Learn to Make Procreate Brushes - From Traditional to Digital

1. Introduction: [MUSIC] I started painting when I was a child. As every child, I painted, intuitively. No one has told me how to hold the brush, how to use water, how to make a stroke. I just painted from my heart and discovered everything for myself. Now, when digital came into my life a few years ago, I really missed the things I already discovered in the traditional media. This is why I'm dedicating this class into rediscovering traditional techniques and translating them into the digital media. Procreate has just released Procreate 5, with a completely new brush studio. There are so many settings and infinite possibilities to create a brush. I decided to challenge myself and you to create a complete digital illustration brush set based on the brushes and supplies I use for the illustrations I created in a traditional medium. Hi. My name is Alexandra and I'm a Professional Art Teacher with a Master's Degree in Art Education. I'm also an artist, illustrator and online educator and you can find me online as the Art Mother. In this class, we are going to create a brush set that can mimic the effects of an illustration created traditionally with watercolors, colored pencils, Micron pen, and the gel pen. These are my favorite supplies and this is the illustration that we are going to create. In this class, we are going to need an iPad with Procreate 5 installed on it. You do not really need any prior knowledge or experience. If you are accomplished, know mystics Procreate, you can do this class with confidence. This class is great for beginner illustrators who are just starting out, art enthusiasts who are procrastinating over creating their first digital brushes and for creatives who would love to continue their traditional techniques digitally. In this class, you will get an insight of what to look for in brushes in order to replicate them digitally. You will learn to control the settings in the Procreate brush studio to reach your desires. You will be able to create a complete brush set on your own. The best thing about this class is that at the end of it, you'll be packed with knowledge you can apply in your future work. You will gain a greater understanding how digital brushes work and how to get the most out of the Procreate brush studio. You will of course, have the complete brush set of your own. You will have a new cute illustration that you can be proud of. [LAUGHTER] Are you ready? Let's get started. [MUSIC] 2. A Few Words About The Class: In this video, I would love to take a second to explain you how this class will look like. The whole class is divided into three main parts. In the first part, I will explain you how digital brushes work and how they are built up in Procreate. We're going to go through briefly what you can set and what we have power over. In the second part, I will create a traditional illustration with my favorite supplies. Don't worry, it will be sped up, and we will take a look on these supplies, more specifically watercolors, colored pencils, micron pen, and the gel pen. Then we will try our best to replicate his brushes digitally. I will dedicate separate video to each of them so that you can really easily follow along. I will provide you all the resources you need to create these brushes from the PNG files to the original brushes and settings so that you can compare your results. The third part is the illustration part, where we are going to do a step-by-step illustration together using our brushes. Again, I will provide you everything: the original sketch, the color palettes, and the brushes. You can find all the resources in the projects and resources tab below. Keep in mind you can only access it when you are in a browser. So if you are in the Skillshare app, go to Safari or any other browser you prefer to access them. You can download the images by clicking and holding down and saving down to your camera roll. All the Procreate files, like the swatches and the brushes, when you click on them, and download them, and click on them, they will automatically import into procreate. If you need any help, do not hesitate to use the Discussion tab below to ask your questions. Find me on Facebook and Instagram and contact me. Follow me here on Skillshare to be up-to-date about the latest classes, challenges, and announcements I'm going to make. You're welcome to join the Artmother's Online Artroom Facebook group, which is an exclusive community to my students. You can get some extra feedback from your fellow peers. I'm really excited to see your artworks that you're ready to share. I think that's all for this video. Let's jump to the next part. 3. Know Your Settings: The Procreate brush studio offers endless possibilities for customizing existing brushes and for creating new ones. The goal of this class is to make you familiar with the settings the brush studio offers. Let's take a look on some basic settings. Let's just create a screen sized Canvas, so hit the plus sign here in the gallery to create a queen sized canvas. To enter the brush studio with the aim to create a completely new brush, go to Brush Library and hit the plus sign here. The brush studio's interface is divided into three parts. So here are the attributes. Here are the settings each attribute has, and here is the drawing pad. There are 11 attributes, stroke path, taper, shape, grain, rendering, wet mix, color dynamics, dynamics, Apple pencil properties, and about this brush section where you can sign your creation. Each of these attributes have different amounts of settings you can modify, and there is the drawing pad where you can preview the brush and see the changes in action without leaving the brush studio. You can test the brushes in different colors as well. When you hit the drawing pad, you can set the preview size. You can clear the drawing pad, and you can choose the color. You can clear the drawing pad also with the three finger scrub like this. Let's talk about how brushes work at first. Procreate brush is formed from a shape containing grain or texture. When you're making a stroke, you are actually dragging the shape and the grain within it. So let's see what we have here. We have a round shape, and we have a solid grain here in a desk brush. I'm dragging this solid grain in this shape with stroke settings, that glue creates a smooth brush for us, and you can set the distance and rotation of the shapes which creates different effects in the stroke. So let's say