Intro to Custom Brushes in Procreate on the iPad Pro - Hair + Fur

1. Introduction Video: Hello, everyone. My name is Robert Mars. Hello and welcome to my glass intro to custom brushes and procreate in this class. I'll be walking you through my process for creating custom brushes, also going to delve into all the settings and talk about what makes a good custom brush and how to define the presets to go into making the brushwork exactly the way that you want. We're gonna be making a hearing for a brush, something that I find helpful for a lot of my paintwork for creature designed. And I'm gonna show you how the different details take effect when we start to utilise the brush and also how to adjust those settings on the fly so that you get the most out of any particular brush you're creating or using for your class. Project will be using the brush that we created to put hair on this creature design. And after you've completed your class project, the final lesson will be on importing and exporting brushes. This is obviously very important, so you can not only collect brushes from other creators, but you can also share them as well. So it's my pleasure to bring you this class. I hope you're excited to learn Let's get started 2. Creating Our Brush Tip: Welcome back, everyone. So now what I want to do is show you how to create a hairbrush and hair and or for so like , for instance, with this character, it'll take a minute to load. But you see the little fuzzy kind of edges that you get to hair hair brushes inside A app like this could be important because they're not only good for generating this, but also blurring it So you can use any brush for drawing, blurring, erasing eso. It can really make short work of, in effect like this eso some of it I'll do by hand. But other parts of will actually generated brush for and I want to show you how to do that . So we're gonna start off with the 2048 by 2048 pixel document. Remember that you go there by clicking the plus sign and the top right and just creating a custom size. I've already got the set. Their so 2048 by 2048 you can name it if you want to really necessary. And that's a pixel document. Just go ahead and hit create. I already had one so go back to gallery, swipe over, toe left, delete and work off this one here. Okay, so now we've got this document in place and I've created a lot of hair brushes, and I know it sounds funny. We'll call it a hair and for brush. But I've created a lot of them with various software is that I've used over the years and I'm first going to draw out Justin idea with the technical pencil, and it doesn't have to be perfection, but one of the main things I tend to do is put larger dots in the middle and then have those get smaller and kind of fade out to the edges. So what happens as this brush has pulled across, it's going to generate thicker lines in the middle and tinier lines to the edge. Okay, so it's kind of how it works. S That's what I look at when even creating a thumbnail like this, which will be our brush tip basically. So now double click this layer or to figure tap, I should say on that layer slide over just so I could barely see the work there at a new layer over top and I just want to make these solid. So I'm gonna go ahead and grab one of my ink brushes on. I'll make sure I include whatever brushes here. Obviously, let's see, Ramic said. I used my comic anchor. Should be fine. One of things you want to look at is sale. That's actually a an oval and not a circle. Actually want a circle tip brush, and that's not going to use a lot of different custom tips here. Let's go back to one of the basic brushes. It comes with Studio Pan. There we go. So that's got a circle to it and also only show you this a bit larger. You've got to get this to where we get just that circle. It doesn't really need to be perfect. But what I want to show you about this brush tip is it already has a slight fade to the edge, which I would have generated that anyway with a gauzy and blur that you could get to with this setting up here, it's extra rate. There goes employer, but we don't need to. Attorney got it, so it's not a perfect circle. The way it generated it but that's not a big deal. I just wanna kind of a circular shape. And like I said, I also want a blur. So I'm just gonna take this one. Swipe with three fingers. Copy and paste. Move it over. Re scale it with a two finger pinch. Do it again. Copy and paste. I actually gotta let go of the selection. Copy and paste to fair pinch. Release the selection. Copy and paste. I just do this until you have all of them in place. And really, there's not a specific order they need to be in. So you can, really, Once you get a few of these in place, you can actually merge them together and speed up this process, but not a whole lot of dots. We'll get there pretty quickly because I don't keep making the stakes here, and I make him a little bit different size each time. Just because I'm looking for a little bit of variation in the effect I want. These all leave these little ah lines to give me a nice texture that remove the screen there and let's pick one of large ones now. Actually, you can. That's right. There That's fine. I'll just take this one. Copy and paste. It's like that. This will do one more already, then there we go. Okay, so you see, it's nothing too fancy. But what happens is it gives us a nice variation of lines as we go to create this and you'll see here shortly. So I'm gonna take the very top in the very bottom, and I'm gonna pencils together that merges them all together. I'm gonna get rid of that original sketch layer by swiping over and hitting the leap. And there we have our brush tip. Now, you could do a lot of different things here. You could copy this, for instance, if you wanted to try one that has a lot of detail on a lot of variation