Create Your First 10 Brushes in CLIP STUDIO PAINT

1. Class Intro: All right, three flowers down, only 300 or somewhere to go. With this pace, I should probably be done in a few, a few months. Maybe. More and more people are starting to use Clip Studio Paint as their main drawing tool. And there's a lot of good reasons for it. It feels amazing to work in and they're constantly adding new features. But one feature that I think often goes overlooked is clip studios, amazing brush engine. It has so much potential from brushes that feel just like using real paint. Two brushes that save you oceans of time or longer pieces. In this class, you'll learn the ins and outs of this amazing tool by making your first ten custom brushes that we'll be ready for use in your very next piece. You'll also be able to download the tent example brushes and just use them however you want. I'll show you how to do every step of the process. And by the end of it, you will feel perfectly comfortable to make whatever kind of brush fits the situation. The best way to learn is by doing. So, let's get started. 2. Basic Brush 1 - Your First Brush: Alright, so let's get started by making sure that our Clip Studio screens look the exact same. That'll make it a lot easier for us to find the information that we need for making our custom brushes. These panels here on the left are also called Windows, and you can select which ones you want to see by going up to the window tab and de-selecting or selecting the ones that you want. So here, if I de-select the color wheel, you can see disappears. By selecting it, it'll come back. And the five windows that I want you to have selected are the sub tool window, the tool Property window, the color wheel window, the Layer window, and the Layer Property window. Next you can go up to File New, and under the presets, just select the fork presets. Now the next thing I want to do is I want to create a brush group for only the brushes that we're going to make during this course. Under the pencil tool here, you can see there's a bunch of different brushes at my disposal. And under the brush tool and the Pen tool. It's the same thing. In CSP, brushes are also referred to as sub tools. For every main tool on the left, you have a bunch of different sub tool options. So what we wanna do is we want to create a group for only the sub tools that we're going to make during this class. The easiest way to create a group for new sub tools is to actually create a new sub tool and then drag that off to a separate group. To create our first ever brush. We can go up to these three lines. Create custom sub tool. You can name these whatever you want. I'm going to name it first brush. And under the input process, I'm just going to set that to Penn. Now when I hit Okay, you'll see it's already created our first drawing brush. I can click and drag that and move it around. And that little red line indicates where it's going to go. I'm going to move it up until that red line is off to the side to one of our groups. And you can see it's created our first custom brush group. Now I think we're all set to get started with the rest of the course. 3. Basic Brush 2 - Sketching Brush: Alright, so our first brushes here, and it's already ready to use. If you want to, you can click it and start drawing with it right away. But of course, the interesting part is learning how to change how exactly that brush looks. So to do that, we can actually go into the pool property window and clicking this little wrench icon, we can explore what it is that makes this brush work. In this window that's just opened up. You can see all the settings at your disposal for making your own custom brushes. And if we start with the basics, you can see here, we've got a nice brush size slider. And if I move that down, we can make the brush very small. If we move it up, we can make it much bigger. One thing you might already have noticed is when I press very lightly on this brush, we get a very thin line. Whereas if I press more firmly, it gets a lot thicker. And the reason for that is this little gray rectangle here. If I click it, you can see that under the inputs affecting brush size, the pen pressure box is checked. So the degree to which I press on my pen is actually going to change how big this brushes. If I upped the minimum value of this. You can see that in the preview window, the tips of the stroke become a lot thicker. What I'm basically saying is that I want the Bend pressure to change the brush size. I never wanted to go below a minimum value of 28%. If I set this to 0, it can go all the way to its thinnest point. And if I set this to like 56 or 60, you can see that it barely changes size at all. We can also change what it is that is affecting the brush size. If we disabled pen pressure and instead click velocity, you can see if I draw very slowly, we get a very consistent and thick line. And if I move a lot faster, the line becomes a lot thinner. Now to make this first brush into a nice drawing brush, I think what I'm gonna do is I want there to be both a bit of a velocity and a bit of pen pressure. When it comes to the brush size. I'm going to go in here and enabled both of them at the same time. But the minimum value for the pen pressure, I'm going to set the 0 for the velocity. I'm actually going to up it a little bit. So the effect is a little more subtle. Now I think we have a very nice first brush. If at any point you're happy with the bursty you've made, you can simply go down here and click Save all settings as default. Then if you hit okay, this is now the default way that this brush looks. So if we change our behaves, so we turn on the spraying effect for example. All we need to do is click Reset all settings to default. It