Dual Brushes in Procreate 5 - Make & Sell - Two Brushes in One - A Graphic Design for Lunch™ class

1. Introduction to Dual Brushes in Procreate 5: Hello and welcome to this course, Dual Brushes to Make and Sell in Procreate 5.2. My name's Helen Bradley and I'm a Skillshare talk teacher. I have over 250 courses on Skillshare and over 155,000 student enrollments. In this class, we'll be creating dual brushes in Procreate 5 and 5.2. These are basically two brushes that combine to make one brush and that can be configured to do cool things, such as, paint differently with different pencil pressure. You can use these combination brushes for your own art and you can sell them. In this course, you'll learn to make a brush such as the confetti scatter brush. You combine it with a more painterly brushed and then configure your dual brush so it paints the way you want it to paint. You'll learn heaps about making your own brushes in Procreate and about navigating the often confusing brushes panel. You'll learn tricks for combining brushes and how to export and share them. I've jam-packed so much learning into this course that by the time you've finished it, you're going to have a bunch of new dual brushes ready to use and to sell. You'll also have some great brush making skills and you'll be ready to design custom dual brushes all on your own. Without further ado, let's get started. 2. Pt 1 Make a Basic Scatter Brush: Before we can get started actually making a joule brush, we're going to need to put together the two brushes that are going to be combined to make a single brush. For this, we're going to start by creating a series of circles that are going to operate as a scatter brush. This is the brush that's going to give us a lot of visual variety in our final brush. I'm going to create a brand new document. Brushes are best made using square documents, because the actual brush shape that you'll use is a square. If you don't want things to be squashed out of proportion, you're going to start with a square document. I'm going to choose black as my color because creating brushes is best done using black, or white, or shades of gray. I'm going to make a circle first of all. Let's choose a brush to use. Well, I've already chosen the brush that I want to use, which is in the calligraphy set. There is a mono line brush there. I've duplicated a few times, but you're going to find a mono line brush there, just a nice good brush start off with, the size of it is pretty good because all I want to do is to draw a circle. We're going to edit the shape and tap on circle. You want a circle that's pretty much filling your document. I'm going to drop my black color into it, drag to the right just to make sure that the color threshold was high enough that I don't get any pixelation around the edges where the color was dropped in. I'm going to make sure that the circle is centered in the document. I'll go to the selection tool. In terms of snapping. I've got snapping turned on, magnetics off, and I'm using uniform here. I'm just going to adjust my circles positioning until I see those markers showing me that it's in the very center of the document. I'll duplicate this layer and I'm going to fill this with another shade of gray. I'm going to choose this one here. I'll drag and drop the color into it so we have a gray circle on top of a black circle. I'll go to the Selection tool. I'm going to size this down. While I'm here, I'm just making sure that it's perfectly centered inside the document. This shape is going to be my brush shape. To make the brush, I need to take a copy of this, so I'll go to the Gear icon and tap here on" Copy Canvas," that takes a photograph of this canvas that we can then use as our new brush shape. To make the brush, we'll go to the Brush Library. I suggest that you may want to make a new collection for your brush, so we'll go to the very top here, tap the plus sign and add a new category of brushes that you can put these into it. It's going to make it a little bit easier to work with them. I already have one created, and it's called Joule brushes, right now there are no brushes in there, we're about to add our first one. I'll tap the plus symbol and we'll go straight away to shape because we need to paste in the brush shape that we've just selected. I'll go to Edit, go to Import, and Paste. Now if you're familiar with making brushes, you'll already know that there's a problem here. If you're not, here is the problem. The problem is that brushes paint where there is white. Right now I'm going to paint this weird shape box on the outside, this is not going to be painted at all and this will be partially painted. We need to invert this image, and to do that, I'm just going to double finger tap on the image, and that inverts it. Now the area around the outside won't be painted at all, we'll have a circle that is being painted at full strength, and in the middle, we're going to have the same color, but a little bit more opaque. I'm going to tap" Done". This is how our brush is painting right now. We've got a long way to go to make it work as a nice scatter brush. We'll start in the Stroke path area. What we'll do is increase the spacing so that we can start to see the individual dots. We'll increase the Jitter so that instead of the dots being painted along the line that I'm drawing, they're going to be offset from it. They're going to be offset quite a ways from it. Now you might not get this setting perfect the first time, which is just fine because you can come back and adjust it later on. At any point you can come back out of here, turn your two layer visibilities off, add a brand new layer, select a color to use, and just test your brush. Right now this is how it's painting. It's okay, but it could be a lot better. Let's go back to our brush, tap on it. There are some other sort settings, if you like, available in the shape area. Let's go to Shape. Here we have Count and Count Jitter. Count is going to increase the number of brushstrokes that are put down as we draw, and Count Jitter will vary that. It's not always going to be three brushstrokes at as individual point, this is going to be varied. Now again, we're getting a slightly different look. The size of the dots that we're painting is going to be relative to the size of the brush. If I decrease the size of the brush, I'm going to get smaller dots. You can also see that the Apple pencil and the finger are painting very differently. The Apple pencil has some opacity built into it linked to brush pressure, the finger doesn't. I actually like the finger one better. We're going to change this in the next video to make the Apple pencil draw a little bit more like my finger. But for now, we've got the brush operating as a scatter brush. You can now come back in here and just adjust these Count and Count Jitter and also the Jitter value here in the Stroke path to get the look that you want for the basic brush. In the next video, we'll continue working on this brush to make it paint even more like the way we want it to paint. 