Simple Brushes in Procreate for Quick Compositions

1. Intro to Create Simple procreate Brushes for Quick Compositions: Hey guys and welcome. My name is Dillard's nascar and I'm coming to you from sunny, Manitoba, Canada. I actually spent a glorious foreign aid today planting a bunch of credit Wilson had been gifted to me by my neighbors. What agreed community. And look you look out my window, you'd see that it actually got some green grass growing. That definitely beats the pile of dirt that was the hair her a few weeks ago. Dirt and rocks, believe me, I've picked her rocks that I ever want to pick again. So with all of his time I'm spending outside, I've been kinda falling behind a little bit. My work purchase a falling behind, but I really feel like I have to have, I guess what you'd call efficiency strategies in order to get the amount of work done that I need to get done. I was super-excited earlier this week to find out at a big company is going to be possibly producing some of my artwork on months that they sell in gift shops, read across Canada and the states and maybe you elsewhere. I don't even know. We're actually at the development stage now where they're going to be creating some prototypes. I'm just actually deciding an offer to develop. And it'll be so that they can make prototypes and test them in the market. So I'm super excited about that. And of course they're florals. So I've, you know, I've been working on florals. I think I talked about that a little bit in another class, but I really found that because I'm using Procreate so much to develop these, that I really wanted to create a bunch of brushes with flowers that I could use as well in the artwork or as fillers, whichever I'm working on a bunch. So I thought, well, hey, this is a great process that I share with you. So I'm pressing this quick little class here to show you what I'm doing and how I'm going about doing it. So I'm hand drawing all of the motifs and then creating brushes over them because they're stamp brushes. There are very few settings that we have to worry about in the brush studio. So that'll be kind of a fun thing to go through. And I'm going to be showing you how you could use these edges, plane stamp brushes or scatter brushes. So if you're familiar with scatter brushes from Illustrator, you can get kinda the same effect here in the brush studio. So I'll show you all of that in this class. One of the things I really look forward to showing you to is how I'm using these stamps. I've got a bunch of really neat little projects and I'm going to show you each of them individually so that you get an idea of what you can do with these brushes. Are you ready to get started? All right, let's get into it. I'll see you in lesson 1. 2. Overview and Quick Walk Through: Hi guys, welcome to lesson one. So one of the things I didn't mention in that intro is that when you create brush sets like this, you can also do it to offer them up for sale so you can create full scout brush sets. And I've seen tons and tons of these. I bought lots. So that's one of the things that I just forgot to mention at the beginning. In this lesson, I'm going to kinda show you an overview of the production of one of the stamps. So I'm just gonna kinda show you the step-by-step on that. And then we'll proceed with looking at all the settings and deciding on the strategy that we're going to use to create a bunch of these. All right. Okay, let's get started. So as I mentioned in the intro, one of the reasons that I decided that I was going to create a bunch of new brushes for myself, was that I needed to find a way to create a bunch of floral layouts and patterns as quickly as possible. So and wanted it to be original to me. So I didn't want to buy brushes to create these artworks. So I started out as creating some really simple flowers and then I got kind of addicted. And you can see here that I've created a ton of different ones, as well as a bunch of textures and then just a bunch of sort of general use. Russia's, I've got everything in here from watercolors to pastels, all kinds of different blenders, monocot, squash. And I think if you took the lineup cut class, I did give you a sampler up my brushes and I am going to be giving you a sampler today as well. So I'll give you a couple of brushes from each category just so that you can take a good look at them and maybe even use them as a starting point for your brushes that you're going to create. So you can see that with this variety of flowers that it's pretty easy for me to create interesting layouts. And I've got a bunch of different things set up with these so that I can create them at different sizes. I can use them as stamps. I can use them as a scatter brush. And I'm going to actually walk you through creating all of these different things. Now, each of my individual brushes themselves, if you go into one of these brushes, you'll see that I've got a green with most of them. I didn't do it with all of them. I wanted a variety. So in some cases, I would have had two versions of the same brush. For example, this one here, and it's, the first one has the green, and the second one here has no grain. So there's just different applications for those things. So if I was to show you and this one here, Let's pick a new color. You can see that the green is in that one. And if I use this one, Let's go a bit smaller. You can see that there is no grain at all yet. Well, I'm going to go through creating a bunch of the brushes. We'll try a couple of different things as far as the creation itself. And then we're going to go through and talk about the compositions and some of the things that we can do to meet these competitions. More interesting, I'll show you my master documents that I've set up for creating the different flowers. I've got one that's a very high resolution file which will allow for brushes to be created using it. And then I've got one for smaller brushes. And so it's a little bit of a lower resolution. And I'll take you through creating all of those different brushes that I showed you. And yeah, maybe even show you this brush here, which is the base for all of my pastel brushes. And this was a capture that I did with Adobe Capture of motif that's on one of my pillows in my living room. And it has made an absolutely gorgeous soft pastel, really nice and blended. I really like it. It's one of my favorites. So I'm going to be showing you them all that. And then the other thing I want to talk to you about, Creative Market or gum road, any of the places that you see selling brushes, I think Design Cuts, fascia so many, I can't even begin to name them all. And yeah, so then you can make a little bit of revenue from those brushes that you create, as well as being able to produce really quick layout and patterns. So let's meet in the next lesson where we're going to go through just the very basic construction of one of the brushes. All right. I'll see you there. 