and you could scale on moving around. So you want to experiment? The big thing about brush creation is experimentation is gonna lead to invention. So when delete that and let's just go in, take this now and start to adjust our settings, I'm gonna show you how this pretty simple brush tip can actually generate some pretty need effects. So with that, let's move on 3. Modifying and Saving Our Brush Tip: Okay, So here's our brush tip document and let's go and create just a few more lines. So it's pretty easy. Once we're at this point to just swipe over duplicate movies around again, keep the thicker or larger diameter dots to the middle. But the more we add of this, the more strands of hair we're going to get. So what I'm gonna do is actually a race back. The larger ones. Let's take a solid brush here. Remember that you can use any hey, brush you want for the eraser, which nice. So we got a kind of perceive that some of these air going overlap and create additional, like, thicker strands. So, for instance, each tour closer, you're pulling the brush down. This way, it stands to reason that these two these two are all going to kind of, uh, collect together. So I'm gonna pencils to together. I'm actually just gonna move these apart just a little bit tryto compensate for the fact they might merge together in a brush. Plenty of those, probably it does depend on the orientation to, So I'm just going to space him out here and there, and some of it is gonna be. We get what we get. So Fender One's right to the edge. Okay, so there's our brush tip for now. We'll start here, see what we get. So what we want to do is save this onto the the iPad. So we're gonna share this. Typically, you want to work off PNG for brush creation. So PNG and I'm just gonna click this one here, and I You see, I could save to my computer while it's pulled out my iPhone. But any devices that work through the mac based operating system like that, you could save to Dropbox, which is good for backing up a lot of your files and transferred it to multiple setups. So any kind of online drive, if you save the files is actually gonna give you a folder option inside of the iPad. But really probably easiest is just save image right here, and what is going to do is just save it to your photos. I find this to be the most, uh, you know, streamlined way to do this. So now we'll go ahead and reimport this end. But what I want to first do, let's go to a document size that I'm used to working on with. Ah, good amount of pixel data. So in this case, 38 40 by 2160. And that's actually ah, four K resolution. So what happens is I know that if I utilize my brushes here and they look good, then I'm good to go. I can use it on any of my larger file types for creating my artwork. All right, so now let's go ahead and take this brush tip and modify it. So what I like to do is pick a brush of, you know, somewhat similar settings, but if you can't find it, it's pretty easy to adjust the settings. Anyways, the main thing is, be aware that if you've modified the brush, you're gonna get that little icon. It looks like a swish in the top, right. So we're gonna take this, we're gonna duplicate it. And so now you see, both of those are versions of the modified, and these would be unmodified, so I just want you to be aware of the difference. This was a custom created brush, so it shows that symbol. So now we jump in here, and if you want. The very person you could do is call this test or something so that you're not worried about, you know, maybe overriding existing one That's pretty easy to fix. But we'll just start with test and will make sure that we get all our settings right. First, we're gonna go to insert photo. We're gonna go to moments or camera roll. So basically it saved it right in the photo section. So you see, it's only one of them today. I've done different versions. I'm canceling, testing different tips and things like that. So we'll pick this one. Now keep in mind the first thing that happens when you bring this end. I noticed that it did nothing to the thumbnail appear OK, that's because it's actually reading it as a square. So that's why we're getting this squared off for flat edge to side. No matter what we do here, it's not gonna read properly until we do a two finger tap and inverts the image and look what it immediately does. It immediately starts to look like, you know, strands of hair. We're not going to do anything with the grain source because this is it actually if you're trying to incorporate some texture inside of the perimeter of the small shapes, so it's probably not gonna benefit us a whole lot at a grain to something like this. We'll talk about grain brushes and you know, in the next few lessons. But for now, we're just gonna focus on this. So let's go back to the beginning. No, now that we've got our design in on. One other thing I want to show you is that you can actually do a two finger tap, and you can rotate this look at the impact that has by doing that. So this is probably something it's important to take note of, actually like it rotated. So we're going to start their for now, and you also have options have rotated in the brush stroke as well. So now let's go to the stroke and let's talk about some of the settings here 4. Refining Our Brush Settings: All right, let's start with e strokes headings. So, basically, just things to be aware of. If you have any spacing on, it's actually going to start to show some of the separation from the brush tip. So I recommend on a brush like this, he actually have none. But let me show you the difference, and one of things that it effects is pretty significant. So, for instance, if you just have a little bit will say 3.5% it may not look like it's that big of a deal. So you zoom in, you got to check to see if it affects the design negatively or