Master Textures in Procreate with Your Own Brushes & Texture Overlays | Mel Armstrong | Skillshare

Playback Speed

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

Master Textures in Procreate with Your Own Brushes & Texture Overlays

teacher avatar Mel Armstrong, Illustrator, Pattern Addict & Teacher

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

17 Lessons (1h 42m)
    • 1. Hello & Welcome

    • 2. Why Use Textures?

    • 3. Blending modes

    • 4. Blocking in Colour

    • 5. Texture Overlays - Part 1

    • 6. Texture Overlays - Part 2

    • 7. My Favourite Texture Brushes

    • 8. Setting up your Brush Library

    • 9. Brush Studio Settings

    • 10. Detail brush

    • 11. Shading brush

    • 12. Organic texture brush

    • 13. Filler brush

    • 14. Background brush

    • 15. Stamp brushes

    • 16. Timelapse of Complete Illustration

    • 17. Final Thoughts

  • --
  • 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


In this class, you'll discover ways to create and enhance your Procreate illustrations with texture.

In my early days as an illustrator and surface pattern designer, I did everything in Adobe Illustrator.  Everything had a flat look, and even though I liked what I was producing, I wanted to add more interest to it in the way of texture.  I found adding texture in Ilustrator cumbersome.  I still love illustrator, but I wanted more flexibility when it comes to texture.

So over the years, I started to experiment with brushes and scanned in photos and paint marks to see if I could achieve the desired style I was working towards.  It took many years, but I can say now that I don’t have to think too hard when I’m in Photoshop or Procreate. I just paint and automatically know exactly what brush or texture to use for certain elements of my art.  I also still like to tinker and discover new ways of adding texture as well as creating brushes so that I can use those textures over and over.

In this class, you learn the following in Procreate:

  • How to convert photographs and painted marks into textures and how to use them as texture overlays in your illustrations
  • How to use existing brushes or bought brushes in your illustrations
  • How to create custom texture brushes and use them in your illustrations.
  • How to create custom stamp brushes and use them in your illustrations.

You will need:

  • iPad with Procreate installed + Apple Pencil
  • Paper - can be just plain computer paper
  • Paint brushes - these can be old brushes
  • Paint - you can use whatever you have on hand

Who is this class for:

Before starting this course, you should have a good knowledge of Procreate. Ideally, you’ve probably been using it for a year or so. This class is for anyone who creates digital art and wants to learn how to apply texture to their art.

I want you to take from it what you feel is something that resonates with the artwork that you produce.  I don’t want you walking away from this class with a complete replica of my work.  I want you to discover your own styles by learning my techniques to create unique and interesting textures for your work.

Also, don’t expect your work to transform overnight.  It took years for me to develop texture into my style.  I hope to reduce that timeframe for you, but it will still require you to set aside time every day to practice.   With patience and hard work, you’ll discover, over time, ways to incorporate texture into your work that is unique to you.


As a student of this class, you get my ENTIRE texture brush set to use for your own illustrations.  That's 21 brushes for FREE!! Yay!  These brushes can be used for personal and commercial use.  


Meet Your Teacher

Teacher Profile Image

Mel Armstrong

Illustrator, Pattern Addict & Teacher

Top Teacher


Hello and welcome!

I’m a full-time illustrator and surface pattern designer from Wellington, New Zealand.  I’m obsessed with creating beautiful things, from craft to illustration to sewing to IKEA flat packs (no kidding).  

I’m also obsessed with learning, which drew me to Skillshare.  Years ago, I stumbled across this little (well, actually big) gem, did some classes, and then voila, I became a teacher!  I teach what I love - illustration and surface pattern design - and I’m so happy I can share my skills with you all.  It’s an absolute joy to watch others grow to make a career out of what they love doing.

My client list includes Scholastic UK, Harper Collins, Hallmark Creative US, American Greeti... See full profile