3. Step by Step Brush Creation: Hi guys, welcome to Lesson 2. So this is going to be unreleased slow step-by-step. So I can show you each of the different settings that we're going to need. Let's get started. So for this lesson, what I want to do is take you into the actual production of one of the brushes. So let's create something completely new and this will be something that I can add to my brushes. And I'm going to use one of my larger documents setups here. So I've got one, as you can see at 1800 by 1800, I've got one at 3000 by 3000, I've got one at 600 by 600. And I'm finding that the best brushes that give me the sizes that I need for the most part is on this document here, which is the 3000 by 3000, so that's 10 by 10. You can, if you've already got a canvas and you want to figure out what size it is going to. 4. Brush Studio Relevant Settings: Hi guys, welcome to lesson 3. In lesson 3 here we're just going to go over those relevant settings in the brush studio. Let's get started. I explained to you a little bit about that strategy I had for creating a brush and then using that brush for all of the other brushes in that set. Now that doesn't necessarily always work if you're trying to produce a bunch of different types of brushes. But for this particular class and for the kind of brushes that we're going to be producing, it'll work just fine. So I'm going to walk you through the relevant properties here that I've used for creating these brushes. There are a couple that I won't cover in this class. We don't use taper at all in this class. For these types of brushes, I won't be using rendering other than to set the type of blending that would be happening. Wet mix is something that I won't need to change the color dynamics. I may touch on this, but it isn't necessary for what we're trying to do. We'll do a little bit with the dynamics here. We'll touch on the Apple pencil. Properties are one of the important ones that we're going to cover. Then we'll talk a little bit about how to identify your brush to show that you are the maker of that brush. So that could be important if you are planning to sell your brush sets, for example. Really the most important ones that we're dealing with, our shape, rain properties, and a little bit on dynamics, a little bit at the end to label our brush. So let me just walk you through what I do when I am creating the brush. So I showed you creating one of these swirls. And I'm actually going to go through tonight when I am watching TV and rename all my brushes here, I'm not setting a very good example, am I? I definitely do go and name everything that goes in any set that I am selling or giving away. I just haven't gotten around to that yet with this flower Set. I've done it with the textures I believe I've gone through and named all of them, and I just haven't gone ahead and done it. But you can see, by the way that I've got these here is that they all pretty much have the same name with just a different number at the end. And that's because I have used that same master for pretty much all of the ones in this Sache. So, yeah, let's go through each of the settings for the brush and we'll go back down to that same brush there. And I'll talk to you a little bit about how to work with this and how to test your brush as you're making it. So here is where we can test our brush as we changed the settings. This drawing pad, you can clear at anytime you could work in color if you find that a little bit easier to kind of identify what's happening with the different settings. Let's start here at the top with the stroke path. Now this one is important in a sense, and I guess I should've said that that would be one of the ones that we cover. This is something that I go in quite frequently with a brush as I'm using it. Because as I'm using it, I figure out that, you know, I may need to adjust the spacing, may need to have it more streamlined with these kind of brushes. It doesn't really apply so much because I'm not creating, let's say as a line that I need really smooth for lettering though generally up in keeping this pretty low, the jitter here talks about how the one stamp relates to that central line. Let me clear this for a sec. This is how it looks. If I have no jitter and if I do add jitter, you can see that that moves around each of the stamps away from that center spine, that would be going through it. So if you're familiar with Illustrator, these kind of brushes are quite similar to a scatter brush that you would create. You would be able to control the jitter or how it moves based on that central spine, if that makes sense. So like I said, we may come back to that as we are using the brushes making our composition at the end. So right now, I'll just skip on down to shape. And this is the one that's probably the most important at this point. Let's clear this drawing pad again. Let's just draw one stroke so you can kind of watch what's happening here as well. Or you think it jitter and scatter mixed up at what scatter does as opposed to jitter, is that it moves the individual stamp randomly itself. So each individual one is it actually just rotates brush stamp so you can see what happens there. And that's really nice because that you are using it as a scatter brush or your stamping it in more than one location in your composition. So if I was to stamp here and then I want to stamp it here, they aren't positioned exactly the same. So that's what I like about it, is that it makes it look like a different brush, even though it is actually based on the same stamp. Now at rotation, I'm going to clear the drawing pad and make another line. The rotation here, you can see does a similar thing. Now with this follow stroke, when you go all the way to the ends, you get to follow stroke. And what that does is. You can see that the rotation of each of these individual, let's say that one big fat one there. You can see that it rotates in each different position but follows the stroke. Now, I'm not fiddling around with any of these other things here. This is something that you could do an experiment with, but with the stamps that I've done for this particular class, we're just not worried about this at all. So generally, I would just keeping this at 0 and this is what it is for pretty much