not. Here you can barely see it, but one of the things that does directly affect is the overall size potential, the brush. So if you go to general and you go to Max size limit, the very largest you're gonna be able to get this brush. Had a four K resolution is going to be like this. Now that's pretty massive, and as long as you're not seeing any degradation of quality and that's fine, but notice here on the smaller dots, see that? So what? You have to decide for yourself when creating brushes like this is whether or not the max size limit is gonna be a big deal. So I'd recommend turning spacing all the way down. But then if we go back to general and you don't see it so much here, but our size limit has now been reduced dramatically. But if you zoom in, you're gonna have more clarity because basically takes all those brush tips and sandwiches , um, together, side by side. So just be aware that that's not, ah, big deal for what we're doing here. Streamline is going to smooth it out. So if you noticed in the previous version, it was a little more rigid as I was doing this. And it's basically it's capturing all the mistakes of my hand, in essence. So if you need a little bit of assistance with something looking more flowing, you want to play around with streamline, we'll just put it kind of in the middle. So you see it kind of delays and then kind of balances that out, smoothed that out. You don't want any jitter because jitter is basically to take the brush tip, and it's gonna sandwich a side to side up and down left and right jittering around and you're gonna get a really nice texture brush, but that's not what we're after. But do keep in mind that sometimes when you're making these adjustments and you get on adverse effect that you like duplicated, saved the name and, you know, be thankful for those happy accidents. So fall off is gonna blend it off from the stroke like that, so that could be helpful it at times. But, uh, if you get the settings just right, you probably won't need as much of the fall off. But you can utilize this to get some pretty subtle effects as well. So not entirely bad for this type of brush. But we're gonna disable that for now, especially as we're trying to see into the the design of it. Stroke Taper. We're gonna leave all of that off. This is more of a force taper that I don't like to see in a brush like this. We'll jump to shape, shape, behaviour, scatter rotation. This is probably the main one to be aware of. I think again, scatter is going to give you that picks elation like jitter but rotation will actually make them the brush tip Rotate with way, the pens being pulled. So notice the difference. We almost get, like, this racetrack kind of thing going on which we don't want that. But I just want you to be aware of the difference when you enable that feature. I want thes tips of the dots toe kind of round over and flow over one another for the effect for hair. I'm gonna disable that shape properties this as month is more like if you're doing calligraphy, you want the brush toe orient the same way as you're drawing across the screen so we don't need that. Ah, shape filtering improved will be fine. Grain. We don't want any grain to a brush like this. Like I think I've already mentioned. So we're gonna leave that alone for now. Dynamics, you've got capacity. Speed. Um, basically, here. I just want to leave it to float a max. Like, if I take this down, it's going to start to give me more of a light, you know, opacity. So I want to keep that to Max so I can get a nice sob. You know, opaque version is brushed when I need it with more pressure, opacity, dynamics, that's gonna kind of relate to that again. You can adjust this base upon, you know, speed. So, like if you do a quicker brushstroke, it's gonna probably fade off like it does there. Probably that alone as well. Same thing with jitter. So there's gonna be more for textures are released the way I would use them. Size dynamics, speed again. You can You can adjust this so that if you're going slow and then you speed up, you get a different kind of effect to it. It almost compresses it with the speed it looks like So maybe something you could Ah, just now keep in mind some of these things you're gonna wanna just based on the use of the brush. So this is a possible one right there. But I'm gonna leave that disabled for now. Goto pencil. And this is usually where I keep most of the controls because the apple pencil does so well with pressure, sensitivity and all that. So basically, we want toe sometimes balance out where we want our max size limits. So if we push that all the way to Max. It's basically telling the apple pencil to be able to go from very thin to very large and back to small based on pressure. So I'm pressing very lightly at first, bearing down on it to get dark and then back toe light. So that's that's what that setting going to do for us now. That's important when you're doing certain effects. So, for instance, and we're gonna test this after we get it all done. But as we start to draw with this, we might want to first draw the shape of the hair. OK, so you might want to get some of the points and some of the the flow of the hair going. But then as we texture, we probably don't want this right here. So I'm actually circling those tips because what happens is as you start to paint the inside of it, you're gonna get mawr artifacts, and you want to kind of stay away from that as you're trying to texture. So let me show you what I mean. There one take that back and softness, I believe, is gonna fade from the outside and we don't want that. Let's test it without I guess that looks about right there as faras what we're looking for with the softness till I'm not gonna worry about that. Just keep in mind. That's basically if you draw like this or you tilt and you try to get a