3. Pt 2 Adjust Brush Size and Opacity Settings: It's time now to make a couple of significant changes to this brush. One of them is to make the brush actually paint different size dots and the other one is to manage this opacity setting for the Apple Pencil. Let's tap on the brush and go back into the brush settings. We're going to look first at the setting which will enable us to paint with this brush, but to have the dots vary in size, so they're not always going to be the exact same size. That setting is down here in dynamics. This is the setting we're going to adjust. It's a jitter for size. We're into a third or fourth jitter setting here for this brush. They're all settings that jitter something, it's what they jitter is different. In this case, we're going to be jittering the size. Now, what's going to happen is that this brush is going to change the size of the dots as we paint. This brush is looking a lot better, and we're liking it a lot more, but let's go and deal with the Apple Pencil solution. Right now, the Apple Pencil is set to pressure. The harder I press, the more opaque the brush is. I like it to paint with the same opacity regardless of whether I press the pencil really hard or really soft. Let's go back to the brush settings. This time we'll go to the Apple Pencil settings because this is a setting that's controlling the relationship between pressure and opacity. This is the setting here. Now, it may look counter-intuitive, but we're going to take opacity all the way to none. What that does is it removes any link between the pencil pressure and opacity, just leaving the brush painting at full opacity. Now, the Apple pencil, when I use it, regardless of how hard I press it, is going to behave exactly like the finger. Of course, if you want to vary the opacity of the brush, you can do so for the entire brush by just adjusting the opacity setting here. But if that setting is set to full opacity, then regardless of the Apple Pencil pressure, the brush is going to paint exactly the same way. Now, while we're here before we go on to the next video, let's have a look and see what we've actually created here. Because we created a brush that was made up out of a dark circle with a lighter circle in the middle, we're getting this two tone effect within the brush itself. We're getting the full color around the outside and we're getting a partially opaque version of the color on the inside. That's because we created the brush as a black and gray brush. We built in a whole lot of interest into this brush with our starting shape and then with the settings that we've used so far. In the next video, we're going to look at the color options for the brush. 4. Pt 3 Adjust Color for a Scatter Brush: Since Procreate 5 was launched, we've now had the ability to apply varying colors to our brushes. Let's go and have a look at the color options for this brush and they're going to be in the color dynamics area. Inside color dynamics are a lot of settings and these can be a little bit confusing. We're going to [inaudible] through them now and just see which ones might work with our particular brush. This is the one that's going to be the most effective, which is stamp color jitter. Going to wind that up to the maximum value and let's come out here and see what's happening. What's happening is the brush is going to paint with the full spectrum of colors. Every single dot that is put down is a different color. Now, this option wouldn't work with a brush that for example, was painted as a flowing brushstroke. But it's particularly good for these scatter brushes. It's a setting that you probably will want to use for scatter brushes. There's also this secondary color option here that I just want to have a quick look at. I've adjusted hue all the way back down to zero and we're looking at secondary color because in Procreate 5, we've got two colors. When you open up the color panel and your in one of these options down here, you'll see that you've got two colors. You've got a primary color and a secondary color. You can set the primary color by just tapping on it and you can set your secondary color by tapping on it. What I've done is effectively reversed those colors. But let's have a look and see the effect that it's going to have on our brush. We've set the hue for this brush to jitter between the primary and secondary colors. They're blue and red. You can see this time the brush isn't using a full spectrum of colors, it's using colors that fall between the two colors that we've set, the pink and the blue. That's the stamp color jitter. We can jitter between the primary color and the secondary color using this option or we can go for all the colors of the rainbow using this option. Stroke color jitter is going to have an effect on an entire stroke, so it's probably not the setting we want to use, but let's just see how it works. Every single stroke is going to be a different color, but every dot within that stroke is going to be the same color. You can see that each stroke is a different color, but all of these dots are the same color. With stroke color jitter, you've also got this ability to jitter between the main color and the secondary color. This would be a really good setting for an individual line. It's less of a valuable color option for the kind of brush that we're making here, the scatter brush. Now with color pressure, what you can do is change the color by the pressure that you're applying to the brush. I've turned off all the other settings, let's go and have a look and see how this one's going to work. This is only going to work for pressure sensitivity, so it's only going to work with the Apple pencil, it won't work with your finger. But depending on how I press down, how hard I press down, the brush is changing. This is very light and this is very heavy. But the dots in this area are all the same, it's just that they are going to change color when the pressure is varied. There's also a color tilt option here, which is going to affect a color change but is not on the pressure but on the tilt of the pencil. If I tilt my pencil like this, I'll get one color. If I do it upright, I'll get a different color. Again, not so appropriate for this particular brush, but worthwhile knowing exactly how it's going to work. For our brush, I want to make sure that every single one of my dots is a different color, so I'm going to wind back all the other settings and we're just going for hue, for stamp color jitter set to maximum and we get different color dots. 5. Pt 4 Scatter Brush with a Rotating Shape: We've now done everything that we need to do to set up this dot scatter brush and it's working really well. There is one issue though in relation to this brush and that is that all of these dots are the same shape and it doesn't matter whether they're rotated or not, they're going to look exactly the same. A circle rotated through 180 degrees is going to look exactly the same as the circle not rotated through 180 degrees. That won't always be the case with your brushes. We're going to go and set up a second brush, this time one that has a definite up direction. We're going to look at the options for making that brush rotate as we draw it. This is also a really good chance for us to step through creating a brush again. We're going to use all the same settings as previously, just so that you'll be revising those. We're going to add some settings on at the end that are going to control the rotation. We're starting with our basic square document and we want to choose black. I'm going to select my calligraphy brush. Here are my calligraphy brushes. I'm just going to choose a mono-line brush. That's just for the purpose of drawing my shape. For this shape, I'm going to draw a heart so I'm going to draw the first half of the heart. I'm going to stop here and just let Procreate finish the shape for me. I think that's going to be pretty good. I'm just going to move it into position in the document. Now I'll duplicate this layer, so I'll just drag to the left across it and tap duplicate. Then I'll go back to the selection tool and we're going to flip this horizontally and then move it into position. I'm just going to go with the shape I'm getting here. You can say that this is overlap quite a bit. I'm most concerned about the two shapes joining up at the bottom. I'm pretty happy with what I've got here. I need to merge these down because I want to fill them so I'm going to tap on the topmost layer and tap, "Merge Down." That gives me one shape into which I can now drop my color. I'll now just position it in the middle of the document and we'll go back and make a duplicate of this. Again, we're going to drop a gray color into it. Then we're going to re-size it, make it a bit smaller. Position at exactly in the middle. We're going to take a copy of this by going to the gear icon and choose Copy Canvas. Now we're into making the brush so we'll tap on the Brush Library, go back to Group of brushes, and in this case, I've set it up as jewel brushes and I'll tap on the Plus