hello, Just easier. So I don't have to think about something different too. Right after you finish your word, you see some overlapping strokes that you you know, it doesn't have really the watercolor effect so you can get this much brush under under color. You can say get the same. I wouldn't say the two color, but just your regular water color brush and just slightly, you know, kind of mash those colors together. I don't like to just I like to just dab, so I keep some of the texture, if you know what I mean instead of just like, almost like just rub the the pen on top of the design and it looks like it's just all mixed together. But there's no texture laughed, and I really like the texture of this water color. You can also bring some of the purple color into the red and vice versa. And I'm going to do that on the next one. You can see that already, um, on that little side of the age, or you can do right here, bring some of the red one into the purple, just like if the water color is really bleeding into the on the paper, just like you do in real life. We don't have to, but I always thought that it was a really nice effect. Right now, I have the awful lock on on this layer, so that's why it's not mixing everything, so I probably need to turn that often. It will be able to mix all the colors together so you can stop right here and you keep, or you can keep going. I turned the Alfa lock off so I can mix those colors and the stroke, and you can see that they're a lot more subtle. And you can add some details to the water color like you can go underwater on your brush library and grab the wet glaze under your, uh, eraser. And you can just dab of a couple of times like it looks like watermarks. And that's a really nice of fact. And you can do the same thing. Underbrush. And when you go on the brush, you get ah, color. That is close to what you're looking that you were working with and just dab on a design. And it looks like it's just the water color bleed on your design and just it's the wet glaze. And I'm also going to include this on my next class, which is the lettering one. It's more facts on the lettering, but say some doing this right now, I can give you a little bit of a sneak peek and also the brush there we just made. You can also do that the same with the eraser and the brush to add those effects. Right now, I did a little bit extra just so you can have an idea. But now you have your two color watercolor brush, and I hope you enjoy this class and let's move on to your final video for your class project. 11. Class project: in your class project to go ahead and find a texture day. You want to use and create your own texture. Brush or create your own combined brush or your multi color brush and show me on a class project where you created so you can either let or something or designed something with the brush you created. So there are so many possibilities you can just use the source library for create, or you can find your insurance for one. Www dot on splash dot com. If you want something different that what I have used and I can't wait to see what you all create.