Class Ratings

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

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

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. Hello & Welcome: Hello, I'm Mel, an illustrator and surface pattern designer living in Wellington, New Zealand. In my early days as an illustrator and surface pattern designer, I did everything in Adobe Illustrator. Everything had a flat look. Even though I liked what I was producing, it didn't have a unique traditional art feel to it. Over the years, I started to experiment with brushes and scanned-in photos and paint marks to see if I could achieve a desired style I was working towards. It took many years, but I can say now that I don't have to think too hard when I'm in Photoshop or Procreate. I just paint and automatically know exactly what brush or texture to use for certain elements of my art. In this class, I will show you how to create your very own texture brushes in Procreate, as well as textured overlays for your illustrations. This will involve learning how to convert photographs and painting marks into textures and how to use them as texture overlays in your illustrations in Procreate, how to use existing brushes or bought brushes in your illustrations in Procreate, how to create custom texture brushes and how to use them in your illustrations in Procreate, and how to create stamp brushes and how to use them in your illustrations in Procreate. By the end of this class, you will have your very own library of textured brushes and overlays that you can use to apply to your illustrations. For this class, you will need an iPad with Procreate installed plus an Apple pencil, some paper and old paint brushes, and some paint. You could use whatever paint you have on hand. I quite often use my kid's paints for this. To get the most out of this class, you will need to have a good understanding of Procreate. Finally, for your class project, you'll create a library of texture overlays and a library of texture brushes. I think it's time to get started. Let's do it. 2. Why Use Textures?: Using texture in your illustrations can make your work more interesting and more authentic. You can use textures to make your work look like you've painted in watercolor, gouache shock, even colored pencils. One simple overlay texture can completely transform your digital art. It takes once a flat design to something way more interesting. You can use textured brushes to add light and JT illustrations to make them bounce off the page. Now that we have a fair idea of how textures can transform your work, let's dive in and create some textures. 3. Blending modes: [MUSIC] Now before we dive in, let's talk about blending modes. A simple and quick way to create interesting effects in your illustrations is to use blending modes. Blending modes are a group of options that affect the way that two layers blend together. There are a multitude of options. Some will create a slight change to the appearance, and some will drastically change the look of your illustration. I use blending modes to add detail, shading and light, as well as interesting texture. It's a good idea to know how they work before you actually start creating, and using textures. To demonstrate, I'm going to show you what some of my favorite blending modes do to change the appearance of an illustration. Here's an illustration of some flowers that I did. At the moment, it has no texture other than the detailed lines. To access the blending modes, you need to go into your Layers panel. In here I've got my illustration on one layer and I've got some overlays that we're going to play with. You'll notice here on the right-hand side of the layer is the letter N. That stands for normal and it's basically saying that the blending mode is set to normal, which is basically no blending mode at all. When you click on the end, you can see the rest of the blending mode options there. If we just scroll through those, you can see there's quite a few. At the moment, I'm just changing them on the actual illustration layer itself, but when I use blending modes, I use it on the layers that are above the illustration layer or above the layer that I want to affect. Each of these layers above are overlays which I'll be showing you how to create in a later video, and by playing with the blending modes of each of these, it's going to really change the outlook of my illustration. Let's have a look. Now, the best way to discover how all of these work is to play with them. You'll find that different colors will affect the way that the blending modes change the appearance. For example, a light color will work a lot differently from a dark color, so it's actually quite a lot of fun just to get in there and play with the different blending modes just to see how they will affect your illustration. I find that I now gravitate towards maybe three or four different blending modes that I think suit my illustrations, but for you it might be different ones so it's really important to just have a play. In here I've got four texture overlays, which I will be showing you later on how to create, but this is just to demonstrate how the blending modes work with them. Let's have a look at this top one. This is just some watercolor paper that I've taken a photo of, and scanned in. Now, if I change the blending mode in here to, usually with a paper we'll go to - let me just turn these other ones off - probably, just a Multiply for that one. Then up here you've got the opacity so if you want to, you can adjust that. Now you can see that it's got a lovely paper texture. Let me go on a bit further. You can see that it's showing up on there so it looks like it's been created on watercolor paper. Then I've got a rustic one here that I'm going to play with. I'll probably choose something like a Multiply or a Color Burn. Let's try this Color Burn. That's just creating a very subtle rustic appearance. Generally, when the texture is dark, I will use the Darken blending modes. They used to have them in little categories, but they don't anymore. But the darker ones are generally the top ones and then it goes into the lighter ones down here, and then there's some more different ones further down. But they did use to have it in categories which was quite handy, but they don't anymore. That one I'm going to keep as Color Burn. Then I have some bark. I took a photo of a tree that had this interesting texture on it with some dashes and lines. I thought that would look quite cool. I would probably, because it's a darkish texture, I'll go with a Color Burn again and obviously adjust the opacity. I really like the way that it's affecting this part down here. Then this last one is just some painted on white. I used a texture brush to do it, I think. Let me just turn the others off so you can see it. Maybe change the background color. You can see it there. It's just a white texture. For that, let's remove the background layer again, turn those back on. I want a Lighten blending mode. I might actually add and this will really bump out the light quite like like that. You can see here now that it's completely changed the way my illustration looks, so let's have a look and compare. If I turn off those overlays, you can see it's quite flat and then with the textures over the top, it's come to life a bit. That's all through playing with the blending modes. Now, you can jump onto the Procreate website if you want to know exactly what each of those blending modes do. I'm not going to go through them all because really, I find you could look them up and find out the definition and that really, it's just playing with them that will make you understand better how they work. I will put the link in the classroom there for you to go, and have a look at each of the definitions of each of the blending modes. But really just have a play and see what each one does and you'll discover some really cool effects. In the next video, we're going to create the start of an illustration, and then I'm going to add textures, and take you through how to add the overlay textures as well as brushes and detail. See you there. [MUSIC] 4. Blocking in Colour: [MUSIC] We've got this sketch here that you're most welcome to use. You can just download it, or you can create your own sketch, and follow along either or. It doesn't matter. What I'm going to do is block in some color for this. Then in later lessons I'm going to show you how I add texture to bring interest to it. I've got this sketch on one layer. I'm going to turn a blending mode on cool multiply and then just lower the opacity. Then I'm going to create a layer below and I might lock that sketch layer so that I don't disturb it. I'm going to use one of my brushes here. It's called texture detail, which I'm going to show you how to create later on. But