Procreate Plaid and Pattern Brushes - 15 Brushes Included and Instructions to Make and Edit More | Delores Naskrent | Skillshare

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Procreate Plaid and Pattern Brushes - 15 Brushes Included and Instructions to Make and Edit More

teacher avatar Delores Naskrent, Creative Explorer

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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 (1h 2m)
    • 1. Intro to Procreate Plaids and Pattern Brushes

    • 2. Overview and Examples

    • 3. Laying the Plaid Foundation

    • 4. Creating the Plaid Brush

    • 5. Creating Patterns for Brushes

    • 6. Additional Ideas and Organization

    • 7. Examples and Application

    • 8. Closing Thoughts and Wrap Up

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About This Class

Hey there! I’m sure it is no surprise that I am posting yet another Procreate brush class: I am obsessed! This class, however, is quite different from Procreate Brushes to Make and Sell  and Simple Brushes in Procreate for Quick Compositions. If you have been in those two classes, you’ve learned plenty about custom Procreate brushes, but I still have more info for you! This new class will focus on producing pattern brushes. They feature full seamless repeats and can be oh-so-versatile.


In this class, Procreate Plaid and Pattern Brushes, I will show you some of my illustration and pattern design methodology, and ways to use pattern to create brushes. In the class, I take you from start to finish in creating a full seamless repeat pattern (or two…. or three). OK, it is more like a half a dozen, haha. Patterns are the basis for these types of brushes. And, I have techniques to save the pattern in many iterations. One of my goals is to show you how easy it is to adjust these brushes once they are made. The star of the show is definitely creating and using patterns to create these brushes. Of course, in the end I take you through the creation of a complete artwork, from start to finish, and show you examples. You will surprise yourself with what you can accomplish and how truly unique and lovely the finished work is.

I’ll walk you through:

  • my step-by-step method for making seamless patterns in Procreate for use in making brushes
  • tips for creating varied and appealing brushes
  • my workflow for use of layers and other great features like snapping
  • adjusting patterns to perfect the look of your brushes and adding textural elements in the background and on motifs
  • methods to keep brushes fully editable for later adjustments

If you’re an aspiring designer with a basic knowledge of Procreate, you’ll be able to go through all the steps. This class will benefit anyone who wishes to simplify creation of brushes from seamless patterns and methods to improve efficiency in doing so.

The key concepts I will include:

  • review of my brush alterations and adjustments
  • a look at Procreate brushes and their various idiosyncrasies
  • approaches you can take in your creative work

This is an ideal class for you, even if you are not sure what you will use the pattern brush for, whether it be for fabric design for sites like Spoonflower, scrapbooking paper, custom web graphics, or whatever! Learning new Procreate workflows is always desirable. I guarantee you will create something really appealing, and it’s so much fun, once you get the hang of it!


Intro to Easy Watercolour Seamless Patterns in Procreate using Brushes

This short intro will give you an overview of the class.

Lesson 1: Overview, Ideas and Planning

In this lesson, I will show you the objectives for class and explain the merits of the technique I use. I walk you through the beginning of planning. I show you many pattern brushes I have created using these techniques.


Lesson 2: Laying the Plaid Foundation

In this lesson, I will break down the complete process of creating the two different plaids: a buffalo check and a regular tartan plaid. I show you everything you need to know to create the patterns which we will be using to create the brushes.

Lesson 3: Creating the Plaid Brushes

In this lesson, I will explain the process of creating each brush and I will review the settings and sizing. I will show you some of the key techniques I use and explain every step of the way. By the end of the lesson, you will have at least 2 new brushes!

Lesson 4: Creating Patterns for Brushes

This is the lesson in which I teach you about creating more patterns by creating additional seamless tiles. We will use draw assist and many other strategies to perfect our swatch. Then we make it into a brush and do a bunch of experimental testing to perfect it, with changes on the brush settings.

Lesson 5: Additional Ideas and Organization

In this lesson, we start getting to the composition of the final artwork. You will see me use several different techniques to add interest and detail. I show you the texture brushes I have created, and I explain the settings. Throughout the process you learn much more about brushes. I will also review my methods for staying organized.

Lesson 6: Examples and Application

At this stage, I show you a quick layout, and I will demonstrate the use of the pattern brushes. This is the last step, and in this lesson, I will be working on foreground, middle ground, and background. This will show you just how versatile this technique can be and how valuable experimentation is in your development as a designer.


Lesson 7: Conclusion and Next Steps

We will conclude everything in this lesson.

Concepts covered:

Concepts covered include but are not limited to Procreate pattern brush design, Procreate repeat patterns, layering, transparency, Procreate brush stamps, Procreate canvas settings, Procreate snapping and guides, Procreate floral repeat pattern brush creation, art licensing, creating original brush stamps in Procreate, the Brush Studio in Procreate, adjusting Procreate brushes, sizing of documents and brushes, using the streamline setting in the brush studio, compositions with brush stamps, adding texture brush stamps, procreate brushes for adding interest, workflow best practices, painting best practice, Procreate composites, techniques with paints and blending, and much more.

You will get the bonus of…

  • 1 hour of direction from an instructor who has been in graphic design business and education for over 40 years
  • knowledge of multiple ways to solve each design challenge
  • an outline with links to further research
  • a list of helpful online sites to further your education into surface pattern design

Meet Your Teacher

Teacher Profile Image

Delores Naskrent

Creative Explorer


Hello, I'm Delores.  I'm excited to be here, teaching what I love! I was an art educator for 30 years, teaching graphic design, fine art, theatrical design and video production. My education took place at college and university, in Manitoba, Canada, and has been honed through decades of graphic design experience and my work as a professional artist, which I have done for over 40 years (eeek!). In the last 15 years I have been involved in art licensing with contracts from Russ, Artwall, Studio El, Patton, Trends, Metaverse, Evergreen and more.

