Dual Brushes in Procreate: Creating Gorgeous Custom Brushes | Jennifer Nichols | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Dual Brushes in Procreate: Creating Gorgeous Custom Brushes

teacher avatar Jennifer Nichols, Leila & Po Studio

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

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

10 Lessons (1h 6m)
    • 1. What's This Class About?

    • 2. Your Class Project

    • 3. Dual Brushes and Prepping to Create One!

    • 4. Let's Make One!

    • 5. Now Let's Make Its Opposite!

    • 6. Using a Single Brush to Make a Dual Brush!

    • 7. Making a Brush from Scratch: Brush 1

    • 8. Making a Brush from Scratch: Brush 2

    • 9. Recap!

    • 10. Thank You!

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

This is my fifth class in my brush-making series and it will help you learn more about combining two brushes into one single Dual Brush so you can get even more creative with your brushes!

You don't need any prior experience making brushes in order to take this class but my other classes will definitely help you understand the different settings in the Brush Studio. 

For this class you do need an iPad with Procreate and preferably, the Apple Pencil. As long as you are familiar with the app, you will be able to follow this class! I'll show you each step and explain everything along the way!

In this class we will make some brushes with native Procreate brushes and then we will create a dual brush from scratch! This is a great learning experience!

Sign up for my newsletter for Procreate freebies! I recently gave out some wonderful dual brushes!

*  *  *

I was inspired to learn more about making Dual Brushes after seeing a couple of Robin Davis Studio images with magical sparkly details on some of her work during Folktale Week 2021. I'm so happy she allowed me to show her work in this class but definitely go check out her art with these links!

Robin Davis' website and Instagram. Her work is sure to put a smile on everyone's face!

Are you ready to become obsessed with brush-making like I am? Let's get started!


Meet Your Teacher

Teacher Profile Image

Jennifer Nichols

Leila & Po Studio




I'm Jennifer Nichols. I'm an artist, teacher and fabric designer. I'm a retired classroom teacher having the time of my life teaching Procreate for all levels. You can find my older classes here but my newer classes are on my own site!

I also have a private community where you get additional help from me to support your art journey. We have a lot of fun! Read more about it here!

You can read more about the free class here!

