Designing with Procreate - Procreate Brush Settings Explained

1. Intro to brush settings: Hi. Welcome to the second class in the designing with procreate course in this class, I will go over all of the brush settings and demonstrate how they work. So you feel more comfortable creating an adjusting of Russia's. I also recommend you follow along with your iPad in your apple pencil. 2. Stroke: Alright, so first of all, we're going to start off with a basic brush. So I'm gonna come back to my, uh, just a basic round brush you can see here that, uh, just a hard circle with his blink green green source. First up is stroke. So we create our stroke. There is no spacing. And this is what we get. If we had start to add a little bit, probably 50%. We start to get, like, a scalloped look, and that's if you have ah, circle is your grain source. If you have something else, obviously it's going to take the shape of that. But if you start to increase this even more, you'll just get a space to look. So this is good for, uh, patterns and things like that. Okay, so spacing is off next to streamline, and I'm gonna switch brush switch brushes really quick. I'm a terminus into I grabbed the oval here. Okay, so with streamline off and I addressed my pen. This is for mostly anybody who wants precise lines and hand lettering, things like that. I'm gonna draw out just the letter. Us. Okay. So you can see there. It's just ah, really shaky kind of messy looking stroke. If I go ahead and put the streamline up, do the same thing, we get a much better look. So streamline here is really good for in lettering. Like I said, if you are an illustrator and you want Teoh, fill in tons of space or even have more control or your brush, I recommend not using the streamline or, if you do, were using it at a very low percentage. If it's too high, you just don't have the control that you have, uh, over having it. Not, uh, that's what that is, Geter. To use this a lot in my brushes, and I use it to get just that a little bit of a texture on me edges. So me pull this back up. So if I want to brush that I want just a little bit of texture at the edges. I'll do a little bit of the jitter. It also works, too, if you put on a little bit of scatter so I can get similar look using scatter in a small percentage, the way I also used jitter eyes to create backgrounds and textures, so I'm gonna come in here Change Murray source Really quick on. I'm gonna go through spacing jitter, and I'm just skip over to scatter right away to show you how this all works. I use them altogether. What? I'm creating backgrounds. So first we know how spacing works. Jitter. If I up this, you're gonna see how this starts to spread. So nothing else is changing. If I start to put some spacing in here, didn't get a completely different look. So next up, how I use this is for scatter. So right now, I'm gonna put more spacing in, and you can see how scanner works. So Oops. So there's my brush source on. It's pretty well, it's straight across the same brush stores, and there's no movement. If I scanner this, it's gonna rotate each, uh, first source in a different manner. So I'm getting more of an organic natural look to it, and then if I add jitter, maybe decrease this facing I get again. I mean, kind of organic, grungy. Look, OK, enough with these alternatives. Off. Next up is stroke Taper. Uh, this here, I hardly ever use if ever I would use this if I did not have the apple pencil. So I'm gonna show you how using this might help you. I get kind of a hand lettering. Look, you're obviously gonna want to use the streamline, go ahead and apply AIDS through a start stroke Taper, You know, just the size. And I'm gonna bring this up just a little bit, okay? So again, if I want to do with him lettering, I started off with a nice taper, but then I lose those thins in those pics. So what a way around this sort of is to come in and just add your own down strokes your own fix again. I would probably use a different brush Teoh to do this instead of the same one. But you can't get that look, uh, doing it this way. If you're not using the apple pencil, they probably, you know, take more time with it. Of course. Okay. Next up here, we can apply this to the end as well, so we can start with a stroke, taper there and end with the taper. And we can also adjust the opacity to the strokes. All right, here you can see that we're at full capacity where we use this. If we adjust this and pull it up, you'll see that there's a light opacity change when we first start our stroke. All right, so that is the first section under stroke. Next, we're gonna take a look at shape. 