symbol. I'm going to shape and I'll go to Edit and import and then Paste. We're pasting our brush shape in remembering that white is carrying the paint and black is not. We're going to double-finger tap on this so that this is going to be the painted area. This will carry some paint. This will carry no pain at all. We'll go into stroke path and increase the spacing so that we can see the individual hearts. We're also going to increase the jitter so that the hearts are going to be thrown away from the path quite a bit. We'll go back into shape and increase count and count jitter again so that we've got the brush painting away from the path. We'll start testing the brush at this point. Choose the color and just say how it's brushing on. To make the hearts vary in size we're going to Dynamics and we're going to adjust the size jitter here and now we'll get variety in our brush sizes. To make it paint at full opacity, whether we're using our finger or the Apple pencil, go to Apple Pencil and just dial down this opacity to none so that the Apple Pencil is going to paint at full opacity just exactly the same way as our finger would. Choosing a different size of brush is going to affect the size of the hearts that we're painting in here. For color, we're going to set the hue jitter so let's go into the brush again, go into Color dynamics, and we're going to use this stamp color jitter so every single one of these hearts it's going to be painted in a different color. So far we've got a brush here that is behaving exactly like the dotted brush. The issue is that this brush is made up of hearts and right now the hearts are painting all upright. If we want to vary how they paint, we're going to need to change a setting. This is only going to be relevant to brushes that have a distinct up and down. To make the changes that we need to this brush we'll go back into our brush settings and we're going into the shape options. We're going to select Rotation. If I drag it all the way to the right, you'll see that it now says follow stroke. This is one of two options that we have. Follow stroke is going to make the heart brush follow the stroke. The hearts are going to rotate following the stroke that I'm making. They're all going to be pointing in one direction at any point but they're following the stroke. Now that's one of the two options. The other option is to have this heart brush just rotate the hearts in position so are they going to be pointing in a whole series of directions, not following the brush, not all painting upright. Let's go back and say where that option is. We're going to take off the rotation that we just said, and we're going to use this scatter. In this case, scatter doesn't really mean scatter, it means rotate because if we adjust this all the way up, you'll see that our hearts are rotated. This is how these brushes now are painting, it doesn't matter what direction the brush is being painted in, the brushstroke is going in, the hearts are varying in their rotation. This is giving us one of the two options that we have for this brush, either have it follow the stroke or have it just rotate in place. I'm liking the rotate in place, I think I'm going to leave this brush the way it is. In terms of the rotation, I'm not really happy with the number of brushstrokes I'm getting so I'm going to come in here and just increase the count a little bit, increase the count jitter a little bit and perhaps have a go at the stroke path. I would come in here and continue to work on this brush until it was painting exactly the way that I want it to paint. But we've now set up the scatter brushes that we made for our dual brushes. The next step is to set up the brush that's going to be combined with the scatter brush. It's going to have a different set of capabilities. 6. Pt 5 Create a Standard Painterly Brush: When you're combining brushes, the thing that you're going to be looking for is two brushes that have different characteristics. This brush is a scatter brush, it's quite visually interesting. We're going to combine it with something I was going to paint more traditionally like a more traditional brush. This brush can be set up entirely in the brushes library. We're going to tap here on the brush library. Obviously, pick up the collection that you're working in and tap the plus sign here. We're going to select a shape to use. I'm going to target shape and go to Edit and we're going to import a shape from the source library. The shape that I'm using is this one Ink 2 because I want this brush to have a slightly texturized feel about it. We're looking at this brush in terms of black and white. Black is not going to paint, white is going to paint. This brush is the right way round if you like, we don't need to invert it. I'm going to add some grain to this brush. This is going to give it some texture within the brushstroke. Again, I'm going to edit, I'm going to import, I'm going to Source Library, and I'm going to look for an interesting grain. The grain I'm going to use is this one here, but any of these would be usable paper mache, you could use the brick one, you could use the bark, you could use this grunge texture. There's lots and lots of textures here that you could use, but you want something that's got a fairly small pattern to it if you like, and something that is a little bit textured. As I said, I'm going to use this one called bonobo. When you're assessing your grain, you're going to look for something that looks more black than white. If your grain were to come in looking like this, this would be more white than black. We would invert it. You're just going to double-finger tap on it to make sure that the grain looks more black than white. The white areas are actually going to be showing up, the black areas are not. This is a good grain to use. Now we need to just set up our brush. We're going to work through the options here because I've set this brush up from scratch, it's going to have all the default settings. We're only going to focus on the changes that we'll be making. I'll go to stroke path, I'm going to decrease the spacing to 1, 2, 3 percent, something like that. The strokes are painted fairly close to each other. We'll go into taper and I want this brush to have a pointy tip at either end. I'm going to link my tip sizers so that any adjustment I make here is going to be made to both ends of the tip. I'm also going to adjust opacity here to the maximum setting. It's going to paint maximum opacity as I press on the Apple Pencil. There's nothing to change in the shape area, we've already set up everything we need there. In the grain area, you can choose what your settings are going to be here in terms of scale and zoom. You're going to get something interesting happening within your brush stroke, depending on the setting you're using for scale and zoom. I just suggest that you play around with these. This is not going to impact the final result very much except the look and feel of this particular brush. Go and use something that makes sense to you, that is actually going to be attractive to you. In rendering, we are rendering using intense glaze, that's going to be pretty important. Flow is set here to maximum. The wet mix settings are all as they should be. Color dynamics, it's going to impact this brush as we use it as a single brush. The color dynamics that we set up here are not going to affect its final performance as a combined brush. You could skip color dynamics at this point. We're not going to change anything in dynamics, but we are going to look at the Apple Pencil. I'm going to dial down the opacity value here a little bit into about the 80 mark and I'm going to increase size. I'm going to take that up to around the 80 mark as well. Something like 80, somewhere in there for both of these settings. I'll just tap done. We'll go and ensure that we have a color to work with and the brush is already going to be selected by default. Now we can see how it's going to paint. Its size is going to vary according to the size that we select here, but also according to how hard I press with the Apple Pencil. This brush is nicely textured. It's a good foil for this other brush. They look interesting together. I've got one very plain brush and one way more exciting one. In the next video, we'll have a look at putting these two together to have a functional combined brush. 