Transcripts
1. Introduction and Materials: way. Hi, and welcome to the skill short course on how to make your very own original custom watercolor brushes in procreate. I am so happy you're here. Making custom brushes is really fun and not at all intimidating. Super easy to dio on bears so many benefits to making your own brushes. You could sell them. You could share them. But most of all it helps you, um, get the look and feel that you're after as a digital artist. Even if you're just doodling away and you want something that looks little more organic or interesting, it's a great way Teoh to achieve that results. And also, it's a great way to learn how brushes working, procreate so that you can make fine adjustments and fine tuning to really get that those brushes toe work. It's for your benefit, ultimately on bits easy to do and it's fun to Dio. So you're gonna need a few things to get started. You're gonna need your watercolor brushes or household brushes or anything you can think of that's going to make Ah, Mark, you're going to need some watercolor paints they can come in to. It doesn't have to be a appellate like that. You could also use a simple single Inc that comes with a dropper bottle like a India ink or Chinese ink. Sumi ink, calligraphy ink that connecting, um, in a dropper bottle that would also work if you have things like squirt bottles, that is a great way to get a nice wet even field with interesting droplets, and then you can drop paint into them. And Nixon. Interesting marks. You're going to need some water to clean your brushes so that they stay nice and neat. Um, you can use salt. You can use rubbing alcohol, anything that you can think of, um, things from outside. Anything you can think that's going to make an interesting mark, that you want to explore a za brush. And you're also especially going to need a paper that's heavy and suitable for wet media because water will buckle paper that isn't suitable to something that's quite wet. And lastly, you are going to need you are tablet or iPad so that we can get thes into here and make beautiful things. Okay, All right. So go get those things and I will see in the next section
2. Mark Making: so the beauty of watercolor is that it's transparent. It's a spontaneous material to work with and has organic and unpredictable qualities. So I suggest one of the first places to start to explore this is with a clear wash. Basically, a wash is quite deluded. Volume of pains. As you can see, I'm spreading it around on the paper to achieve an overall shape than trying to lay in pigment in random areas to create visual interest. I'm using pain from a watercolor tube. In this example, it's built on that same wash that I just laid down. I'm gonna add some assault to create even more visual texture. As you can see, if you Sprinkle in a few Granules, it really draws that pigment and water to it and creates his wonderful, unexpected organic little bits of texture within that plane wash that we made before. But I would experiment, keeping a plane wash mark and then assaulted Marcus Ball. Okay, so that's cleaner brushes, and let's try something different again. With the clear washes, we're going to lay down a another transparent fields. Here I am, using the same mix of watercolor that was from a tube quite diluted. I am experimenting flicks using the heel of the brush, the tip of the brush. Anything I do to lay it down, interesting marks on the page. And then I'm gonna get my alcohol rubbing alcohol. That's an escort bottle and give it. As you can see, it reacts in a very unexpected way. Let's move on to blooms, which is a really effective mark making tool. I'm gonna use a squirt bottle to lay down a field of just clear water. Using a spray bottle gives a very unexpected spray pattern of water. And then I'm gonna use my paint brush and dip it into Chinese calligraphy ink, which is a very heavy pigmented liquid. And I'm gonna drop the pigment into the areas of water that I see. And as you can see, it spreads to fill in all the nooks and crannies of the water that I laid down with the squirt bottle. Let's move on to making drips, which is really easy, especially if you have a dropper bottle of minute medium. In this case, I'm using that krilic from an art store and I'm gonna Philip the dropper and I'm gonna raise it as high as I can about the page, so that when the strips hit, they really spread out and make unusual splash marks. Another exciting mark to experiment with our runs. And basically you want to create a little dense puddle of ink, and then you're gonna tip the page, and either it's going to be what, enough to run by itself. Or you might have to manipulate the page by shaking it or looking a little bit to get that drip to really travel down the page. And lastly, one of the great marks to experiment with is using dry marks. So here I've dipped it in my Chinese ink again, and I've dried it off on a paper towel to the side, and I'm left with just very, very dry ink on a textured brush. I'm using an Asian calligraphy brush here, and it makes a beautiful mark, as you can see. And one of the things I also wanted to encourage you to dio with your mark making is to keep a record of it and a sketchbook such as this one. You can play with different brushes, different media, different colors and have record of it I prefer to use this, uh, a sketchbook that can take mixed media that can take a little bit of water. They're very affordable. You can find them at any craft store readily available. And I do like the size to so that I can just, you know, when I have free time or just them a little, maybe creatively stuck, I could just make marks and then I can experiment later. Um, in the evening when you cleaned up on the iPad and just see what these marks will produce as brushes. So you can see, I think here I used some ink and flat brushes. Um, here I've experimented with metallics. Those could be interesting, how they photograph and how you can edit them. Um, believe I've done some some color fields and colored watercolor. Those could be interesting. And I also have a section where I just experiment with color color combinations and I will explore how these look as brushes or his background grain sources for brushes as well. So keep a sketchbook experiment, play, have fun, and I really believe that you'll find it ultimately useful for your brush making and procreate.