there are lots of brushes that come with Procreate that you could use. I quite often use the dry brush, which is in the inking library down here Dry Ink. That's a nice one. Also the Inka is my other favorite. But for this one I'm going to use the Texture Detail brush. I'm just going to block in some colors. Firstly, I'm just going to drag in a background layer. I'm just going to drag a color for the background and then create another layer on top. I'm going to start with the elements from the back to the front. Let's start with the ground here and I'm going to select this color. I'm just going to drag in the color sometimes when you do this, you might see if I zoom in here, you can see that it hasn't completely filled it in. The texture. Brushes created a nice, let me just turn that background layer off. It's created a nice textured outline. But you might not want these bits here, so you might need to fill them in. Another thing you can do when you pull on a color like that, let me just go back. When I pull it in, if you hold it, you can see we've got the threshold here. If I drag it up, that will then decrease the amount of bits missing there. I don't mind a little bit creates a nice textured effect. I'm just going to continue on and block in some more color. I generally do each element or color on a different layer. This is helpful later on when you add texture. I'm going to create a new layer here and start on the duck. [MUSIC] For the legs and the beak, I can do them on the same layer. [MUSIC] Next I'm going to do the eye. [MUSIC] Then I'm going to create a layer mask on top. I'm just going to duplicate that original layer of the eye. Then I'm going to clip it to the original layer. I'm also going to turn on Alpha lock and then change the color to black using the fill layer option. Then what I can do is drag it, and you can see that it stays within the eye. I'll group that and name it Eye. I might just a group that duck layer together and name it Duck. Creating new layer to create some of this foreground. [MUSIC]. To change this foreground layer to an overlay just as l want to create a reflection or lighter fit you can see how it blends with the other layers quite nicely. Creates a nice effect. I'll do some of that in the background too later on I think. Just to create some shadows. I'm going to leave that there. That is most of my color blocked in and at the moment it's looking pretty plain, has no detail, no texture, it's just blocked out color. In the next few videos, I'm going to show you how to create some textures to apply to an illustration such as this, just to bring them to life and add more interest. See you there. [MUSIC] 5. Texture Overlays - Part 1: [MUSIC] To create some texture overlays, I'm going to have a little play with some painted textures that I am then going to take onto my iPad, and create overlays with. All I've got here is a bit of watercolor paper. This is the Canson watercolor paper. You can also just use plain paper. You don't need to use any fancy paper for this, it really doesn't matter. What we want to do is just get some lovely textures on there. I've also got a couple of old brushes. These are actually just my kids brushes. I like them because they're so rough, and they create some really cool textures. I like to avoid using my good brushes for this. Then I'm just going to use some sepia wash which I'm going to water down. I've got my palette, I've got some paper towel, and I have water. All I'm going to do is, let's get some of this gouache on here. I'm just going to get that quite watery. Now you could use a black, you just need to use a really darkish color. I wouldn't go pure black, just a sepia or a Payne's gray, if you've got one, or if you've got some old kids paints, acrylic paints hanging around, sometimes I use them rather than using my good paint. Anything really as long as it's a darkish grayish color should work. Then all I wanted to do is just make some marks. [MUSIC] I wanted to show the brush strokes as much as possible, and I want to keep the color quite consistent all the way across. I'm just going to add a little bit more here. [MUSIC] I'm going to use my other brush to try and add a bit more interest to this. I want to see the brush strokes, so I find this adds them in. [MUSIC] You really just want to play. You don't know what you're going to end up with. It's just fun to play around, get them on your iPad, and then see what happens. You can't predict really what's going to happen. Once I'm done, I like to take a photo of that. Make sure when you take a photo that you have really good light. I have the set out under my camera and my light at the moment, so that would be a perfect place to take a photo. Another place is near a window. You just want it to be flat, no shadows, with good lighting, but you can then also play around once you get it on your iPad to get it the perfect texture and lighting. I'm going to create a few more and see where we go. This time I've just got some plain computer paper, just want to see what happens if I use that. I'm just going to use this brush a little like that. [MUSIC] I'm going to take a photo of that and send it over to my iPad as well. So I've got some textures here. I've got three here that I painted and have taken a photo of, and brought them into my iPad. I took the photo using my iPhone and then I AirDropped them across. Or you could just take them with your iPad or you could scan them. Whatever way, it doesn't really matter. Once we've got them in here, we can then adjust them as we need them. I've also taken a photo of watercolor paper, and I've got another photo here. It was meant to be a concrete look vinyl, and when I took a photo of it, I thought it looked like a sandy texture, so I thought that was pretty cool and I'd like to have a little play with that. What I normally do then is, I will adjust the saturation and a few other things in the Photos app on my iPad before I take them into Procreate. Let's start with this one. If there's any bits that I don't want on the edges, sometimes if you capture it with some shadows, you might get a very dark corner and you don't really want that, so you can crop it out. If I go into Edit, there's a little Crop button here, and then you can adjust that however you need it. But that's okay for the moment. Another thing is, there's some options down here on the right. I like to play with the exposure, sometimes the contrast, and I also like to desaturate it. I'm going to do that one first. I want it just to be black and white, grayish colors. I don't want any browns or any other color in it. By doing that, you can see the texture really pops. I normally start with saturation, and then might adjust the brightness. I like that. It really brings out the black and the white and you can see how much this could affect the end result. The contrast as well, we'll make the text just pop in different ways. If you put it at 100 percent, it's a little different to a minus 100 percent. This one, I'm going to keep it there. It's really just a matter of playing. The exposure also, you can really bring out the texture. I'm just going to click down on that and leave it. I'm just going to jump in and do the rest of these, and I might speed this up for you and see on the other side. [MUSIC] In the next video, we're going to take all of these textures into Procreate, and create overlays for an illustration. See you there. 6. Texture Overlays - Part 2: [MUSIC] I've got a few here now to play with. I'm going to jump back into Procreate. I'm going to open up the duck illustration and I just group all of these onto a single group and then input my images. Sorry, I'm going up to the Action, Add, Insert a photo. I'm just going to insert all of these and expand them out. Because these are textures, I don't mind if I'm increasing the size slightly. If it was the illustration, you wouldn't do that, obviously. [MUSIC] I'm going to group all of those. Let's call these my texture overlays, and let's start playing. I'm going to turn them all off. I'm just going to put the paper one at the top. I want to start with this bottom one here and have it play. That's cool. I'm going to adjust the opacity, get that too, vivid light. You see how already, you've instantly changed the look of the illustration. Look at the awesome texture on there and on the ground, it looks awesome. Then let's try another one. Basically, I'm just having different layers of different textures to add different effects. You can get rid of some, you can turn them on or off. It's just a matter of playing. This looks cool. I always seem to gravitate towards the Color Burn, I don't know why. Or the Color Dodge sometimes causes a really cool effect. Quite like that too. That's the Add. Let's have a go at this one. This light concretely one, let's see what we can do with that. Like that. Then lastly, I'm going to have a play with the watercolor paper. Generally, I put this on top and it will always be a multiply. Then it just creates that paper texture feeling. Now you can see that just by adding a few layers of texture, it's created a whole different look and feel to your illustration. I still need to go in and add some details and stuff, but for the moment that looks so much better than that. How easy is it? What you can do is create a canvas that has those textures that you've created. Just keep that as a template and reuse them and always put the textures on the top and the illustration on the bottom. Next step, I'm going to show you how brushes can be used to create texture in your illustrations. First up, I'm going to show you some of my favorite Procreate brushes that you get with Procreate, and then I'm going to show you some bought brushes that I really love. [MUSIC] Then we're going to start setting up our own brushes. See you there. 