7. Pt 6 Make a Dual Brush: We're now ready to put these two brushes together and then tweak how they're going to work with each other. For this, we're going into the Brush Library. You'll need to be aware that when you create a combined brush, the two brushes that I use together to make the combined brush are going to disappear out of this panel. They won't be accessible to you again as individual brushes unless you break them out of being a combined brush. The best practice before you combine brushes is to make sure that you make a duplicate of the brushes you're going to use. I'm going to drag across here and tap on Duplicate. We'll combine this brush with the dots to start off with. I'm just going to duplicate the dots. I've got my painting brush and my dark brush, two versions of them. That means when they're swallowed up into a combined brush, I'll still have the individual brushes that I can use. The other thing to be aware of is that dependent on the order in which you combine the brushes, some other settings are available to the brush that you select first. If we were to select the painting brush first and this brush second and combine them, we would be able to change color of the painting brush, but we would not be able to change the color of the dots. Since we set up the dot brush so that we're painting different colors, that's going to not work for us. We need to make sure that the first brush we select is the one that we want to be able to vary the color on, because that's the significant difference between the brush that you select first and the brush that you select second. The second selected brush, you can't change the color for. The first selective brush, you can have color settings for. We're going to select one of these dot brushes, doesn't matter which one, just make sure that it's targeted here. Then we're going to drag very subtly to the right on the second brush. Now you might need to finesse exactly how you drag on these because they can behave a little weirdly. Let's just select this one and just a little dash to the right to select the second one. You've got two brushes selected; this one first, this one second, and we have the option to combine them. We're going to tap here on Combine, and this is now our combined brush. It doesn't look any different but it is a combined brush. You can see that the other untitled brush has disappeared and this one has also been chewed up into it. We're going to come into this brush, go straight down to about this brush, and let's give it a new name. I'm calling it dots and brush. That's making it very clear that this is a combined brush. Before we do anything with this brush, let's just go and see how it paints just out-of-the-box if you like. This is my finger version of it. Interesting, not great. This is the Apple pencil version. You can see that if we're able to use the Apple pencil, if you've got an Apple pencil, you're going to get a little bit more mileage out of this brush because you're going to be able to combine it using the pressure, so you're going to get a different effect. We're nowhere where we want to be with this brush yet, except that we have managed to combine the two elements together to get something. But as I said, using your finger is going to be less satisfactory, if you like, than the ability to use the Apple pencil, which is going to give us some interesting effects with this brush. 8. Pt 7 Make a Second Dual Brush: This is a brush that we've got so far. It's nice, but it's not as good as it could be. Let's see how we can go about editing it. The first thing, I'm a little bit concerned about is that I think that these dots are too intense. I'd like to see a little bit more visual variety in the color. I'm going to go back to my brush library. I'm going to edit my brush. Now, what you need to be really aware of here is that these are the two brushes. When you come into editing the brush, you're going to make a choice, first of all, about which of the two brushes that you've combined together you actually want to edit. In this case, I want to edit the dots. The dots are the ones that can have color dynamics applied to them. For this, I've got the dots selected. I'm now in color dynamics. I'm just going to increase the lightness a little bit, because I think that's going to give me the variety that I'm looking for. You can see that that has worked. I've got some lighter elements in here. I could continue to work on that, but I just wanted to show you that if you think that your brush's painting too dark, the dots are too dark, then you can change that. Now, the other thing I'm looking at is that these dots are pretty big relative to the brush. You won't know ahead of time how they're going to interact together. It's not something you can preset. But having combined these brushes, I'm now looking and thinking that the dots are way too big, I want them to be smaller relative to the brush shape. Let's go back into the brush. Let's make sure that we're targeting the dots because it's the dot brush that we want to adjust the size of. We'll come down here into Properties. In the Properties, I can adjust the maximum size. I'm going to decrease the size of this brush. I'm going to get more dots along my stroke. Probably, I went too far. Back into the dots brush, back into Properties, and I'm going to increase the maximum size a little bit. That's looking a whole lot better. The other thing that I'm saying about this brush and that I want to change is how the two brushes interact with each other with the Apple Pencil pressure. Because as we've seen, when you're using your finger, you're only going to get one style of brush. But if you do have an Apple Pencil, you can pick up some of the nuances or some some the differences in pressure and have the two brushes combine with each other and do different things according to the pressure. Now, when I'm just pressing really lightly, I'm getting my dots. When I'm pressing heavily, I'm getting my dots and the brush stroke. What I want to happen is for this brush stroke to behave a little bit more like the dots in the sense that when I use this brush stroke, I don't get dots. When I press lightly, I get dots. When I press heavily, I only get the brush stroke, so they're going to interact a little bit differently together. For this, I need to make changes again to the dots because I want the dots to stop painting when I press heavily. Let's go back into the brush. Let's go back and make sure that we're adjusting the dots because that's where everything is. We'll go into the Apple pencil. What we want behavior-wise for this brush is the heavier we press the Apple Pencil, the less this brush paints. We'll go to Flow, and we'll take that to minus 100. Heavy pressure means the brush stops painting. Light pressure, heavy pressure, lot less dots. Light pressure, heavy pressure. Now, this brush is behaving so that these two elements that contribute to the brush are operating sort of each other, but as a single brush. The dots are painting when I'm using just the pencil very light. As soon as I press down a little bit, the dots are stopping, and the brush is just taking over. Light pressure again, and I'm getting dots and no brush. Now, anywhere between both the brushes painting together and the two brushes painting independently is going to be a sweet spot for you. You're going to need to pick that level. But you know how to make the changes now. The turning off of this dot brush is handled through the Apple Pencil through the Flow. Some adjustment of Flow is going to give you more or less dots according to how heavy you press with your Apple Pencil. In terms of color, this color here is this color. If you want your brush stroke to