3. Digitizing Marks Desktop: let's move on to digitizing the marks that we've made using her paintbrushes. So if you're gonna use a desktop, I suggest that you scan the marks at a 300 BP I on your scanner. Alternatively, you could photograph and air dropped them to your desktop, and then we're gonna open an application such as photo Shop, and this is gonna really help us find tune and adjust our marks to get the best quality out of them. So within photo shop, you're going to want to start with a square canvas, and here I am. I'm making score. Canvas on the resolution can be 72 DPR. That's fine, But usually I start with a square orientation. Probably. Um, and in pixels, it's best. I am opening my marks that I scanned on paper on my desktop scanner. Three D. P. I and I'm driving across to select my mark, and I'm in a copy and paste that into my square campus on the desktop. And here I am. I'm just dragging it to orient it within the square space. Appropriate favors a square frame and for their brushes for the brush shapes and the brush screen and here. I'm gonna go ahead and tweak the qualities of my mark by adjusting the levels to bring up and down the darks, the shadows, the lights and really get a good contrast. Um, for the mark that I am after with this particular shape to see how how best they could bring out the qualities and make sure it's useful. I'm cleaning up the marks, using the eraser tool to get rid of any spray. Any extra splatters, that type of thing. And I'm happy with that one now, someone to go into a different shape that I made using the Dripper tool, which are the trips. Um, I am going to select that as well on paste that into the same file. I'm gonna keep all of the marks that I just made in one multilayered voter shop file. And I'm just sizing that and living it within the middle of the square frame again. Again, I'm adjusting the levels to bring out qualities, and she removed noise from the background just fine tuning and tweaking that particular mark so that it's it's useful within procreate on a closed, the original. I'm not going to save any changes and I will continue to do this with other marks just to see what qualities that are great for procreate brushes. I confined within each mark and you get him on the place. Once I've edited all the marks that I'm interested in on photo shop on the desktop, I'm going to go ahead and air drop those individual files to my iPad. I would have exported them is J pecs using photo shop and then simply select them an air drop so I could get them onto the iPad and then to procreate.