will look just how we left it. Now, to close out the second video, let's see if we can make this brush into a nice sketching brush. So the only thing we need to do for that is to realize that what we did with the brush size settings is simply one example of how you can control your stroke. Under the ink menu, you'll find the opacity slider. And this essentially decides how opaque your stroke is. The less opacity, the more transparent and the more opacity, the less transparent. We can also set opacity to the same settings that we did with the brush size. So we can set this to pen pressure and see now that the tips of our strokes are a lot more transparent. In my opinion, this already looks like a pretty nice sketching brush. If you want to save this brush, but you also want to keep your original brush in the sub tool window. You can click the Copy icon, which is a little plus sign. When you click it, a small menu will open up and it'll allow you to choose a name for the new brush. So I'm just going to call this the sketching brush. After duplicating it, you can see we do have two different brushes, but they look the exact same. All we need to do to get our first brush back to its original settings is to click it. And in the tool properties settings window, you just hit reset all settings through default. Hits. Okay. And now he's going back to the way it was. We've got our sketching brush and we've got our first drawing brush. That is your second custom brush, complete. 4. Basic Brush 3 - Painting: All right, so you've got your first two basic brushes, and now it's time to make our last basic brush. For this one, I want to take a look at how to make a basic painting brush. The previous two brushes we made are very good for drawing and they'll give you lovely lines, but they are not necessarily the best for painting. To get a quick start on our next brush. I'm just going to duplicate the sketching brush and we'll work from there. I'm going to copy it and I'll just call it painting brush. The first thing I actually want to do is I want to adjust the stabilization. A stabilization in CSP is a feature that kinda helps keep your lines very smooth and flowy. And it's really nice for drawing. But I find that for painting brushes, It's really not that useful. You can see the brushes stabilization, the shortcut menu here. And if you wanted to, you can just drag it down all the way to 0. If you want to know where it is in the full menu. It's right here under correction. The next thing I'm gonna do is in the precise settings, I'm going to turn off the velocity and I'm going to up the minimum value for the pen pressure a little bit. Just so we don't have as sharp a tip. Then I'm just going to save those settings. Now it's time to talk about color blending. So you'll find the settings for how this brush approaches color under the ink window. If you enable color mixing, you're essentially turning this drawing brush into a painting brush. If you ever forget what these settings do, you can always see a nice little preview at the bottom of the window. Essentially, when you enable color mixing Clip Studio Paint is going to try its best to simulate what real paint looks like. When you paint colors is going to try and blend them together and make a mix. And how exactly it does that. You can customize using the settings. First off, you need to choose the mode in which you want to mix. There is the blending mode, Running color and smear, blend and smear, in my opinion, leader pretty similar results. But running color definitely feels a little different. Let me show you here right now you can see we've got two swatches, one red and one blue. And if I color pick the blue swatch and start painting into the red, you can see that Clip Studio is picking up some of that red and blending it into the blue. Now if you have the blend or smear modes enabled, you can see that the strokes are maintained pretty well. You can still see that there's that same up and down motion that I made with my pen. But if in the color mixing settings we set our mode to running color. It'll kind of like blend those strokes together. And it just gives a very different effect. For now, I'm gonna keep it to blend just so we nicely preserved the actual strokes that we make. Now there's three sliders there and they each do something slightly different. The color stretch slider essentially decides how far you can stretch the colors that you're painting through it. So if I set this to a 100 and I start in the red, you can see that the gradation from red to blue is very subtle. It's like I'm stretching the red all the way across. Whereas if I turn this all the way down to 0, you'll see that as soon as I enter the blue, the transition is very, very small. The density of the paint is how opaque the brushstroke is. Really, if we remove the background, we can see that passed this gray area, there is nothing on this layer. If I color pick the blue with a density of paint of 0, if we paint into the gray, so where there is already more paint, we don't really notice anything major. But if I go off the gray and into the background, you can see that my stroke becomes very transparent very quickly. Whereas if I turn the density paint all the way up here in the blue, it should still look pretty much the same. But as soon as I go off the gray into the transparent, you can see we have so much more paint to work with. Lastly, there's the amount of paint, and this essentially decides how much of the new color that you've selected is going to show up inside of the colors that are already on the canvas. If I set the amount 200 and start painting the red into the blue, you can see there's almost no mixing. It's just all red. But if I set this to 0, it