My work ranges through acrylic paint, ink, marker, collage, pastels, pencil crayon, watercolour, and digital illustration and provides many ready paths of self-expression. Once complete, I use this... See full profile

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1. Intro to Procreate Plaids and Pattern Brushes: Hi guys and welcome. My name is Dolores now Austrians and I'm coming to you from sunny, Manitoba, Canada. So as you know, I've been working on new brush sets. And one of the things I've been experimenting with is creating pattern brushes. I really wanted to create a plaid brush and just really plaid patterns in general in Procreate. So this class is going to show you both pattern creation and creating brushes from those patterns. This is a quick and easy way to fill out a brush collection, especially if you're creating it for resale. I'm going to be showing you all kinds of little tips and tricks along the way. This class is definitely for you. If you've been just experimenting with brushes. And we'd like to create some more. I really feel like a full set of brushes is imperative when you're doing your design work. Especially if you're doing designs in collections. Creating collections of art definitely takes a little bit of practice. And I feel like the consistency that you create with a really good brush set, mix it a lot easier to create a cohesive collection. I know you've had a lot of practice making brushes with me, but this is just another one that you can add to your list of accomplishments. Now if you haven't done so already, make sure you hit that follow button up there. That way you'll be informed about all my classes as they're released them. I'd also like to encourage you to check out my website at shop dot Dolores Hart dossier, and add yourself to buy mailing lists. I'm finally getting organized enough to be sending you some really great artists resources. Thanks so much if you haven't done so already. And I really appreciate all of your kind comments and questions in the discussion area. Are you ready to get started? All right, let's get to it. 2. Overview and Examples: Hi guys, welcome to lesson 1 and less than one here I just want to give you a bit of an overview on pods and on patterns. And we're going to kind of tie that into what we're going to be doing in the class. Let's get started. So for this first lesson, I want to give you an overview of some of the pattern brushes that I've created recently. Courses, I'm going to be focusing on clades and checkers and that sort of thing. But I do want to show you possibilities that are out there when it comes to pattern brushes. This one was when I created last night and I absolutely love it is not pretty. So that's just lines of watercolor. And what I really loved about it, that I could change the color of it fairly easily by just painting over some of the original color that I laid down. And I also really liked that I could do this, turn it sideways and make some changes and alterations. And even though it's just a black and white brush, it still looks absolutely amazing. Really is the one limitation about brushes that we create here in Procreate is that they are produced and can only be used in one color. So you can affect the color, of course, by choosing a new color and PT over it in spots and so on. But you can't really sort of specificly say, Okay, I'm not this stripe to be pink and I want this one to be blue. So there is that limitation with pattern brushes, but I think that limitations just challenged us to be more creative with them. So I've done some full on patterns. So that's one that probably if I showed it to you a little bit bigger, which show you a little bit more of what's content of it. And you can see that that's based on one of the brush sets that I've been working on. So those were some of those fluoro liner brushes and obviously I would have to rethink some of the dark areas they're going on that brush actually and reverse it out. So we could go here into the grain source and two-finger click will do this for us. And let's see if that works a little bit better. Show off our floral and I think it does. What do you think? So you can see that there would be some uses for something like that. Of course I've created some that are just straight on textures, some really delicate patterns. Here's another one of the florals than I recently did. I don't know if you guys have seen this one. That's a really pretty pattern, then of course there's a checkers, so just black and white checkers or not quite black and white. There we go. And this one is the buffalo check. So let's try this one in her red. Oops. And then I've done some Lionel kind of cutting. This one is just kind of a pretty delicate little patterns. This one I've already used a few times. I really like it. It works great with some of those floral layouts that I've been working on. I think you saw that one. There's just a pattern created with a brush that I have. These spotty ones, I find that I use quite a lot. And then another line of block, sort of a look. Let's do this one in. Bring one helper if I selected it. So they really break down very easily and simply in a way that you'll be used to if you've been doing patterns in Procreate, I'm going to be showing the whole process to you. And by the end of it, you should have the knowledge to create these brushes yourself and be a couple of really nice brushes to show for your efforts. All right, so without further ado, let's get into the next lesson where we're going to really start working on the first pattern. 3. Laying the Plaid Foundation: Hey guys, welcome to lesson 2. In this lesson we're going to lay the foundation for our plaid. Let's get started. Okay, let's make our first setup for the US to the buffalo check. I'm going to start from scratch here. So I'm going to do a document 10 by 10 at 300 pixels per inch. Now the first thing I want to do is to set up my grid. So I'm going to go into the drawing guide here. I'm going to edit it. And what I want is for the grid to be the four corners to start out with. So I know that this is 3000 pixels. So to be absolutely exact, I'm going to type in 1500, which is exactly half. And now I know that that's absolutely accurate. I'm going to hit Done here. And what I wanna do is to fill each of these widths, black, gray, and white. So to do that, I'm going to grab the rectangle selection tool and I'm going to make a new layer here, or actually because this empty so it can use it. And I'm going to fill this one with black. So now I've got a nice little square here that I can use to position into the corners. Now with my snapping and magnetics on, I know that this is going to snap to my guides. So what I saw that it worked perfectly and snap to see the yellow line there. And actually I have to change this to free form so that I can move these individually. So now I can snap and that looks like it's lined up really nicely. So one of the things I do is I take it and rotate it so that the, so that can be sure that the edges of the square or not See you in any way. Having done that, I use the crop edge that Procreate creates. So I had a perfectly straight, smooth edge there. Now when I commit, I'll have just the square, which is exactly what I want. So I'm going to duplicate this twice. Actually, I'm going to do all four. And I'm going to take and move these into each of their corners. And I'm going to refill them based on what I want this checker to look like. So I'm going to put white in this one. I'm going to pick kind of a medium gray. So this is my upper left-hand corner, so I'm gonna move it up. So this is going to be, whoops, undo that. This one's going to be gray. And this one's going to be gray at. But the basic setup for my plaid. So what I need to do here now is merge those together. And that gives me basically the repeat that I need for this check to work. Next step is to duplicate that. And what I'm gonna do now is grab each of these individually and reduced them down to fit into the quadrants. When you're doing this, it's really important that you don't click anywhere else on your document. Because if you do, even with your finger, you could move the layer over by a pixel. So I was very careful. I made sure that I didn't touch the canvas