4. Digitizing Marks iPad Way: So an alternative way is to just directly photograph and edit the marks using your iPad alone. And this is a really easy way, and probably it go to unless it's a very complicated mark that I know I need, Like the really full power of a desktop photo shop. I would start this week first, and what you're gonna want to is go ahead and photograph your marks. Using the camera on your iPad. You consume doing it here have simply displaced my full sheet of paper with the mark on the ground. And I'm just going to do my best to in good lighting photograph as clearly as possible. The marks that I've made. Fuck. Okay, so we've made our marks and now we need to edit them. Using an image editing application in order to clean them up and get them into procreate for a brush is so on that I pat there. Several options for image editing here are three that I recommend. Snap seed by Google is an excellent choice. It has many, many tools that can help you edit and clean up your marks. There's also light room and Photoshopped fix. Personally. I prefer Photoshopped fix like when it the fastest and most straightforward to clean up mark specifically. So let's launch the application. You can see there's marks that I've been working on, but I'm gonna click a new one here on the left by clicking the plus button and I'm gonna navigate on my iPad to the images that I took of my marks. And I'm going to work with this one to show you how I clean that up so you can see it's got the floor. It's under exposed. It needs quite a bit of help. So one of the places I like to start with is a crop for Photoshopped brushes, the grain source and the brush shape. You're gonna want to select a square shape by selecting square at the bottom. My image is already square shaped, so I don't have to do much, but I could adjust how the brush mark sits within the frame of the square. I'm actually quite happy with that, So I'm gonna go ahead and click on the check Mark and I'm going to begin. Teoh, get rid of this extra floor. All this information that I don't need, so I'm gonna click on the paint brush tool here. I'm gonna unchecked blend and I'm gonna make sure that my opacity is full on my color is white and then I'm gonna begin to paint over any information that I don't need. You can paint as close as possible to the mark. Just be careful not to disturb any of those beautiful organic shapes that you achieved. You want to make sure that your borders are especially claim that there's nothing left over in a corner. Okay, that's good for that. I'm gonna click the check mark and move on to the adjustments here. Click on the adjust and let's begin with the exposure to make those changes. I'm gonna go ahead and drag the slider until I began to see this halo disappear, and that's pretty good. Actually, it's full exposure, and that's as much as I can do. So I'll go on to a different setting the highlights and see what that does again. Drag the slider and you can see that halo all but disappears. That's great. So you can see all those beautiful organic shapes the blooms, the variation, the tonal changes. I really like that, but I could if I wanted to go ahead and continue to explore what other settings do. Shadows in this case don't doesn't do very much. Sometimes you can go ahead to fine tune, not just getting rid of the extra information in the background, but within your brush shape as well to see what these changes effect. So I'm really happy with that. I'm gonna click on the check, Mark, and I'm gonna go ahead and export that. Save it to my camera roll so I can get it in, sir. Procreate.
5. Making The Brushes: Okay, so we've made our marks. We've edited them, and now we're going to bring them into procreate so that we can make our new brushes. So go ahead on launch pro creates. Choose a blank canvas, go to your brush tool and on the left hands die. You're gonna drag down until you see the plus sign. Click the plus sign to make a new folder for brushes. I like to call my an experimental so that I know that this is where I'm just exploring the marks later on. Once we have them, we can go ahead and drag them around and organize them based on the qualities. Um, great. So let's start in our experimental folder, you can see it's blank. We're gonna click the plus sign to make our first brush. When this launches that first starts with this this menu and you're gonna want to start with your grain source down here, I'm gonna swap from the pro library. Click on that. I'm gonna scroll down to their white blink grain, and it's there now I'm going to go to the shape source, which is the mark that I made. I'm going to select insert photo, and this is going to take me to where my brush marks live. And I'm gonna choose the one that we just edited. This one here and you can see it jumps to a different screen. But I'm going to go back to the source, and I'm gonna point out to you that it's currently black ink on a white background. We really need to invert this shape because the black area of your mark is what mass? The grain source. Otherwise, if it was inverted, the white is going to get painted, not the black we want Invert that. As