essentially becomes almost like a blending brush. I can just very easily smear these colors together. When you found some settings, you're happy with. Just click Save all settings as default. And now you've got your basic painting brush. Now another useful tip is that at some point you might want to alter these sliders without having to open this menu every time. And that is what these rectangles on the left are for. You can see here there's a little icon next to opacity. When this eye is enabled, it actually allows the setting to show in our shortcut menu on the left, you can see opacity is enabled, and opacity is enabled. Here, we can see brush size on the left. And if we go to brush size, we can also see that the I there is enabled. So if we want to have access to our color blending settings, all we need to do is click the eye next to the settings that we want enabled. And we can see it show up in the menu on the left. Similarly, if you weren't there to not be too many options in this menu. And there's settings that you're never gonna change anyway. You can simply go to those settings and disabled the eye there. I don't think we need stabilization or sharp angles or anything like that with his brush. Just make sure that when you change your shortcuts, you also save your brush settings. Because if you don't and you reset your brush, all of those changes are also going to disappear. All right, You're on a roll. You already created your first three brushes. And I think in the next one, we can start getting a little fancy. So I'll see you there. 5. Fancy Brush 1 - Oil Paints: In this video, I want to look at texture and how we can make our brushes feel quite complex and sophisticated. And to do that, it helps to understand how exactly CSP draws using brushes. I'm going to start off by duplicating my painting brush. And we'll just name it the fancy painting brush. Now, if we select any of the brushes that we've made so far and we just click once. We can see that this is essentially the shape of our brush. For all of the brushes we've made so far, it was just a simple circle. The way the Clip Studio Paint draws is by just pasting a lot of these circles side-by-side, one after the other. So they turn into one smooth line. And it's the same for any brush that you decide to use within the program. It doesn't need to be a circle. The circle just tends to be the default shape that is easiest to understand. So go into your painting brush settings and go into the brush tip menu. Here you can see that under the Tip Shape, you can select either a circle or a material. And the material setting is where the really interesting stuff happens. This little bar here shows you what tips your brush is currently using. And if we click it, we can see all of the different brushes that CSP already comes installed with. If I click this soft pentagonal brush, this is now my new brush. And if I click once, so you can see that the shape of the brush has actually changed to mimic this image. Clip Studio is just placing these images one after the other next to each other. And the program comes with a lot of options. So feel free to experiment and do what you want. But what I want to do is I want to see if we can make our own. Let's have a go at doing just that. I'm going to get my first brush, the original drawing brush that we made. I'm just gonna set it to pure black. And I want to make sure we're working on a new layer. And now you can kind of draw whatever you want. There's really no limit to what kind of image you can set as a brush tip. But for this video, I would like to make something that feels like you're using real brush. Like it has some hairs, it has some texture. So I want to create a brush tip shape that has a few holes and has some texture of its own. I'm just going to paint and I'm just going to try and make a mess. At first, it won't really look like anything, but I'm going to just keep working on it to get something that I think feels nice. I'm using that standard drawing brush and then just erasing to kind of cut out some holes inside it. I like it when painting brushes have some imperfections. So I'm going to have one side that's a lot more dense. And once I, that has a lot more little details and tiny things don't feel like you need to copy the exact shape that I'm doing right now. Making brush tips is actually a really great place to just experiment. And I've used brushes in my professional work that started as a joke. Just by a happy accidents, it kind of ended up working out. Before we can turn this into a brush tip. There's a few more things we need to do. First off, in the Layer Property window, set the expression color to gray. The reason we do this is because if we keep it in color, Clip Studio Paint will actually save the color information into the brush. That means it's actually going to take the black color of the brush tip and save it into the brush. No matter what color we then select, the brush will always be black. But if we set the expression color to gray, it's only going to save the shape. We can use this brush to paint with reds and blues and yellows. And it all works just fine. It can also sometimes be nice to select your brush tip and put it on a new layer. This can prevent accidents where maybe you have a little blob of paint all the way off to the side. So that when Clip Studio Paint tries to turn this into a brush, it sees that this entire area as a single drawing. When you're ready to turn this into a brush tip, it's Edit, click Register material, and select Image. This menu, there's a couple of settings you need to enable. First under the material name, just fill in what you think is natural. I'm just going to call this one the oil painting brush. Here makes sure that