7. My Favourite Texture Brushes: [MUSIC] There are many brushes within Procreate that you can use to add texture to your illustration, as well as many brushes out there that you can buy. In this lesson, I'm just going to show you a few of my favorite Procreate brushes, as well as some of my favorite bought brushes. Let's start with some of my favorite Procreate brushes. I'm just going to turn this off and make another layer fist. My favorite Procreate brushes would probably have to be in the inking library and the Inca and the dry ink, two brushes that I use a lot. Let's have a look at the Inca brush. I'm just going to pick another color and might increase the size. I like the texture that it creates. You can see it's creating a nice texture on the side on the edge of the brush. I use this one a lot. Then if we clear that and the dry ink. This is another one. I like to color in with this one as well because if you can see there, it creates a lovely texture within the actual brush itself. Those are two that I use a lot of. Another one if we go into the drawing library is this Styx one. Let me just clear that. That one creates awesome texture. Sometimes I'll use this one over the top, like a overlay with the blending mode on. One more I'm going to show you in the painting library is this dry brush down here. [NOISE] That just gives us subtle texture that I sometimes put on top of some black color as well. That's four brushes that I use a lot that come with Procreate. There's no need to go buy anything special. But if you do want to jump out there in the world and by something special, I highly recommend Lisa Glanz brushes or Bardot brushes. I have a few Lisa Glanz ones. I've got this texture brush set here. This one which has got like stamps. These are great for overlaying on things. Then this Lisa Glanz nitty-gritty, which is a relatively new one. This one has a wide variety of brushes that you can use for different things: there's sketching brushes, there's Philip brushes, textures, shading brushes and then she's always got stamps in here. These are some really cool stamps. If you have a look at this. [NOISE] I'm going to show you how you can create your own stamps out of this later on. But if you don't want to create your own, you can always go and buy some. I just highly recommend checking the license requirements for them so you can determine how you can use them. Some licenses may not allow you to use those brushes commercially. You wouldn't be able to use them in an illustration that you're going to license or sell. Lisa Glanz brushes when bought via Design cuts can be used for commercial projects, but the company that you are selling to or licensing to must have an annual revenue of less than 25 million. It does pay to check those requirements before using those brushes. I have links to all of these bought brushes in the resources download. Go check them out and let me know what you think and if you buy any and what you create. Now, if you do buy brushes and you want to install them, you can. Sometimes I will download them to my computer then air drop them across. Then you can open them up into Procreate and they will just add to your brush library. Or if you want to, you can add them by just going to your files. If you've got your Dropbox connected or you have the Cloud connected, you can then navigate to where you've saved your brushes and you just need to then download them. I've got my Bardot Gouache paint box brushes open here. I'm just going to select one and it's just going to import it for me. It will be in the Imported, Recent. There it is there. Then you can put them into a library wherever you like. Sometimes when you buy a brush set, you can just have the one file and it will completely install the whole set into the library, which is great. The Lisa Glanz brushes do that. Next up we're going to dive into creating brushes. The first thing we're going to do is set up a brush library. [MUSIC] See you there. 8. Setting up your Brush Library: [MUSIC] In this lesson, we're going to start setting up a brush library, so that we can create some texture brushes, and keep them nicely organized for illustrations that you create from now on. If we go into my brush library here and go up to my brush library, I have them into categories. I've got some detail brushes. Then I call this one organic textures that are created from some paint that I've splattered or created using traditional methods. I have some filler brushes which are great for blocking color or adding texture to blocks of color. I have some light and shade, which are basically my shading brushes where I add some shade or light to the illustration. I have some background brushes, these are quite large and they are good for creating textured backgrounds. Then I have some stamps which are funky little brushes that you can use to stamp on different areas on your illustration. I'm going to show you how I set this up, to create these little categories, what are we going to do? I'm going to go back out to the gallery, I'm going to create a new Canvas. I'm just going to create a square 2,048 by 2,048 pixels, and then go into my Brush Library, and if you scroll up to the top of the libraries, sometimes it disappears, you can see it's disappearing, but you want to get that up there, you can click on the "Plus" sign to create another set. In here, you can call it whatever you like, it's going to be your brushes. For this, I'm just going to call it example library. Now we can then add our brushes to the right, and if you go back to my library, you can see I've got this category headings. Let's create some of them. We'll start with the detail brushes one, I'm going to go to my Canvas, I'm going to click on the "Tool" and then "Add', and then "Add Text." And then I'm going to type in detail brushes. Now I also want this to be black, I'm just going to select all of that and go up into my Palettes. Go to the classic one, if I drag it down to the bottom left, it will do a pure black for me. Then I might edit the font, let's select all of that, go into the Font. I also want to make it all capital, I can do that quickly by just clicking on that one. I also want it to be all on one line. We want to change the font to whatever you want, you can change the size just as long as it's on one line like that, and click "Done." I'm going to then turn on snapping, and select it just so that I can get it right in the middle, and you can see that orange line come up to snap it. Not sure if that really working on. There we go. That's better. Once we've got that there, we want to edit to the library. Then we need to go to the Tools, and then select "Copy canvas" and what that is doing is copying everything on there. We can then go back to our Brush Library, and then click on the "Plus" then click on any shape, then click on "Edit," "Import," "Paste." Then we want to invert it, we just click it once with two fingers and then that will invert it so the text is white and the background is black, and then make sure you click on "Done." Then go to the Stroke Path, now you want to increase the spacing to the mix to create a stamp effect, then go to Properties and we want to change the maximum size. I'm going to boost that up, we just want to have one showing and then the minimum size, and you may need to come back out and adjust this. Also, turn on use stamp preview, I'm just going to click on "Done." Go back there, and you can see that sitting nicely in the middle there. To go back in and adjust, just click it and go back in, and you may need to adjust the size, if I click on it again, now that's gotten too big. I'm just going to reduce that minimum size, and that looks fine to me. Then if I go back up, you can see it says untitled brush. We'll get rid of that, we'll go to the About this brush, and then