every brush in this set. The grain is an area where you can choose to put some kind of a texture in each of these individual flowers. In this case, I left it completely plane. I'm going to duplicate this because I want to show you one with switch back to that blue. I'm, I'm going to show you adding a texture to it. So to add texture, I hit Edit here. And to make this really easy, go into your source library and just choose one of the pre-existing ones. So there's a bunch of really great ones to choose from. Let's go to something sort of candidacy just so that hopefully it's quite obvious. Again, you hit done and I don't know if you can see it there. Let's try it here. I think the scale of it is a little bit too small. So if we adjust the scale here, you can now see quite a good texture in that flower. So this is another one for you to experiment with. I'm going to leave it pretty much at the same spot for this part of the lesson. I did not make any adjustments at this point to any of these other settings here in the green part of the brush studio. Okay, So we're just gonna leave it at that for that particular flower. Then on rendering, I've got it as intense blending, you can check all of these different settings. They're all going to give you different sorts of effects. And a lot of times it's not really obvious what they are here. I'm going to scroll through them, but you can see that there's no change happening with the other settings that we've got going on with our brush. So this again is another one that you could just leave as is wet mix. I'm not gonna make any changes here. I will attach information about each of these different settings and how to make adjustments to them. But in this class, it's just not something that I want to go into depth and cover our code dynamics. This is one that I've, have changed on some of the brushes I've gone through and changed, for example, the jitter of the stamp color. So if you were to change this to, let's say three, mean you could go through and experiment with all of these. It's not going to be super obvious unless you really go into the higher percentages here. But it's sometimes fun to have a little bit of a variation. So you can just use these little sliders or you can even go through and just write in your numbers. Or if you write number two here, it's going to change it. And you can experiment and see, I've set these really low, so there's a slight shift in the hue. So you can see that it's slightly different. Personally, I kind of prefer to do that kind of adjusting as I'm using the brushes. Dynamics is something that I will also explain a little bit more as we get into the class a bit more. For the most parts you can leave these and really speed doesn't necessarily have to be important if you want just some pretty good straight stamp brushes. And you can see that when I use the side of my pencil that I'm getting kind of software versions of the brush. If I hit straight down or draw with my brush perfectly vertical, that's when I get the full impact of all my other settings. So for now I'm just going to leave this as his as well. It's going to be a lot more obvious once we go to use these brushes, each of these settings will do and how we can affect them if we want to change things a certain way. So again, I will attach some additional information for this, but for the purposes of our class, we really don't need to worry about this too much. Now properties is one that I do go in quite a bit and make adjustments as I am working. So let's say I had this as my maximum size for my brush. When I go to use in the document, I may find that that is too small and so I will come in here real quick and just do a quick adjustment on that to make sure that I can get a much bigger flower if I need it. All right, so again, most of these things will become clear when we're actually using the brushes to create layouts. So I think that it will be a lot more effective for us to go ahead and start a document and try out these things? Yeah, like those brushes. I'm giving you a few brushes here. There'll be located in the projects sections so you can download those and you can just work with the ones that I'm giving you if you want, as you are just kinda starting out. Alright? Okay, so I will see you in that next lesson. 5. Ideas for Projects with Brush Stamps: Hi guys, welcome to lesson 4. Less than 4 here I want to show you some of the different applications that use these brushes for. Let's get started. I really thought it would help if I was to show you a few of the things that I've done with these brushes that I've created. So I've got a couple of compositions that I was just testing the use of the brushes to get the settings kind of correct. So this was one of them. Here's another one. And on this document I think I've got a couple. So I'll turn these two off and show you this one. I mean, it was just quick. I was just testing the brushes and we're going to talk a little bit more about this. So, judge, and then yeah, this was the second one. I did a bunch of additional brushes last night. And so I decided to do a little bit of experimenting, adding some backgrounds here. But I wanted to show you some other, like really out there kind of ideas. So I kind of went through each of my categories and just kinda grabbed one of the artworks from there and just added some of the brushes to an existing backgrounds. So this just to show you kind of how versatile the brushes can be. And one thing I really loved. So this was a background that I already had created here for some other purposes. I think I have on this document a ton of different textures and backgrounds that I can use for composites. I've talked about creating these composites in some of my other classes. So this would be a document that I would bring into Photoshop and maybe do some combinations. My last class was doing these kind of watercolor backgrounds. And I had been experimenting with those backgrounds in conjunction with bees. So just happened to be one that was in my gallery, kind of complete. So then I just opened it up and you can see that adding these brushes created a really unique and beautiful artwork. I especially loved how these textures work and really tied into the overall design. So that was one of my categories, another category that I have, and I do plan on doing a course on this kind of portraiture. So creating what looks like vector, sort of stylized artwork. I love Procreate. And here I just used some of the brushes to add some details. So in the background. So there's a really great use of the brushes and something that I