be a different color, you're just going to change the color that you're using. Let's go to red, and now we're going to get the same colored dots, but this time, the brush stroke itself is going to be red. You can change the brush stroke color, but it can only be one color, and it's not going to jitter in terms of hue if you can't change how that second brush is behaving in terms of color other than to choose a different color to use with it. Those are the basics of putting together two brushes that interact with each other. We're going to do this all over again in the next video, this time with that hard brush, just to reinforce the principles. But you've got all the tools that you need here to now create brushes that will paint together, two brushes combined, having them interact together in an interesting way. 9. Pt 8 Create the Rotating Heart Dual Brush: We're now going to create a brush that we can combine with our heart brush. We'll go back into the brush library, into the group that we're working in. We're going to tap the plus symbol to create a new brush. We're going to tap "Shape" and we're going to select the shape. I found that these brushes will work particularly well if you create it with a shape that is a little bit more organic. This is very severe if you like. Let's go and choose something from the source library. In this case, I'm going to use this ink brush, different to the last one. We'll make sure that it's painting the correct way. This black around the edge is going to tell us that that's not going to paint. We go to grain and select a grain. Again, with grain, you want something fairly small, quite visually interesting, and probably not something that is too smooth. I've tried some of these before, the clouds ones, and didn't like them quite so much. I preferred something that was a little bit more organic, for example like this bark one. Again, you want to make sure that you're painting with the darkest version of it as your grain. You can adjust the scale and zoom so that you get something a little bit more interesting here. We'll go into taper, and we're going to link the tip sizes here and bring in the end. This brush is going to taper fairly heavily. We're also going to increase the size value here so that we get a definite taper at the ends. In stroke path, we want to bring the spacing down so that the shapes that are painted because brushes are not painted as a brushstroke per se. They're painted as a whole series of dots, and the closer they are together, the more they look like an individual stroke. We want the spacing to be very small because this is a painterly brush. Let's go and see how this is working so far. I'm using pink as a color inside, that's why it's looking a little bit faded out. If I choose something a little bit stronger, it's going to look a little stronger. I'm going with this for now because we need to finesse it by joining it with the heart brush. Making changes at this stage is probably not going to help because we'll probably have to undo half of them by the time we join it up with the hearts. Let's go back into the brush library. I'm going to duplicate this brush so I don't lose it. I'm going to duplicate my hearts brush so I don't lose it. I want the hearts brush because it's the most visually interesting of the two to be the one that can change color. I'll select it first and then select the second one and tap "Combine" The first thing I'll do is go in and name this the combined brush so that we know which one is which. Let's see how it's painting. You can see that the size automatically changed. We've got a lot of a different look here with this brush. The hearts are pretty big and the brushstroke itself is pretty small. Let's go and make some changes to it. We'll have a look at the brushstroke itself and see if we can change its size. Well, in the properties area, it's working pretty close to its maximum size. But I might need to bring it up a little bit. There's a little bit of movement there. The amount that you can adjust on the maximum size scale here is going to be dependent on what you've got set as the spacing. If the spacing is a little bit bigger then the scale here is going to be much big. You got a lot more room here. But if the stroke path, if the spacing value here is quite small, then you'll have less movement in the properties in terms of adjusting the size. Just be aware of that. If you can't get your brush to be big enough, adjust the spacing up a little bit, and then you'll have some more movement in terms of the brush size. I'd like to adjust my hearts down because I think I want more hearts at a smaller size. Let's go and adjust those. Again, making sure that the hearts part of the brush is selected. We'll go to properties, and I'm going to decrease the maximum size. Now we discovered earlier that this setting is pretty robust. If you adjust it to 23 percent, you're going to get really small hearts. You probably want to be on the side of caution with this and not take such a huge change. That said, I probably haven't done enough still on that. Now, if we want to change how these brushes interact in terms of pressure, we could do what we did last time, which was to stop the hearts from being painted when we were pressing really hard. What we did was we went to the hearts, and then we went to the Apple pencil, and we said when we press really hard, we want a negative flow. No hearts at the point at which we're pressing really hard. This is pretty much how this is working. The harder I press, the less hearts there are. If I press really hard, there are no hearts at all. But it's also possible to totally reverse this and have the hearts appear when we press hard, and the brush appear when we press really softly. To do this, the first thing we're going to do is go to the hearts, and we'll reverse this. We'll take that all the way in the other direction, and then we'll go to the brush, and we'll go to the Apple pencil and make it behave the way we did the hearts earlier. Now, this brush is going to work in reverse. Really light pressure is going to be a brushstroke. Really heavy pressure is just going to be basically the hearts. I'm pressing really heavily right now and now really lightly. You can combine these brushes the way that you want to have them interact. They can both work together at the exact same time, or you can have one brush appear when you're pressing very lightly and the other brush appear only when you're pressing really heavily. The pressing behavior is controlled through the Apple pencil. This is the heart brush. Let's take it back to negative flow, let's take the brush brush, and let's adjust it either to zero or to four. You can do whichever you like, and that will change the behavior of this brush. This is very light, and now this is very heavy, and this is very light again. 