I hit spacing and now you can see this rounded shape that is dragged around. In the Stroke Path attribute, you can set how the stroke is formed from the shape you are dragging. You can set this distance and rotation, and then here is the taper. It refers to the behavior of real brushes. We have a line like this and by setting taper like this, I will add the size to it. Can you see? So by studying taper you can set a fixed start, a thick stroke and for example depending obviously, what is your goal. Now let's move to the shape, in the shape you can change the shape source. There is a library that you can choose from. We're going to create our own images. Now let's take a look on the source library. You have amazing shapes here, our default to Procreate. For example, you have a gouache strike here. Let's choose that. Done. Yes. Now we have a different stroke and let's choose Grain, Edit, Import from source library, and choose grain. Let's say this grouche looks great. Hit done. Now we have our brush like this, looks great. Let's move on to the rendering. Rendering starts how glazed or blended your brush strokes appear. Now you don't see too much of a difference. Now let's move to wet mix. It is again trying to replicate the behavior of real brushes and paint. You can adjust how much paint is loaded onto your brush, and how it mixes into and drags through the pigment when it comes into contact with other areas of color. Then let's move to the color dynamics, which lets you create color effects only achievable in digital media. For example, you can create a brush that changes color randomly. In dynamics, you can add randomness to the stroke, so depending on speed, for example, that's great. In the Apple pencil settings, you can adjust the fundamentals, how the Apple pencil uses pressure and tilt to interact with the brushes. You can set also size which changes with pressure. Let's say I will add pressure. I want to increase the pressure, it becomes bigger. Then in the properties, you can set limits on brush behavior and how your brushes look in the library. So you can set maximum size, for example, minimum size. How it works when it is a smudge tool, etc. About this brush, you can name this brush. You can add your face to it, you can sign it, and you can create a new reset point, which means when you set a point after what you can just return to when you hit reset brush, for example. All right, so now we discuss the attributes and their general effects. Now let's jump into the deep water. I'm not going to go through all the studying separately because that would be horribly boring. I would rather start creating brushes and you will learn the effects of the settings on the go. Before we start to create our first brush, let's take a look in the next video what to look for in the traditional supplies, and how to plan out our digital brushes. 4. Plan Your Brush: [MUSIC] Welcome to the brush planning video. In this video, I'm going to explain to you and introduce you the supplies I'm going to use, and then we will take a look on the brush planning worksheet. This is the illustration I created for this class. This is a mixed media illustration, but basically, it is a watercolor illustration. I used watercolor for the background. Pretty watery effect created here. Then I created the solid shapes, again, in watercolors. I love to use micron pen for creating linework, for example, that I have here in the fox. Then I love to use the white gel pen for glowing details, for example, the stars, and when I need to get back a little bit from the white of the watercolor paper. Then I create texture with colored pencils. These are the supplies we're going to replicate. There is another thing, and I hope you can see it. We will try to replicate the texture of the watercolor paper gives to the illustration. We are going to divide the watercolor brush into two separate brushes. We're going to create a watercolor background brush and a solid shape builder brush. I'm just going to show you how I generally progress in my illustration work. I will just choose color. Let it be this darker blue, so that we can really see what I'm doing. Take a little water, choose this dark blue. I lay down a little area of this color and then I wait for it to dry. When it is dry, I take a lighter or darker version of the color, with colored pencils. This is prismacolor premier, and I just [NOISE] add texture over it. It adds back the texture of the watercolor paper actually. Then I add gel pen to add little glowing effects or when I need to get back a little bit of a watercolor background, I mean, white of the watercolor paper like this and little dots and stuff like that. When I need some linework, I choose the micron pen and add, I don't know, I will add some little things here. This is just a random thing I just created to show you how I progress in my watercolor illustrations. I have created a Procreate brush planning worksheet for you. Now, go to the resources download it, print it, or download it into your iPad and open it in Procreate so that you can write into it. As you can see, I have named only five characteristics: shape, grain, flow, character, and tilts. These are the five things we are going to think about even before opening the brush studio. You can use these worksheets to plan out any brush in the future. It will create a base and will help you imagine what effect would you want to achieve with your digital brush. The worksheet contains also a chart, which looks a little bit scary because it is a lot, but these are all the settings you have in the brush studio. You can access this info into procreate artist handbook that you can find online on their website, but I missed a brief one, so then when you are planning a brush, you can just take a look on the setting and immediately know what it does. I shortened the descriptions and created this chart for you. It is really useful, so I suggest you print it and keep it near, but keep in mind, these are shortened by me. If you want a detailed description on a setting, go to the artist handbook and just read it. If you have your own notes to the settings, just add it to this chart. Let's go and plan our first brush. 