can do over and over again. So that was one of them. I really got into it when I was doing this last night. So here's another one where I incorporated a bunch of the newer brushes that I've created and some of the purchase assets that I have that are similar, experimenting with someone else's assets like this is a good way for you to get ideas on the kind of brushes that you might want to create for this gave me some really good ideas as far as the kind of brushes I'll be creating in the future. And so this is just a bunch of sort of experiments using the existing brushes. So this is just to illustrate to you how valuable creating your brush set like this could be. So here's another one of those watercolor backgrounds. This one I haven't composited with anything else. Extra wise, I've just added layers with the different brushes. One of the things I did notice was that I had to go in and make adjustments to the brush sizes because this document that I'm working with is 24 by 16, so it's a lot bigger than the one that I was using in the last lesson. I think I was using a 10 by 10 document. So because this was a 24 by 16 Leo, I had to go in and which brushes to use here. I had to go in and make adjustments here. I've made this the maximum size that I could based on the original stamp. So when I go back to a 10 by 10 document, this may look quite a bit too big, so we'll, I'll talk to you a little bit more about adjusting that kind of thing. Are we I also wanted to point out that I've gone through and named all of my brushes here. Finally. So they, they all have a name that I think it's just maybe a little bit more relevant. And that's going to be something necessary for me if I plan to sell this. Sad. So yes, I continued my explorations here. Here is just a document that I already had existing. And I went through and you can see here that I've added a few stamps, so those are the ones that have added from that set that I had created. Okay, So these five layers, and it really enhance the layout. So before, this is how it looked. And then as I added each of the different stamps, you can see how enhanced that layout is. Now this one is something I am absolutely for sure going to be exploring. I just took one of my watercolor paintings in the background here. So there's a layer here with the painting. Then I added the one of those backgrounds that I had created in my intense watercolors class, which was the last one that I published before this one, I use the blending modes so that those two layers really work together. And then you can see here that I've added all of these different brushes and I really experimented here with the blending modes on those brushes. So this layer that I created is now Color Burn. This is how it would look normally. And then this is using Color Burn. I went through and added a bunch of additional motifs here. These two, this one and this one are the exact same brush. Just one of them has a really nice texture added. So if I was trying to really integrate this one into a watercolor look, but I might also do is go in and use Liquify that a crystals quite small. And then I would go around and paint the edges a little bit to make it look like a much rougher edge texture so it doesn't look so sharp and hard. Now this stamp is one that I created with that smaller size mean document, I think 600 by 600 pixels for the brushes are a little bit soft edged as they are in this case. But some of the brushes I have are not. So in a case like that where I really wanted to integrate it and make it look like actual watercolor motif. Then I would go through and add that little bit of crystallized along the edges to make it look nice and textured and authentic to watercolor. So I believe that was not quite it. Sorry. This one, I just quickly whipped up a butterfly using Drawing Assist. On my initial butterfly, I turned off the Drawing Assist and added all of these additional flowers in the background. So this was a really fun one. And I really think something that you could really easily used for creating print-on-demand products like greeting cards, phone cases, or anything like that. Oh yeah. Here I went into a marbling image that I had created in my marbling class and added a few images there. And again, just played around with the blending modes. Let me just show you that is the little rose up here in the corner. So subtract as the blending mode. Now, it also experimented here with adding a glitter layer. That's something that I cover in my glittering gold boss. I feel like I'm your advertising all of my classes. That's not my intention, but here's the example of what that would look like. So I'll turn that on. And of course, it gets a little bit lost in the background because there is gold going on in the background there. So I also added a kind of a big drop shadow there. The drop shadow you could soften up, you could keep it solid. I kinda actually like this look of a really hard and solid drop shadow. But if you didn't like that, you could go into the Gaussian blur here on the layer. And as you slide your blurring out little shadow. And of course you can change the color of it or whatever works for your layout. Then you this category. And I wanted to show you really quickly how I was able to just super quickly produce a couple of five by seven greeting card layouts. And that's just with hardly any forethought into the actual Leo and designed by how quickly I was able to whip this off. So if you needed a quick greeting card to give to somebody who's just given you something. I'm just thinking in my head yesterday I had somebody drop off probably 30 different plant pots with perennials in it for my new gardens. So for me that was yeah, that was quite a treat, something that I needed to give thanks for. And I can quickly produce a card like this. And yeah, just have it on hand printed off. And there you go. There's another quick idea for you. Of course, you could also create these two cell on POD sites like dazzle, I'm getting daily right now, probably 10 to 20 card fails from Zao, so from art of wear and greeting card universe. So those are three places that I sell greeting cards with, and of course around special holidays are occasions. That's when you really start selling a lot. So right now, I just finished Mother's Day and Father's Day is happening. Like I said, every day I'm selling I don't know, ten cards on each site. Let's say, I know it's not much $0.50 a card maybe, but it all adds up, right? It all becomes part of your revenue streams. So there's just a few ideas for you. I hope that that kind of just get the wheels going in your head that you will come up with some ideas for uses if your stamps, at some point I'm going to experiment with creating repeat patterns as well. So I'm not sure if I can cover that in this class, but maybe I'll do an adjunct class that has that information in it. So, yeah, those are just a bunch of the uses that I was able to experiment with in one evening. So imagine with a brush set that this extensive. How many different things you could do and how unique you could make each of your different layouts. So, yeah, in the next lesson, let's try one of these layouts so that we can work on fine tuning the brush settings just to make sure that you fully understand how to do that. All right, so I will see you in the next lesson. 