in here I normally like to put an icon rather than a name. I'm going to click on my little emoji icon down here and find an icon or emoji that you think suits it. It really doesn't matter, I might just do that little tag. You can also write in here who it's by, and you can put image in here if you wanted to, from your camera or your photos. I'm just going to leave that for now. Now we've got that little icon there, and we've got the name of the category, and the easiest way to do that is to just duplicate it. Then go back to here, and edit the text for the next category. I'm going to put shaders, I go back into there and just turn on the all caps, then we can go to the tool Copy canvas. Then if we go into that second one, what we need to do is go to the Shape, and Edit, Import, Paste, and everything else should remain the same. You may need to adjust the size. But in here, the maximum size or minimum size, but generally they should all work. I forgot to click "Save" again, then I click "Done." Go to Shape, Edit, Import, Paste, Done. [LAUGHTER] Let's have a look. Great. We just repeat that for all the brush categories that we want to do. I'm going to go ahead and create a few more categories, and I'll just speed it up. [MUSIC] Now we have 1, 2, 3, 4, 5, 6 categories, and we can now go on and create some brushes. In the next few videos, I am going to show you how to set up your own brushes for each of these categories. We're going to start off with learning about all the settings in the Brush Studio, and then I am going to take you through individual brushes. See you there. [MUSIC] 9. Brush Studio Settings: In this lesson, I'm going to briefly show you some of the Procreate Brush studio settings. Now, there are a lot of settings in Procreate Brush studio, and it would be impossible to learn them all at once, so I have created a guide to download and keep as a reference to refer to when creating brushes in Procreate, but I do find the best way to learn each of the settings is to jump in and explore existing brushes and create your own playing with the different settings to discover what they do. So let's jump into the brush studio. To access the brush studio, we either click on an existing brush or click on the "Plus sign" at the top right-hand corner of the brush library panel to create a new brush. The drawing pad can be used to test and preview your brush as you're adjusting the settings. You can also clear the drawing pad, adjust the preview size, and change the color. You can also use the import option to import brushes that you may have bought. I save bought brushes to my Dropbox folder, which then allows me to easily import them into Procreate. So let's start with the stroke path. The options in the stroke path allow you to adjust how your stroke will appear. This is a great area to create stamp brushes. The spacing determines how smooth or jagged the stroke looks and the jitter offsets each shape from the stroke path, which is great for creating an interesting texture edge. I use this for texture detail brushes. Falloff starts with full opacity and it fades away with the stroke like the brushes running out of paint. Streamline controls how smooth the line is when drawing. I like to decrease the streamline for a hand-drawn effect and then increase it for when I'm drawing letters or I'm trying to achieve a straight smooth align. The next section is taper, so taper refers to the thickness of the strokes, start and finish ends. There are two options in here. There is the pressure taper, which allows you to select how much tip of your brush will have and then you've got the touch taper settings work with your finger rather than the Apple pencil. This is the shape of the brush and it is generally where you start adjusting settings when you create a brush, you have the option to import an image or a file. You could import from the Procreate library or you can paste from the Canvas. To paste from the Canvas, you must first copy the entire Canvas and once you've imported the shape, you can then invert it using two fingers. Now I want to show you how to do this when we actually start setting up brushes. The next one I want to show you is the grain setting. and this is where you can change the settings to manipulate how the grain behaves so you can also create grain from any image and you can adjust if it stays still behind the stroke or if it moves with it. Grain is the texture that sits inside of your brush shape so when you paint a stroke, the grain roles inside the shape onto your Canvas. Rendering adjust how the brush reacts to the Canvas on the screen. In here, you can change the way colors and strokes behave on your brush and how they interact with the Canvas, and you've got two sections here. The rendering mode is how the brush reacts to previous strokes in the canvas. These attributes work well with paint type brushes and the options range from diluted paint, too thick paint. I typically use the intense blending option. With blending, these blending options affect how the paint interacts with other colors, how diluted it is and how the edges look. The width makes options change the way the paint works with the Canvas and other colors. These options are great for wet brushes like paints. The color dynamics, settings that work with the Apple pencil to change the color, saturation, the brightness, and darkness of a brush stroke based on how much pressure and touch you apply to the pencil. The stamp color jitter settings that can be seen best when the stroke spacing setting is set too high. You can change these settings to alter the color attributes for each specific color stamp in a stroke. You can change the color in the drawing pad from white to see these effects, and the stroke color jitter settings change each new stroke. It has the same settings as the stamp color jitter, but vary from stroke to stroke instead of affecting each stamp. The colored pressure settings change with the pressure of the Apple pencil. The color tilt settings change depending on how the Apple pencil is tilted. In the dynamics settings, you can control how much your brush changes depending on how fast you draw or write. Plus it adds randomness with jitter. Now these settings do not depend on an Apple pencil, so they can be really good for people drawing with their fingers. So the speed settings change the brush depending on how fast you draw so you can change the size or opacity depending on how fast or slow you draw and then the jitter changes settings on how your shape appears at each stroke, which is not affected by the speed. The Apple pencil settings. How the Apple pencil interacts with the Canvas. The pressure settings change the way the Apple pencil response to pressure and the tilt settings change the way the Apple pencil response to it being tilted. Then we've got the properties. These are the basic overall general settings for the brush. Use the brush properties settings to change how the brushes show up in your brush library and how they react to smudging and change the brush behavior settings to set the maximum and minimum size and the opacity of your brush. The materials settings I've actually not used, but this is where you can adjust the roughness and the metallic materials for 3D drawing, and then finally, in the about this brush section, you can add your name and you can add a logo. You can also reset your brush back to the defaults or set reset points, which is really handy for when you want to play around with different settings without losing what you have previously set. Now, download the PDF, which has all of the settings listed at and what they do and I would recommend getting in there and having a play and follow along with the next videos but if you want to know a little bit more about a certain brush and each of its settings, jump onto the PDF and have a read so that you can understand each of these settings and what they do. Next up we're going to create a custom texture brush. See you there. 