5. Watercolor Background Brush Part 1: [MUSIC] While creating the analog illustration, I observed lots of characteristics of each supply I was using. As the whole base of the illustration is watercolor, I would start with these brushes. I differentiate between two main effects I want to reach in my illustrations with watercolor. A loose, watery textured effect which I mainly use for backgrounds as you can see here, and a solid color for shapes in the main elements. While these effects can be reused in analog with the same paint and same brush, we will create two separate brushes to have an easier top. But before we approach the Procreate Brush Studio, let's take out the brush planning worksheet. I will take my micron pen for it. The first brush that we're going to do or create is the watercolor background brush. Now, as we already discussed how these brushes work so that we have a shape that is dragged around to create a stroke, we need to think about what shape this watercolor background will have. Now what I thought is that I'm going to create a stroke that is transparent and not exactly a stroke but it will work a little bit as a stamp. First stamp, I am going to create this rectangular shape like this. To this shape, I'm not really going to write anything, I'm just imagining the brush that I want to create. I will just create this rectangular shape here. I will write stamp here. Grain. Now, what texture? I love this transparent texture that I can achieve with watercolors that has this watercolor blooms. I will create watery watercolored blooms with a lot of diversity within the texture. I will write diverse. Now about the flow and I already discussed it. What does its stroke look like? Is it a smooth line or a stamp? I will write stamp here. To character, is the brush transparent or fully opaque? I will make it transparent. About the tilt, what does the brush do when I tilt it? What tilt means is, when your brush is not straight but in an angle. When we paint with watercolors, we actually paint in an angle, but what I thought, it would be so great to make this brush more watery when it is tilted, so we can play with blending and gradation a bit more. I will add more watery. Now we imagined our watercolor background brush. Now one more thing. I know this is crazy, it is really crazy but it is worth to go through all the settings and read them at least once. You can take a pencil for example and just tick, for example, let's see the setting. Scatter, randomize the rotation of your stamp, do we want this setting? Yes, we want it. Just add an x here so that you have actually preset what settings you will use, and you will know when you enter the brush studio that okay maybe I will want this setting from the description. We will start with the shape because we will need it in the Procreate Brush Studio. We are going to create this rectangular shape. I'm just going to take out my Winsor and Newton palette because there is one of my favorite colors which is called tallow blue. I love to use also indigo blue because dark gives nice textures as well. What I'm doing is that, again, I'm watering up this color, taking it to my brush, and I will just add a rectangular shape. I'll try to make it like this, and I will add some drops to it so that it has those watercolor blooms. I don't really want to make it too watery because it will dry too long. You can do several versions and see which one dries the best. I have another piece of paper here and I will just do several versions with different colors because different pigments act differently. What I really love is the indigo, it adds amazing texture, and actually, we are going to use this for the grain as well, it is really worth it to experiment a little bit with the shapes and with the texture itself. I will add a bit more of a pigment here. What is great about creating our custom brushes, is that you have so many options. Each version that I will create here would make a completely different brush. I will speed this process up. My little shape have dried, I have created eight of them, and this is the one that I'm going to choose. As you can see, its texture looks pretty amazing. There are those little watercolor blooms, let me just show you. It is just wow. All the others look also great but this is the best for me, and the shape here works well as well. We also have a little bit of variety regarding value. Here are some darker areas, lighter areas, a little texture, and it is not too harsh. Let's go to the Procreate Brush Studio. To enter the Brush Library, you open a file, I created a screen-sized Canvas. Go to the Brush Library and hit the plus sign to have a completely new brush. What we're going to do is to actually exit and go to the Camera. I'm going to take a photo of this texture. It's right here. Try to make it as big as possible and as sharp as possible so that it is focused. Here is the texture, I will now go to the procreate file I have just created. Hit the plus sign here. I will put this aside and hit Add and insert a photo, and let's insert the photo that we have just created. Now what we're going to do is to remove the background all around. I have a little bit here, I will just free-handedly draw around it, hit Invert, three fingers slide, cut. Now I cut it. I will go to Adjustments, Hue, Saturation, Brightness, and make it a little bit brighter so that this white is not that contrastive and it is easier to select. Now go back to the Select tool and hit Automatic and click on the white around it. It selected it now pretty nicely, but the edges are a little bit harsh. I click Feather and I will add a little feather around 2%, that would work great. Cut and it cut it all around. Now when I get closer here, you can see that there is a little line. I will just get an eraser, make it a bit bigger, and I will just erase around. I will get rid of this thing. Actually, we can change the background to this dark color so that we see that line around that it didn't cut. As you can see, I will just go around it. You can adjust the shape as you wish in this stage. As you can see, it has a nice little blurred edge. You can make it a little bit more textured as you go around it with a textured brush as an eraser. I love to do that, it makes the shape a bit more organic. I will just go through it, erase a little bit here and there. What I wanted to say is that this color was made by the indigo from Winsor and Newton. I really love how does a color works. As you can see, it is really a great variety within this texture. I wanted to show you this threshold. When you go to this automatic selection, you can just do this. You can see here that the selection threshold is from zero to 100% so you can increase the selection. If you want to select just a little bit from the edge, you can also just increase the threshold and cut it and you will have a more cut edge but I don't want that. Now what we're going to do is to first turn off the background color, go to the Wrench button, hit Share and share as a PNG, and Save Image. 