6. Fine Tuning our Layouts: Hi guys, welcome to lesson five. And less than five here we're just gonna do some of the fine tuning. Let's get started. Okay guys, Let's start our first composition. So just as I was about to start this class, I pulled out this or saw this sitting here by my computer and bought, well, here's a really great example that I can show you for a possible uses for your brushes as you create them. And so I just wanted to show that to you real quick because like, I mean, look at this pattern. That's a very simple pattern created with really simple stamps. And then this idea, look at those gorgeous flowers have been. How easy would it be to create sounds that are this complex? That's something for you to think about in the future? These are, I don't know if you're like me, but I caught and binders and binders like this full of all the sort of day-to-day stuff that I need to do and yeah, keeping track of all the things that I view with each of the different print-on-demand sites or clients that I have. The older you get some more, You need these kind of strategies. Okay, so let's think about creating a card like this. I have a preset and I don't know, maybe this was a preset already here in Procreate, but I've got a preset for five by seven cards. I think I must have made this one because I've got it at 600 pixels per inch and that's a size that I always produce my greeting cards at. The higher the resolution is, the sharper and cleaner your art is going to be. So let's start by just creating one word. So I have imported a font that I like for greeting cards. So I'm going to go to add text here, and that's in the Actions menu. And let's just type, well, let's just do another thank you card. So I can click on the keyboard down here, or I can click, click in here and open up my keyboard here and just type the word. Thanks. Now I just see here that I've got that in white. So let's change it to hadn't really pretty kind of a teal color. You can double-click on it with your finger or with your stylist who felt as do with my finger and make adjustments to it. You notice that this menu comes up when I am editing my text. If I click on the Control Panel, it opens up this big panel and this is where I can make all of my changes. So highlight the word and I double-clicked on that with my finger. And you can choose whatever font that you'd like. So I think the other one that I like using a lot for cars, It's a little bit older. It's milky rainbow and you can see that it's highlighted. And I can do the changes because there's that blue kind of an outline on it. So once you de-select that blue outline will disappear. So let's just move this into position. Now if you had your snapping and magnetics on, you would be able to perfectly centered. So I'm going to turn that off because I don't need that for the rest of what I'm doing. I don't want it on when I'm working with my stamps. For the next thing would be to just decide on a brush that you might want to use as your brush or your first. But the background kind of an item or let's say the stems to your flowers. And I think I'll just use this one here. So let's just choose a color. Now you can open up a pallet and have it here so that you can use it. If you're doing a complete series, that might be a great idea to create a palette so that all of them are consistent. So once you select that color than whatever stamp you have, will stamp in that color. So let's just do a quick, oops, add a layer. Let's do a quick stamp of that particular motif. So I've got this particular one set. I think I did this accidentally. I have kind of an angle on this, but you can see, and I noticed that on a lot of the motifs I accidentally had a bit of an angle sit here. And because I copied that brush and use it over and over, I have had to go and correct hits on a lot of them. So keep that in mind if you see something off with the positioning of it, chances are it's here in your shape category. So that corrects that. And so from now on by hit Done there, from now on, when I stamp with it, it will be up to the angle that the brush was created in. Now with this one, the size could be different. So you could, if you're doing a whole bunch of cards and you know that, okay, if this is too small for all of my cards, then I would suggest you go in and go to the properties and change that maximum size. So consistently, that will be the same size everywhere that I use it for those cards. Now, that's something that if I was working on that other size that I worked with commonly the 24 by 16 for large POD wall art, then I would probably have said that at the maximum and keep it that way. Of course, you can also select and enlarge your shape once it's drawn. So you're not completely limited to the size of the brush. We've got the basis here for our card. Let's go and add a couple of flowers. So I really quite like this quick one that I did. And I'm going to select that. I'm going to go with kind of a kind of a recipe, goldfish color. I could change this after. And again, I'm going to just add a new layer and do a quick stamping to position that. And again, like I said, you can resize it here, but if it's something you want to consistently resize and definitely go into your Properties panel and resize it there. I'm going to actually try this one here as well. That's the one with the texture. So in a case like that, maybe I would go and do. I like doing different layers so that I can move them around. So I'm going to try that one in a really light version that I place behind the text. So fast, not light enough that you can just go into the layer here and reduce the opacity. You can also go into your hue saturation and brightness if you needed to. And you can slightly change the color of her, something that you would prefer. I'm going to go a little bit more saturated and a little bit