See full profile

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. What's This Class About?: Hello, my name is Jennifer Nichols. I'm an artist and teacher and a fabric designer. I've been using Procreate for a few years now. And I have about 40 classes on Skillshare, all on Procreate. One of my favorite things to do in procreate is make brushes. I also love to make repeat patterns, which actually helps with making brushes and creating children's book type illustrations with a less digital look. I absolute, if we love creating brushes though and giving away those brushes in my classes, so that each class can have a different look and you don't have to buy any of the brushes in order to achieve that look, not only is Procreate brush making a really fun hobby, I think it's also a money saver. You won't have to buy brushes anymore. Something that finally got me interested in learning how to make dual brushes in procreate is an image I saw from robin davis studio. Her links are in the class description as well as the resources section. Definitely go check those out. A couple of her posts had a very sparkly wispy swoosh in them that lead your eye up to the sky like moonlight. And I knew she didn't use Procreate. So I thought, oh boy, I need to figure out how to make a brush that does that in Procreate. And that's what got me started learning how to make dual brushes. There's not a lot of information out there. So I thought I would make this class and let you know everything that I learned about making dual brushes so that you might make some yourself. In this class, I'll show you what adore brushes, but also we'll be using some procreate native brushes to make a couple of different dual brushes and learn about some of the experimenting that you can do and some of the settings that are important. And then we're going to custom make from scratch a dual brush that will give us this magical, starry, wispy look. That was what inspired all of us to begin with. I can't wait to show you. 2. Your Class Project: For your class project, I'd like you to follow along in class making the brushes that we make in class today. And then also make your own brushes and make it a little page like this to show us some of the looks that you achieved combining your own different ideas for different brushes and post it in the class project section so we can all see what everybody makes. To create a class project. Go to the Projects and Resources tab and tap on class project. This first button is for the cover image only and it will crop to a rectangle, so just don't even worry about it. And then down here, this image button, ad's images to the main body of the class project. And you can add as many as you want. And there'll be full-size. I can't wait to see what you make. 3. Dual Brushes and Prepping to Create One!: What's a dual brush? Door brushes are where two brushes are combined into one brush. Here's some examples of some dual brushes that I made. And where you can see it the easiest is this brush right here with the very creamy background and the stars on top. Then some of them aren't as obvious. This one right here has this band through the middle with all the stars. And these have these cloudy, faint, cloudy backgrounds with the speckles on top. There's other types of dual brushes that come with procreate. So if you go down into the native brushes and just go to the artistic section, for example, you can tap on a brush and tap again to open the brush studio. And anything that has two brushes listed right here is a dual brush. Dual brushes can't be combined with other brushes. So we do need to watch for that. But you can see if you play around with this brush, you can see some speckled textures that are probably from this brush. And then if I press harder, I can see this much more bold texture that's probably from this brush. And then you can change the settings in different ways to get different effects. And there's not a lot of information about how to try to achieve a specific effect that you're looking for. So a lot of it is experimentation. I'm going to show you how to start playing around in which settings I use to experiment with. And then I'm going to show you exactly how to make some of those sparkly type of brushes. The first thing we're gonna do is go ahead and open a ten inch by ten inch canvas. So tap the plus sign and the plus sign again and go to inches. And width is ten inches, height is ten inches in dpi 300. And that's just the size that I use for making brush sources. And we're gonna be doing some of that. So we'll get started with that size canvas and tap Create. One of the things that you have to do to mix brushes and combine them is have them in the same brush set. So let's go to the top and pull down until you can see that plus sign. Sometimes it doesn't want to show up, tap the plus sign and that starts a new brush category. And we can call that dual brushes or whatever you want to return. And now we have an empty set right here. And for this lesson, we're just going to pull some native brushes into that category. So let's go to sketching and grab the artist crayon. Any native brush is, you're able to just pull it out like this. It looks like you're pulling it right out and getting it out of that category, but it is going to still be there. Tap the dual and drop that right in. Let me show you if you go back down to sketching, Artist Crayon is still there. I don't know why they make it look like you're taking it out of there. You cannot remove native brushes from their categories. What it does when it looks like you're removing it is just removing a duplicate. So it saves you the step of having to duplicate first. Alright, let's go into the painting section. I think in most of these are, oh, we forgot to check artists crayon. I already knew that it was not already a do dual brush, but tap on when and look over here and if you see two brushes up here, then you can't use that to create another dual brushes. So we wouldn't want to take that and put it in our dual category. Let's go ahead. I think most of these are single brushes because they're older brushes. The dual brushes have only been around for a short time. So there are some of the crazier brushes like in the artistic section. A lot of these, I think Laura Puna is good. It's a single brush so we can grab Laura Puna to bring it up to dual, drop it in. This is just from experimenting. You can definitely spend hours experimenting and finding other brushes to play with. I'm just trying to get a range here. Go to the charcoals section and grab one of these. I'll just grab vine. Go back up, tap dual and drop that in. If you're grabbing from some other brushes that you've imported, you do need to duplicate before you pull them out. If you are grabbing multiple brushes from one category, Let's go to painting, for example. And grab, gosh, Let's grab a streaky brush and crazy fresco brush. So you can swipe to the right to grab multiple brushes and then drag them out like this. Tap dual and drop them right in. All right, so now we have a category where we have some brushes that we want to play around with. We can double-check and make sure that none of them are dual brushes already. I didn't check that ahead of time. In the next lesson, I'll show you how to experiment playing around with making dual brushes with pre-existing brushes. 