6. Watercolor Background Brush Part 2: [MUSIC] Now that we have this PNG image exported, let's start creating our watercolor background brush. Painter brush library. Let's create a new folder. You need to scroll down this brush library and hit a Plus sign and let's name it Watercolor illustration set. This is going to be our folder and by clicking here and hitting the Plus sign, we create a completely new brush. Here are the attributes, the settings, and a drawing pad, and we will see everything in action. The first thing that we have decided in the Procreate brush planning template is that our shape is going to be this one, so we will need to add this shape to this brush. For that, go to the shape and you have an edit button up here, so hit that and when you hit it, you can import a completely new image. Now you have the source library but we created our own shape, hit Import photo, and import a PNG without the background. Now we have our shape here. Don't forget to hit "Done." We have some settings here. Now, as you can see, this stroke is breadth off. Let's just take a look on the Stroke path, so we will go through the settings right here. The first one is spacing. Actually, this is the space between the two shapes. Just look at this. Can you see that? I will add a preview size. These are individual shapes that we have just imported and when we decrease the spacing, we decrease the space between these two shapes that are dragged around. Now, let's keep it at 20 or 21, so that we have these edges and we can play with the edges of the brush or the stroke. Now StreamLine automatically smooths out any unwanted movement in your line, so if you are a person who draw a straight line but your hand is shaking like this, if you add StreamLine, wait for it, it will smooth out your line. Actually, we don't really need that because this brush will be like a stamp as we already talked about. Jitter offsets the stamp along the path, so if I add Jitter, it will do something like this. This is going to be a stampy brush. I would keep it at 50 percent so that I can see these individual shapes and create a texture with it. Fall off means that by the end of the stroke, it will lose opacity or we don't really need that, actually, right now. Let's go to Taper. You don't really need that right now because it is a stampy brush. We will need to edit the shape builder, so we will return to the Taper settings later. Now, let's go to the shape. At shape we have scatter, which randomizes the rotation of the stamp. Take a look at this and now we will have a nice edge in the stroke. I think I'll leave it approximately 46 and here is the rotation. Rotation, adjust the rotation in direction with the stroke. So I want it to be a false stroke, so it rotates along with a stroke I'm making. Count and Count Jitter means that at certain points it adds different amount of shapes and it can jitter, but we don't want that right now. It can be also randomized. We will get back to these settings also later. Now shape filtering softens edges of these shapes. I have it at improved filtering. Let's go to Grain. Grain means the texture that is within the shape I'm drawing and to change that, this is a completely solid color, but we don't want that. But we want to hit "Edit" and in Edit we can import file photo or from the source library. What we want is the photo that we have created and again, choose this PNG. Now, we will create a seamless pattern from these blooms that we have in this shape. Now we're going to enter the Grain Editor, so hit "Auto-Repeat" here and we will have tiles that will create our seamless pattern. Now, this doesn't really look to the right. We didn't need to scale it up. Let's just make it bigger so that it overlaps approximately. You can also rotate it to get some interesting textures. I will scale it a bit more and rotate it a bit more. I don't really want to miss these blooms. We also have the border overlap. As you can see with a border overlap, this tile is a bit much so that it is getting mask hardness. We can put that up as well so that it masks and creates better seamless patterns. Then there is a mirror overlap, which is turned on now, and it created a better texture, and pyramid blending also creates a little bit of difference. This is a little plane where you can rotate and scale the Grain to create interesting textures and patterns. I will have something like this. I want this watercolor blooms and a the value change as well, but I don't want it to be seen like this with this tile elements, so I will scale it up so that it is not that obvious that it is a tile. It will look better in a second. You will just see. Then hit "Done," and it will create a texture. Now we have a texture imported. As you can see, we have two options here. One is the moving, one is the texturized. Well, in moving, we are dragging this texture that we have just created in these individual shapes that we have in the shape source, but when we hit "Texturized," this texture is behind the stroke that we are making, so we will choose Texturized and I will just create a stroke here. As you can see, the texture is starting to reveal and we can scale this texture to create some interesting effects. I suggest that the scale will be around 17 percent, so we have the texture behind this stroke that we are creating. Well, let's just take a look on what does depth mean, and it means how much this texture can be seen in the stroke that we make, so I'll make it maximum. I wanted to say to you that these settings will be different for each and every texture that you import into as a grain source or a shape source, so it will always look differently. This is why there are endless possibilities to create a brush. From these shapes that we have just created, I could make eight different brushes, so we have this shape. If I would make this one, it would make a completely different texture in the brush. We can also change the blend mode. You can play with it, you can have interesting effects. I don't really want to play with that now, so I will leave it as multiply. We can play with brightness. I will decrease the darkness at around minus nine, and I will add a bit of a contrast as well to plus nine so that the texture can be seen better. Now here is Grain Filtering. Actually, I'm not sure. Where is it? Take a look at the chart. Grain Filtering, it is in no filtering, classic filtering, and improved. It again is about softening edges. I will leave it at improved filtering. That's all for the Grain. Let's move to Rendering. 