the use for brush tip shape is enabled. Lastly, under the Save Location, drop-down menu and under Image material, select brush. Now you've created your first brush tip. Go into your fancy painting brush, hit the wrench icon, and under the brush tip shapes. Click the empty box and search for the name that you've just saved. There you go. Now as you can see, it still doesn't look quite right. And the reason for this is that Clip Studio Paint is right now just pasting this image over and over and over. What we wanted to do is we wanted to turn with a stroke. To enable that. Under the angle menu, you can click the little rectangle and just set this to the direction of the line. This means that if your line goes this way, then your brush tip will go that way. When you move it down. The brush tip will go down. I think that's already feeling a lot better. Now, I already think this is a pretty good start, but if you're not entirely happy with your stroke, there's a few different things you can do to adjust it. Under the stroke settings, you can see that there is a gap menu. Here. You can decide how much space you want there to be between every single tip. I don't really like the way that this bottom section looks. I think there's just a little bit too much repetition and it looks quite unnatural. So if I make the gap a little tighter, I think that already looks a lot better. But of course, if you're still not happy with it, you can also go into your brush tip and just make another version of it. I'm going to bring in the details on the bottom side a little bit. Just to make the effect a little more subtle, then of course we just need to save that as a new brush tip. I think that feels pretty good to use. As a final tweak. I'm just going to set the amount and density of paint to be controlled by the pen pressure. This way, when I press more firmly, I'm introducing more new paint to the canvas, which will allow me to blend really nicely. I think that feels lovely to use. So have a go at that and I will see you in the next video where we're going to talk about scattering, color jitter, and a lot of exciting stuff. 6. Fancy Brush 2 - Leaves: In the last video, we made our first custom brush tip. And while it's certainly worked for what it did, it was still pretty abstract, but brushed tips can be a lot more than just abstract shapes. In this video, I'd like to show you how to make a brush for drawing leaves. And like last time, the best place to start is with the brush tip. If you're drawing a brush tip that needs to look like something in real life. I recommend looking at some appropriate references to help you capture and get a feel for some of the details that you might miss out on when you try to just do this from memory. The initial process is pretty similar. I'm just looking to create a basic brush tip shape. I'm doing so by using that initial heart drawing brush and a hard eraser. And when drawing organic things like leaves, you typically want to avoid having too much repetition. It can help to make a brush dip out of multiple leaves at once. A good guideline is to make one large leaf, one medium leaf, and one small leaf. To automatically start creating that feeling of natural repetition by using different shapes and sizes. You're helping to avoid that copy pasted look. When you are happy with the brush tip that you've created, just repeat what we did in the last lesson. And it's registered material, image, name your brush. Select used for brush tip shape. And under the same location, go to Image material and then two brush. And now this is where the magic happens. We're going to duplicate our first brush. Name is something like basic leaf brush. I'm personally once again going to turn off the stabilization. Then you're going to go into spraying effect and click the checkbox. And you can see that instead of drawing a normal line, Clip Studio is enough spraying and scattering the circles all over. And it gives a very different field. And this is what we wanted to do with the leaves, is we don't want to draw lines using them, but we want to kind of spray the leaves onto the canvas. So under the brush tip settings and go to Select Material and just go ahead and find the leaf brush tip. Now it's there, but as you can see, it's way too small. When we up the brush size, the size of the particles doesn't actually change. That is a separate setting. Instead of changing the brush size, go into the spraying Effect tab and change the particle size. Now you can see slowly but surely we're seeing more of our leaves. But we're just seeing a few too many. It's basically becoming one big mess. To reduce that mess, you can turn down the particle density. Let's already starting to feel a little better. If you want to reduce it further. Under stroke, you can select the gap and just click this first circle here. This essentially allows you to choose how much space you want in-between the particles. I'm just going to up that. I think we're starting to get to something a little better. I probably want to make the particles a little bigger still. If you're happy between the relation between your particle size and your overall brush size, you can actually click this box. And what this means is that the particle size will always change in relation to the brush. Now, if I make the brush bigger, the particles will be bigger. And if I make it smaller, the particles will be smaller. The spray deviation is how far off the center you want your leaves to go. If I turn this all the way down, you can see that the leaves tend to favor the outside of the stroke. But if I move spray deviation up all the way, you can see they're all going to the center of the stroke. But I want this fairly low because I want the leaves to