area here at all or the artboard area at all. So basically now I've got what I need to create the brush, believe it or not. So we're going to take all of these and we could merge these as well. We could do a second pass at that to have more of a repeat. So I'm going to maybe do that just so that you can see I'm going to very gingerly resize them. And as you can see, I'm very careful not to hit that artboard area at all so that you can kind of see are apollo check in the making. So let's take these, pinch them together and now we've got what we need for the grain that we're going to use for creating that brush. Before we go to the next lesson to create the buffalo check brush, let's also set up a plaid here. So I'm going to hide that layer, add a new layer. And in this case I'm not going to work with the drawing guide. So I'm going to turn that off and I'm going to just use my rectangular selection. And I'm going to fill the plaid using blocks in Greece again. So I double-click here to get a pure black. I'm going to put that pure black in there. And I'm going to make another selection. If someone were to fill it with kind of a medium gray. And I'm going to put another line, but I'm going to actually copy that one. So I'm just going to, oops. I'm just going to select it. I'm going to three finger swipe down, copy, and three finger swipe down and paste. And I'm going to move that one down again and being careful not to click anywhere. As I'm doing this, I'm going to turn off my snapping and magnetics for now. I'm going to move that to about here. And I've got the start of by actual plaid swatch here or pattern for my brush. So here I need to add a new layer. And this is a really important part of this process. I'm going to fill it with white. And this is going to lead us more easily selected and snap it and do that really precision work that we need. We're going to pinch those three together and then we're going to duplicate. Now this one, we're going to rotate. I'm going to put the snapping back on now. And I'm going to rotate this 90 degrees minus 90, I guess. Now with this one, I want to also reduce the opacity of it. So this is a judgment call for you. I can't tell you exactly what in this case I've got to that 50 percent and I like that. So I think that's what I'm going to work with. So now we're going to pinch those two together and we're going to put the drawing guide back on. So we're going to do the same process as we did for the last one. I'm going to duplicate it. And I'm going to reduce each of those to fit into the quadrants. Now this reminds me of that quintessential plaid that we see on this clause. So let's pinch all those together and we could do the same as we did last time where we duplicate this four times or three times, we need foreign total and same process. And you notice that when I do this, I'm pretty methodical. I start at the upper left and I take the one on the right corner, and then I go and do the bottom left and bottom right. Now we've got that plaid worked out. Let's pinch all of those together. And now in the next lesson I'm going to show you how to make these into the actual brush. I'll see you there. 4. Creating the Plaid Brush: Guys, welcome to lesson 3. Now that we've got our plaid kinda worked out, Let's create that pattern brush. So now that we have these patterns ready to go, All we have to do here to make a new brush is to copy this and put it in as our grained for the new brush. So let's go in and add at that here. I've already got it here, but I'm going to show you the process anyways. So we hit this button up here to add a brush and we're going to go in and adjust the grain sweat the moment there's no grain source on this brush. So we're going to hint. No, Did I copy that? You're probably didn't. I'm going to three finger swipe down and copy, adds new brush, go into green, hit, Edit, Import and paste. Now, this is actually the opposite of what I need. So I'm going to do a two-finger tap on there. And this gives us a pretty good idea of what our plans would look like, I think. And we're going to hit Done. So you can see here that the plaid is showing up as fine. Now, one of the things you might want to do is go in and pick a different shape for your brush. So here you can go into the source library and there are a ton of pre-made sources here. It really depends on the kind of look that you're going for, but let's just go for it and we'll just grab a flat brush. I'm going to hit Done. And you'll see that what that does is it changes the edges of your brush. So I'm not gonna make any other changes here yet. So let's go down and do the next one. So we're going to know we can either duplicate this or we can add a new one from scratch, or we can duplicate one of the ones that we know is working just fine. I'm going to just do that just to give you a piece for that. I'm going to duplicate here by swiping to the left. And then I'm going to move this up so that we've got both of the ones that we're working on at the top here. I'm going to click on it to make a copy. The brush. Again, it's the grain source that we're changing here and hit Edit, Import and paste cake. So obviously did not copy that. I was probably on the wrong layer. Yeah. Okay. So copy, it's a good thing and make all these mistakes because that way you're learning more rapid. Ok, Edit, Import, Paste. And now we've got our checker. This is the buffalo check has the name for it. And I talk about clades in my Photoshop course that I did on creating plans that might be worth checking out even if you just watch the first lesson just to find out a little bit more about the history of plaid. But I'm going to hit Done here and enough to make any other changes because we do have a shape chosen here. So I just want you to see what this one's going to look like. So let's hit Done will hide these two. I'm going to turn off the drawing guides. And let's just test these two out. And you know, sometimes they're just exactly what you need and they worked as fine. And a layer. Stop talking Bibi, you be able to do things, right? Okay, black. You can see that that works just fine. So there are some things here that we would probably need to address. Like right now, I must have this as a glazed brash of some sort because you can see that as I make additional layers of it. But I'm getting that hard line kind of where I'm doing the overlap. So that would be something to check. Haha, my big joke for the day. I'm going to clear that, that that was on my quick menu, but it isn't so clear. But it's also try this one. Thank goodness, what is wrong with me today? And that one works great too. So this one is quite a small check in that brush, that actual brush size. So let's go in here and go to Properties. And we're going to make the brush bigger and we're going to scale up the planet itself. I'm going to hit Done, cut. And now you can see that one works quite well. Now what I probably would do is redo this brush for the pattern so that it's not so opaque. So I would change this to be lighter or here in the brush. Let me try going back to edit this. And I'm going to do that two-finger thing. And let's see what that looks like. So it's fine. If it wasn't overlapping, but because it's overlapping, it's giving us a problem. So what we wanna do here is go to one of these That's just just a solid shape. And I'm going to check out the rendering. I'll show you we can change the transparency here. And you know, maybe that's better if I do a light glaze because that seems to give me more of a variety here so that my brush should be a little bit more versatile. I like that a lot better. So this is one of the things that you'll have to experiment with when you make your brush is what you want your settings to be. So I would experiment and one of the best ways to do that is to duplicate, keep the one that you like, and then make changes to it. So this spaces out each individual stamp. This just changes the jitter. So each individual stamp, if you were to see it. Separated like that. The jitter just moves at off-center on the line that you're drawing. So I think that I would leave that as is and possibly do some experimenting with things like the grain here. I think I like that opacity where it gets from light to dark. I