4. Let's Make One!: Now we have just a variety of brushes to experiment with. This really can be anything you want it to be. So go through and just if something looks curious to you, just start grab it, put it in here so you can play around with it later. And we're just going to play actually with a couple of these. But one of the things you can do is to start looking at brushes. Go to a brush category like the artistic section and find a brush that's a dual brush. Actually look at multiple brushes and just start looking at their settings and what their brushes look like. And to try to get a feel for how they got a certain look. For example, this one has this very brushy looking brush and this very textured looking brush. And if you look at it closely, you can see both. You can see that texture in here and that brush stroke being the dominant shape going on. And we're gonna go ahead and combine a couple of brushes and just play around with those as well. So the first brush you choose is going to be the primary brush that's going to be on top. And then you can swipe to the right on a second brush. That's going to be your secondary brush. You'll want to experiment with doing things in reverse. So I would recommend duplicating your brushes first before you combine, suggest, duplicate, duplicate. And now I have Artist Crayon and Laura Puna. The little one shows that it's a duplicate there. And once you have two brushes selected, the combine option shows up there so you can tap combine. It's going to keep the name of the primary brush. Right now the look of that brush as well is the same. But as soon as you close this and open it again, you can see the combination. You can see Laura Puna is teeny-tiny writing there. And that's because Artist Crayon actually gets really big. So let's go ahead and make a little swatch over here of both of these brushes in their original form. This one is almost like you're taking a crayon and rubbing it on a paper that's on a rough surface. And Laura Puna is very in creamy. It's blending. If you just press lightly, you can tap and in a lot of color with it or press firmly and get a lot of color with it. But then you can lighten up again and just blend it around. Absolutely love this brush. Actually have a lot of versions of this brush as well. Alright, so now let's look at the combined brush with artist crayon on top. Oh wow, that's crazy. Alright, so we need to make some changes to that brush that's doing something really weird in the middle. That probably has to do with some of the settings that Laura Puna AS or something. I'm not sure. We can go into that brush. We might want to go ahead and change the name if we think we're gonna keep it. But you might not want to take that step until you get to a brush that you're pretty sure you're gonna keep tapping on it and just going down to about this brush and tapping on the name appear is how you would change that name. Your name here, a little tiny sort of signature. I wouldn't do your true signature there. Adding a photo that is representative of you, maybe it's just a logo or just a simple name of yours that's in edit JPEG, your camera roll, and just add it here and then tap Create reset point. And that's what really locks in your name to your brush. The photo does. If you just changed this, this and this, someone can come in if they get their hands on your brush, if you'd give it away or sell it, they can change the entire thing and change your name because you haven't added your photo. So I have a lot of brushes out there that are like that because that isn't very clear in the directions that are out there for Procreate. So I sent a lot of brushes into the world without having that locked into my name, suggest know that. But let's go ahead and look at some settings that we can do. You can see here the blue bar indicates the when you're currently editing, you can tap on the other when to switch to that. You don't have as many options. You don't have color dynamics on the secondary brush. You don't have materials and you don't have wet mix. I think that's all it's missing. One of the things I know for sure is I want to bring them closer to the same size. The other thing you can change is if you tap on them a couple of times. You can bring up a blend mode. You can get a stripe over here. I don't know why that one went away. And then look at Blend Modes, tap on this and just start playing with them really. For now, I'm going to leave it on normal so I can really see the two brushes and then we're gonna play with that a little bit. So there's not a lot of information out there about how these blend modes work in brushes. But there is a section in the Procreate Handbook that talks about blend modes in general, when you're applying them to layers. If you go to procreate dot art and then you go to the support tab. You can view the handbook from there. And then you can go to Layers and blend modes. Then you can read up all about the blend modes right here and see how they work. For me, I like to experiment. Let's go ahead and just make a stripe. I'm going to bring this size outlet. That stripe keeps going away. I'm going to bring the size of the artist crayon brush down and the Laura Puna brush up. So let's go to properties. So we're on the artist crayon, and I'm just going to bring the size down. Let's go to lacunae. Make another stripe. Look at properties again. And you can see that the size is maxed. But if you put in stroke path and you increase the spacing a tiny bit, I just went from 3% to 5%. Then when you come back down to Properties, you now have more space to increase the size. All right, We're getting closer. I'm going to go back to properties of the artist's crayon. And bringing that artists crayon down in size. I'm just kind of making them similar in size. Now, I went to three fingers scrub to clear this and you can also clear it right here. I'm going to choose a color. I'm gonna play with