scatter all over. Now I hope that you remember what I was saying when we were creating our brush tip. Whenever you have too much repetition, things tend to feel less natural. As we're scattering this brush, you can see that every single leaf looks the exact same. There's a few things that we can do to actually offset that. The secret lies in the brush tip menu. Here we have a thickness and an angle setting. And if I move the thickness all the way down, you can see that the brush tips become very, very thin. But we can also make this effect a lot more subtle. To just introduce a little bit of variation into the tip. I'm going to set this back to a 100, but I'm going to go into that rectangle control menu and just select random. You can see now that the tips are being assigned a random thickness, which already kind of varies up their shape a bit more. By increasing the minimum value, we can make the effect a lot more subtle. Angle is similar, but it adjusts the angle at which the brush tips are placed. But because we're using those scattering settings, if I change the angle here, we don't actually see any change. What we need to do is under spraying effect. We need to adjust the direction of the particle. So if I click this, I can also add a little bit of random. Again, I'm going to read you the strength. But I just want to make sure that we're not getting all these leaves at the exact same angle. That's already starting to feel a little better. I'm also going to introduce a little bit of random into the particle size. We're starting to get to something that feels a little more organic. Now if I change the color to a nice green, nothing happens because I forgot to change the layer property to grade. I'm going to export my brush tip again, this time using the layer property gray. There we go. I'm going to make the particles still a little bit bigger. Just so they start feeding a little closer to what we're seeing in a reference. Now we're starting to get a pretty decent leaf brush. If you want to add some additional variety to it, we can actually go into the color jitter menu. There's two ways of jittering color, which essentially means that the color changes over the course of the brush. There's the brush tip color and the brush stroke color. If I set this to randomize per stroke, you can see that every stroke we make is going to be a different color. If I said it's a brush tip instead, every individual brush tip is going to have a different color. If you use color jitter really strongly. It kind of just feels like chaos. But when you add just a little bit, it feels like a very nice and natural subtle variation. I'm going to add a little bit of hue, a little bit of saturation, a little bit of luminosity jitter. Now this brush is starting to feel a lot more natural. Just remember that if you are using vegetation versus like this, and you use them all over a single painting. It's gonna be very easy for the viewer to pick out where you use the brush. The more repetition that you have in the painting, the easier it'll be to tell, the less natural it'll feel. While these brushes are really good and really useful tools, make sure that you're not overusing them. And if you are using a lot of custom brushes, try and use a nice widespread of them, just so it's a little less easy for the viewer to tell exactly where you did and didn't use them. If you're drawing of vegetation, tried to get custom brushes for a lot of different types of plants. That said, there are a couple of things you can do to make your brushes still feel more varied and more interesting. In the next lesson, let's look at how we do that. 7. Fancy Brush 3 - Flowers: In the previous video, we made a leaf brush that while I think it's very useful, it does have a few imperfections. Every time we click it will always get the exact same arrangement of these three leaves. That works fine for this brush, but it might not always work fine for every brush. What I want to take a look at this video is a different way of approaching scattering that might work better for certain other subjects. This video, we're going to be making a daisy brush. The reason I picked daisies is that they can vary a lot in their size and shape. Some of them are more uneven, others are more even. Some are bigger or smaller. And when they haven't blossomed yet, they can be a lot more compressed and smaller. I think if we scattered this the same way we scattered the leaf brushes, it would probably feel a little bit too repetitive, a little too predictable. We're going to go about making this brush a slightly different way. Instead of the pure white, I'm going to use a selection tool. We just quickly make a square of a neutral gray. There's two reasons I'm starting this way. The first is that this time because we are painting daisies, I thought it would be cool to make a brush that contains its local color information so that when we actually paint with this brush, we get both the white petals and the yellow centers. But of course, painting white on white is very difficult. Some creating a neutral gray background to make it easier to see what I'm doing. The next reason is that when you work on a brush tip, you need to kind of tell Clip Studio what part of the brush tip you actually want to end up in the brush. So as we discussed earlier, if you have your brush tip on one side, but then you have a little blob of paint on the right. Clip Studio is essentially going to look at that and try and make a brush out of this entire shape. Generally that's not what you want. But for the daisies, that might actually be really good if we paint something in this gray square. But for example, if we paint a very tiny flower and we go to define our material. You can see that Clip