think for me that's quite nice. Now this just changes that shape. It makes it scatter or move around based on whatever you tell it to do here. So now we're seeing that jaggedy edge because I'm rotating each of the stamps. So that might be something to consider. I don't think I need to make any changes on that. So maybe on this next one, you could experiment with the different glazes. And it just really seems like light is the only one that's going to work for that. So I think that's going to be my plaid brush. Let's try it in a color to see how it looks. Let's choose a bright red. And I can see that being really fun to use. And let's try. A couple of different colors in the glaze is nice because it allows you to build up your color like that. So do a bunch of experiments once you've got that basic brush built. Now let's try this one out. So I'm going to clear this. And let's try this one in color. And I like that. That reminds me of your sort of basic picnic tablecloth. And again, you know, experiment with your brush size. Now, when you change the brush size is not gonna make any difference to the size of the checkers. If you want to affect that, you'd need to go into grain here and scale that down. So I usually kind of work between the property is like the size here and then with the grain size here. And yeah, that makes a really cute checker. This one here is nice because the checkers lined up. And that means that you could go in and make some really nice. It's almost like a multi-colored brush, but you could make some changes. And I wonder what would happen if we reduce the opacity here. So then you get a little bit more of a blend happening. You could also go in and change some of the settings on the Apple pencil here. So that kinda lightens it up a bit too. And this one, let's experiment with the type of glaze and see what that does there is, it will allow us to do some buildup to create kind of a different look with the colors. So this is actually super pretty this combination here. So let's add some ink. So that's what the glaze of light glaze. And that's with uniform blending. So not too much of a difference in this particular brush. So in this case, you know, maybe experiment with your opacity with the Apple pencil to see if you can create anything really interesting. And that works with your pressure. So the amount of pressure that you put down and it doesn't look like it makes up much of a difference, but that could be super pretty. I can imagine this as a really great way to create scrapbook papers, for example, or backgrounds for me, combine this with a bunch of flowers and create a super pretty, I don't know, some kind of super pretty designed. Let's try this one in kind of a bluish color. Pretty as batch. I mean, I could see myself getting lost in this process and producing some really neat artwork. Let's go a little bit darker than me ten minutes. And I would have a really cute artwork here, so I get easily distracted as you can see. And I want to go into some more detail in creating some of the patterns for Russia. So alternate patterns. So let's do that in the next lesson. 5. Creating Patterns for Brushes: Guys, welcome to lesson 4. And that's it for here I want to show you how to create alternate patterns. Those can be turned into brushes. And I want to show you how simple a process can be. Let's get started. So in this lesson, I want to talk to you about those patterns that I showed you at the beginning be kinda watercolor lions and such. So let's clear this out of here. I'll add a new layer and I want to show you how to easily accomplished this sort of a pattern here. So that's the one I showed you where we could do this kind of color changing overlap. And that's partly because this was watercolor lines that I used to create the pattern. So to create that pattern, what I wanna do is use my drawing assist. We're going to go back into the drawing guide here. I want to edit the Drawing Guide and this one I wanted to do with a horizontal repeats, and you'll see that in a second. So let's hit Done here, and we'll pick a watercolor brush that will have a bit of transparency to it. Let's see if this regular watercolor, it will be different than the one I actually created already. I want to show it to you so that you can see how this Assist could work. So let's go a bit smaller. We can just go in black. You could do it in any color, but I find that just for myself. I like keeping track of it or doing it in black first just to be sure that I've got the strength of the lines, the way I want them to go a little bit more transparent there, I'm going to undo that. And you can see that as I draw the line, I really only have to draw on the one side and it does a perfect repeat of it on the opposite side. This is just going to help us fill out our pattern more quickly. And I'm going to actually go a little bit lighter, so more of a grayish color. And let's just start laying down a few of these lines. I'll time-lapse this a little bit so you don't have to watch me do this whole process. If you would prefer to have the grid in the background as you're doing this, you can go back to your drawing guide, but your grid on and reduce it in size so that you can see blinds. You may need a little assistance there. So what I usually do here is take off the background color. And that way I can kinda see that greater the background, it might be hard for you to see on camera, but it's there. When you are working with this yourself. You're going to find that that helps to keep you straight. Now you can decide what you want to do here as far as varying your opacity and so on. Because I did the other one all sort of one tone. I think this one, I want to try doing a variety just to see how that affects the overall brush. Excuse me, I'm having a lot of breathlessness today because we are under a firewall at the moment. We have fires burning uncontrollably in Manitoba and they're a real distance from us. So it's surprising how much smoke were actually being affected by here. So I get a little bit of breathing issue when gets smoky like this. So that really wasn't too bad at all. I didn't find that to be too difficult. May find that that space. In fact, I think I'm going to just undo that and make two lines here so that I can go pretty much right up to the edge. Since I've already got a space over on this side, we'll put this one really tight to the edge. And now I've got my first set of lines. So what I need to do here is add a layer and fill it with the white so that I can repeat this square law kept on with the other ones. We're going to go back to my drawing guide. I'm going to put this on quadrant now. And so I've got the four corners and I'm going to duplicate this four times. So this isn't the one where we reduce it in size. This is where we physically move each of the duplicates of the pattern without reducing it in size into the four corners. And you'll see why I need to do this in a second. What I want to do is get rid of this. You see where some of the lines have gotten narrow or have really obvious starts and ends. Let me turn off the guide because it looks like there's a line there, but there really isn't. But I want to make sure that I don't have this sort of obvious jog in some of these lines are that's going to really show up on my brush. So what I'm gonna do here is use one of my blenders to get rid of that. I'm going to try the blend, Terrific. And if you've been in my other classes, you've got these already. Erase that little knock at your recent actually, I'm going to paint it over in white. And my note on the right layer, okay, This is showing up on one of these layers and I've forgot anyways, we have to combine them all. So now I can paint it out. So don't use the eraser here because then you'll erase part of that white background. What you wanna do is always used the white brush. Once you've added that white background, Let's use that blend terrific to try and blend out some of these. Funny shapes here. So now that's not as textured as I'd like, so let me duplicate it. And I'm going to go into the grain here and add a more prominent texture, see how that one would be. Maybe one of these other pressures would work better. I should have wrote down what I used yesterday. Or what I