brighter. So that kinda disappears there. And I keep them on separate layers when I'm doing a composition like this, just so that I've got a bit of flexibility here as far as positioning and sizing new pink and this one here, I also want to keep it and make it a little bit larger. Now the other setting that we talked about a little bit was the stroke path and the spacing. And I wanted to show you how you can use this almost like a scatter brush in Illustrator. So what that would do is allow you to create a string of these flowers. So let's try that. Let's go into that teal, maybe a little bit darker. And let's just drag over, oops, create a new layer and drag out a stroke so you can see what that's done there. How it repeats the scab that kind of spaces them out. Now, if I had gone just straight across, you can see that there isn't a lot of variation there. So if you did want variation, you could go in here and change this jitter. And you could also go into shape. And I think we talked about this and adjust to how each of the individual stamps is rotating. This is because I'm on the side of my pencil. If I'm straight up and down, I get full color. And then if I'm somewhere in between and you get that kind of a fade off. Now that can be controlled in the Apple pencil here. So pressure, I've got it so that it affects opacity. So if I had it at 0 and my stamp would always be that full amount of opacity. But if I have it higher up, you can see that it then has different degrees of opacity as I pull my mind. And let's just quickly check that other thing I was talking about, see this tilt. So this is a mistake on my part where I copied one of the brushes over and over to create different stamps and had that on a slight tilt could be a good opportunity for you to experiment with that too. So you can see what that's doing is it's like flopping each of the stamps over a little bit. I personally don't care for that, so I don't usually change it. But we've started out with really simple settings and now would be your chance to really experiment and see what some of the settings can do. So I also wanted to show you here that I've added my logo and put my name on the brushes. And this is something that if you're keeping and just using these for yourself, you would need to worry about. But if you ever do want to sell your brush stats, I would recommend that you put that in. Anybody then buying your set can't just copy your settings and copy your up and make it their own because this will remain on there permanently. So this artwork not beautiful necessarily in this case, but we really have created this artwork quickly. You can also think about adding additional motifs or going in and adding some of the textures. I'll give you a couple of these textures too so you can experiment. And this class, I'm not really covering the creation of these, but let's just say you wanted to add something in the background here. On this layer. This layer is blank at the moment, so let's just use it to add a little bit of texture in here. Now you can see what the scale of this, thus, the biggest I can do this brush. If I wanted it to be bigger, I would go into the settings here, into properties and put this at its maximum size, and then have a little bit more variety with the way the stroke is being made. Couple of the fun ones that I really enjoy are these that have a solid background. So in a case like this, I could, let's say sample that color. So I'm just pressing my finger down on that color. I'm going to go a little bit later so, so it coordinates. And then I can put a little bit of color in the background here. So it might be their amino might do it behind the lettering. Possibilities are endless and don't forget, you can affect the degree of opacity if you wanted to have some kind of really light background and kind of like a full on. But in a case like this, you know, you could do a solid area and then go in and edit your texts. So if you have a text layer, click on the layer, you can go here to edit the text. And I might consider changing the color to white because we didn't hit White exactly. When you are in this area close to your white. If you double-click on your little dot there, it will give you the pure white. So let's select it offers the go to pure white. And that could be a fun thing to work with two, I would have to move this guy and I know it's super quick, but it just goes to show you how fun and easy it would be to do with these stamps. And then experiment with some of your other brushes. You probably got some other sets that would be just great as well. So here's a set by Lisa glands, and I've used this one quite a bit to do textures on layouts and it's quite nice. I think I used it in one of the portraits, the Frida Kahlo portrait. I used it in here to add a little bit of detail. So in the next lesson, I think what I wanna do is talk to you a little bit more about composing just an artwork completely with the use of the brushes. So, yeah, I'll see you in the next lesson. 7. Quick Composition Strategies: Hi guys, welcome to lesson 6. So how's the six here? Let's just do a quick composition. I want to show you how easy it is to put together some very simple artworks and bunch of other things that I've tried out. Let's get started. All right, So most of the time when I am planning a composition, I like to start with sort of my one or two larger background, background sort of components. Or in the case of flowers, I would probably start with stems or something like that. So I'm going to go into my flowers and just, well, first of all, show you that last night I went and added even more brushes, so humungous set. Now I'm going to grab one of the ones that I don't think I've used in class yet. Let's see. This is one that I didn't use before. So let's put a few nice stems in place there and I'm going to choose kind of desaturated green. So simply stamp to create your motifs. If you feel like you may want to move them around, you can keep them on separate layers. I'm actually going to turn off my snapping so I could add a new layer and stamp another one. And here of course, you can make adjustments for size. If you wanted something a little bit smaller, add another layer. Let's go back and take a look at some other brushes that might be kind of neat to use. I'll try this one and I'm going to go pretty large with its self that isn't big enough to remember that you can go in and go to the properties and account enlarge it actually, this is the largest it can go. So in a case like that, I would stamp it somewhere in the middle and then just use my uniform