Studio is just scaling the flower all the way up. But if we select the gray rectangle by holding Control and clicking the gray rectangles layer. If we then go to define a material, you can see the brushes very small by selecting this gray rectangle, we're essentially telling Clip Studio that this entire area should be one brush tip. So why is that useful? Well, setting it up this way, it means that if we draw a very small daisy, it's actually going to appear smaller on our brush. And if we draw a larger one, it's going to appear larger. If we don't use this gray square. Clip Studio is going to average them all to be roughly the same size. But by selecting this gray square, we can dictate how big we want our brush tips to be on a separate layer. I am just going to start painting a few different daisies. I'll start with a fairly medium-sized one and do some more extreme ones after. I'll keep my first and then slightly visible is to have an idea of roughly how big I want the others to be. I'm also trying to pick and choose a few different bonds with some slightly different angles. I'm going to continue painting this way until I have about five different flowers. And I'm making sure to include at least one that's yet to blossom. Now that we've got our brush tips, I'm going to shrink the rectangle to fit them a little more closely than going layer by layer. I'm going to register every flower as a material. Remember this time we're not turning the expression color to gray because we want to retain the color information. I'm pressing Control and click on the gray square to have it selected. And then I'm going to register these daisies one-by-one as materials. Now, how does this actually work? Well, to show this, I've created a numbers brush. You can see that as I draw with this, it goes from one to four and then back to one. In Clip Studio Paint, you're not actually limited to a single brush tip. If we look at how this brush was made and we go to the brush tip settings. You can see that every single one of these numbers is a different brush tip. Just like a normal line brush stack circles together to make a line. We can make a scatter brush that scatters different kinds of flowers. I'm going to start making the actual flower brush by first duplicating the leaf brush. Because I think it's a pretty good start. Now that we've got that copy, go ahead and delete the leaf tip and instead, look for the brush tips that you've just created. Holding Control actually allows you to select multiple tips at once. Click, Okay. And now you can see we're already getting somewhere. There's really not that much I would like to change about this. I think it already works quite nice. And hopefully this shows you that by using multiple brushed tips, you're kind of unlocking a new level of variation. And you can just have these beautiful daisies ready for use in any of your pieces. If you want to, you can mess with the settings, unlike downing the particle size, but increasing the density to have something that feels more like scattering loads of smaller daisies. But all in all I think this already works quite nice. There you go. We've just made a beautiful daisy brush. In the next video, let's take a look at how to add some texture. See you in a bit. 8. Fancy Brush 4 - Moss and Lichen: In this video, let's try making a brush that kind of encapsulates moss and lichen, the kind of stuff you see growing all over trees. I'm going to start by just making a brush tip that kind of mimics some of the shapes I'm seeing on this log here. To make sure it feels natural, I'm trying to vary the size of my details just to avoid that sense of repetition. I'm also just going to copy and paste the brush tip to get some quicker detail. If you want to make some additional brush tips, you absolutely can. But I'm just going to keep it to one. I'm going to set our later motor gray and export the material. Next, I'm going to duplicate the basic leaf brush and replace the previous step with our new tip. I'm also going to make the random thickness and random size a little bit stronger. The color jitter, I'm going to make a little more subtle. I'm just gonna keep tweaking these settings until they kind of match what I've seen on this log here. This is slowly getting somewhere, but I still feel like it's not quite right. It still doesn't exactly feel the same. And even though I don't necessarily go for perfect realism to my brushes, I still want the feeling to kind of mimic what it is in real life. I think the best way to solve this is not by tweaking the brush tip further, but by actually adding a bit of texture below the stroke settings, you'll find the texture settings. Here we can choose from a host of black and white images that Clip Studio Paint can actually use as texture for the brush. The texture right now is set to bird's eye maple. I've also ramped the texture density to a 100. So when we zoom in, we can clearly see within the brush shape, Clip Studio Paint is kind of overlaying this texture into it. I think this impasto texture looks pretty close to what I'm seeing on this log. When I paint with it. Yeah, I actually feel that it's pretty good. We can also try to invert the texture for a different look. And let's see how that looks with an actual gray color. Yeah, I think that's starting to feel better. It looks a little samey right now, but I think that's because of the angle of the particles. So I'm going to make that a little more random. If you feel like the texture is close, but it's not exactly right. There are a bunch of settings. You can change the brightness and the contrast will show how exactly the texture is showing up. And the scale and the rotation will control the angle and size of the black and white picture