7. Watercolor Background Brush Part 3: [MUSIC] Again, I am using my cheat sheet. It is similar to blend mode. What I can see from this cheat sheet is that the uniform blending has what is the best for wet mix effect. Wet mix, we will get into it in the next section, is for brushes that are using water. I want to add that, but it has actually different contrast if you can see. I will use it as uniform blending. We are at blending right now. At blending, I want the flow to be a maximum. As you can see, if we can adjust how heavily the color and texture flows from the brush to the canvas, and I want it to be a heavy brush, so it will be maximum. There are wet edges which softens and blurs the edges of the brush so as to mimic pigment bleeding into paper. At least this is what Procreate says. When I add wet edges, it is like making these edges a bit darker. If you take a look on these original shapes, they are actually darker edges, but as we are not going to do individual shapes, I'm not sure if I want wet edges. I think they are harsh enough already so I will not add. There are burnt edges. You can exaggerate these things at the edges of the shapes. You can change the blending mode for these edges as well, and for the whole stroke, there's also luminance blending and I don't want to play with those settings right now. Let's move on to the wet mix. In wet mix, we have dilution where we can set how much water is mixed with the paint on the brush. When I increase dilution, my stroke just disappears, so I don't want to add to that. Charge is actually the setting so that we can recharge the brush so that it runs out of paint. I also don't want that. Also, I don't want the pull where you can just pull the pigment around and wetness, etc. These are good for wet brushes, as Procreate said, but actually when I played with these settings, I haven't discovered anything that would make my brushes more wet. I guess these are better for oily paints, but that's just my two cents. Let's move on to the dynamics because color dynamics is for more digital brushes and we don't want that now. In dynamics, we can adjust the changes in the brush with speed. When I draw more quickly, it just increases the size. Let's move on to the Apple Pencil settings. At the Apple Pencil, we can adjust, for example, how large or small the tip of your brush becomes under varying pressure. I say it can, for pressure, be at the maximum size. We can see, one second, that I can make a thin stroke, and when I increase pressure, this stroke will be bigger and it adds a lot to the workflow. We can change also the opacity. When I increase the pressure, it becomes more opaque, and I guess it can be set to maximum as well. Then we can change the flow, how much paint your brush lays down under varying pressure. I will also change that to maximum, and this way, I can play a lot with pressure and I can really have the painting experience while creating. Now, with the bleed, I don't want bleeding. I don't want smoothing, and you can set the response, how fast your Apple Pencil response to variations in pressure. I like to keep it at 30 percent so it is not supersensitive but still good enough to work. Then we have the tilt graph here. It means that angle where the effect of the brush changes, and I would love to move down to at least 10-20 percent. When I tilt it, I want it to become more opaque. I will turn it on. It will help me with the gradation. If I tilt the pencil, it will be less opaque. Gradation will create a softening effect when shading with a brush on an angle, so I will put gradation on as well. In the bleed, how the brush bleeds around the edges when tilted, and that is a good thing, so I will add a little bleed, 20 percent. It will be just a little really nice for shading. Let's move on. We can change size. We will add size, so it will also change with tilting, and turn size compression on which prevents the texture growing along with the brush size. Now let's move on to the properties. You can set preview. You can have stamp preview for your brush. It can orient to screen, so it will turn around with your screen as you move it. There is a preview size and how much it smudges when I use as a smudge tool. I like to keep it at 75 percent. You can set the maximum size. I say this brush can be a lot bigger, 700, and a minimum size, let's say the 10 percent, which means that we can have a giant brush and we can have it small as well. You can also play with the opacity. It can be maximum opacity and minimum opacity, none. I wouldn't change anything about that. Let's move to about the brush. Let's rename the brush as the watercolor background. You can add your name. I will add The Artmother. I will sign it. You can create a new reset point, which means that you can play with the settings later to adjust the brush to your needs, but you will have the reset point, so when you mess something up and forget what settings you had, you just click on it and you can reset the brush. It is important because what we have just created is just a rough brush. We haven't tried it out yet. I will just hit "Done" and don't forget to hit Done. We have the watercolor background brush here. Go to Layers, turn this off and you can create a new layer, and import. Hit "Range" button, add, insert a photo, and hit the sketch. Turn the background color on, and this is the sketch that you get with the resources. Now I will create a layer below the sketch. Choose my watercolor background color. Choose a color for this sky. I will just hit the "Select" and free handily just draw around the circle so that I have it nicely. I will just draw around the circle. It doesn't need to be perfect. This is not the illustration part yet. We are just trying out the brush that we have just created and see if we need to adjust something. I have selected it. I select my watercolor brush and make it bigger, and it looks great. I will decrease this size and make it a bit more saturated. It looks great. I only want the sky to be this. As you can see, these are repeating. I can play with this texture. I can go back to this brush, go to the grain, and just play with the scale. I want it to be even bigger. Two more, let's say 24. Done. I can paint over it. I'll go back