transformation. So we'll put those two down for now and then maybe less place a few flowers just so that we've got an idea of how our composition might start to flush out. So I'm gonna kinda use this palette I've decided, so I'm going to grab, I'll maybe I'll start with the darker one. And let's go in and grab this flower here. Wow, That one's a big one. So let's go a little bit smaller. And in this case, I think I might want to go in and add a texture to that. Looks like I didn't do that at the time, so maybe I will duplicate it. And then on this one, I'll go into the grain at it's core to my source library. And I'm going to add this paper here. Just kind of a nice watercolor. We look to it and I'm going to adjust the green because if it's too small, you can see the pattern of the green. So I like having a little bit bigger or smaller flower. So I'm going to put a few of those duller flowers into the background is I don't know they are at no, it isn't. So we'll add a new layer. I like keeping them on separate layers because then you have a little bit more flexibility for resizing and moving. Or you can choose to put every flower on an individual layer or just group the same kind of flowers. It's really up to you what a switch to one of my richer colors here and maybe go just a little bit brighter. One of my really nice flowers, I think I like this 11 of my favorites actually that I've created here. Then we're going to do a smaller one. These, I'm just going to keep on the same layer. I think. What I'm looking at when I'm creating a layout like this is first some real variety and also kind of work in odd numbers. So if I've got two of something, then the next time I'm going to have three of whatever that is. So we're going to do the solid. May 1 be a little bit brighter. I'm kinda starting to feel like those are nice composition happening here quite centrally. So let's add a few other things in here. Just kind of flush it out. I'm going to go in behind these things here and add a layer. I'm going to move that one underneath. And I'm going to put a couple of these big swirls in. You've got on its own layer so I can enlarge it and I can go in and lighten it. Now with the squirrel. Remember I have them going in the same direction here. So one of the things I could do is add a layer. I want this to be exactly the same as this one. So I would then flip it horizontally and possibly even vertically to maybe put out in one of these other corners. And again, I'm going to reduce the opacity of it. You can see that with a really large set like this, you can really fairly quickly put together a really nice composition. And I've added a bunch of little embellishments, I guess you'd call them with something like these. Big circles might be something that I could use. Maybe I would go in with a lighter green and was a new layer, put something like that in. Now some of these extra things, I definitely don't want them fighting with my main image. So working with opacity really helps to keep it from being too busy. I personally feel like this needs a little bit of brightness. So I'm going to be adding kind of a golden rod color in there as well. Now I think you get the idea for the composition. I'm going to do a bunch of tweaking of this, I'm sure. But right now what I wanna do is import a background that I can use here. So I'm going to go actually into some of my abstract components here and grab one of these watercolor backgrounds. This one, I'm going to grab just the background layer here. So swipe down, copy, go back to my floral and paste. We're going to adjust some of the settings here. And now I'm going to go through and Fairmont with blending modes on all of my components that I have here. So this is really just one of the strategies you can use the mean, everybody has their own sort of method of creating layered artwork like this. I just wanted to show you one of the methods as it's kind of a fun and experimental way to develop an artwork or a look. And it's definitely trial and error at the beginning, try to figure out how you might want that final layout to look. Often, I do a bunch of experimenting like this for a few days sometimes to come up with an, a look that I think I can sustain over a grouping or a collection of artworks. So this experimental process is really important for me. So what I'm gonna do is a bunch of experimenting at this point. And I will come back to you in a few minutes with more finished piece and I'll let you know all the things that I did to make it work. Okay, So here's my crazy layout with a bunch of adjustments. Mainly what I did was go in and play with the blending mode. So a lot of these, you can see how specific blending modes that I felt really worked. And I've changed color on some of them. And I think I'm still kind of in this color palette. So amongst the things that I see here that I would want to change, you don't, you just kinda finish it up. I'm going to go into this layer here, and I've just got a big brush and Nikko rule brush in this soft heel. And I'm just going to add a little bit of teal in the bottom here so that that branch stands out a little bit more. And I feel like this precious, just a little bit too transparent. So that particular motif, I think it's this one. So there's a variety of different things you could do. What I did with this one here, which I also felt was a little bit transparent, is that I added a white or just a plain white flower behind it by duplicating that flower and just filling the white using the alpha lock. So I think that a little bit, the other thing you could do, so for this one here, maybe what I would do is just duplicate the flower. And then you see that the two layers kind of makes it a little bit more opaque and can pinch those together, end up being just one again, I was thinking of maybe adding a little bit of texture here. So I'm going to go into my texture brushes. And unless just try something like this, crazy dots, make sure that I've got a new layer. And I'm going to go right down to the bottom of the stack here, have layer and I'm not sure what color yet, so I'm just going to go for it and then just decide whether I like it or not. I do like that teal there. So maybe what I would do is through the teal on one layer, adding a little bit of life to it. And then make another layer and try little bit of maybe this peachy color, but we'll go with just a teeny bit darker and add a little bit of texture in there. So those are the kind of things that I would go and do towards the end of my sort of production of this Leone. And let's see what else we've got here. I'm