different effect with the side stroke like that, not something I'm really concerned with. With the brush like this, size compression will leave that enabled. So what I'm gonna do is actually take off the size for now. I'm sure why you're in a second. This is, you know, your ability to name the brush stamp preview. What you see here, you can adjust the preview size again relating to their brush behavior, whether or not orient to the screen. So if you're rotating the entire device blend mode so you can actually change the blending mode. So, for instance, this could be helpful if you're trying to, like, build up on a texture and you could tell it toe multiply. So every time this overlaps, it gives us this nice amount of texture and very quickly, so you see that it's it's building up. So that's one that I might actually use. Generally, I used the blending modes within the layers themselves. But it's nice that they added it to the actual brush tip. No. And then it even defaults to a kind of shortcut command. So you can kind of keep making adjustments, which is nice smudges. Gonna blend it like a painterly brush. Azure overlapping. So that's kind of a nice combination, a swell. So it kind of softens up some of this because if not, it's going appear too rigid. In fact, a lot of times I'll go back with a smudge brush and a soft brush, and I just kind of hit some of these areas. And again, I'll show you this as we demonstrate the brush and size limits again, this is something you may want to play with as you create your hair texture of for texture . Because what happens is if you have Max, you know, size to ah, the max size and then minimal Here. What happens is you're gonna get a larger range of what the brush can create. Now, this also coincides with going back to the apple pencil and doing this here. So now what happens is you can get a very, you know, small to a large on. Sometimes that variation can be distracting. So I would say texture disabled that here and again we can bump up the overall size there. But what happens is we're gonna get, you know, very straight line looking brush like this Not gonna have any kind of variation, but again, that's gonna also coincide with the apple pencil. So this gives us our settings. If we go back to let's say I want to get the opacity a little bit softer, one of the ways we can do it is actually just control it with the opacity slider here. I just want to double check all of these settings and make sure that we're getting the most out of this particular brush. Okay, so let's go ahead and do that. So I'm gonna bump back the opacity here and show you the difference so I can kind of slowly work up to what I want to see and get some nice subtlety and figure out where I want the the high and low basically of the painting so I can adjust my size here, get in some of those separations and start toe. Figure out the shapes of the hair, the forms, and then I can come back with some lighter tones. But again, we got to remember that were set to the blending mode on this particular brush. So at this point, we either want to set it to a lightning mode or normal. We'll just go to normal for now. And keep in mind, too, if you get two of these brushes and you have slight variations, even the blending mode variations, you could just save, uh, you know, duplicate the brush, rename it. Some of these brushes are creating, you know, call light and dark and things like that. So you see, you campaign in this texture pretty quickly, and you can also go back like I said before and do a little bit of blending. So you pick something like a soft brush, something like this. You can even pick the same hairbrush and use it for blend me. But I would just go back and soften up a little bit of this texture, and that's really it. Just like that, we've got a hair texture, brush your hair and fur, and then once we get it the way we want, we gotta remember to save this here and for brush and there we go. So that's it. And that's how I would basically create this type of brush. And I'll tell you, it saves a tremendous amount of time when you get effective at this and you realize all the different possibilities. So now what I want to do in the next lesson, I'm going to show you this in action and will paint something with it. So with that, let's move on. 5. Our New Hair and Fur Brush in Action: Okay, so now we're gonna do is test the brush we created. And what better thing to do then? Give this Ah, weird little creature, some hair. He looks a little chilly. So what I'm thinking is something and we'll start with, like, a bright or maybe a medium orange. And then we'll work like two dark on this. So let's grab our newly created hair and for a brush. And what I want to show you here is really how you Sometimes you're going to adjust settings as you utilize the brush. So no one brush is just perfect right out the gate. But with a view alterations, you can get to where you need to be so right there. I'm not seeing, uh, the points that I want to see. So I wanna show you there is Maybe when we start with this brush, we get a basic shape going. Now you can draw perimeter shape or container shape a swell, and then work off of that. But what I want to show you here is if we go into our size settings, then we can possibly get a little bit more of the the shape that we're looking for as we drawn, painted out. I'm kind of picture in that It kind of falls over a little bit and actually painting that right on the layer. Yeah, let's go ahead and do that on a separate layer, so that will give us a little more opportunity for at it. So just kind of placing a little bit more pressure towards the middle towards the base and then letting the fall off kind of occur. And again, that's that one setting change under the apple pencil. So a lot of times when doing hair, you're really