you can see, that already makes the brush look more like a brush. Okay, so now we're gonna just different settings, and I'm going to go to the stroke option. In the stroke option, you can see how you can space your individual mark a brushstroke. A brush is basically just taking all those marks that we made and spreading them out. And how far you spread them apart on affects the quality of your brush. The parents of your brush. I'm also gonna just the stream length setting what the streamline setting does. It smooths out your stroke. So if you have a shaky hand and you want it to be nice and fluid, you're gonna increase the streamline value. So it's nice and fluid, like a like a paintbrush. Chitter takes your brush mark, and it makes them a little more Jaggi on the edges. And this is sometime useful, especially if you're doing an organic bro shape. So, like that, I'm gonna keep that. I'm going to also, um, experiment with my brush taper. If you click the link, it's going to adjust both sliders of the beginning and the end of your stroke. But you're gonna have to also adjust the size to increase and decrease that point that you get when you lift and start your stroke. Let's give that an experiment, okay? As you can see, it's a nice organic shape. It's got nice edges. It's not clean and Chris, which is what I'm going for, but it's not quite there yet, so I'm gonna want to go back to my birth settings. And now, because we're going for watercolor brushes specifically, I'm gonna focus on the dynamic option. I'm gonna click on dynamics, and here you'll see the choices of normal which I just experimented and painted glazed. It's gonna get quite a bit of transparency. And what makes is gonna give even more. I love the look of that. It's nice and soft. So I'm gonna keep that brush and I'm gonna show you how with one mark, you can get many different brush choices. But how to do that is you're going to go back to your brushes and you're gonna want to duplicate that. We're gonna keep all these qualities this last quality here intact. But I want to build on that and see what else I can do. I'm gonna duplicate that so that that stays. And now I'm gonna work on the duplicate to see what else I can dio. I'll change the color to stay, you conceive, and she's here to see Go back into the settings. And now let me see what working with a glazed option does. And I'm gonna just the slight the slider for the flow just to see the effects that that has on that's quite like this one. It's okay. It's not quite what I'm after, um, that I can go ahead and adjust other settings. One of the settings I really like to play around with is the max size. You go to it from the general option down here. Size limits. Go ahead and drag that slider up and you can see in the sample brush area. You can see how it completely changes the look of your brush just by changing the size. See how we get all those beautiful organic shapes that we preserved when we were editing or marks. Now buy also, by maxing out that size down here, we now have the option to edit it with a greater range of size within our brush slider on the main menu on the main screen. And that makes the brush incredibly versatile. As you can see, I can drag it way down and I'm gonna get quite a fine line so I could get right underneath shapes, give them drop shadows or detail, or I can do big giant washes like that. I really like that. So I'm gonna leave that one asses too. But I still want to I want more from that shape that mark that I need. So I'm gonna go ahead and duplicate that again. Choose a different color for demonstration. Let's go with it. Purple e clear that back. Um, and try these options. So again, the same mark. We look at it, we're still haven't changed Anything to do with our shape source or a green source were just tweaking settings to see what we can get. So I'm gonna go back to the wet mixed now and change some of those options and see what happens. Okay, that's lovely. I see if we did a blue in particular and use that, we could use that as a big wash, big filling wash for things like skies and water. And that looks like a cloud, those types of things. So that's lovely. I would also keep that. And I would duplicates, um that and keep building, keep growing. And then, at the very end, you're going to end up with all of these options, and then you can name them can go in. And you give that I would maybe call that sky or something like that. Something to, um, for me to remember what's the use? What I feel like the use of that brush would be then Aiken Dragon, organize and delete. You can delete it you know, didn't turn out great. Or it's a duplicate er difficult or would have you, um, a great way, because you can see in the display that these all look very similar. Apart from their names, you can go in in the general sources and use a stamp preview, and that will help you see visually what your brush is capable of what it looks like by using stamp you. So there. That's another thing I could even, um, by making these I can use using my pencil as a different in a different manner also affects the marks that you're gonna be able to make within