that clip studios using for your texture. Just see if you can get something that you like. If you still feel like the texture is too subtle, you can hit emphasize density for a very extreme effect. But I think the thing that really makes this brush come together is the watercolor edge feature. Watercolor edge is a feature that allows you to add an edge to your brushstrokes. If you're using a texture in the brush, the easiest way to show what that looks like is by just using it. I'm going to add some texture to our basic brush. Now I'm going to enable the watercolor edge. You can see that around the edge of the brush stroke. It's actually creating this nice crisp edge. We can make it bigger to make it a little less subtle. Depending on the brush you use this with, the effect can be pretty drastic. The ligand brush, especially after adjusting the opacity and the darkness settings. It gives this nice illusion of the different groups clustering together. When we go over one stroke multiple times, it starts building up this nice layer to texture. It's a pretty stylistic choice, but in my opinion, it looks beautiful. There you go. Another brush done, one that really gives you some easy details. 9. Fancy Brush 5 - Realistic Paints: We're already on to brush number eight. This time, we're going to try and make our fancy painting brush even fancier. But to truly grasp how we're going to do that, there's two ideas that you need to understand. The first is the pressure curve on our first drawing brush. If I press very lightly, I got a thin line. And the more I increase the pressure, the thicker the line got. But we can also change the speed at which that change happens. By going into the brush size menu, hitting the rectangle, we can adjust the way that the brush size is handled by using the pen pressure curve. Right now you can see we're looking at a diagonal line. The pen pressure steadily clients from 0 to 100 and the output steadily climbs with it. But if I add a point on this graph and just move it all the way down. You can see that for the first 50% that the pen pressure increases, the output doesn't actually move all that much. Most of that change happens much more subtly towards the end as we really start to press the very hardest we can. You can see that reflected in the stroke. The tip stays very thin for very long and then towards the middle suddenly expands before rapidly shrinking back. If we reverse this, the change happens much more suddenly at the start. In the middle is a lot more subtle. But we can go even crazier. We can reverse this by moving these two points to the opposite sides of the grid. That the harder we press this smaller the brush becomes. If we do this with opacity, the harder we press, the more transparent the brush becomes. The second idea you need to understand is the idea of dual brush. If we go into the tool properties menu, you can see that under the brush shape tab, there is a copy that says two dash brush shape. And there's an exact copy of all of the settings for the normal brush. Basically what this means is that Clip Studio is going to run two brushes at once. And depending on your settings is going to make them interact with each other in a certain way. Let me show you what that means. One thing we can do is we can set our first brush to a scattered. I brush. It scatters a lot of circles. We can set the second brush using the brush shape menu. Then we'll just select one of the presets. Let's go with the bumpy line. Now you can see that we're getting a bumpy line that is created by the circles that are scattered by the first brush tip. Let me increase the brush size a little bit. Essentially what we're drawing now is we're drawing only where both the bumpy line brush and the scattered circles are showing. If I set this to add, for example, we just kinda get both brushes on top of each other. We're getting both the bumpy line brush and the scatter brush. If I set this to Subtract, we're gonna get the scatter brush except for where that bumpy line brushes hitting. So we're kind of getting a scatter brush with the imprint of the second brush. Depending on the mode that you choose here, you can get very different results. And Jewel brush is a lot of fun to play with, but sometimes it's kind of hard to see how it could be practical. So let me show you a neat way that we can kind of upgrades are fancy painting brush by using dual brush. The first thing we need to do is we need to copy the painting brush and we'll call it the fancier painting brush. Next, enable the Dual Brush mode and set the mode to subtract. This means that wherever the second brushes, the first brush is going to disappear. Next, select a nice brush tip for the second brush. You want something with a bit of texture, something that feels like an actual brush. I'm going to use the oil paint one brush that comes with CSP by default. What we want to do is we want to use this brush tip to create a nice sense of texture for our first brush tip. So to do that, we need to make sure that this brush is big enough to cover the entirety of the first brush. I'm going to up it until it's big enough and then link it to the main brush size. Meaning that if we scale the entire brush down, this scales with it. Next, for the density of the brush, we're going to do that little trick where we inverted the curve. Enabled the pen pressure, but inverted. So the line is going straight down. Now because we're creating the sense of opacity using the second brush. You can go ahead and in the ink settings, just turn off the pen pressure for the amount of paint. Now that doesn't feel quite right. The second brush is affecting our main brush too much. By altering the pressure curve, we can make sure that the second brush