should have done is not used the textured watercolor brush here because it's too hard to match up. Let me go back to that blend. Terrific. I'm going to use it, but with the idea that I will work on that blend, not work on that texture separately. So I'm pulling quite a ways up and down here because I'm also going to be creating these sort of dark and light bits. And that was okay with my other one. I noticed that I left those in with my other pattern and it still looks fine once I repeated it. Now here we're going to end up with a hard line at, we're going to have to work on when we do the second stage of repeating the corners. Now you may not have a steady hand to do this as I do. And that's just simply if you haven't had as much practice doing this as I have, I used to work as a sign painter. One of my very first jobs, I learned pretty darn quick that I needed to be able to paint very straight. And just from repetition, I developed a really steady hand for this. So you know what? I think I can solve that problem with the texture by just doing that step again. So I'm going to duplicate this four times or three times. I always say that I need four in total, but it's three duplications. And we're going to put the drawing guides back on. Snapping is two on so I can take and move these. And remember that I'm always following that initial order and we're going to pinch those together. And now you can see here I'm going to shut the guides off again. You can see here where I've started and stopped on a lot of the lines. So really it was destined that I would go in and make this change using them blender. So avoid that outside one there because I don't want to have to do this one more time. So I'm going through and someone tried to be quite random with placement where I start and stop so that I don't have them all lined up in a role like this because this is really obvious. So I'm trying to randomize it starting and stopping in different spots. I can really just do it right at that joint. And this also deals with that whole textured watercolor brush thing that was a problem. Sometimes you have to go with the flow when you've figured it out as you're going along. And I think this is going to be really pretty. Think about how that first one looked and how nice it was when you lined it all up and made it into the brush. And here you could do the same thing as we did with that second Plaid where we duplicate this and then rotate it and put it on top of itself to create an even more interesting kind of a pattern. I'm not gonna do that because I want to move along here. So we're gonna duplicate, whoops, I'm going to undo that because I can just do the one and then duplicate it. I can make it the right size and then duplicate it three times here that I'm not resizing all of them. I guess it's probably about the same amount of work. But there you can see we've created a perfectly good repeat pattern. This yes, good work for repeat patterns as well, and you can keep this to use one of your pattern collections. But today we're using it as a brush. So we're going to introduce together, I'm going to go in here and O2, my pattern brush. I'm going to duplicate this one that I did yesterday because I did like the settings of it. So that's one of the advantages of having worked out the kinks on one of them is that you can then use it to do additional patterns that are similar. So I'm going to take that, I'm going to go to Grain, I'm going to edit and paste, and there's our new pattern. I'm going to, Let's try it both ways. We're going to do one this way because we need to have a color. And I appear to have a problem here. And I think that's to do with the lines being just too light. So let's delete and go back to the pattern that we created. And I think maybe it's this area that we're kind of losing or maybe the edges here. So let's increase the darkness on that one. Let's go into curves. And we're going to make it darker. So I'm pulling to the right about on gamma. So that's how you can ensure that you're adjusting the light and you can add additional points and see that helps. So if I pull it up, you can see where there's probably a problem. So I'm going to pull it down and copy again. We're going to go in and edit that and that the grain import paste. And let's give this one a shot. And that works, that produces a really interesting pattern. You can see the repeat there, but that's probably because, oh, I had the transparency really low there, so that didn't help. But the repeat, seeing the repeat is probably just a scale issue that you can go in and make adjustments to. And let's experiment with a little bit of mixing. So here you might want to go a little bit less opaque so that you can get that kind of mixing happening. Or you could also go in here and change the type of glaze. Let's go through a light glaze and see how that works. Can't see it at all. Okay, this is how you learn. So a lot of experimenting and you end up figuring out really cool things about the brushes and how they can work together. So that was with the grain in a positive forum. We could also do it in a negative form here, which should give us completely different results. And I'm absolutely sure, absolutely sure that this is going to be a really fun sort of a background to use with some of my compositions. So remember to go in and experiment with these glazes to see how they worked for doing your blends and such. So with that one isn't to your liking, then try another one. Now, we can also go into the Apple Pencil here and experiment with the opacity settings. And that can help to do the blending tool. So I've gone on way too long for this lesson, so I'm going to cut it short now. Let's move into the next lesson. I'll see you there. 6. Additional Ideas and Organization: Guys, welcome to lesson 5. I just want to show you a few examples of the use of pattern brushes. How we can make them really worked for us. Let's get started. So for this lesson, I want to show you a couple of things. I wanted to show you how I organize my brush files. So I've got all of those new brushes that I've made here and this whole document I would save along with all of the pattern brushes that I've made so that I've got everything together in a central location. I have a folder on my iCloud Drive for brush sets that I've created. I label them accordingly. I haven't created one around to buy for this class. No, I don't think so. Actually, I do. The folder that I've been using or am I going to be using for examples for the class? And one of the reasons I do this is because I'm also going to be selling these brush sets that I create on Creative Market and on my own website. So I like keeping everything together. And I also want to show you that have created a whole bunch of different ones here. So these are now, you can see the layers, but these are also now in the brush set and they usually try to keep them in order. Now some of these were just experimental that I created with other documents that I did previous to the class, just to have a bunch of examples for you. But you can see here a couple of the ones that we've just created. Normally, I immediately go in here and gone to about this brush and I change the name of the brush. So I would call this one probably something like watercolor stripes. And it's funny how some spots where you type the words are capitalized automatically, but apparently not here. So make sure that you hit done here with the keyboard before you hit this done because otherwise that's not going to be saved or we've gone and done and there we have the brush. So if we were to turn off the layers here and we wanted to test out that brush, make a new layer, make sure it's on. We could go through and test our brushes. So I did quite a few other ones as experiments. Of course, he saw that plaid that we did earlier. This is one that I had done even earlier. So this is kind of a practice. 