procreate. So you can see I'm using this like a stamp or you can stroke it. So that's a super versatile brush. I'm kind of loving that. I'm kind of excited about that. I think that's very versatile. So as you can see, we have one mark and it's created three very, very different, very different brushes, which is super exciting. Okay, so we've made our more painterly brushes from the mark that we edited this mark here and now I want to show you how you make a scamp specific brush like, Say, you want to paint something like a drip like this mark here, it's you're gonna have Teoh try to actually create. That is gonna be quite impossible on tedious, But we can make a brush that is basically a stamp of that mark. And let me show you how something going. Switch back to that color. I'm gonna do a new layer. Turn that one off. So we go back to our brush menu, we're gonna click Plus for a new brush. I'm going again. Start with my white blink grain from the pro library. But I'm going to insert photo or import the mark that I made unedited, which is this one. So again, it's currently it's black income white. We want to invert that shape so that it's reversed so everything that's black is going to be massed out. It's just going to show my shape so it looks bad when you painted because that's not the intention of its shoes. But all you have to do to get that lovely stamp is to go to the General tab and we're going to raise the size limits to its maximum. You can see it grow and now, especially if we adjust the size lighter and we use our pencil tool to stamp it. You're going to get the outline of thes stroke that you intended, and that's pretty cool. And again because we max out the size. That means that we have greater variation and choices size options. When we drag our burst lighter, think here and that is it again, um, you want to also go ahead and select the stamp preview, and you can skill that preview down. So when you go back to your brushes, you can see that that is what that options going to give you and then you go ahead, title it. I would call it a drip. Go back and you can see how your brushes are growing. That's it. Okay, so we've made our amazing brushes, and now I want to show you how you could export them, share them or sell them. So you're gonna go back to your brush palette and you're gonna signed your folder of brushes. I've already renamed my set. Watercolor said by highlighting it was experimental. Click on it. I've renamed it using this option. And now if I wanted to share every all the brushes that are within this set, I would click on the share button here, it's gonna open the dialog box, and I could dropbox it. I could email it. What happened to a friend or two? Ah, Um uh, platform that sells brushes, that type of thing. If I just wanted to share one brush within the said, all you need to do is to drive across and the share options right here. That is all. If you wanted to reorganize the brushes into a different folder, so you accidentally made a brush that's not really appropriate for your sets, you could drag it by highlighting it until it becomes mobile and you can drag it into any of these at the left that you think it's more suitable for that particular brush and that is it.
6. Class Project Importing Reference Sketch: Okay, let's start in the class project. So we're gonna go ahead and launch procreate, and we're gonna work on our cat, get our brand new brushes. So let's go ahead and start a new can. This I'm just gonna choose a fight by seven card print. Just so it's a little and it's gonna just be easier. Um, So I opened up a fresh canvas and I'm going to go to the toolbar here, and I'm going to add in sort of photo. And I provided the sketch of this cat for you in our course materials. So go ahead and import that if you have something else you'd prefer to job. That's totally fine, too. But for the sake of demonstration, I'll just show you with this simple cats. Um, once you import the image things tool here is highlighted and allow you to scale it on and adjust it within the campus frame, as you like. Do note that you're gonna want to be sure to check uniforms so that it doesn't distort the dimensions of it and stretch it in a way that doesn't look good once you're happy with where it is on your canvas. whatever size you preferred unclipped that by clicking on it and it goes into, um, painting mode. So but what I recommend is going ahead to your layers and making sure that this is tuned down the opacity as low as you can so that you can still see it as a reference. But it's not gonna interfere with your painting. So I've got mine down about 30%. And I'm gonna go ahead and lock this layer so they don't accidentally use it as a painting layer. I'm glad.