10. Detail brush: [MUSIC] The first brush we are going to create is a detail brush. I use a texture data brush to add line details to my illustration. In my library, I have one here called textured detail. Say if I wanted to add some detail to this beak, I would select the beak color. I'll have the texture, detail brush selected, and then let's just jump in here. Above that layer, I would add another layer and clip it. I will change the blending mode to multiply. Then using my detail brush, I can add some detail. That might be a little too big. Let's make it a bit smaller. You can see there it's created a nice little mouth. We can just change the opacity to that as well. This brush here you can see has a lovely texture on it. Let's go ahead and create something like this, just using the existing shapes within the Procreate brush studio. Let's go on to my example library and click on the "Plus" to create a new brush. The first thing I'd like to do is go to the shape properties. This basically is the shape of the brush. I like to start here, and then I will play with the other settings to create the desired outcome. If I go into the shape and then go to Edit and then Import, there's an option here to go to the Source library. In here you can find all sorts of wonderful texture shapes to use for your brushes. For this one, I want something that has quite a textured edge to it. I think this one here, the ink Number 2 is what I want to use. Then make sure you click on "Done". We want to adjust the scatter because at the moment it's all going in one direction. We want the shape to rotate to create a textured edge. Then another thing I like to do is I think I'll go up to the stroke path here and adjust how smooth or jagged the stroke path is. I'm probably going to bump that all the way down because I don't want any gaps in between and I want it quite full. I just want the edge to have the texture. I think that looks a bit better. Now the stabilization is another area I like to play with. But the only setting for this paintbrush is probably the streamline. What that does is it smooths it out when you draw it. At the moment it's too thick and I want the edges to be a little bit tapered. Let's go down to the next settings, the taper, and I'm going to adjust the pressure taper a bit. I want the size to be max. If you use your finger to draw, you can adjust the touch taper as well. Another one I like to play with is rendering, which is how it interacts with the canvas when painting or drawing. I think I'm going to go with the intense because this is going to be a detail brush and I want it to be quite intense, I guess, and not fade out like that. I'm going to leave that one in there and the rest of the settings I can leave as well. You can also play with the blending modes down in here as well, which I do with some other brushes if I want them to interact with different layers. Obviously, that will affect the way that they appear but I'm just going to make them as default. The wet mix I will leave as is. Another one I want to check is the Apple pencil. This one affects when you tilt your Apple pencil, how much it affects the brush. This is a good one for when you're creating say a pencil brush and you want to be able to do some shading on the side. But for this one, I'm just going to keep it at about 10 percent. I'm going to change the opacity to none and the size to max as well. Let me just clear that. This is the pressure. Depending on how hard I push on the pencil, it will affect the size of the pressure. If I'm going to do it lightly, it's quite small, then if I push quite heavily, you can see that it's getting quite big. You can turn that down so that it doesn't do it as much. But I'm going to do that on max so that I have the mix ability here. The last one is the properties. In here, I might change the maximum size. At the moment it's too big for detail work so I'm going to bump that down to maybe about 20 percent. That looks good. The rest can stay the same. Now that's starting to look quite good. The last thing I'd like to do is name it. This one I'm going to call detail brush. I can put my name in here and then click "Done". Now we need to drag that into my detail brush category. If I just hold and click and then drag it down underneath there. Then let's test this out. I'm going to go and put some detail on the duck here. Let's just turn my sketch on to see what I was planning to do. I'm going to go and put a new layer on top and clip it. Change that to multiply and make sure that I've got the same color as the duck and then here's my detail brush. To add some detail, let's just bump down the size. That's where if you wanted a really smooth line, you can go back in and go to the stabilization and increase the streamline. I quite often play with the streamline throughout the process of an illustration so something to be aware of. I'm just going to clear that now and try again because I want a smooth line, not so jagged. Just turn that sketch off and then in that looks a bit better. I'll add some more here, then maybe some little ones down here as well. Next step I'm going to show you how to create a shading brush. I'll see you then. [MUSIC] 11. Shading brush: [MUSIC] In this video, I'm going to show you how to create a shading brush. So I have a few shading brushes that I've created. I'm going to show you how I created this gritty shade one. This one has both a shape and a grain. The grain I used from the source library and the shape I created myself so let's have some fun and create this one. Let's just hide that for the moment and on a blank layer, I want a black color so change it to black. Then I'm going to use the inker brush. That's in the inking library and then just select "Inker." With this, I'm just going to create some marks. Now, when you do this, you need to create them in a circle shape. Basically, just brush them on. You can use whatever shape you want really this is just to create that gritty feel. You could use dots maybe but you want them going around in a circle. Well, contained within a circle, I guess. That's looking okay. I'm going to then go to the tool again and then copy canvas. Then let's go back to our library and create a new brush. The first thing we're going to do is add that shape. Go to the shape, go to edit, go to import and paste. Then once again, we want to invert that. So a two-finger tap and then click done and while we're in this part, let's increase the scatter, maybe around 30. We also want the rotation so that you can see that there is rotating each of the little fragments in there just to make it more scattered, I guess. You might even increase the count a little bit and the jitter. If I put the randomizer on even, it creates more random in the shape behavior. Now you can see it's starting to create a really nice texture there, a shading texture. Let's go and find a grain. In the grain, go to edit, import, and go to the source library. Now I'm wanting a concrete grain. I'm just going to look through here, I want something with the scratches on it. That one could be good. That one could be quite good too. This is the one that I think I use. It's scraped. It's very subtle. It has some little scratches on it. Yeah, that looks good. I'm going to invert that too and then click done. I'm just going to play with some of these settings. I'm going to keep the rolling movement as it is. Maybe increase the scale. Now you can suddenly see the grain there. Let me move that up and down and you can see it getting bigger or smaller within the brush. I'm going to maybe put it around 50 or 40. I want the zoom to be nothing and I think I'll leave that on there like that. It's starting to look really good. In the stroke path, I want to turn on the jitters. You can see that, they're really big, you can see it jitter's all the way out. I just probably wanted about 50. That's creating a really nice edge to it that tapers out a bit. I don't want any of the stabilization there. I want to be very organic and raw, so I don't want any streamline. I will put a little bit of taper on this. I increase the size of that and put the opacity all the way to the max. I just adjust that so that the pressure that you put on doesn't affect it too much and sharpen that up a bit. I'm just going to adjust the settings for the touch taper as well. Now I think the rendering needs to be adjusted. Maybe that's going to be too light with the intense. I want to sway that in that tense bleeding seems to be my favorite and the rest can stay the same. In the Apple pencil, I'm going to turn the opacity all the way off just to see what that does. It just makes it a bit more intense. That was for the pressure and then with the tilt, I'm going to turn the opacity all the way on and that will cause it to be quite the opacity to kick-in just on the tilt. If I'm putting it straight up and down, you can see it's quite intense and then if I do it on this side, it's quiet light. That gives you a bit of freedom to play when you're actually shading to change the way that it appears when you do it. If I turn the graduation up that will help that even more. Let's clear that out. I'm going to just play with the size here a bit with the bleed. That looks pretty good. In the properties, I'm just going to turn the orient to screen off and change the size slightly. Adjust the opacity and then I'm going to name this. We just need to drag that into the shades and we can now get rid of that layer and let's turn back on our illustration and just test that out. I'm going to create another layer above the base layer of the duck. Once again, I'm going to put it on multiply and select that