only shows up in the lightest parts of the stroke. Remember, our second brush is subtracting from our first brush the way it's set up now, when we press very lightly, the second brush is going to show at a 100% of its opacity. But because the Dual Brush mode is set to subtract, actually less of the first stroke is going to appear. The second brush, which is subtracting from the first, is more visible, which actually means that the overall brush is less visible. So now let's look at the end result. When we press very lightly, we get this nice scratchy feeling. Second brush is essentially making the first brush disappear. But then when we press harder, the second brush disappears and we get a much nicer fill. You can use this to achieve a pretty convincing oil painting style effect. Where you have both the light dry brushing, just spreading paint around, as well as those stronger marks where you can really add some nice details. And we created this brush by taking our normal painting brush and subtracting Dual Brush permit. That's created a lovely to use and really expressive painting brush. Now, I hope you'll join me for the final lesson where we're going to look at your last example. 10. Fancy Brush 6 - Instant Vines: The final type of brush we're going to look at our ribbon brushes. Ribbon brushes are brushes that repeats some kind of pattern and can make certain things much easier and much faster to draw. For this video, open a new file and make it 1000 pixels by 1 thousand pixels. For the final demo, I'm going to try and make a vine brush. The idea is that the final brush should be able to just instantly draw a vine instead of just drawing a normal line. The first thing I'm gonna do is go up to View and open up the grid. Then in the grid ruler bar settings that are also in the View menu. I'm going to make sure that the star point is at the center. I'm going to make a gap of 500 pixels. This way we should have a nice even division of our picture. Then I'm just going to try and across the middle of the page, draw a small set of lines. Obviously, if you want this brush to look real nice, this is the part where you want to focus most of your time. I'm going to add a few different strands of some different colors. Maybe have one in there that's a little more green. But of course, the tricky thing is making sure that one end nicely links into the next end. That is why we have the grid. By using a selection rectangle and turning on the grid snapping up here, we can select exactly half of our painting by cutting out these two halves and then moving them to the other side of the page. We can then repaint that middle part to make sure it loops in another itself. Now, if we've done this correctly, we should have a perfect loop because I want to maintain the colors. I'm not going to change the expression color. I'm just going to go up to edit register material and hits brush. Then I'm going to duplicate our first drawing brush. We'll call it the vine brush. And set the material of the brush tip to the vine. Next up in stroke. Check this little box that says ribbon. Alright, so this isn't quite working right? As you can see, the brush is actually angled at 90 degrees. In the brush tip settings. You can just set the angle to 90, and that should work. Now, we've got a brush that just instantly draws jungle volumes. That is the power of ribbon mode. It essentially allows you to create brushes that can draw pretty much any type of line that you want. If you want to add some additional variety to your vine, like maybe have some leaves sticking out of it at certain points. You can make those variations and save those as separate brush tips. The risk of ribbon brushes is that the repetition can sometimes be very obvious, but you can kind of circumvent that by adding additional brush tips with some slight variations to kind of break up the monotony. Seems like I forgot to record an ending for that video, but I hope you're ready for your final challenge. 11. The 10th Brush - Your Final Assignment: And now it's time for your tenth brush. I'm not going to give you any examples. I'm not going to give you any guidance. I want you to make something that is truly yours. Ask yourself, what kind of things do I like to draw? And how can I use custom brushes to help me get faster and better at those things? If you're really dry for inspiration, feel free to use a random word generator. Sometimes that can really spark some nice ideas. But if you're really feeling stuck and you just like me to give you an assignment. How about a brush for drawing clouds? Depending on your art style that could look like a million different brushes. How do you like to paint? How do clouds typically look in your paintings? Are they very flattened, stylized, are very rendered and realistic. Can you make a custom brush that can kind of help you get there faster? Whatever you make for this final assignment, I hope you'll share it with us. And good luck. 12. Class Outro: Alright, so you've reach the end of the class. I hope you've learned a lot. I certainly did. It was my first-class of this type. If you want to follow what I do, I go buy ads. Andres provost on most social media. And if you have any feedback or suggestions or just things that you want to learn more about. You can send me a message by using the e-mail address on screen right now. And if you'd like to please share your brushes with us here on Skillshare or tag me on social media. I've left a template in the project description for this class that should make it easy for you to showcase the brushes that you've made. So if you want to, I'd love to see what you've created. And that's all for now. Thank you again for taking the class and I'll see you next time. Take care.