7. Class Project Detail & Masking: um, go ahead and click on a new layer on Let's start. So I am going to go to our brushes that we just may and I'm going to use my detailed watercolors saturated, which was based on this mark that we edited on. I walked you through that, Um the settings are I've made quite a bit of a taper and then getting in the end so that I can use this brush for more than one purpose. I can use it as a detail find liner, or I can really scale up the size of it and make it more of a wash. It's a very versatile I'm gonna go and start with the color black, and I'm going to do in and do some line work first, So I always start with eyes. I love drawing eyes. As you can see, my size is relatively small, and that's gonna allow me to get crisper, cleaner edges. If I really want sharpness scale that way, way down, you're gonna get a little hopes to find other line a finer line. I think that, but I want this to be still a little bit organic, so I'll do like a middle, medium, medium small brush. And another thing that greatly affects how your brushes look is how you hold and use the pencil. I tend Teoh, and I think most people tend to because it's more of a drawing implement. It's a pencil. You want to hold it like a pencil, but, um, you can affect your shape by your pressure and your tilt to. So keep that in mind. Like if I wanted Teoh make that more chunky, I would tilt my pencil if I wanted to make it more fine. I would use lighter pressure and approach it from the from directly the top like that. Just play around and experiment. Okay, I don't like these irregular edges. I like the the intensity of the black, but I would prefer that to be a little bit cleaner. So let me show you how I would deal with that if I really wanted to. Crisp edge, there's a couple approaches you could do. You could lay in your brush and then you could go in. You could erase the edges, but that sometimes a little bit hard to control and predict as well. So one of the great tools of procreate is to use this tool here, click on it and it's a mask tool. Once you click on this, it's going to give you a whole bunch of options down below because we're doing something quite organic and irregular shapes. And I, um the only that really applies here is thief freehand option. And here you're going to be able to draw around the shape that you want. Teoh, um, have a crisp, clean edge. So I'm gonna go and do the iris, and I'm actually gonna just the sketch because I wanted a little bit bigger and you can see that the wavy line appears and this is the area that's going to be mass. This is the air you're gonna be able to paint within, and everything else is gonna be preserved and protected. So with that, still, I haven't collect anything. Everything's all ready to go. I'm gonna keep that there and just gonna choose a brush and news. You can see everything looks kind of wiggly striping the background. But where I'm going to pain is opaque white, and that is our mask. I'm gonna go ahead and slide up the dot on the size of this particular brush, the same brush and just go for it. And as you can see, he had just crisp and clean. But I'm still getting some of my wash texture and but a little bit of irregularities. Still, they're giving it that water cut of color feel, and I'll leave that there for now. To get out of this masking, all you have to do is click on the plus or unclipped that and get out of it.
8. Class Project Brush Versatility: Okay, so let's carry on with that. I'm gonna go back to this brush on, continue my book, scale it down. I always forget that and used this. Just get the start of my outline, and we're gonna be adding in quite a bit more. Think so? I'm not too too worried about, um, perfection. Right now, I'm really kind of interested in exploring line quality, Which again, is how you the pressure that you apply the way you start in and start out like a calligraphy type of pressure. Um, you want to vary your line quality so that you're not just making, you know, the same ah stripe. You were kind of working on the nuance of it. Thanks. So that's pretty good, too. I'm gonna go ahead and go back and show you again. I'm going to freehand draw this iris and painted to that. Okay, I lost all of the quality of the water color, so I might do that one more time and just be a little more careful. Not so heavy handed. Could that catch lights? Um, great. So just click out of that. I'm back to where he started, and that looks really dir p. So I'm gonna go ahead and change that. Just preserve it. Um, that's so looks like people. So let's work on that, shall we? That is the great thing about procreate is you can really, you know, make a mistake, erase it, tap your fingers to go back, undo it with the undue, you know, whatever whatever works for you. So I might grand just for him. This, after all, are sorry. Yeah, not worry about the mask. That's fine for me. Leave catch light Just that later, too. And now it's just a simple line, but I want to give it somewhere depth and character. So now that's really just go for our brushes and see what else they can dio. I'm going to keep this by my scale it up. I'm gonna give this cat a lot more drama. Especially like I probably kind of thing and maybe some. Okay, some modeling the 3/4 view. So this back edge is going to be a lot more lunch in the shade. Get nice and dramatic. I'm still using the same brush. I've just I'm just, um, getting more or less detail based on the size of it, which is great. So each particular brush that we made has a lot of versatility, just based on what size you scale it at.