a little bit and add a different color, this dark navy, which I like. I can paint over it and create interesting textures. Wow, I really love how it turned out. I can decrease the size and if I can play around with it. I will just keep it like this. I am satisfied with this brush, but when you want to change anything, like the flow is different, I don't know. You want it to be more softened edged, etc., you can just go back and edit those settings. I really love how it turned out. Let's just make it a closer look. Looks great. Oh my God, [LAUGHTER] I really love it. But before we move on, let's do a little recap on the process of brush creating. One, plan your brush. As a first step, take the brush blank worksheet and imagine your digital brush. Two, creating resources. Draw, paint, or gather shapes and textures that you want for the base of your brush. Three, settings. Go through the settings. Set at first the shape and grain and play around with the settings until you reach the desired effect. Four, test your brush. Test the rough brush to find mistakes in its stroke and workflow. Correct them. Five, congrats, you have created your own brush. Now let's move on to the next video. 8. Watercolor Shape Builder Brush : [MUSIC] All right. Now, let's move on to the next brush, which will be the watercolor shape builder brush. It will help us to create our basic shapes and actually build out the illustration itself. So let's just take the Procreate brush planning worksheets first and let's just fill this. So it's name will be watercolor shape builder. Now, let's talk about its shape. As this is going to be a shape builder brush and it will have a different character than the watercolor background, it will not really be a stamp, but solid stroke. So to create a solid stroke, we will need around its shape. However, I want this shape to have some irregularity so that it has some texture I can play with. So it will be not a perfect circle. Let's talk about the grain. I don't want this to be a fully solid color. I want a little bit of this watercolor texture to it. It will be a little bit of texture flows. What does it stroke look like? It will be a smooth line. Let me show you this brush. As you can see, it ends like this and I want it to be in my brush as well. So this means that I will need taper at the end of the brush. So I want it to be able to create a thin line, then a thicker line. So I will write taper here, character. So it will be an opaque brush with texture. So it will be opaque and tilt. So what do I want with this brush when tilted it will be a bit more transparent when tilted. So now I have a base for the whole brush. I will take my analog things. I will take water and my watercolors. What I'm going to do, I'm going to speed this up so that it's not that boring for you. I will create dots. So now, we have 15 dots. Actually, I'm going to put this into the resources so that you can choose your own as you wish. You can, of course, make your own dots. The one that I'm going to choose, it is not actually fully dry yet. I'm going to go with this and you can choose any that you wish. What I'm going to do is to take a photo and I will try to make a photo. Go back to Procreate. I will hide these things. I will hit "Add", insert a photo and choose this one. Actually, what I'm going to do at first is to go to adjustments, use saturation brightness and make it brighter. Actually, maybe I'd go to curves. So curves and play a bit. The contrast and the lightness of the hole here. Now, I'm going to select around it in a word three-finger swipe and it cuts. Now, I will go to Select Automatic and select the white area, increase the trash hold like this. Maybe, I will add a bit of a feather, one percent. Again, three fingers swipe, cut. Now, I have a nice shape here. I will turn off the background. As you can see, I have this rounded something around, so I will just grab the eraser, make it bigger and just erase it. So I will share and save as a PNG to image and now I can continue to create the new brush. Let's go to the Brush Library. Let's find or watercolor illustration brushes. We had a watercolor background here. Let's hit the "Plus" sign. The first thing I'm going to do is to go to the, About The Brush and just name it. So water color, shape, builder, done. I will hit "Done". I can just go back to it now. Let's start with the shape. So I will edit the shape, import a photo so like this one I had done and I will increase the preview size. Go to the stroke path and I think we need to decrease the spacing. If none selected, it will be a solid stroke. Now, streamline, as you can see, the line that I've created here followed fully every little movement I make with my hand. So I want to add a bit of a streamline, maybe 10 percent so that it is not that reacting or how do you call it, jitter? Wow, just look like bouquet lights. [LAUGHTER] Do we want jitter? Maybe a little so it has its texture. Let's keep it at 15 percent and we don't really want to fall off. That means that the end of it will get less opaque so I don't want that. Taper. Yes, in this brush we will have a taper. I will make a stroke and I want to taper at the beginning of the brush. Increase the size, [NOISE] put pressure to max so that a taper is pressure sensitive. I go to Apple Pencil and pressure and increase the size to 100 percent, we will return to it. I just want to make a line like this and I just made it. I needed to increase the pressure of the Apple Pencil to make the line bigger and then I can have the taper at the beginning of my line. Now if I want to start to shape with a thin line like this, I just start drawing and then I can increase pressure just like with a real brush. Now I can go back to the taper and adjust it a bit. I have my nice line, I have the size. Yes, opacity. I don't really want to change that, pressure and tip sharp. Now we have the taper settings. Let's continue to the grain. I'm going to use the exactly same import photo in the grain editor. I'm going to use the exact same thing I used for the background. The reason is that I don't really want to add a new texture, but you can do your own and I will provide you these other textures so you can just play with it. I hit "Auto repeat." Again, I will scale it up. I don't really want these watercolor blooms now to be seen through. I just want a bit of a texture. I will actually increase the size a bit more. Play with texture again and make it bigger, make it smaller. Maybe I will leave a little bit of