thinking maybe some sort of a yellow. Now I always sampled from my layout when I'm picking a new color and then adjust it slightly because I think that that ends up going to do that on its own layer. I think that ends up being more analogous to what you're working on. So it come into this works better with your color scheme when you've done that. And another thing I sometimes do, just to really unify everything, is to put a layer on top and fill it with some kind of a texture. I think that I've got an important paper texture here. Yes, you can see that's just a paper texture. I'm going to fill this whole background here. Let's do it in black actually. So you can see that I'm adding the texture, I'm going to enlarge it, can get a really nice big green on it so you can see that texture there. And let's adjust the color of it. I'm sure there's going to be very hard for you to see on the screen, but you'll find that what this does is it kind of also helps to unify because you're getting sort of an overall flow to the whole layout. You can tone it down by reducing the opacity or even trying different blending modes. I find that soft light is usually a good one for blending. Yeah, I think that was probably my favorite there and, you know, if I would turn it off, you can barely see that there's a difference, but I feel like here I'm looking at it and it has given him a little bit more unity to it. And so this whole process has been just for me to feel it out. Learn how my brushes are working. Ask myself whether or not I've got the amount of brushes and the brushes that I need. And then what I would go through and do is experiment and do a whole bunch more like this. There are so many things you could do now to just really explore. And you know, a lot of times it has to do with your background. You can lubricate this whole layout now, so I would select it, duplicate it, and then go in on the duplicate and maybe even completely changed that background, bring a new one in, and then experiment with that background. Maybe there's something that can be done there. That could be something that is blended with the background that you had in the first place. And just perhaps a new look could be established by having done that. The EPA thing I've done often is to just take that background and enlarge it so that I've got two different sections of it to see if they might possibly work better with my design. And then, you know. Mess around with your hue and saturation to see if there's something that can be done there to make it more interesting. So there's a lot of possibilities here just with experimenting with what you've already got on your screen. And of course, you can then experiment with changing your motifs. Are they more texture? Experimenting with the different flowers and motifs that you've created as part of your brush set. So I might then really loved this layout, but don't really care for those particular flowers that I've got in the foreground. So take those out, maybe change the blend on some of them, and then go in and grab a couple of different flowers and try them out in place of the ones that you had there in the first place. And this is playtime. So make sure that you experiment. Do things that are wildly different. For that you can get the idea of how those might work to create a new layout or a new look. You remember, you can always go into your properties to adjust the sizes of things as well as using the sliders on the side here to increase or reduce the size of your motifs. So I hope through all of this demonstration and your observation of my process here, you've gotten a few ideas on how you could go ahead and do some of that experimenting now that you have a brush set. So I've come up with wildly different layouts. So compared to this, and really it's just been a journey of exploration just to figure out some of the things that I could do with my brush set. If given me tons of ideas, I actually really loved this. What looks like a line of carving, stamp or brush. And I think that that's something I would definitely experiment with and explore more. I had recently done a line of block horse and created a few stamps there. So I think I could go back and explore that a little bit more. I would definitely really think about now my stamps and what kind of backgrounds could work or not work, whatever. It's definitely something that unless you take the time to explore, you're just never going to figure out. So I hope that this class has showed you a whole bunch of new things that really just get your mind going and get you started. So, yeah, let's meet. In the last lesson there were I'm going to do a little bit of a wrap up. All right. I'll see you there. 8. Outro: Hey guys, So that's it. We've made it to the end again. So here's another skill that you can add to your skill set. And so you can easily produce these sort of brushes for yourself. It really took me very little time to produce these five mockups. Great for imprints on mugs, for wall art or fabric pieces like tote bags, cell phone cases and book covers. And of course it'll be fabulous for creating repeating patterns, which is something that I'm definitely going to be experimenting with in the next couple of weeks. This is just one aspect of producing brushes in Procreate. I've already got another class in mind. In that class, we'll probably do a bunch of more advanced settings. But for now, I think that this is a great way to have ended this class. You can create a full set of brushes now. And then you could use them for so many applications. If you haven't minute, can you make sure to leave a bit of a review down here for me? And yeah, if you have any questions, leave them in the discussions area at way I answer your question and anybody else who has the same question can see whatever the solution was. Now if you haven't done so already, make sure you hit that follow button up there. That way you'll be informed of all by costs, hints or anything you as I released them or anything that I have to say. Also, if you have a minute, check out my website at shock, Dr. Laura assert dossier. It's still in development, but you can add engage the mailing lists and that way you'll get any of the freebies that I offer and Python, but anything else that's going on. If you have time, checkout buy stores by biggest one is on South Hill.com, but he also sell at Article II, aren't hearing counted up, check out any of my other classes have got over 70 classes here now, so make sure you check them all out. Thanks again for hanging out with me today and I will see you next time. Bye for now.