blend modes. Let's do that again and that again. It seems to disappear when I switch from one to another brush. Alright, let's play with blend modes. That doesn't really give us much of an interesting look that I can see this Mirre Laura Puna under there. So that's lighten. Difference, that looks interesting. Let's try a difference. And what I want to do is tap Done. Then come here and try it here. I still see a big difference in their size. I want to go back in and try to bring their size closer to one another by making an artist crayon even smaller. Oh wow, that's pretty cool. Actually. Let me zoom in so you can see that. I don't know if you can tell. It's almost like rubbing a liquid on a bumpy surface and smearing it around. That's actually pretty cool. Then when I go over the top of it with another color, It's not taking off that blue. It's just adding on top. It's not removing from the layer under is just adding more. That could be a fun one to play around with. When you find some that you think you want to keep and play around with, I would just go ahead and rename it. You can say artist. You can say, I would say gems, artist, CRAN. This is so creative by just calling them what they are. Just kidding. The gems Artist Crayon Laura Puna. I hate naming brushes, so then I at least remember what that is. And if this image is too big, That's the preview. You can go to Properties and decrease the previous size. Tap Done. Now it's fitting in that window a little bit better. And we have a pretty cool combo dual brush. Now, I'm going to duplicate that because I actually really like this brush. I'm gonna play around with it more so I'm going to duplicate it. And I'm going to take one of the duplicates and show you a couple of more changes and then also how to uncombined the brushes if you change your mind. So if you tap on it again, one of the things that I liked to play around with is rendering. So definitely have a look at the rendering modes for each of the brushes. Will go into that a little bit more when we make our star Desk brush. For now, I really like this brush has a lot of potential. Although I like texture. So that's why if that's too much texture for you, that looks like the artist crayon texture. I'm on the artist crayon brush right now and I can go to Grain, and that's the texture you can play with. I would actually play with the brightness and contrast and watch what happens over here. You can play around with these things and try to adjust the texture to your liking. That's pretty cool. You can actually play around with pressure settings as well. We're gonna do that when we make a brush from scratch. Finally, if you want to uncombined a brush, you just tried all these settings. You don't think it's gonna work out. You just tap on it and come over here, tap on them a couple of times. And it usually works to tap on the bottom one. You can tap and combine. And combine. And there they are. Now they are not in their original form that they were when you combine them because you made changes to them. You might want to just delete them at that point. Now I have the one we made and we still have these two that we duplicated so that we still have those to play with for a future brush. 5. Now Let's Make Its Opposite!: We've combined the artist crayon and Laura Puna with Laura artist crayon on top and Laura Puna on the bottom. So primary and secondary, Let's see what happens when we reverse that. We have Laura Puna right here and an artist crayon right here. I'm gonna go ahead and make a duplicate of each one. This one is a duplicate, but it looks like it's been altered, so I'm not going to use that one. This time. I'm going to put Laura Puna on top, swipe on artist cram second as the secondary one and combine. All right, let's see what we have here. Wow, that's a completely different look. That's light pressure and heavier pressure. It's behaving more like the Laura Puna, but with the artist crayon texture in the background. Let's do a few little edits here. Here is what we have. Let's play with blend modes. On multiply. Color Burn looks interesting. Let's see what normal does. I think Laura Puna has some settings that make it give this kind of crazy look that we saw at the beginning of the last brush combination as well. That's interesting. Let's see. I'm going to go back to color burn. That is great. Look at this. We're getting more of the creaminess that Laura Puna has. Still with that really awesome grain of the artist crayon. Let's see how it blends smudges, I should say. One thing I'm noticing is I can't fill in the green CDC here, this grain. When I go over and over and over it, I can't fill it in. I'm not sure where that's coming from. Let's check the green source. This is set to texturize, so I'm less familiar with the settings in this. But if it were on moving, you'd have this offset jitter. That would stop that from happening. So that's interesting and I can't tell if it's coming from. Here's the offset jitter. I can't tell if our green issue is coming from this one or not. Offset jitter being on is what is supposed to prevent this so that you would be able to fill it in if you like everything about the brush except for something like that. And you just can't figure out how to change the settings to fix that. See how I can I can go, go, go, go. And it doesn't matter. I can't fill in those pieces. Oh, it's filling in a tiny bit. One thing that you can do is just rotate your canvas. If there's, if there's a lot of texture that you really like and you just love how it looks just like this, but you want to fill in this one little spot, just rotate your canvas a little bit and fill it in like that. And that should be fine. I really like this brush. I really like both of the brushes we've made with this combination. I might play around more with this settings, with the rendering. So again, when we're time, if we go in, some of the, the rendering settings might be fun to change. And I think for this one, we're good on a lot of these other settings because I think that the grain is coming through. It's mostly Laura Puna. It's Laura Puna in size instead of that huge Artist Crayon size. And it's the artist crayon. Just the texture. It's almost like we're using Laura Puna on top of a clipping mask of an artist crayon texture or something like that. It's this lovely combination. Alright. I think I like this better than the other way we combined the artist's crayon on top with the Laura Puna. They are completely different looks though. Here's that other one. This one is still feels like like an acid washed chemical liquid on top of a surface. It's kinda cool. Um, it might not look as cool and video, you'll have to make it and play with it and see what I mean. All right. That's that I just wanted to show you both ways to do this soap now I need to find that one. I think it was this one right here. Yeah. So let's go ahead and change the name. That's Jens. Laura Puna, Artist Crayon. Then of course, changing the photo, the name, signature and tap Create reset point. And that will lock it in the photo, will lock it in for sure. Light pressure, heavier pressure. The Laura Puna. The Laura Puna does this nice colorful. When you tap it adds a lot of color, still not filling in some of these grains though. So that's really interesting. I love texture, so I really like this. If you like smoother looks, you could definitely go into the grain sources, change the brightness and contrast things like that to get a different look to your grain. All right, enjoy experimenting. 