11 of the things I liked about this one here was that it was kind of a big enough flat that go into blues I think. And enough of a spread here between the lines that I could go in with an alternate color. And if I go with a smaller brush, I could brush in some variation in the color quite easily. So this one was kinda fun to experiment with and play with. It will just be something that would be fun for a background or who knows what? I mean. I can't even think of all the different things that I might use that for at the moment, it's funny though, as soon as you have them quickly want to start using them. And I'll show you the use of the plaid just for fun. I went in on one of my flags here. So this is flags that idea in one of my other classes, I guess Tawny leaves class. And you can see that this is the same design. Essentially the leaves are the same, the wording is the same. I duplicated that one and took out what was there in the first place. And then I added some of those checkers and lines and things that I had created. And just as an experiment to see what will I use this pressure now? And I think I would, you know, So that's one that was kinda fun to work on. That's the thing. Once you create the brushes, then why not go in and do some experimenting? And then you kind of get an idea of the different things that you might want to use or do. So of course, I also did a bunch of circles because I have another one that I made like this that I call circle logo. And I use it actually quite a lot. So I made another one. And with this one, all I did was draw circles in black and I just used my posca pen, I believe so down here in my own brushes or to the Posca and I did circles now and this is a lot bolder than what I did, but I mean, this could be also usable when you draw the circle. If you hold on at the end, you can make sure that it is a perfect ellipse. Now if you put one finger down on the screen, you can actually make it into a perfect circle, not just an ellipse. And see that when I went right to the beginning and overlaps a little bit and it joined perfectly Instead of these little openings that are here. So you can create a different pattern here by varying the line. That could be a way to make another circle pattern. And you know the drill here once you have your first square. So this first square kind of field, I'm drawing the little dots there. Then you would add that white background. And it could be any color honestly, but because we're doing brushes which need to be in black and white in the end, I've just been using black and white. So once you had that, you would duplicate it. Make sure you're snapping is on. Drag these into the four corners, making sure not to hit any other spot on your screen. And then pinch those together and then fill these areas as well. Now let's school black, of course not wait. Middle all the ways that I make sure that I overlap. And in doing it in this way, you fill in all of those gaps. And I would be taking a lot more trying to do this normally at the moment, I'm just doing a quickie so that you can be reminded of the whole process. So what I just love about this is that we're creating all these really cool brushes by creating patterns. And like I said about these patterns, is that once you have that swatch, it is perfectly usable as a pattern swatch in another program. So you can take it into Photoshop or Affinity Designer and use it. In fact, you could upload this exact tile for Spoonflower and you'd have fabric. Now to make this one a little bit different, I'm going to fill a couple of circles here and there. Later, if you did happen to do it in a color, the brush studio would translate it into the actual gray tone that perfectly matches. So here we've got everything we need for the pattern or for the pattern brushes have to hit Copy, go into our brushes. And that was that other circle logo that I just did. And then I'm going to duplicate it in there. I went to Shape, Edit, Import Paste, and I'm going to two-finger tap to put it in negative form. Can't tell if we're going to get those. Greece were not hit Done. It looks like I didn't. So let me go back into edit. I'm going to go no, I guess it takes it out. I'm sure I've done grades before, but let's test this one out. And you can see that that has created another really quickly brush that we could use only outset we're doing now, these black ones that I did, because not the cool unique combination when that, let me just delete that one. These were done very similarly from the buffalo chat. And in this case what I did is I flipped the square. So let's do this one really quick. I drew a square, so I'm going to go to my rectangle marquee and we could draw it anywhere in any size at this point because we're going to be changing it. We're going to fill, rotate it and you can manually do it and I've got the snapping on, so it's snapping every 45 degrees. Or you could use the quick key down here, then we would position and resize it. Let's keep that uniform for now. So this could be the one that is just perfectly square checkers. So the diamond shape, I think I remember what I did here. I'll put the snapping back on because I do want this lined up. You can also see up a little bit of a haze of black on the edge there from where this square was originally drawn. I'm going to get rid of that. And I remember what I did here is that I duplicated and brought that into this position. I've got the angle a tiny little bit off there, but this will be fine for just showing you. I'm going to pinch these two together and then I'm going to either free-form, resize and I didn't like that. That of course duplicated this. I'll just do that too for now. And then pinch those together. Duplicate, bring those down at the white square into the background. Pinch all three of those together. Copy, go into my brush settings, duplicate, go into the Shape, Edit, Import, Paste. And of course I can put it in negative form, hit done and done again. And let's add a layer to test this. You could into a color that's adjust the size. And you can see, that's another super quick pattern brush that I could see myself using for borders and whatnot. So to change the scale of the pattern, remember that you could go into the grain here, though I had actually paste it that last one into the shape rather than the rain. So I'm going to go back and children the source library and just get the brush shape that I want. So you can experiment, of course, with this as well, you know, might be cool to have a enlight this as the actual shape of the brush. So the edges are going to turn out like that. Whatever pattern we have will show up in these dark areas. So I'm going to hit gun here. You have to hit it twice. And then I'm going to go into grain and the grain that would be affected if you wanted to change the scale. So let's scale that up a little bit, but he hit done and there's the bigger version of it. So you that in black, but of course, a color will work perfectly fine as well. So there's a couple of really quick ideas. Let's look back at the end. I'm just going to quickly show you a couple of the pattern brushes that I've created. I think I showed you a couple at the beginning. But remember that you could also go in and create this sort of a pattern. Let's go back into that documents. You can take any sort of other brushes that you have. So for example, let's clear this layer. I'll leave it there so I can use it for testing later. I'm going to add a layer and go into my snowflakes and use a couple of snowflakes here. With with this snowflake set that I've been making. I've also been making a scatter brush. That's a brush fat. If I continue the line, we'll do more of the brush. If I just do a single stamp, it still works exactly the same way. But these scatter brushes are fun, especially if you through these where they vary in size. So each of the snowflakes us a little bit different. So I've got the initial four. I'm going to add the white background. Incredibly important step of there and then put those two together. Duplicate, duplicate, duplicate, grab it, snapping is on so I could just do this. B, I've got snowflakes here, but this could be things that you scan in, but you've drawn, hand-drawn, and then you're using the individual scans to make the original snowflake or whatever your motif is. And then you use your own motifs to create this pattern brush. So that would be super fun because you can really go black. You can really get some super original. Russia's that way. Now I'm going to put all those together first before I do this step, I'm going to try that again with the