3. Shape and Grain: Okay, We're ready to move on with the's shape settings, and we've kind of already got over scatter. So we know how that works. Rotation. I'm gonna move into a a brush that I designed a while ago. It's hatching brush, but it's got, um you see here turns of these things off. Okay, Perfect. So the rotation here if I draw out my brush, this is my brush was nothing set. It's just my basic brush. You can see that as I draw this out, my shape sources just staying static. It's not flowing with my stroke. If I turn on rotation, you can see how up here the brush source starts. Teoh change. And now you can see that Now we start to get our brush or starting to follow our stroke. We could also go in the opposite way. So we do that, we get a whole other look again. This way. Here. You can also do a um you come into your shape source in Turn it this way. Maybe you want Mr Fellow nut all the way. You can do it that way too. So if you're into comics and stuff, this might be good for just drawing, like hair outlines of a head or something like that. Okay, so that's rotation. Next up is randomized. I'm gonna use the same brush that I have right here. I'm just gonna draw out three lines that look the same If I turn on randomized again every time I draw a line. Ah, new stroke. It's gonna be different. So if you are using this is like, handler and brush, You need something that stays the same every time I would turn us off. But if you want a random look, then this is the way to go. Next up is azimuth, and I'm going to just use a basic rush here. Got a noble show, oval shaped source with the grain source. Yeah, when I come back to my our board and when I just gonna make sure first that I have this off . Okay. So as Mrs All average, just draw the letter, I. So if you pay close attention to write brush, you can see that the shape sources up and down. So it's a vertical. That's pretty much what I'm getting here. If I flipped this this way, I'm gonna get a thicker stroke. Okay, so we can see that I'm to come back here. We're gonna turn on the ASM. So this is our grains are shaped source or isn't a vertical position. Alright, Hasn't with this on, so you can see It's almost as if if we turn on the azimuth with this shape source, we're getting a look like this. So this is matching this one. I come in and turn this off and back. Teoh, uh, where is until our vertical look to brush sores. So if I change this to a calligraphy type brush, which, in that appropriate handbook, if you've read it, they refer to, uh, not clear if you pendant. So go ahead and choose this one and turned this as a month off. I only have my brush source. Uh, this way again, if I come in Indra, the letter I This is what I get. I come back in a just the asthma. You say my I get an entirely different ones. We'll come back and rotate my shape Source. Turn this up. One word. Different style. And I came just went back and turned it on. So, uh, you're getting different styles by rotating your brush and then adjusting. The estimates are off. So it's really good to you, especially for a calligraphy style brush. And I'm gonna show you one more way of using this. So I'm gonna come in here with just these hand drawn, uh, shapes and you can see my shape sources just like this. You keep this back in position. So if I come back, I have as miss off, come in here and just do a basic stroke. I'm thinking about doing a pattern, so I want the pattern to be different for every line. So if I come here and obviously if I rotate this every time, I'm gonna get a different position of my my brush stores. But if I come back and I turned my ASM with on get even right different look, this time I gotta come back and I'll just my shape source once more and again, it's different. So with every turn, your getting a slightly different look. It doesn't matter. Some of the brushes, obviously though, will not manners. So hard shape that I tested out earlier didn't work really well. I tried this one out to see how this would work. Let's come in and turn aside again. That is completely different. I wouldn't keep rotating trying out different different patterns in different shapes. So it just changes the the stroke slightly in most cases. But if you're looking for something different in China, this is what you want to use. We're gonna go ahead and move right into grain, and I'm gonna go back to my basic round brush and I'm gonna apply a grain, so apply. It's more of a pattern than it is a green. And it's right here. I feel like I can best demonstrate this using this particular patter. And so right now we have nothing really set. Except for that, we have our pattern rolling with our brush strokes. So the best way that I can describe this is imagining a paint roller if you've ever seen the paint rollers that have the patterns attached to them. So it's almost like a stencil was applied on top of the ruler. And as your rule of the wall, you're getting that pattern applied to the wall. And this is kind of how I think of this. If we take the ruling and start to decrease this, we start to see that it's stretching it. So I use this a lot. This setting to get a lot of my kind of messy brushes are the kind of grunge looking brushes. And these work really well, it doesn't have to be this pattern. It could be any pattern. You just have to come in and kind of test out each sighting in this green section. So next up is scales are gonna put this back up all the way in scale is just what it says. So if we let's pull this all the way, this is the brush here. You can see that the scale is, well, really small, so we can barely even tell what it is. Uh, and then if we bring this all the way up, obviously we