6. Using a Single Brush to Make a Dual Brush!: Alright, I'm gonna combine the vine charcoal brush with the vine charcoal brush. Let's duplicate that two times. So we have two duplicates and we can leave this one alone. It doesn't matter what order we select them in. Just select two of them and combine them. All right, tap on it to edit. And I'm going to make when bigger and one smaller. So let's go ahead. This top one is going to be bigger. So we go to Properties, we make it bigger. And we go to the next one and go to Properties and we make it smaller. And you can see right there. Then we're going to tap and get to the blend mode. And we're gonna go to subtract, and it subtracts this one right from the center of this one. But that's a textured brush. So it's still leaving some texture in there. Let's tap Done and see what that looks like. This is a really fun brush. And as long as you keep your pencil down, when you overlap your path, it cuts right through it. Once you pick your pencil up. When you overlap, it doesn't have that same effect, but you can probably erase, manually erase these little overlap edges where you want them to be gone. That's a fun brush. I see it's thicker and thinner on the thicker side here and the thinner side up there. So we can go back in and I think that might be if we go to Shape. Yeah, let's turn on rotation all the way up to follow stroke for both brushes, shape all the way up to follow stroke. Let's see if that helped. I think that helped. Now it's still thicker on one side than the other side. Go in again. I'm trying to think about what might fix that. There's usually an Apple Pencil Tilt thing. Oh yeah. There we go. We can turn tilt settings to 0. Did you see that fixed it over there. See you that tap Done. Now. It's basically the same on the left and the right. Even with my pencil being tipped. That works. I wanted a little fuzzier on the outside. I'm going to go back in. And on this top brush, Let's make a stroke. Lips. My didn't it work? There we go. Stroke down the middle. Still a little thicker and thinner. Maybe the pencil is needing to be straight up and down. Maybe I need to turn that off. Let's check that one now. It's not working. We need to do it to both Brushes. Both brushes. There we go. Now when I'm at an angle, it doesn't matter. It's not going to do that thick fin thing. But I want to go back in and make this top brush like fuzzier around the outer edges. So I'm going to make some changes to that. So if I make a stroke like this and go to Stroke path, I can jitter. So I can make the shape kind of go from side to side a little bit. Like that. Spacing is probably okay. I can go to shape and I can scatter it a little bit more. It's pretty scattered already. Yeah, I think that's good. Tap Done. Now, we have this stroke with much more fluff on the edges. If you don't want the faded part at the beginning, you'd go back in and go to Apple Pencil. Usually anything that's got to do with the pressure is in this Apple pencil setting, not all the things. And turn pressure to 0. And let's see, oh, we got to do it to both brushes. Pressure to 0. Now, yes. The cool thing about this brushes you can you can fill in a whole space and it will keep the center cleared and put all that flew for him edges. I don't know what else to call that. You can do that with any brush. You can use that subtract blend mode and erase the the secondary brush right out of the center of the primary brush. That's pretty cool. Hopefully you can see that texture is still in there. I've seen this done with some calligraphy brushes and you get a cool outline brush. If you want to keep that brush, then you go in and do all your things here as well. Once you've been playing around for awhile, definitely go back in. It helps to look at the start. And then also after you've experimented, to go back in and look at other brushes that are dual brushes. Look at the settings. This wildlife brush, this is kind of a crazy brush with this pressure. It gets this thinner and it has this texture that's got this canvas texture on it. Go into the settings and see what's the blend mode on that brush. Oh, it's subtract, which is unexpected. I used subtract to subtract right out from the primary brush. But you still have primary brush showing on this one. So I don't know how they do that. You can go through look at rendering this secondary brushes on intense. And the primary brush is on uniform glaze. You can probably play around. That's pretty cool. Play around with these and get different looks entirely. Now I didn't duplicate that brush before I played, so I'm going to want to duplicate it now. This is now going to be the one that I consider myself to have adjusted and this one I can always reset. So I can just swipe and reset any Procreate native brush. It'll let you do whatever you went to a duplicate. So if you tap on it, you can now combine because it's a duplicate. Next step, we're going to make our own brush from scratch. 