pink color again. Let's just see what happens when we put that into there and that creates a lovely shade underneath. If you wanted to, you could then create some light, so if I turn on overlay and then change this to white and do it on the top and just bump down the opacity. It just gives it a bit of light so now you've got to be light and shade to create a full illustration, not so flat. The next one we're going to create is a organic type texture that we can put on top of that to create some more interest on our duck and illustration [MUSIC] See you then. 12. Organic texture brush: [MUSIC] In this lesson, I'm going to show you how to create a organic texture type brush. In my library, I have this one here called salt and pepper. I'm going to show you how I created that and so you can then create your own. For this one, I used a texture that I had scanned in for the grain. Then for the shape, I used a texture from the library. I'm going to jump out of here and go into this square. Needs to be a square because the texture that I'm going to use, I want it to repeat, so I'm going to create a repeating texture. I'm going to go into my photos, and I've got this leather here. It's actually fake look leather, and I'm just going to adjust it. We're going to get rid of the saturation that way and maybe brighten it up and adjust the contrast. I might also just crop it a bit to get rid of that bright spot over there, that will do, I'm going to get back into Procreate, and I'm going to bring that in and just increase that to make it fit. Now we can create our brush. I just want to copy the canvas. Then click on the plus to create a new brush. Go to Grain, Edit, Import, Paste, and we're going to leave that as is. I don't need to invert that because I want it dark. Click "Done." I'm just going to boost up the scale a bit. This is the scale of the grain within the brush. You can see that it doesn't increase the size of the brush, just the grain within it. I want the zoom off, I think. You play with it a bit more. The rest can stay like that. Now we want to change the shape source, I'm going to go into Shape, Edit, Import. This time I'm going to go to the Source Library, and I'm going to select this one here called Azimuth. I don't need to invert that either I'm going to leave that as is. This is the shape of the actual brush, so we do want to scatter this a bit to give it a nice texture each and turn up the rotation and Azimuth needs to be turned on as well. In this Stroke path, I'm going to maybe just adjust the jitter a little and just see what the spacing does there. I'm going to go back to the grain and just change the brightness down. Just, this will take away a lot of the grain and just leave it with some speckles. I'm also changing the blend mode as well, just to make it stand out a bit better and in the properties, I just want to change the maximum size, to make it quite big, and the minimum and make sure the maximum opacity is on as well. Now you can start to see these really cool flickers like salt and pepper is how I called it and the Apple Pencil, I'm just going to change the flow to max. The opacity down and the rendering I'm also going to have a play with so making much difference. That's starting to look pretty good, so let's have a go with that. Drag notes, we haven't named it. Go back to the name, salt and pepper was the name I think I had. Salt and pepper and drag that down into my organic textures there. Let's go back out to our illustration and add some to, let's send some to the ground. Actually never said some to the duck, so I'm going to create another layer that's on the multiple blend mode. Also going to select that pink color again. Make sure my salt and pepper is selected, and then you can see that there, maybe down the scale of it a bit, just creates a lovely organic texture on top. The next brush I'm going to demonstrate is a filler brush, which I use for large color-blocked areas, so maybe for the ground, just to give it a bit more organic feeling, so I will see you there. [MUSIC] 13. Filler brush: In this video, I'm going to show you how to create a filler brush. I use filler brushes to add texture to larger areas of the illustration. In this example, I would probably use a filler brush to add texture to that ground area there. I'm going to show you how I created this one here called forest floor. This one used a combination of a scratchy painting. I used a dry brush and created this lovely texture, took a photo of it, and scanned it in. It also uses, we go in here, and then I used a grain from the Procreate studio library. Let's go ahead and create this brush. The first thing I need to do is to adjust the saturation of that painted texture. In my photos, I've got it here. I'm going to go to edit. Much like the other scanned and textures, I'm going to make some adjustments in my Photos app. We're going to go back into Procreate. I'm going to go into my brush library and create a new one. First thing I want to do is bring in that shape and then go to Edit, Import. This time it's going to import it from a photo, and I'm going to select it there and then I want to invert it as well. I demand that she turn it around, so the bit that's tapered off is at the bottom, then click "Done". While I'm here, I'm going to increase the rotation and this scatter just slightly and turn on the azimuth. Then let's find a grain for that. Import and this time I'm going to take it from the source library and I'm going to this grunge grain here. Click "Done", leave that as it is. This time I'm going to click on this "Texturized" option. I'm going to just brighten it up a bit and change the contrast a little. With the stroke path we don't need any jitter or fall off, but I'm just going to change that spacing slightly. We don't need to address anything in the stabilization for this one. I will adjust the pressure taper quite a bit, the size. Now you can see that it's got a nice taper on the end. Just so I can have this for multiple uses really. I could use it as a detail brush as well maybe, change the opacity to max, and I'll take the pressure down and just maybe I'll make that so sharp. Then turn off tip animation and then I'm going to adjust the touch taper as well. Now it's got these beautiful tapers at the end, depending on how I put the pressure on my pen. In rendering, I'm going to change it to intense. I might up the wet edges a bit and the burnt edges. Apple pencil, I'm going to turn the opacity off and turn the size up. Same down here with the tilt, turn the opacity up to about 80, their gradation to 100 percent. A little bit of bleed and the size up to about 63. In properties, we can probably keep these all the same, I'm going to turn orient to screen off. Let's just do the max size as big as possible, because we're going to use this to cover quite a big area. Change to the minimum size. The rest can stay the same and I'm going to change the title. I think I'll call this forest floor, add these little fairy ends. This could be good for like a fairy character or something, couldn't it? It's great. Let's test this out. Let's just put them in a filler brushes. I'm going to select this color and go to my ground layer and create a layer on top, clip it, and turn on the multiply blend mode. Let's see what happens when we paint over that. That's really nice, I like that. Then if we just bump down the opacity, just to make it a little bit more subtle. Another thing I could probably put in here is create, let's create another layer and use my salt and paper. Just add a little bit more and then you could also add another layer and put multiply on again and create a bit of a shade onto the bird maybe under the duck. As you can see, everything's starting to come to life now with these brushes. I think we've got one or a couple more. Let's do a background brush now. This is something that I will use to create a lovely textured background. I will see you there. 