can draw out a very large section of a pattern. So that's that. I'm gonna change my brushing up my pencil real quick to show you the next, uh, zoom, which is really neat. If we have this all the way down and it's crapped, let me put this back. Does so right now. If I draw this out, our pattern is staying. The same size, no matter what our brushstroke size is. If we turn this up, I'm going to extremes in this video. By the way, I want to show you the low end of the high end. But if we take this down, we apply pressure. You can see that are I might be a little bit too big, but you can see that it with our strokes. This the smaller the stroke smaller, the pat on. The bigger the stroke, the bigger the pattern. That is what that does. And next up is rotation. So if I turn this Oh, I'm gonna put this down, get a nice setting here. Okay? So it looks good. So what this does, is it You can see right here If I put the movement back and turn this up? We're moving our, uh, pattern to follow our stroke. I start drawing. You can see that our pattern is rotating it, stretching along with our stroke. If I go the opposite way at the inverse Don't see that it's gonna be the opposite. What? So you can see here the difference in the direction. Okay. So filtered. I'm gonna turn this back on so we can get our original pattern back up this bit and then I'll turn filtered off. Nothing to do. App lets, too. I'll do a little swatch here, so even see the, uh, difference. I want to try it on. So Okay, you can see And this side over here. So right here on this, it's a little smoother. It's still pixelated one because I'm assuming in pretty close and I don't believe that I am at 300 dp i in this campus. But you can see over this left side that it's a little more. Uh, it's not a smooth, so really, that's what that is. It's going to smooth out your your pattern or your your work. So Okay, so again, that's grain. And next up, we're gonna move on to dine, Alex. 4. Dynamics: we're gonna go ahead and start with the dynamic section of the brush settings, and I'm gonna show you right now that I'm working with just a simple brush. I did go ahead and change this shape source here and fall off is where we're going to start . So if I just this a bit here, you're gonna see that our strokes get a little bit shorter and the opacity starts to fade at the end, the higher we go, the shorter obviously number a stroke is gonna be. These were really good. If you want to create a hair or grass, so you get a nice even. Look. So Okay, that's fall off. Next up was dilution in charge. And the way I think of this is, um, water in my brush. So water and paint dilution is thea amount of water. I'd to your brush and I show you a little put some paint or some color here so you guys can see how this works. I just have to colors here. I'm gonna throw in 1/3 1 really quick. Okay. So if I pull the dilution all the way up, I start painting over here. Obviously, we're not gonna see anything here. Even if I turn this background off, there's nothing there. But if I come over to the color and I start kind of blending these, you can see how we're just It's like we're just applying water to our color. So I do recommend using a different brush much softer brush, Uh, with this. And if you're creating brushes, this is where your settings are gonna, um, be applied if you want to make a watercolor style brush. Okay, so let me delete this really quick and then charges the amount of paint that is applied to your brush. So if you get a real paintbrush and you're painting a while and you're piping to it eventually, once you are done with your stroke, you're gonna run on a paint. So the further you drag your brunch, the less paint you're gonna have it so you can adjust that setting here if you want the paintbrush to have full color all the way through. So you can see in some spots because we have we have a dilution applied as well, so you can see where that is kind of. Ah, keep it up But if we change this and start to lower the amount of pain we apply, you can see that because we have so much water, we don't have enough paint to keep going. Sort are stroke is really short. That is how this works and the charges, the amount of pain. And then you can actually bring us up, Dilution down if you wanted a more or more pain, less water. One more thing to about this. If the glaze design you're not able to, uh, change or even used the dilution in the charge setting. So you wanna make sure that that's off. Okay, let's turn this next up is glazed. And I'm going to go to a different canvas to show you how this works. Okay, so this is a piece that I drew out a while back for something else, and no, I want to add some some more texture to my pasta. So I'm gonna go to my layers and I'm gonna go ahead and we'll leave that one there. But I'm gonna use this. Is that the right one? Yes. So we're gonna use this piece of pasta, and this is the one that I want to apply a texture too. All right. So you can see that I've already got from shadows going on right here. I've done another separate layer, but I want to create a new layer and apply this texture. And the way that I do this is they