10. Pt 9 A Dotted Border Effect Brush: For this next brush, we're going to create a brush that is a border effect brush. It's going to have a solid middle stroke and something's going to be happening along the edge. I've got a brand new square 2,048 by 2,048 pixel document. I've already selected my monoline brush because I just want to draw a circle, and I'm working in black. I'm going to draw a small circle at the top of the document. I'm going to make sure that Procreate renders it as a circle and then I'll drag and drop my black color into it. I'm going to make sure that it's centered in the document. Now I'm going to make a duplicate of this layer, go and grab the second of these dots, and just move it down the document. I want it to be directly underneath the first one. These two dots are going to be my brush. I've got everything that I need right now. I'll go to the Gear icon and copy my Canvas. I'm going back into my brush library, back into my jewel brushes, and for this, I'm just going to tap on the plus symbol to start my new brush, and we're going straight into Shape, Edit, Import, Paste, and we'll paste in our two dots. Remembering of course, that in Procreate, we're going to be painting where the white is, and this is the wrong way round, so I'm just going to double tap on it. These dots are going to be my brush. I'll tap "Done". I want this brush to show the actual dot, so I'm going to strike path, and I'm going to increase the spacing until I can see the dots. I also don't want to use opacity from the Apple pencil, so I'm going to the Apple pencil, I'm going to take the opacity down to nothing at all. Now this brush is a little bit interesting to set up. I want to show you it at this point in its development. This is the problem with it, it's crossing over itself. I don't want it to do that. What I'm going to do with the brush is I'm going back into the brush, I'm going back into Shape. For this, I want it to follow my stroke, so I'm going to wind rotation all the way up to follow stroke. You can say that I've just gone from bad to worse. Following stroke is a really good idea, it's just that this brush is still not behaving the way it should. Well, the setting that controls what's happening to the brush right now is actually a setting that is aligning it to the document. We're going down here to Properties and we're going to turn off orient to screen and then tap "Done". Now the brush is working as I expect it to, it's following my stroke and it's no longer oriented to the screen, so it's working much better. I'm just going to adjust the spacing a little bit on this brush, I think I would like it to be a little bit more spaced out as it draws. Now for this brush, I want it to be surrounding something, so I want something along the middle. What I want is just a very plain brush. That's very easy to create and we don't have to start with any particular shape because Procreate already has the shapes that we need built in. But we will need a brand new brush because we have to combine these brushes. I'm going to tap on the plus symbol, I'm going to Shape, and I'm just going to use this shape. I want my brush to be this exact shape. I don't want it to be adjusted according to the Apple pencil, I don't want the opacity to change, so I'm just going to have a brush at full opacity. I'll to go to Stroke Path. I'm going to decrease the spacing so it's pretty well all joined up. That's how this brush is working. I'd like to put some streamline on this brush, and when you're adding streamline to dual brushes, you need to do that to both parts of the brush. We could do it now or we could do it later. I'm just going to do it right now. I'm going into Stabilization. I'm going to add about 50 percent streamline. Now these don't have to be the exact same value, but they have to be near enough so that if you're going to smooth out this line, you also want to smooth out the brush line for this brush as well. Liking that a lot better. At this point, we can put these two brushes together. I'm going to duplicate them because of course, the process of putting these two brushes together in one brush, a dual brush is going to swallow them both up, they're not going to be individual brushes any longer. I also need to choose which brush is going to be the primary brush because that one can carry the change of color. Well, for this brush, I obviously want the dots to be the change of color, so I'm going to select it and then I'm going to target this brush as the second brush, and we'll combine them. Right now, this is what we've got. Now, at some point you might say, oh my goodness, that's actually a really nice brush, and I'm scary, this is the first time I've seen this brush actually behave like this, and it's got to do with the relative sizes. I really like this brush. I'm actually going to tuck that away and keep it, and let's go and duplicate it, and let's work on this brush to give us something a little bit different. You can do that, if you see something that you like, just go and duplicate the brush and continue to work on a duplicate so you still keep the one that you had. Now for this brush, I want the middle part to be thinner, so I'm going to tap on this brush which is controlling the middle part, I'm going to Properties and I'm going to decrease its size. That brings it in so that the dots are appearing along the edge of the brush. That's behaving pretty much the way I want it to, but of course, we need to build some color interest into it. I'm going to select a pink color, and let's see what that does to the brush while everything is pink. But of course, these dots have been created as the primary brush so that we can change them. Let's go into our brush, let's go and target the dots, and for them, they're the only ones that have color dynamics available. If I go to this brush, you can see that color dynamics just doesn't exist for that brush. We'll go to Color Dynamics, and because we have dots along the edge, I think the stamp color jitter would be a nice effect to get there. What we've got is the dots changing color, every single pair of those dots is a different color, and it's painting along a single color brush underneath. 11. Pt 10 Finish the Border Brush: Now while we're still working with this brush, let's see something else that we can do with these dots. Just going to create a brand new layer here. I'm going to lay down one line and then let's go and change this brush up a little bit. I'm going to decrease the spacing on this. So I'm going to make sure that I have the dots selected and we'll go into the stroke path and decrease the spacing so we can get smaller dots. We can also change the size of the dots so we can come down to Properties and make sure that the dots are even smaller. There's a lot of flexibility in the dots that are sort this shape, if you like. You can even jam them altogether. If you go back into the brush and reduce the spacing on this to a very small value, the kind of value that you would use for a solid line brush, then you're going to get just that, a solid line brush. But for this, the color dynamics of a stroke change are not really going to work because every dot would be a different color. So it might be better to, for example, with this one, is adjusted according to pressure. The Apple Pencil is going to adjust the edge. We're going to get a solid stroke here and it's going to change in color based on the pressure that I'm applying to the Apple Pencil. Of course, we could make it larger by just increasing the brush size of the dots or decrease the brush size of the bit in the middle. There are lots of ways that you could use these edge effects to get very interesting brushes. Of course, as we came into this, I found that I had a really interesting brush that I haven't seen before. For this one, I'll probably increase the size of the dots a little bit just think that I'm going to get a more interesting result there if I increase the maximum size of the dots. It's just going to be a little bit more obvious, the edge on this brush, and I really like that as a brush as well. 12. P 11 Create an Outline Brush: This next brush that we're going to create is going to be an outline brush. In the past I've done outline brushes that'll put an outline on a line. This one's just going to outline, so it's just going to be the edge of things and not the middle. For this we need just a plain brush, and the one that we created earlier is going to work just perfectly. It's just a plain brush. I'm going to make two copies of it because I need two of them to make my new brush. I'm going to keep this one just because I want a reference for the brush that was used in here, but these two are going to be swallowed up into my new brush. Because they're absolutely identical, it doesn't matter which one I select first. I'm just going to combine them. This combined brush is non surprisingly going to paint exactly the same way as the original brush, so we need to make some changes to the settings. For this, I'm going to increase the size of one of the brushes. I'm going to take this topmost one and I'm going to increase its base size. We're going to Properties down here and we're going to increase its maximum size, so it's a little bit fatter