these blooms. I will mirror overlap so that is more interesting. Like this. Then it will create a texture. Wow, it looks great. What I wanted to do is to go back to the shape because we didn't play with the shape yet. We can play with scatter. I will add like 70 percent of scatter rotation so that it follows the stroke and I don't want to add this randomness to it. Azimuth means it detects the radius of the Apple Pencils tilt as it travels through the stroke and creates a similar effect to the calligraphy pen. Can you see that? I can do these calligraphic things. Actually, we don't need azimuth, so turn it off. I started to love this brush more and more. But I don't know. Maybe I will decrease the scatter a bit and go back to the stroke path and decrease the jitter. I don't want that big jitter. Let it be like this, 11 percent. At a taper, we have set everything. There is the shape. Grain. Let's play with it a little bit. It can be texturize so that we have the texture within it and it creates this overlap. This is the character of the watercolors that I don't really like and decrease the depth. I don't want this overlapping too much, but I want to see the texture. We will skip it as improved filtering. Let's see the rendering. There's light glaze. This is what I don't like. Uniform glaze, intense heavy, uniform blending, intense blending. Let's keep it at intense blending. Let's keep to flow up at maximum. What edge is? No, I don't like it. I will keep this the same as before. Now, dilution change and pull, I will put those down again. I don't really want to play with the pigments when they are on the canvas. Leave out color dynamics. Go to dynamics. We already set the speed to maximum. You can add opacity as well. Let's see. I will keep it at zero. I don't want to play with jitter. Apple Pencil. What about the pressure and size we set it also the opacity? No, I will not increase the flow. Because if I increase the flow, this part of this trope will become more transparent and I want this to be a nice shape builder brush. Bleed and smoothing, I don't want these as well. The response can be 30 percent. What about the tilt? We started at tilt, we want it to be a bit more transparent. I will increase the tilt graph to 20 degrees angle and increase maybe a opacity. When I will be like this, it will be a bit more transparent and I will increase gradation. When it will be tilted, I can make a bit of a gradation with the brush. It looks great. What about a size? Let's try size. It will increase the size. Yes. Hit "Size compression" so that the texture doesn't get deformed. Let's go to properties. I think it can be maxed and none, that would be the best. About this brush let's write the name. I will just sign it and create a new reset point, save and don't forget to hit "Done". Now we have a rough brush as you can see. Let's turn on this. Turn on the background, turn on the sketch. Create a new layer below the sketch. I will just choose an orange color for the fox and I will try to build the shape. It looks pretty great. Wow. What if I do a different color on it, and it is not transparent? Just a little bit. It has just enough. Nice. What if I want a lighter orange let's say the top? Works nicely. Wow, you know what? I will keep this property of the brush scattered layers a bit like the original ones, because it is a really nice brush. I love it. I think we have the shape builder brush. I will turn on this and see what it does. I can paint on the top of it. If I want the shape to be a different color, I don't really need to be worried about the background color. I just need to go over it a few times. If I don't go over it a few times, it just leaves us a texture like this. Actually, it looks good. Now we have the background brush and we have the shape builder brush. What we want now is the texture from the colored pencils. [NOISE] Let's move on to the next video, and let's create the colored pencils brush. 9. Colored Pencil Texture: [MUSIC] Now we are back, and in this video, we are going to create a digital brush from colored pencils. Let's take at first the brush planning worksheet and let's name it. We'll put this here and I will put this here. I have my micron pen, and it will mean colored pencil texture. Its shape. We will need approximately around its shape. How I imagine it will be like these textured things and the brush. What we will need is to choose a dark color, so enough contrast so that we can digitize this mark it creates on the paper. It's grain will be I guess this same grain, so it will be the exact same. It will be the grain and the shape at the same time [LAUGHTER]. Its flow, it will be stamp brush again. We don't really want a stroke, but we want really this texture. Character. It will be transparent or opaque. I guess it will be opaque brush. What does the brush do when you tilt it? It gets more transparent. When we use it, this will get more wider. We will need to make a mark on the paper. I just found this black cherry color. What I'm going to do is to again speed this up a bit. I'm going to experiment with the textures. Actually, the texture of this pencil really depends on the paper we are using. [NOISE] I'm going to take a normal paper as well and try that. [NOISE] As you can see, this is smoother, and this is rougher. As we are talking about the watercolor illustration, I will go with the rougher, and it has more contrast as well and we can control that. Actually, I like the shape as well. What I'm going to do is to take a photo of it. I will turn everything off and create a new layer and add, insert a photo. I'll play with the curves again. Adjustments, curves. I will make it a bit brighter and more in contrast. Now I will try to select the white. Again, select automatic and select these biggest areas. Don't need to go into too much detail. That's just enough. Swipe down, cut, and you are left with a texture like this. I will turn off the background and delete this part. I'm not sure what this is, I will delete this. I'm going to save this as a PNG. Share, PNG, and hit Save Image. Let's see what it does. I will turn on the background color. I will go to the Brush Library, hit the plus sign, go to About the Brush, and let's name it. We named it colored pencil texture. Hit Done. I will go there, go to the Shape Source, hit Edit, Import, Import a photo, and hit Done. I will increase the preview size, and it doesn't look bad. I will need to go to Stroke Path and I will increase the spacing. Maybe a bit more. No. I