14. Background brush: [MUSIC] For my background brush, I'm going to recreate this scratchy background, although I can't quite remember exactly what I used for this, but I'm going to combine a few photos and some manual painting to see if I can create that one. Let's go back, and if I go into my photos, I have a couple of textures here that I want to use or try. This one here is like a concrete. I'm going to edit these much like my other textures. Let's see what happens when we combine these. I'm going to import these photos, let's do the concrete first and then the mossy concrete thing. With these, because I'm using two, I need to play with the blending modes so I'm going to just adjust the blending mode on this one to a multiply maybe on a color burn. Then on top of that, I'm going to select a dark color and go to my inker and just add some little splotches, and then maybe it's going to use my detail brush that we just created and just do some little scratches. Then I'm going to change the blending mode again. I just want them to be very social. Very few more scratches. I'm going to give that a go. I'm going to combine them all together and I'm going to create a repeat from that so I need three more copies, and I need to drag each to the corners making sure snapping is on. Then I'm going to combine these. This may be a bit hard because it's quite a defined line there, but we'll give it a go. To do this, we need to use the clone, which is in the adjustments menu and I'm going to play in that bit there. I just want to make sure this is on a texture. We could probably even use that first floor. I'm just going to bump down the opacity a bit. I'm just doing this very lightly. That will do. Now, I just want to copy canvas, go into my brushes, and create a new one. Then go to Grain, Edit, Import, Paste. Just play with the invert there. I think I like it in the darker version. Before I change any settings, I'll just go to the shape and select that first. Before I'm getting this one from the source library, I use that one there, and I might twist it around as well. I'll click Done. While we're in here, I'm going to adjust the rotation to that. We get it rotating as it moves. The scatter can stay off and I might just use this Flip X and then if we go into the grain and I'm going to use this texturized setting again and bump up the scale a little and just change the depth. I'm also going to change the blend mode to height. Let's go to the stroke path. I'm going to leave that as is. Maybe just reduce that a bit. I can increase the pressure here for the streamline. The rest can stay the same. I'm going to leave this as is. I might just turn it to animation off, and rendering is what's going to change it quite a bit. This clear that. It's starting to come together. Now let's look at the properties. For this because it's going to be for a background, I'm going to make it quite big. I'm going to test this out with a color as well because I wouldn't use a black. With the color, you can see those scratches coming through and the backgrounds getting quite a nice look to it. Let's give this a name. Let's call that Scratchy Background. Let's go and see what that looks like on an illustration. Above that background layer, I'm going to select a color, maybe this one, but a little bit lighter. That's right. Put this background scratchy in here. Let's see what happens. That was way too big. At the moment, you can't really see much. But if we go over it again and do it a bit lighter, I can see this scratch is coming in. I'll probably go back in and adjust some of the settings. You can't see the burnout, but I just want to show you what it looks like so you can see the texture there coming through in the background. Next step I'm going to show you how to create texture stamps, which are really good for just stamping on different things. You can create little patterns to stamp or little symbols. The options are really endless. I will see you then. [MUSIC] 15. Stamp brushes: [MUSIC] For this brush, we're going to create a watercolor blob brush. I'm actually going to use this Gouache Tempera primary blue. I've just put it in my palette, and I'm going to add some water and get that really watery just like watercolor. I find it's best to use a bluish color for this. What I'm going to do is just do some watery blobs. [MUSIC] Make some with lots of water, some without. Just want a variety. [MUSIC] That will do. I will take a photo of that and bring it into my iPad. I have taken a photo, and I've sent it over to my iPad. I've got open it in photos. I'm going to edit my photo, and just get rid of the watercolor paper a bit. I'm going to first adjust the saturation and the contrast. The brightness is where it will take away the textured background there. You could always just do this on computer paper if you don't want to have to do the step and that will do. I'm going to jump into Procreate. Let's go back to this working file here. We can get rid of that. I'm going to input that photo. I'm just going to select this one here. Three fingers to cut and paste. Then this part here, I'm going to increase the size a little bit. I'm also going to adjust it a bit more because I can still see the paper around the edge. I'm going to use the curves to just adjust that a bit. Then let's do a Copy canvas, and create our new brush. Go to Shape, Edit, Import, Paste, and then invert. We need to increase the scatter to the mix. If we go the the straight path, because this is a step, we want to increase the spacing to the mix so that we can stamp it. We don't need anything on the stabilization on. We can edit taper, and turn the pressure off. The rendering, I'm going to change that to intense blending again and keep the rest as this. We might in the wet mix, turn off the charge, and keep the rest as this. Nothing in color dynamics, or dynamics. In the Apple pencil, I'm going to turn the opacity off. I'm just going to adjust the tilt as well, and leave the rest. Then maximum size. We want to really bump it up. I'm going to turn this smudge off and the preview down to one percent. That just clear the drawing pad. We want to use stamp preview as well. Now when we stamp, we can see it's just the watercolor stamp. Let's rename this to watercolor. Clear that and test this out. That looks good. Let's go to our illustration, and let's add this to the ground as well. I'm going to select that same ground color, and put the blending mode to multiply. Make sure my stamp is selected. Actually, I need to drag that down into my stamps. Let's see what happens. Let's see, creates a lovely texture there. It just looks like it's shadows from the leaves. It really adds another level of texture to your illustrations. I could do the same on the deck as well. Let's try that. That just really creates an interesting look. Let's create another stamp. This time, let's go to our little playground here. I'll get rid of that one. For this stamp, I want to create a stamp that has dashes on it, so let's just go back. I'll show you what I mean. This one here, I call it the Inks Dash. To create that, all I do is use my inking brush, the inker, and let's change the color to black. We just need to create some dashes, let's increase the size. They need to be arranged in that circle like we did before. That'll do, go to the Actions, Copy canvas, and this time let's go to Library and Duplicate the watercolor stem. Because all the settings are going to be pretty much the same. If we go into there, go to the shape, go to Edit, Import, Paste, and you've pasted in your dashes. We don't really need to change anything else other than the name. We can call that Dash Stamp. Let's go back to our illustration, and give that a color. Perhaps we could do something in the background. Let's try a white color and looks a bit big. Creates an interesting effect. I might change the overlay there. I probably won't keep that, but it's just really to demonstrate what you could do. You could also do it on the deck. Maybe there's a different effect. That's it. Basically now, you should have a library of brushes that will help you to create an illustration with lots of interesting textures. I want you to go, and have a go at those. Create some of your own. Follow along with these ones, but then go and create some that are yours that allow you to have a play around with all the settings and discover new ways of doing it, but try and do different types, so different categories, detail brushes, shaders, backgrounds, and stamps, and build up your library with textures that you can use again and again, and that will help develop your style as well. In the next video, I'm going to show you how I completed the illustration. I'm just going to take you through the whole thing using these brushes, right through to the end Illustration. See you there. 17. Final Thoughts: Wow, you made it to the end. Thank you so much for coming on this little texture journey with me. I really hope that you discovered the joy of textures and how they can enrich your illustrations in Procreate. I'd love to see the brushes that you've created, so please do upload them to the project's gallery. Don't forget, you can download my full texture brush set for Procreate. It's in the download section and it's free for you to use for personal work and commercial work. If you want to find more tips, I have a newsletter subscription which I share all sorts of goodies and inspiration and tutorials. So just click on my link in the profile or visit my website, to sign up. If you're sharing on social media, don't forget to tag me Mel Armstrong, Skillshare so I can see your gorgeous work. Thanks again for watching. I'll see you in the next class. Bye for now.