looking for a lot of overlapping texture. So you can really do, ah, pretty good hair, even with just a single brush, like a pen tip or even, ah, just a solid paintbrush or whatever. But you're going to spend more time doing it. So what brushes like this can really help to do is expedient that process and get your texture. Ah, lot quicker. I was kind of figure out the shape. I actually want some of this look like it goes behind the head as well, obviously, the characters on a floating layer so I could put some of this hair in front of and some behind And get enough of this in place for the shape. Show you how I'm gonna like transparency and start to work up more of the texture. Because at this point, it's all kind of starting to blend together right here. And I can increase and decrease the brush size. Get some of these like loose little strands that are flipping over like that. You've been a little smaller. That's actually too small. I can't see it in this part. You can actually do with a different brush. Uh, you want to get so small? It doesn't really need to be the same hair brush, but I do want to show you how versatile something like this is if you're going back the other way. So just kind of trying to figure out the overall look at this point. Okay, so now let's go and take this and lack transparency with a two finger swipe to the right. Let's pick a different tone and let's brush some of this back, and it's also set the blending mode on the brush to multiply. This look kind of speed up the process for us. Let's increase the brush size pretty far. So now that the shape is actually been put into place, I can actually go back into the apple pencil settings right here and turn that size relationship right off because I'm looking more for texture than I am for shape. So you see the overlap there is going to start creating some pretty meat death to the US Yeah, let's go ahead and change the background to Just so it's a bit easier for you to see what's going on there. Okay? And then what I want to do now is actually starting to see a lot more of the gaps now that we place this other color back there, which is probably what we should have started, but where I should have started. But let's go ahead and just duplicate this. Let's move it over just a little bit, and we can fill that in other quickly. And we could even set this actual layer to, uh, multiply, see if that helps out and probably darkens it. Too much contrast. Let's try a beautiful blending modes. That's kind of fun looking. Yeah, I kind of like that. So just quite emerged these two together now and again make sure life transparency is still set. Now I want to go and take the same one, and I want to set this to something that's gonna brightened. So go back to the blending mode and let's set this to add and let's pick a lighter tone. Actually, let's pick something a little bit kind of like that brightly saturated effect. Score the brighter orange. Don't bring it on his eyes, its eyes. I don't want to say, here she I notice that you can really just get this done rather quickly, and I tell you, the sky's the limit. When you really start to think about what you can achieve with this stuff, you also after you get enough texture in place and I think we're about there. You also can work the other way. So, for instance, whenever you study hair, you'll notice a glare kind of we'll come across. You see the light source of the eyes up here are coming from this direction. So let's perceive that same thing right across here. And let's just jump to a soft brush and again walk wooden. Set this to add No, we're gonna do is just kind of put a light source right across there and you see how that really starts to round it out like this. There's a couple things you can do here is, well, like you could just slowly punch up some light source here and there. You want a picture? Some of the hair is going to block and create shadows, things like that. But you could start to skill the brush down and really get in here and just bring out a couple highlights that are a bit higher or more pronounced than the rest General will make it look more realistic when it's not parents that you don't want to just go like this. It's not bad it, but it starts. Look fake when you do that. But if some areas air about higher, some are lower. And then after we get enough of this in place, we can go back again with a smaller brush, and we could do a couple little truly it. That's pretty small, a couple little loose strands. We might want to set this back to normal mode now because what it's doing is it's actually trying to react light to dark where we were. I don't need that. We could probably just use normal mode. But the goal here is to make it look a bit more realistic by having a few loose strands in front of Ah, you know, the major forms of a hair or whatever. And you see, this doesn't need to be the hairbrush. You can really be any brush, and you could do some that are lights on that air dark. You can even take the lack transparency off or just do this part on another layer. This is gonna help give you a bit of variation. Well, it's already there and again. Hold your finger over and maybe select one of the darker colors. Maybe just the brush size, just a little. If don't be afraid to go off in the other direction. How it's hair. So it's all over the place, and you can kind of really get lost in this part of it, because there's so much you can dio to keep making this look more more realistic. You can start adding a drop shadow onto the skull. We've kept all this as one layer hopes right here. So another thing you can Dio is you can pay attention to this bottom shape here, and if that's not realistic enough, you can smudge some of this back. You can even take on Eraser and set it to the same hairbrush. I find it weird. We put it in the painting