select the layer that I want to add the texture too, and that I create a new layer. So what I'm doing now is working on a separate layer. But I'm still only affecting this artwork. So anywhere else I draw is not going Teoh by anything to it. Alright, So, back to this layer, I want to change my color, use a white, and I'm gonna hole in a grain. So I want something kind of just really not too heavy. So I want something really a light and textures I'm gonna test out here, but I think that's too much. So come back down. Um, see, there's gonna use the noise and see how this works. That seems like it might end up working pretty well. So, uh, let me adjust the Russia opacity here. Okay? Some will leave it like that. I'm gonna come back to dynamics. I'm gonna show you that if I apply this texture here, Well, it looks all right. It's obviously know what we want. We want it very, very slate. So I'm to come in and I'm gonna turn on glaze. If you try and glazed and it completely disappears, make sure that your flow has something showing here. So All right, so now if I come in and I let's up that just a bit more. There we go. So if now if I come in, you can see now I have a very a soft texture to my layer. I can turn it on and off if I don't like it or I can delete it altogether. If I want to change it, move on to something else. Now, if we go into the accumulative, we turn this on. The difference here is that I can I would have pain over and over and over here is gonna keep accumulating paint on top of each breast stroke. Even if I'm not lifting my brush, you can always adjust the flow again if you want, But it's gonna humanly f over time. If you're having off, you use this school. That's familiar. So if I go back to this and just have the glaze on and start using it this back up one more time, you can see I'm going over it many times. I was still left with this up more so you can see it. It's not accumulating, so it's just staying the same. I'm not getting any more texture. Uh, it's not applying more and more and more paint. So, uh, that is what glaze a cumulative in the flow are for We're gonna go back to our other art board here, change the color, and we're gonna goto opacity and size variants and probably try leaving this brush the way it is. So let's adjust this here. So with speed, the faster we go, the more opacity we're gonna lose as the stroke. Oh, so if I go slow, you can see that my opacity stays. But if I was kind of sweet pretty fast, I'm gonna lose opacity as I move, The gender is just going toe jitter that as I move over may go back. Alistair, you with a stroke on or a space all of this up. So we get a moving slow and you can see that? Yeah, I apologize. So here we go. OK, I was moving slow, so my capacity didn't jitter too much. Now that I'm going faster, you can see how it's changing in there. Okay? So, back to dynamics I get If we go backwards, we're gonna start off with none and go lead into more opacity. So next up is size. We put this back. So alright, Right now, this is what we've got to turn off that stroke or that spacing again, and we're gonna go to the speed. So this is the size this is gonna vary the size with our speed. So again, I'm going slow. Fast. So again, you can see how all right moving at a quicker motion is making our stroke smaller or, uh, bigger. So yet if I invert this, you can see that I'm starting off small and going into a bigger size sighs if I try And Jenner this is where it kind of gets fun and a little bit of spacing. Once again, again, I'm gonna really fast or I can go really slow and get a totally different look. Okay, so that is it for dynamics. We're gonna move on next to the pencil settings 5. Pencil, General and Source settings Class Project: next up is the pressure settings and the tilt settings for your apple pencil or a start at the top with the opacity. If I draw out a lying here or a letter or just a scribble that so that we have full capacity throughout our line. If I bump this up to the max, uh, the later that I press the little opacity I get If I start to add pressure, I get more rapacity. If I bought this or if I move this back, uh, the opposite way. Uh, the lighter I pressed the moral past day I get the harder that I press, the less opacity I get. So that is what capacity does with pressure. And this one here is size. So this is going to vary the size according to the pressure that you are putting on the iPad. So this is what we would use the hair lettering pressures if we go in the opposite direction. Obviously, we're gonna get the opposite. Could see that here with a really heavy stroke. I'm getting very, very thin line. All right. Next up is softness. I use softness if I'm creating texture. Brushes are kind of brush like that. If I am using hey littering brush, I use it very little and I'm gonna show you why. Here is my brush, my handler and brush. Let's say without softness. If I bump this up and I'm being extreme here, I will get a very nice start. But I don't end well. It seems to I lose my toe, my pressure. And I kind of don't like that if I do both it down to about maybe 10 or 11. I noticed that my transitions into my rights up