7. Making a Brush from Scratch: Brush 1: As I said in the intro, the image that really inspired me to try to figure out dual brushes with this image at this and one more that was posted around the same time from robin davis studios. And I knew that she sets up these miniature scenes and photographs them. And then she adds effects. After that. I know she doesn't use Procreate. And so I know that this wasn't a Procreate brush. And I was thinking, oh no, now I can't ask her where she got that brush. I'm going to need to make one. I want to show you really close up what I'm seeing. I'm seeing this faint cloud. Look, it's Blache and it's scattered and it's not just a stripe. I That's one thing I know I can make that brush. And then what I'm seeing for this Sparkles is the second brush. What I see in those is a lot of little tiny dots. So that's primarily what that second brushes is, little tiny dots. Then there's a random star that's this shape, and a random star that's that shape. What do we need to do is we need to make a cloudy brush. We need to make that sparkly brush. And we also need to make them so they go thin to thick to thin. So that's gonna be some pressure settings. All right, So we're gonna make brushes from scratch to make that type of brush. And to do that, That's why we made a 10-inch Canvas and we need to use black on white. You can also use white on black. So I'm gonna go to inking and go to dry ink. Go to black. Just add a couple of layers because that's how I do things. We're gonna make a shape source in all brushes. If you tap on it, you have shaped source in grain source. And those are the primary shapes that you can control for how that brush is going to look. We're not worrying about grain source in this, either of these brushes. I have a whole class on texture brushes where we focus on grain source. I have a whole class on shape stamp brushes, where we focus on shape source. Then I also have a class on pattern brushes, which is also mostly shaped source, but it's repeat patterns and making cool designs. Definitely check out those classes if you want to learn more details. And then my boost your brush making skills class really goes into details on all of the settings. We're not going to go into all those sorts of details. I'm just going to kind of talk you through this particular brush. You'll definitely still learn a lot. For Dry Ink. I'm gonna make my shape source. That shape source. We're going to start with the sparkly brush. It's going to have a lot of the little dots and a few of the stars. If you go to illuminance, you have a flare brush here. You have a glitter brush here. Actually, I used this to, I went to the maximum size and I tapped really hard. That doesn't seem black. I think that has a colored change to it. I tapped really hard and I just grabbed one, the blackest one. And I did cut and paste. And now it's on his own layer and it can clear the rest. That's one way you can upscale. Can upscale that a tiny bit. Maybe turn it out a little angle. Alright. There's other brushes that you can use to make your designs. And I am just going to use the dry ink because I think that also hand-drawn starters and shapes has a nice term. So that's what I'm gonna do. I'm gonna go ahead and clear that. And I'm going to go ahead and start on a bit of a star. And to do this, I do want some of that blurred look. I'm going to do another one on another layer or I can just duplicate this one too. And I'm going to blur when suddenly an attempt the magic wand and go to Gaussian blur and blur. I need more blur than that. I'm gonna go to another layer and I am going to put a little center spot there and blur that. I like that. All right. I think I'm gonna go ahead and combine those three and those are one star now, that's a star. And then I can just keep going with some of my smaller ones. Kind of a variety and I'm gonna fill kind of a circle. I'm not filling the whole square, but I'm also not making a circle shape either. That's it. So we're just kinda making adjustments to this. That's gonna be when stamp. It might be even to many of the little dots, but we can come back and adjust it. So part of the nice thing about making your own shapes source is you can edit that and change it in your brush later at any point in time. I'm gonna go ahead and three finger swipe down and copy all. Now I have that copied. I can turn that off, go to a new layer to test it later, and then we'll go from there. Let's go back to our dual brushes. And we're going to add a brand new brush with this plus sign right here. We're going to go to Shape Source here, tap, Edit, Import and paste. You need it to be black on the background. So as you can see, I just tapped once, which got rid of that menu and then you need to two-finger tap to invert and tap Done. Now your shape source is your little design. Now all a brush is, is a whole bunch of shapes. Sources lie in that really close together. We don't want them lined up that close together. So we're going to go ahead to the Stroke Path and bump up the spacing a lot. I am also going to go to the drawing pad and bump up the preview size so we can see this better. I don't want those. Those are like do, do, do, do, do, do, do site, and they're all perfectly in line. I don't want them perfectly in line. So we're gonna go to the Shape Source and we're going to scatter the shape, which just means it's going to be scattered in this way, not all over the board itself. Watch what happens over here. So each one is scattered in a different position. I am going to put rotation all the way up to following, which means if you had a stripy brush, it would follow. Those stripes would follow like, like you were painting with a brush. Follow this stroke. Count is how many stamps are going to stamp every time you, your pencil once to stamp one of these source shape sources. If when is enough, then just keep it at one. Play around with going up to two, you can three fingers scrub on this as well. Going up to two is kind of cool. I still think now I have, I think we have scattered turned up too high. We have a lot of swirly looking things going on right now, but we have some more changes to make we're doing okay Still, you could randomize, which means it's going to be flipping it here and there each time it's putting a stamp on. Then you can also go back to stroke path and bump the jitter up. What the jitter is going to do is along your stroke path. It is going to make them go a little bit over here, a little bit over there, a little bit over here. And if you want them a lot over here, a lot over there, then you turn it up even higher. So let's bump that up. You can see him start to scatter. Might be a little too much. This is all totally up to you, but I just want them to bounce it around a little bit on both sides. Alright, so I have my, I'm going to say 50% for spacing and twenty-five percent for Jitter. We don't need taper. We did shape with the grain is going to default to the blank, which is fine. Rendering we're going to play with after we turn it into a dual brush. Can you see how it's faded at the start? Your stroke? That is going to be played around with, in Apple Pencil. Sometimes it's flow right here in rendering, but our flow is on max. If we jump all the way down to Apple Pencil and change the opacity so that the pressure is not affected. I mean, the opacity is not affected by the Apple Pencil pressure. You can turn it all the way down