set right there So you can use that same hair brush to kind of a race, some of this back and get some of those negative shapes going and probably even the same thing here. Service doesn't look to some of these look just too repetitive so we can erase some of those back with the same texture. And there you have it. We gave our little creature some hair. So hopefully this is showing you how you can basically create a brush like this and how you can implement it and just have fun with that. There's lots of different brush. Style is you can create. There's really no into it, only your imagination. So I'd love to know what you think and will be doing some more lessons on brush creation real soon. Thank you for watching 6. Importing and Exporting Brushes: Okay, So now you've created this magnificent brush and you want to share it with the world, right? So what you do is you go here, swipe over click share. You're going to save this somewhere so you can save us Any device that communicates with your apple system. You see my other apple devices or popping up there and one of the preferred methods is just to save to Dropbox and keep in mind. If you don't want to pay for a service with Dropbox, they have free. I think they even up to a couple of gigs free so plenty of storage for anything like brush creation. So it's it's very helpful toe have so working on cloud based set ups like this just, ah, kind of streamline the process. So basically, you can save to Dropbox. Ah, you know, create a folder that you know you can easily discern. In this case, I created one called procreate Painting Brushes. Aiken. Name this if I need to, but already did that inside of procreate. So you see it retain the information. The main thing to know is that it's a dot brush file. The reason why you're doing this and not just sharing the brush tip is because it's going to save all of the settings that you've adjusted within that brush setting. So when you share it with someone, you give them exactly what you're working with. So going it saved their it's gonna and I'll save it to Dropbox just like that. So now what happens? You gotta jump out of here and you have to go into Dropbox, so we'll click the Dropbox app. We have to locate that file. So I've already located the procreate painting brushes and there's that file there. Just click on it. Double check that it is the brush file. Now notice. I also have the P and G brush tip again. This is the same information, but it's not going to keep all of the information from the settings that the brush violence . So I just want you to remember that. So now we're gonna take this hit those three little dots the top, right? We're gonna go ahead and export this cause. Remember, Now we're on the cloud. We're not actually on the device. We're bringing it back into the device. So this is if you're getting a brush from somebody else and you want to import it into your iPad pro or whatever iPads using. So we've now ah, exported by hitting the three dots so export open and saved two files. So again, we're bringing this from Dropbox. Now we're saving back into the iPad pro here, saved files, and you can locate the procreate folder on the iPad and you can create your own folders and things like that. But there's already one for procreate going hit ad. So now we've again downloaded it from Dropbox to the iPad Pro. Let's jump out of here. Go back in to procreate. I notice we've already got a hearing for a brush. So I just want you to be aware that were re importing a new one now. So we're going at the plus sign at the top, right? And we're gonna click import. We're not gonna mess around here because this is if we're creating a brand new brush so import and you see if I go to on my ipad procreate there it is right there again. It's not, you know, zip file. It's gonna be a dot brush file and click on that. It's importing and notice that it brings in all those necessary settings. It's got the name there it's going to see, entitled at first. But if you jump out of there, there it is hearing for a brush. It's a duplicate of this there. It's named already, so all that information been retained. It even retained the blending mode. So be careful of that. If you're beginning adverse effects with your brush, it could be that the previous creator maybe set a different blending mode. You know, you got to be aware of the options, but ah, one of things I'll generally do when I'm done making any of my adjustments before I share the brush, I'll set the blending mode back to normal unless I otherwise informed the people. Hey, this is a special brush that needs to always be set to add to do such and such effect. And it's really a simple is that so? I know it seems like a few steps, but we got to remember that we're actually showing the process of it, leaving the system and coming back in, and it's helpful to know that so that you can share your brushes with anybody want to. You can also just export and email the dot brush file and then they can import it with the methods that I showed you here. One last thing I want to show you while we're here. Just make sure that as you're creating lots of, you know, neat brushes, you start two categories improperly because it can get real messy in here. Remember, those are the ones you edited with little Swiss Stein there. But if you swipe down right here, you can click add. You can type new brushes or whatever you want to put, and then you can go back to your paintbrushes. You can simply click, drag and hold and highlight that specific area and let go. So a great way to organize your brushes and make sure that as you create these, you don't get any kind of ah confusion going there. So hopefully has been beneficial for you again. I appreciate you taking these lessons and more on the way. We'll soon thanks for watching and have a great day