than the one underneath. I'm just checking the spacing on these, they're both at three percent. That's a pretty good value, we're not going to see edge effects on this. The way this brush is going to work is it relies on a blend mode. What we're going to deal with say to procreate, subtract this from this. This brush is much narrow and this one is much thicker so paint it along the middle, but instead of applying paint to it just remove all the color in that position. We do that by choosing a different blend mode. The blend mode we're going to use is Difference. If you're ever stuck to know what blend modes do, just go and try them. As you tap on them you'll see that your brushes going to change, and you'll see any effect that a change of blend mode is going to have on your brush. In most cases Normal which is the default is exactly what you want, but in some cases you might get a more interesting effect with one of these others. This is the one that we're going to get an interesting effect from, its Difference. We would get exactly the same effect from Subtract, and if you're familiar with these blend modes that probably won't be surprising to you. That Subtract will generally give you the same result as Difference. It's not always always the same, but generally and certainly in these circumstances it will give us the same effect. This is what we're looking for. We're subtracting this brush from this one, so if we want the middle to be skinnier; this white bit to be skinnier, then we can just decrease the size of this brush. Let's go to this one; go to its Properties, and make it a bit smaller. In making it a bit smaller, we're seeing more of the larger brush. Let's see how this is going to paint. It paints as an outline brush, but it has a feature built into it that's really useful and that is this. When it intersects with itself, it continues to behave as an outline brush. You can write words with it and have the words provided you don't lift your pen off the screen appear as full outlines. You can see how beautifully this outline brush is going to work to give you a really nice effect. Now this outline itself can be filled, so we could go and get a lighter color for example. We could drop that color into the gap and we get a dual tone effect. The place where this brush is going to fall down and you need to be aware of, is when you cross things. If we do something like this, we're going to end up with not the look that perhaps you want. There is a trick to working out how to solve this so that you can get the look that you do want. That is to firstly draw your first line and then add a new layer for your second line. Then we're going to do some subtraction. We've got the topmost; this line, selected right now. That's targeted here in the Layers palette. We're going to the Selection tool, you're going to use Automatic and you're just going to tap in the middle because you want the bit in the middle here. Because we're going to lose this shape in a minute, we have to save this piece. We're just going to save and load and you're going to tap the plus sign, and that's it. You're just saving that piece. Then you're going to come to the layer with the other piece on it, and you're going to make that selection. I've just made it wrong, so let's go and do that again. I want to tap the middle piece. I've got this piece selected. What I'm going to do is subtract it from this piece. I'm going to this piece here, and all I'm going to do is tap on "Clear". You can see we've lost the middle out of this, so we're halfway to where we want to be. We'll go back to this layer which has got a piece on it that we need to subtract something from. We're going back to our selection and we're going to load this piece here, and we'll go back and just tap "Clear". This gives us our final shape. You might think that this is a little bit confusing, but it is actually a step-by-step process. Let me just go through it again with you in case you're finding this confusing. I'm going to start by drawing my letter t. It's a two-part letter; it's got this piece and it's going to have this piece, but the crossbar is going to be on a new layer. There is my crossbar. I'm going to select it and save the middle of the crossbar. I'm going back to the original layer. I'm going to select the middle of this shape, and I'm going to then go and subtract it from the bar; the piece that I saved. That's really important. You're going to subtract it from the piece that you've already saved. You do that by just tapping on it and tap "Clear". We've already saved this shape, so we go back to this piece here. We go and load our angled piece, and then we subtract it by just tapping on this and going "Clear". Once you've done it a few times, it's going to be really easy to do. It's just all about saving the piece that you need to use before you actually destroy it. Once you've created your letter like this, you go back to the topmost piece and you're just going to merge down so that you end up with the letter on a layer all by itself. It's a single object and you can do things to it as you would with any of these outlined letters for example. That is, to drop a color into the middle of it. That outline brush is really smart, it's really fun to create and it's using as I said that Difference blend mode to subtract the middle out of the brush. 13. P 12 Combining Procreate Default Brushes: Before we finish up working with these dual brushes, there are few things that you need to know. One of them is that you can only create a dual brush from a set of brushes that are in the same group, which is why we created this dual brushes group and put everything in here so you can't take a brush out of one group and one out of another group and combine them, you will have to move them into the same group. The other thing is how you get the brushes out of a combined brush. If you, for example, decided that you wanted the bits out of this brush, how would you get to them? Well, firstly, I don't want to lose this brush, but I would like the bits from it so I'm going to duplicate it. I'm going to keep one of these and split the other one. I'm going to split this one. It doesn't matter, they're both identical. To split them you're going to come into the brush studio, you're going to tap on the brush and tap on it again, and then tap on the secondary one yet again, so that's like a three tap. Tap to select it and tap to uncombine it and then it will be broken out into its component parts. Now while you can combine two brushes into a dual brush, you can't combine three brushes and you also can't combine a dual brush with a single brush and this is where it can bite you because one of the things that you might want to do is to go to as a group, for example, the artistic brushes, and try and combine some of them. Now you can't combine an original Procreate brush and sassafras is an original Procreate brush, but you can combine a duplicate of it so let's just duplicate it. Let's go up here to something like leather wood and let's duplicate leather wood. Now I've got a lot of duplicates of it, so let me just go back to the original. This is the original leather wood, so I'm going to make a duplicate of it and I'm going to combine my duplicate of sassafras with my duplicate of leather wood. For now, I'm not going to be too concerned about which one I select first. It's going to have a difference, but I can't predict what difference it's going to be and besides, we've got bigger problems than that. When I tap on combine, I'm told to uncombine a brush to combine, which is a bit strange until you look at these brushes that are shipped with Procreate and you'll find that a lot of them are dual brushes themselves. This leather wood brush is actually a combined brush and so to sassafras. Before you start going combining the brushes that are shipped with Procreate, just be aware that a lot of those are duals anyway. Let's find something that's not a dual or let's break the pieces out from one of the existing one. Let's go to sassafras and let's