and then there's no change in opacity as you press. If you want there to be a change in opacity as you press, then you can adjust that. And then the flow is also sort of affecting that as well. It's kind of hard to explain. It's where you get a lot of experimenting that needs to happen. Use do an example with light to heavy pressure. Even though you can't see a difference at this moment when you're adjusting your pressure settings. If you have an example over here where you actually used a variety of pressure in that stroke, then you can see exactly what it's gonna do. If I turn flow up. You can see that it is faded at the start. With light pressure. It is similar to opacity being faded at the start with light pressure. And experiment is gonna be how you really start to get a feel for what the true difference is with these, with Flow, you can go negative as well. Now it's fading off at the end. Alright, so for right now we're just going to leave those. And let's come back up here to dynamics. We have this really cool brush, but it is just kind of uniform. We can change the size with the size will jitter, which means every time shape source is put down on the page, it will be something random between small and a larger size. If you have the jitter being a low number, then that the, the range of smaller to larger is a smaller range. So they're not very different from each other. If you go up bigger than they are very different from each other because the range is bigger. So the smaller one is way smaller than the bigger one is way bigger. We don't want that quite drastic, but we will on the cloudy brush. All right, You can play with opacity changes for the stamps as well. The other thing that we're gonna do back in Apple Pencil is make the size change a lot with pressure. We're going to do that right here. Sometimes people think that that's more with the taper. But this is where you really see a big difference. Let's tap Done and see where we're at. I see our overall size is quite small tube, if you look over here, the stamp is showing up really small. I'm going all the way up to max and I'm going light pressure, heavier pressure, light pressure. That's pretty small. But it's doing what we want it to do. Let's go make it bigger. So tap on it again. Go to Properties and look how small our maximum size is. Let's play with that and bump that up quite a bit. Small to big into, and I should say light pressure, heavy pressure to light pressure. And I made a big change in pressure right there. You might not want such a drastic change. So that's where you come back in to Apple Pencil and play with this setting. One thing to watch out for with this setting is you won't get a teeny tiny size at the very start. If you're number isn't pretty high at this right here. This part takes a little practice. You have to start to swoosh before your pencil touches the page. We're going to go back in and go to stabilization. I didn't find a lot of documentation on all of the differences specifically in this area. But this has changed. It used to just be streamlined. If you do amount, let's, let's do a stroke over here. The streamline helps you have a less wobbly stroke, but it gets weird If any of these numbers are really high. I think the pressure streamline is going to help with having a less noticeable jump from these tinier sizes to these bigger sizes. And just by accidentally being a lightening up your pressure too quickly, it kind of smooths the transition out a little bit. So let's do pressure up. So I've got this one on 14 and this one on 26. Just an experiment tap done. And let me see if that helps at all. These brushes are way funner to look at with a dark background, but I think we're close. I think we're gonna be good on that brush. In the next lesson, I'll show you the cloudy brush that goes with it and we'll combine them. 8. Making a Brush from Scratch: Brush 2: Alright, so we're going to add in brand new brush. Tap Done, There's your brush right there. I forgot to make the shape source for it. We're gonna make a really faint blotchy piece of cloud. So I'm just going to go to the airbrush, soft brush. I'm on black still going to make an irregular shape that's sort of darker in the center and fades as it goes out. Don't touch the edges with anything. Sure, that looks good. I might want it a little darker in the center, but we can come back to that three fingers swipe down and copy all. Turn that layer off. And come over here to a brand new layer so we can experiment with it. And I just realized that I didn't show you something. Go to dual brush. Go to that brand new brush, go to shape. And we're going to Edit, Import, and paste. One thing, one tap to get rid of that menu, two-finger tap to invert that and tap Done. Let's tap down again. One thing I didn't show you with the star brush is if you decide that there's too many of these little tiny dots or you went another one of these big dots. All you need to do is come back to this layer, make your changes. Three fingers swipe down, copy all, and go back into that brush. Go to shape and do your paste it into there. Then save it and you'll be good. All right, so let's go back to our brush that we just started making. We have a nice brush, so we're going to turn into our cloud brush. Let's go to Stroke Path and spread it out. Let's go to jitter there and spread it out as well. I definitely went properties and make it bigger. I want dynamics to make the size jitter much higher than the other brush. So we have lots of variety. They're all lined up in the same way. So I'm gonna go to shape and I'm going to get them all rotating. Let's get a fresh stroke over here. It's not working. All right, Well to have clear Let's see. That's good. I can need to have the count turned up a little bit. And I need to go rendering. And I am going to put it on light glaze. I can't tell maybe heavy glaze and turn the flow way down so they're very faint. I'm still not getting the look. I want, I do want to go to Apple Pencil and decrease the opacity and increase the size so that I can change the size with pressure. I went to go back to stroke path. And I have these gaps that I don't like. If I make a stroke like that, I think I might want to bring them in closer together. Maybe increase the Jitter. It's getting there. I think I actually need to go back down to dynamics and decrease the jitter for the size so that there's not such a variety. All right, let's test that. I can't really get it to go very small. So I'm going to tap on it again, go to Apple Pencil and bump that size up so that the starting number, number, the starting size can be much smaller. There's still