9. Class Project Blending: Let's go transparent. Irregular edge. Can all these brushes air available in the course materials so you can experiment and see which ones you like? I like this one. Because, as you can see, there is quite a bit of transparency and organic looking feel to it may be hard to appreciate with the yellow. Um, if I plead over a little bit, I'm not I'm really not that stressed about it. Okay, great. I think that's looking good to me. What I like to do when I get it to a certain point where I'm happy and I just I'm a little bit tentative about progressing it, and messing it up is to either duplicate this layer that it's on in keeping this a fresh copy on, you know, undisturbed or painting over it. Um, I might try both. Let's go and duplicate this and see what we can do to push it. Um, one of the great features of procreate is being able to use your brushes as blenders and I'll show you what I mean. So I made this mark. It's kind of like a stamp, and I labeled itself transparent and switch back to black and as you can see, based on the settings of the brush. Andi. It can kind of grab the color pigment if you will, or paint beneath it and spread that out, pick it, pick up that and drag it kind of thing like a blender, which is not necessarily something that's, um, you do in water color what's playing more of an oil technique, But it's something that you can use and procreate. Even if your brushes watercolor the ocean, there's no the same rules. Don't apply if you will. Um, that's okay. It's a little It's OK. I don't know. Look, I'm going for but it's acceptable. It looks, watercolor asked to me. So might just a little bit more. And give it not so, Justin. My first sketch was a little bit stiff, not a lot of visual interest. So this kind of smudging or blending or blurring helps kind of give it that more kind of spontaneous, organic look. So
10. Class Project Adding Detail: and I'm gonna go back to the original brush. Just kind of my favorite at the minute scale. It weighed down. I want to give some nice detail into this iris because while we went to the efforts to make the edge clean now I want to kind of I don't know do that, I guess, because, you know, it's my choice. You're the artist. I'm the artist. You can do what you want and not have to answer to it, right? Okay, So if you look at someone's iris cat in particular, there's a lot of these lines from the contraction boop from when the iris contracts, that pigment gets kind of squished together. I'm sure this isn't technically and, you know, scientifically correct. It comes from the edges to it just gives it a nice like, I don't know, a little more visual texture and interest to do things like this. So don't feel like even though you know, this is watercolor brushes, your painting watercolor, that it has to strictly be watercolor looking watercolor brushes. You know, there are in digital painting. I mean, even in traditional media, you don't have to dio no stays strictly in one media and in fact, is usually far more exciting and interesting when you mix. So, you know, I'm still using this water, that watercolor brush that we made, but I'm just using it slightly different, you know, kind using almost more like a pencil or a charcoal, something that produces more of a line than a washy kind of thing. So that looks kind of weird, but I'm gonna stay with it and just, you know, see the Finnish result and not get too critical. You know, sometimes artists, especially if you're, you know, new or, you know, even whatever. Even if your experience, you know, you're so critical of your work. And that's bad. You shouldn't be that way. I shouldn't be that way. I'm probably the worst. Um so Okay.
11. Class Project Finishing Touches: as things, fun things to apply with what we've gone over in this class is using the stamps style drips and spotters that we that we made. We made this one together. Um, So go ahead and apply that thing to think about with the drips. The runs, especially, is that gravity applies. So, you know, you have, you know, grab these like that. So you want to be sure that when you lay in the drip back to black that it makes sense aesthetically. So that's a really tiny trip. Um, I kind of like it there. So, you know, the drip has to make sense with gravity that it's gonna fall from, you know, from top to bottom. Basically how gravity pulls on us. Um, so that's the trip. I scale it down. If I wanted to scale it really big, you could do that. But for me, I think that's a little bit overkill. Um, so I just going to keep it small, the chin and the splatter, which is the same type of brush as the trip. Let's give it some. See, it's pile that much. Okay, That's too much things to pics of scale. It back. Just be ever. So you know, Tony, you don't want to over kill it. You know, it's like, you know, accessories. Or it's like perfume and cologne. Like, if you put too much on too much of a good thing is that, um, obnoxious The norm us to your friends. So I suppose it's the same thing. Um, yeah. So you know, again, I'll keep tweaking on that. But for the sake of this demonstration, um, showing you how we use the brush is that we made how versatile they are, how easy it was to make and the really fun, interesting results that you can get from your own brushes. I love that. Um, So go ahead and explore. Um, work with this file if you're interested. If not, show me what else you've done. I would love to see what you've how you've applied the brushes and what you've done. Super exciting to to share. And I'm sure I will learn from you as much as I hope that you've learned from me or anything. Um, you know, I hope that you've learn to be more daring and experimental and just dig in and not worry about messing up the brushes or, you know, making a mistake. Or, um, you know, just that you have greater freedom, creative freedom by exploring the settings within each brush and the mark making too. So okay to show me what you've done, I can't wait to see it.
12. Final Thoughts: I just wanted to finish up by saying Thank you so much for watching. I hope you thought informative and useful. I would encourage you to keep experimenting and exploring. Keep pushing the limits of what procreate can do. And I wish you all the best in your digital art practice.
Celeste Duffy, Make Beautiful Things.