break it apart into its component pieces and we'll grab one of these to make the combination with. These are the two pieces that I grouped together to make sassafras. When we go and have a look inside sassafras the little ones on top and the spiky ones on the bottom. Well, let's see what happens when we reverse that. Let's put the spiky one on top of our primary piece, and let's put the other one as our secondary piece and let's see what happens when we combine them. This is sassafras combined the opposite way and this sassafras combined the way it was shipped with Procreate. You can see that the order in which you combine these brushes is really important that it will give you different effects depending on which order you combine them. But you can combine brushes that are shipped with Procreate, you can combine them with your own brushes or you can combine them with each other. You will just want to watch and see whether a brush is itself it's just a single brush, or whether it's one of the special ones that are already combination brushes. Let's have a look at wild light and so that's a combination brush as well, aurora isn't so just be aware of that. But also be aware that you can break these brushes apart. If you have a look at sassafras and inside there is a brush that you're interested in, make a duplicate of the brush and then split it and there's a brush in there that you might perhaps be able to do something with. There's enormous power in creating dual brushes in Procreate, not only very creative brushes that have got stars and all shapes in them but also, for example, brushes that are combinations of artistic brushes. 14. Pt 13 Saving and Sharing Brushes: Before we finish up, we're going to have a look at how we would prepare these brushes to share with others. For example, if you wanted to sell them and probably the simplest solution is to email a brush to yourself. That way if it's in your email system, then you can get it on to, for example, your desktop computer so that you can upload it to a site where you're going to actually sell it from. What you'll do is you'll go into the brush library and you're going to go to the brush that you want to export. Now I suggest that before you go too much further, that you fill in the About this brush. You're going to make a name for it. Just make sure that up the top here it actually has a name. Then you're going to also complete things like made by. I'm just going to put Helen in here and then I can also come in here and I can sign it. You can sign your brush. For your own point of view in terms of being able to be sure about what this brush looks like at the point at which you're exporting it, I will be creating a new reset point. Tap on, create new reset point and save it. This is the brush as it is that you are about to now share with other people or sell and you want to keep a copy of this so that you have access to it, but that's fine because you're going to have a copy of it because you're going to be emailing it to yourself. Once you've done all those things and filled in all the details about the brush what you would do regardless of how you plan to export the brush from procreate, you're going to come in here and you're just going to slide your finger across because there's a share option here. We're going to share and then we can choose how we're going to share it. Now I go to AirDrop it, but I'm actually going to use email. I'm going to my email just going to type in my email address. It's Hearts_And_Brush.B-R-U-S-H all the Procreate files have B-R-U-S-H as their extension, and all I need to do then is just to send it and the export is now successful. That's going to appear in my email in basket nothing magical about that. Now another option that you have for saving these brushes is to use something like Google Drive. I've actually got Google Drive open right now. Let me just go and bring it in here alongside Procreate. I've got a folder called Procreate brushes or Helens procreate brushes here. Let's go and get this hearts brush that we're working with. I'm again going to slide across here and I'm going to tap share. I'm going to select Google Drive. I'm going to drive here and I'm going to choose the account. This is the Google Drive account I want to put it into. Down here is my drives, I can select from here the procreate brushes folder. I'm making sure that my brush is going to be saved here. I'll tap on Save here and now I'll just tap on Upload, and that's going to upload the brush from Procreate into my Google Drive. Now the export is successful. If I go to Google Drive and just sink it again, you'll say that now we've got the Hearts and Brush is in my Google Drive. Now that's a really good approach to take for not only sharing brushes, but also backing up your brushes because now I've got a copy of these key brushes in my Google Drive, so they're just going to be safe there, they're really small files, that's pretty easy to keep them there. Now, if you need to import them again later on, again, that's very easy. You can either just click on them from an email message or if you've got them in Google Drive, we can import them here from Google Drive. I'm going to bring in this Heart and Brush. Some test tap on it and you'll see some information about it I don't know quite why we're seeing this inside the brush, but just ignore it for now because you're going to just tap on the download option. Now we'll be prompted to download it. Once we've downloaded it, we get to open it in. Well, I'm going to tap Open in and we're going to open it in Procreate. All of Procreate's brushes are going to be imported into the imports folder. Down the bottom here is the Hearts and Brush. It's going to be imported in the important folder and you can then move it to wherever you want it to be. That's also the information that you're going to need to give to your purchasers as to how they can get it into Procreate. They can open that up from an email, they can download it from the web. When they download it, they're going to be given a prompt by their iPad as to where to put it and they should choose procreate when it's imported into Procreate, they're going to find it in the imported folder. Of course from here you just tap on it and then you can move it to wherever you want. I'm not actually going to do that for now, let's just put it back where it came from. That's how you're going to prepare your brushes for export from Procreate, just making sure that you complete the details about the brush so that anybody buying it has the ability to contact you or know where it's come from. You've created a new reset point, you've exported it in some way, whether you export it via email or export it, for example, direct to Google Drive. You also know now how to import your brushes into Procreate. 15. Project and Wrapup: We've now finished the video training portion of this class, so it's over to you. Your class project is to make a dual brush in Procreate. Now you can make one of those shown in the class or you can come up with your own combination. Post an image of your brush in use as your class project. I hope that you've enjoyed this course and you've learnt lots about making and combining brushes in Procreate. If you did enjoy this course and when you see a prompt asking if you would recommend this class to others, please give it a thumbs up and write a few words about why you enjoy the class. These recommendations help other students to say that this is a class that they too might enjoy and learn from. Now if you see the follow link on the screen, click it to keep up to date with my new classes as they're released. If you'd like to leave a comment or a question, please do so. I read and respond to all questions and comments, and I look at and respond to all of your class projects. My name is Helen Bradley. Thank you so much for joining me to this episode of graphic design for lunch, dual brushes to make and sell in Procreate 5.2. I look forward to seeing you in another episode of graphic design for lunch very soon.