and down strokes on a lot more smoother. You might like it might not, But try testing this out with your with all your brushes. Okay, Next stop. This has to do with tilt on. It's hard for me to show because I'm not doing this five and you're not seeing my apple actual pencil. But how this works on it depends on how you're using your pencil. So if you're using it straight up and down like you would if you were actually writing or if you're using it on its side. So if you were doing some shading, um, if you've ever taken a pencil, put it on it's side. So you're using the side of the, um, the puzzle to do shading. That's what How we're talking about tilt. So it's either straight up and down or it's on an angle and you're using it as a shading brush. So when I use this, I usually put the angle right about halfway through. Really? But there and then the opacity has to be put to do anything or show anything. You have to have it. It can't be it None. So you have to have it. So perhaps something. So my settings, when I use this surrender what are usually all right in the middle for rapacity if I am, I don't see how I'm changing. So right now I'm writing straight up and down, and now I'm going to go into the side. So I'm shading. So again I'm straight up and down, and I'm gonna go into a shading brush and see how that works there. That's opacity on the size. So if I take the opacity off and I do that once again So now I'm going into a size so the side of the brush. So right now I'm straight up and down, no, down into, like, a shading style. Okay, if I do the same and that size down and do the same thing, you'll see how that works out. So the size of staying the same because we didn't change anything with that, I bring this only up again. The size is different. I bring the capacity all the way up again. The same thing. This is really good for textures and things like that. So if your shading lettering, if your shading illustrations, this is a really good way to use it. So that is the tilt and the pressure for the apple pencil moving on to General, um, the Orient iPad screen. If you're moving your iPad screen from portrait mode to landscape mode one that is like if you're literally picking up your iPad, I'm using a straight up and down. Or, if you're using it, the other waste presentable your vertically. This will make a difference for you. Me personally, I 99% of the time I had my iPad in a landscape position. Uh, so I don't use it, but I'm gonna show you how this works. Okay, So here is my commit landscape position right now. And here's my stroke. No, If I move my iPad into a portrait position, my stroke is gonna change. So if you want your stroke to national can you have to stay the same and you are moving your I get around a lot. Turn this on nine back in landscape. If I trim my around one more time and put this back in a portrait mode, my stroke will stay the same. So if you are, uh, moving your I head back and source for landscape for trip road. Definitely use that. Okay, Stan, preview. We turned that on your study. The stamp, uh, preview of your brush here. If you turn this slips beach from this off, you're gonna get the actual stroke. So size limits this here, obviously. Leader, Maximum size. Limit your minimum so your minimum size is gonna be Let's see, put this time. Okay, So if we go in and put our minimum Teoh here, let's say it's are minimal. Start there and that's our maximum require minimum to hear. Lowest see the difference capacity. Kind of Just leave it with my maximum at the maximum in my minimum of at mom. And if I need to adjust anything opacity wise, I'll either adjust it with my brush around, come into my layer and adjust here. But again, you might. I use different setting, so the first source of the ship source in the green source again. If you want to rotate this, you can. So, with two fingers, just rotate your source. If you want to invert the selection of your shape source. Just with two fingers tap, you get a completely off a little bit. See. See it so that would be the green source. It gets in for the shape source if it's inverted. Uh, this is obviously just during a shape source, and you can do the same again with the grain. Two fingers just happen. You're gonna get this. Let's get a better. So that is the inverse this. So again you can get plenty of different looks with the same brush shorts in the same green source, just by adjusting a few simple things. That's it. That is all of the settings for appropriate brushes. I hope this was helpful, and you're better understand some of the settings because in the next class it's coming up . We're gonna be designing different style brushes on. I wanted to make sure that you have a pretty good understanding of how, for all the settings work. OK, so that's it for the class. The class project is going to be a new brush using some or all of what you've learned in this class. Upload a small illustration, lettering, piece texture or any visual showing your new brush and action if you wish. You may include what setting or settings you feel most comfortable using after taking this class. Uh, have fun and I'll see you in the next class.