these random gaps, but I think that's okay. I think I'm going to stabilize this one as well, so I'm just going to bump up pressure and amount. Tap done. Come on three fingers scrub. Three fingers swipe down. Pet, There we go. That works. We have it starting out tiny, getting bigger. I like it. Let's go ahead and combine these. But before we do, let's name them. Let's go ahead. I'm just gonna name cloudy, tap Done. And starry. Starry with one R. I don't remember. I'm going to duplicate them before I combine them. Now I'm going to go ahead and start with a story on top and cloudy on the bottom. And combine. Let's clear this. Let's turn our background dark and turn our brush to a light blue or white or yellow. Let's see. Well, it's pretty good. I wanted to show you something. This is all I just discovered this through experimenting. I knew that it wasn't going to work to do stars first in clouds, second. I don't know why, but it gives this weird halo and it doesn't do it when you reverse it. Let's leave one here so we can compare it. And uncombined these. I even played with blend modes. One of the things that I also definitely play with is the rendering for each brush. But I swear he checked all the combos and while not all of them, but I tried a lot of them, I couldn't figure it out. But if I did uncombined, I did the Cloud on top and the stars as the secondary brush and combine. They work. See that? I don't know. Here's the difference. Hopefully you can see it on cameras. Got this weird halo rounded on this one. And not on this one. It's pixelated because we're zoomed so close in, but that's just because it's a raster image. Here's two side-by-side. This is obviously the effect that we're looking for, but now the Cloud is much stronger. Let's make a change to that. Let's go to Cloud which is already selected and rendering. Maybe change that to light glaze. I liked. I'm going to leave it on intense glaze, but turn down the flow. That's getting there though it's a lighter Cloud. I think the cloud is still wider than the stars. This is where you're just going to start going in and adjusting the brushes. So I can go to the heroine and go to Properties and bump the size app. I can go to the Cloud one and bump the flow down. Let's go ahead and oh, I cleared it yay. And try again. So that's great, that stars are bigger, the Cloud is more faded. I personally think that the bigger stars that we made for this brush are a little too big. So what I would do is I would go back in. I need to turn this back to white. Go back into this selected. If you want to keep this for some other reason, you can duplicate it and turn one off and then make adjustments to this one. I would decrease the size of these two. And three fingers swipe down, copy, all. Go back in just to the combo brush. Go back into the star brush here. And to shape source, you don't have to uncombined and change it and paste that right in depth, done, tap, Done. Let's go ahead and turn that off. You would be wise to change the name of your layers. I am not that wise. And go to a new layer that's turned on and try this again. That's really nice for what I was thinking in my head. That's just a personal preference than those stars aren't so bold. I think that there could be more of the stamps for the star brush. So let's go back to that and it were on shape. Maybe bump the count up to three. Tap Done. Let's move this guy over. That's a little bit more specially. Yes, so that is how you make your own stardust brush from scratch once you're happy with it. And I mean, honestly, let's face it, I'm not sure wherever truly happy once we really start using something, we go, Oh, I'm going to tweak this and we're gonna tweak that. But here's where you could name your brush. Pixie dust start us cosmic. Thus, subatomic particles. Dreamscape, if we're talking about pocket and his little dream, that is the brush that I was hoping to make. If you go to light, light to heavier to lighter again, you can see it's pretty similar. Might need more cloudiness back here, more blotches. But it's pretty similar to the brush that we were inspired by, that I was inspired by. That is one way to make a brush from scratch. 9. Recap!: Here we have the brushes that we made in this class. The artist crayon is the primary brush, Laura Puna as secondary. Laura Puna as primary artists crammed as secondary. I think we changed the blend modes for sure. This one is the two vine brushes, one bigger than the other, and the subtract blend mode to get that to erase from the center. And then of course, the brush that we made from scratch. As you can see, it takes a lot of experimenting and plane. Remember to put your brushes all in the same if brush set in order to be able to combine, choose the primary brush first and then swipe on the secondary brush second before you can combine. If you have a combined brush that you end up just thinking it's not going to work out and you want to combine it, tap on the secondary brush two times, tap on it again, uncombined right there. Remember the blend modes for the brushes are also access to that way. And that the blue bar on this side is the brush that you're currently editing. The top brush, the primary brush has more editing power. It is the only brush where you can edit the color dynamics, I think the wet mix and the materials. And then also within the settings, some of them have fewer settings. You can see on this secondary brush in rendering, you only have the flow here. And in the primary brush in rendering you have more options. There are some differences for sure between the primary and secondary. Don't forget to add your class project like a screenshot of some of the brushes that you made and let us know a little bit about them. 10. Thank You!: Thank you so much for taking this class. I hope you enjoyed learning about dual brushes in Procreate. Remember that in the About section and the resources section are the links to see Robin Davis's work. You'll also find links to sign up for my newsletter if you aren't already subscribed. I sent out freebies quite often, including recently a wonderful set of dual brushes inspired by robin davis studio. If you're just now joining, you still get access to all the freebies that you've missed in the past. So no worries about that. And a quick reminder, I have four other brush making classes. They all teach different skills. So if this is something that's interesting, it definitely check those out as well. Be sure to follow me on Skillshare so you get notified of my classes. We may get published and go to my profile where you can find my links to all the places I am online. See you next time.