gray. That's where I've done it before. But when you think you've got this great thing figured out and then the next time you try it, it just doesn't work. It's really embarrassing, especially on camera. But I'm going to try now I don't want to go over the edges with any of these, so I'm just going to undo that. And these were just little things that I was doing while watching TV. And one of those people that just can't sit still watching TV. I, I don't mind watching TV. We have a lot of great series that we're watching by light doing something with my hands. Now the Belgian word for that was with Shopify shoes. And my grandma used to always say that is the hands. Alright, so now we're ready to create the small. Actually I'm gonna do it here. I'm going to make the first small one and then duplicate it and use to make them duplicated full size. And then I'd have to reduce it down to four times. But you can see that that's worked perfectly fine and she's together. Copy. Let's just go into one of these brushes that we have. Duplicate go into it and edit, import, paste in. That one looks like it kept the grays. Okay, I don't even know what's happening there, but I'll take it and hit Done and helps you Does that. We could reduce the scale. Let's test that on that blank layer that we have. So turn that one off, this one is on and how cute and fun. So I think I've showed you quite a few ways. And of course, I have also showed you a little bit of organization for a, either keeping them straight here in your own, the brush library, or B, be able to keep these for selling. And in that case, of course what we do is we highlight the SAT and hit share, and then I would share that back into that same original folder so that I always have that handy. And then when I actually get the time to go and make my sets, I've got everything in one location. Then usually what I do is create several illustrations or exporting and adding to my brush screenshots. So in the next lesson, I'm going to just show you a little bit of examples and the application of the use of the brushes. Okay, so I will see you in the next lesson. 7. Examples and Application: Hi guys, welcome to lesson 6 and loss of six here as just want to show you a few examples of the use of pattern brushes, how we can make them really work for us. Let's get started. So to demonstrate the use of the brushes, I thought that I do a quick layout here and just show you kind of what I personally would do if I was trying to experiment with or create artwork with the textures that we've created with the pattern brushes. So I did a quick watercolor background and through on a few of the big flourish stamps that I've shown you in that pleural art for POD class. So I love this stuff is stuff you see me produced in other classes. And I thought I'd make use of it real quick here so that I can try to get through this lesson as quickly as possible. It's really hard when you have like a bajillion ideas that you want to try to share. But anyways, I've got it set up so that I'm hopefully going to do this quickly. I've got alpha lock on my flowers. So this is the way you do that and you can see that you've got the alpha lock on because there is a checkered pattern in the background. These other flowers I have here, I think I'm just going to leave as sort of fillers. And this background or this accent that I've put on the edges is of course, the watercolor lions that we did. So for that, one of the things you could experiment with, let me just bring it down a little bit closer. I could also play around with blending modes. So you can see here that I can change it up by scrolling through these. I'm just going to probably leave it on. No, no. I like that color burns. I'm going to leave it on that and then let's start playing around with our flowers. So you know that I showed you that fetch and I had more than the ones that we've done in class. And so in some cases I may be using that I created previously, but rest assured they recreated in the exact same way. So you wouldn't have any problem creating brushes that you could use in much the same way as I'm going to be demonstrating at this point. So for example, here, let me try this one here that is a kind of a lineup blog. I use my liner brushes that I've created myself and created this repeat pattern here. Now I'm going to sample the color here, and I want to go into a really closely related colors. I'm just going to move it over ever so slightly here. And now I'm on the wrong. Why write, write or say M. So that was maybe not quite prominent enough. And there you can see I run over the flower that I have applied a really cool texture. And because it's on Alpha Lock, it's not going anywhere except for where the color was originally. So already I like that one. And of course you can still do things like effect the saturation or the darkness by moving around in your little bubble here. So you can create some really nice variety even within, like using that brush set. So that one is so close to the original shape and it's not really showing up. So buckle even a little bit lighter. So you can see that how that's giving you some lightness here in there. So maybe along, these are micro, a little bit lighter so that I've got some highlights and shadows. So real quick, that was just a really nice and unusual texture added to this flower. So let's go with this flower now and let's try Min. Let's go really weird. Let's try this checker here. If I'm going to sample the color and I'm gonna go a little bit lighter. And that's looking kind of cool. And I think the scale is even quite nice. So just like that, we've got both of our flowers super textured. And I really think that that's a very unique use of the pattern brushes. So that's something to keep in mind that you've made these brushes now and you're trying to figure out ways to use them, and this is just the perfect way. So I want to do some more work on the background. So I'm going to add a layer above those others. And I'm going to grab that light plan because I thought that one actually looks pretty cool when I experimented with it with that pole flag. I'm going to go in here and just kind of increase the size of the green. So I'm making it so that the pattern itself is bigger within. And really there's very few settings that you have to mess around with here. There's that. And then if you go into the Properties, you can increase the size of the actual stroke that that pattern is going to be in. Of course you can do that here as well, but some has a limitation rate, so it's only going to show up based on what you have in those brush settings. So let's just a little bit of plaid here in the background and see how that might play out when we switch colors. Actually, let's go into the Kafka API palette that I was using here. So if I was to grab that kinda lime green and then just go a little bit lighter. Like I really think that's quite cute. And I think that that's something that I could really see myself using. Now if you don't like this kind of soft edge here, you can always use a selection tool that's used a free hand selection and kind of draw a shape and then that part is selected, you can see here is all protected. So we can go in with the plaid and it's going to be a nice hard edge there instead of soft edge that you saw a minute ago. So click back onto the tool to deselect it. And let's, let's do the same thing here at the bottom. So that gives you a lot of control. I don't mind, that actually seems to work quite well. So that's another use of the brushes that we've created. And again, we can go in and do some changes with the blending modes to try to come up with a really nice look. And this is something you just have to take your time and bear meant with I'm going to leave it on that soft light because that's a really nice soft finish that show up too well here because of the background being light. But like I said, I'm trying to get through this quickly so that I'm not keeping you too long. So let's try also. Now some of these other textures. And for some of these, I actually don't mind going in with a little bit of a darker color, maybe too dark. That's why it's just like really rough pencil lines that I did kind of with the I think it's a 6 B pencil. So I just did it exactly the same way as I did these lines, these watercolor lines by them with just kinda loose pencil lines. Now of course, what I'm seeing here now is that we're lacking. We need a lot more motifs to really fill this out. So I'm going to go into another set that I've been developing, which has the stem set. I've got this one actually ready to go. I got a package it up and get it ready for uploading, and that's on my list of things to do. So let's make sure we've got a clear layer here. I'm going to stamp right in the middle. Let me go with a deep turquoise. I should be using my palette. Well, that would be good. And that's the largest setting here. If I were to go in and adjust it there on the brush, I could get a bigger one. Well, I guess that's pretty much the maximum, but that's okay. We can just enlarge that it's on its own layer. So let's use that for that corner. Let's grab another one. Let me grab something that's a little bit more filled out. New. Want to grab one of these darker colors, maybe this brown I'm thinking on my feet here. So bear with me again, stamp kind of in the middle so that you can do your enlarging. I'm not sure about that colors, so maybe I'll go into hue and saturation and just kinda, kinda nice and dark green mix. We'll go with that, brighten it up a little bit, saturate and maybe one more. I'll get one of these tall and skinny ones that's pretty close to that one there. So we may have to make some changes to that. So I'm going to go into hue saturation and adjustments and maybe just darken it up a tad. And in a case like this, I might think of a texture brush that is more subtle. Them, the textures that we've just created with the pattern brush. And I'll show you just super, super quick how to create one of those brushes. So I've got these brushes that I've created that are just textures built from the choices that you have in the brush studio. So I'm going to just duplicate one of these. You could do it with a new brush, but if it's just going to be faster, I did nothing myself here. I didn't do any of that photography or finding any of the textures or creating them. But I can go into the green here, hit Edit, go to this source library, and then just grab any of these textures that I might want to use to add a subtle texture. And now here's one for a tree. Why don't we use that and see how that might look if we were to texture this. And let's go with maybe a lighter blue so you can get a look at it. We'll put the Alpha Lock on and that's going to make it too close to this. So I'm actually going to go darker instead and I'm going to size up my brush. And you can see that that's a really fun and easy way to add some additional texture. I also like to use those to add a nice texture layer. Let's say some recycled paper. I'm going to scribble this all over my paper of medical, kind of a neutral issued Brown, a soul. I'm doing the entire thing. That brush was created in exactly the same way. Then I go into the layers here and I set this a color burn usually. So that adds texture to everything here in the background. Now, it's not ideal as far as the color goes. So I'm going to adjust this empirical way less saturated, a lot brighter. And I think I like that better. So you can see that even in places where I did not actually do any text string, there is now a texture. So that kinda gives unity to the entire piece because you can see the texture throughout everything. So it's as if you used watercolor paper and created your artwork on that. So of course we can just go through and do the exact same thing on all of these. Add a alpha lock, grab one of our patterns, pattern brush, and let's grab this one and get a darker green. Let's try and see how nicely that looks on our stem. Now I'm going to bring that stem AP credits above both other layers, flour and stuff. And I like that, that the company go back and change the blending mode of that Platts let us shows up a bit more and that's not bad. I'm going to go into hue and saturation, desaturated a little bit. So honestly look how quickly that was created. It was one of those artworks that I could now use for so many different things. Known acute site, this word, your motif, is just a little bit too transparent. You can experiment with doing a duplicates or even two, and then pinching them together. The other thing is you can also go in, once you're sure of the placement of all of your motifs, you can add a layer in between. So let's add a layer here and take just a regular brush. I like using my lineup cuts blunt, and I'm going to sample a fairly late color. I'm going to go pretty big with my brush and I'm doing a really chunky background and I'm going to have to make this whole thing bigger because I've cut off the edge by having it off the screen on this side. So it had cut it off. I'm just coloring in here and Schroeder have a complete solid back there, but that's okay as long as it's covering the areas that I want and I can select both of these and size them up so I can fix that little bit of a cut off there. And that's a really fun and different kind of a technique to, so we could do the same thing for this one, add a layer, and let's use that same color. Do a nice chunky outline. And once you've got the whole outline drawn, you can also just drag your color in there and it'll fill. And it's just another idea. It's something that I do for some of my artworks and it's a really neat kind of an effect. Now I'm going to go back to my stems. And there's one little short one, this one here that I can use for this area. So I'm going to pick a school back, kind of a medium, medium, dark, kind of a color, add a layer and put that in there. That's alpha lock that one, grab one of our patterns. Let's do the circle local, cold bit darker. And I like the circles. They make a really great background and I do love them in the background as well. So I'm going to add a layer here. And I've reached my maximum layers, okay, pinch these guys together. And now I'll add a layer here. I'm going to grab those other circles that are positive, not negative. And put some circles in here. I'm going to go in first and adjust the size. And in green is where I make circles bigger. And that's a nice edition, I think too. So look at all the layers we've built out. Look how lovely layout can look, even with just a very small amount of work. And almost embarrassed to show you how fast I could do this because it's like wait a second. It's not cheating. I created the brushes myself and I've created a look that's really unique. And yeah, I mean, I love doing this is so fun. And I can do these layouts usually I can do a couple in the evening if I set my mind to it. And, you know, here's a whole section that I've got with all of these layouts that I've done with my flower brush sets. And you can see here how I've used texture on a lot of these and really added a lot of interests and depth to my layouts. So that was what I wanted to show you. And I think that wraps up our class. So I will see you in the robot. 8. Closing Thoughts and Wrap Up: The guys who made it to the end again. And we've got a bunch of new patterns and brushes to show for it. I'm sure you're going to find a lot of uses for these brushes, especially if you tie them in with some of the other classes you've been taking with me. I want to thank you again for following me. And if you haven't definitely hit that follow button up there so you can get all the information about my classes. As I released them. I really appreciate your comments and I loved that you're really participating in the discussions and in posting your projects. I think this really helps other students to try to figure out whether or not the courses for them. Feel free to contact me at anytime. Also check helped my stores. I've got one I've got wine at, aren't aware here in Canada. I've got one on Society 6, and I do cards through condyle, so check those out as well. Also, if you've got ideas for other courses, please send them my way. I really like getting those from you because then I know that I'm going to have some motivated students. If you get a chance, you might need a bit of a review down there. I really appreciate that. Thanks so much for being with me today and I will see you next time. Bye bye. Hello.