want it to be a bit stampy, but I also want it to be, how to put this, like a stroke, really like crayon jitter. I want it to be a bit jittery. Let's see what it does. Just a bit. Let's keep it at 15 percent. Spacing can be at 20. Wow, it looks really great. I love it. Streamline can be none fall off. We don't want to taper. We have the shape, we can scatter the shape so that it is not that uniform. Twenty percent is enough. Rotation, follow stroke. No, I don't want that, it looked better without that. We don't want count jitter, randomized. What does randomize do? [NOISE] Take a look at it, randomize the rotation of the shape when the stroke begins. It doesn't matter. It randomizes it. We can turn it on, but it will not have too much effect on it. I really love how it looks like. Amazing. Let's see the grain. Actually, I love the grain already. I don't think we need to add any texture behind it. I think this is just enough. I love it. Moving scale, we don't really need to play with anything here because we are not going to add any texture, we already have the texture within the shape, as I already told you. Rendering, intense blending, intense glaze, light glaze. I think we should keep intense glaze. It is contrastive enough flow. We can keep the flow up, we don't want wet edges. We don't want burnt edges. Wet makes dilution charge and pool. I will take those down again. Dynamics. We can increase the size if we want or not. No. Don't want jittery. Apple pencil. When the pressure is up, you want it to be bigger and smaller? Actually, I don't know. Let's see. Let's say I have an apple and I want to shade it. [NOISE] We want to increase pressure or just no, I don't want that. I want the opacity to change when pressed harder. Bleed. I don't want bleed. I will put smoothing up. What does smoothing do? How smoothly our brush transitions from low to high pressure. It will smooth out and make nicer gradations. When tilted, we said, we want it to be more transparent, so I will just turn the opacity on right now. [NOISE] It will be more transparent when tilted. Turn the gradation on as well. It'll have a nicer gradation and the size again. Let's take a look at properties. We can keep everything as it is. The brush behavior, maximum size, maximum opacity, and no minimum opacity our size. Let's go to about this brush and let's again name it and create new reset point, hit Save and Done, because that is important. I will turn off this. So I will turn on the sketch, I will turn on the background. I will turn on the shape. Actually, I will go back to the shape builder brush, choose this orange color. Go to this layer, delete it. I will just fill the shape for the head of this fox. It will not be perfect. I will just try to use the colored pencils. I will alpha lock this layer, choose the colored pencil texture, choose a bit of a darker one, and as you can see, I can shade quite nicely. I will decrease the size. If I want to shade, wow, it looks great. I can add texture. I can do a pretty nice shading now. I can add highlights to my foxy. I'm happy with the result. What do you say? I think it looks amazing. We will see in the illustration part how it works together. Now we have the background, now we have the shape builder, we have the colored pencils and what is left are these two and the watercolor paper texture. Let's just move on and do the micron pen. 10. The Micron Pen: In this video I'm going to create a brush for my micron pen. Actually, you can wonder what's the difference between the two lines these two make and I'm just going to show you. The micron pen creates a thin even line actually without texture. It is a black line, we could use the original technical pen or some brush. We already having the brush library I just want to make it, so that we can see how it works. Actually I can't show you the gel pen on the white paper. The gel pen has a texture, it is thinner and it is a bit transparent. This is the difference between these two brushes that we are going to make. First, take the brush planning worksheet. The first one is going to be the micron pen, then the second is going to be the gel pen. I'm going to blend both now so that we can really feel the difference of these two. What is the base shape of the brush in a micron pen? It is going to be a solid circle. When we create a brush it is going to be a really smooth thin line and with a gel pen, it is going to be the same. We don't need to create now different dots like we did with the shape builder brush, but we're going to use the solid circle that we have in the brush library. Grain. The micron pen is going to be solid. It actually has a bit of a texture if you take a look on it. It is solid, but it has a little bit of a texture. If I want to create a brush that is a bit different than the ones that are already in the brush studio. I will use a texture from this stamp with a bit of a texture. Flow, what does it struck look like? It is a smooth line without taper. No taper. Character, it is opaque. When tilted, what happens? Nothing. Gel pen, it has texture. Flow, it is a smooth line with a bit of a taper. Character, it is a bit transparent. What happens when tilted? Nothing. Now, I guess we can move to the brush studio to create our brushes. Go to the Brush Library, hit the plus sign, go to the "About" This Brush, and let's just write micron pen. Done. Let's go to the shape and as we said, it's shape is going to be rounded. Let's go to the Grain and hit Edit, Import, import a photo, and let's use actually the shape or this again for the little bit of a texture that we will have there. Hit again, auto repeat, increase the grain scale. Now, we really don't need those blooms. Rotate, it can be like this. Just that it has a bit of a texture so hit Done it will create a texture, it can be moving, so it will roll. We can increase the scale of it. Let's see the stroke. We don't really need to have spacing just a little bit so that we can see that texture, so keep the spacing at about 15 or 16 just a bit. Jitter, we don't need any jitter. We don't need any form of tapering, we will not have any taper. Shape. We will not have any scatter nor rotation. It will be a simple brush, grain behavior we just started rendering intense uniform, keep it at intense blending. Wet mix, nothing so pull and charge back. Color dynamics, there are no dynamics at all at micron pens, so when we increase pressure and nothing happens. Also at the Apple Pencil with the pressure nothing happens. Even when tilted nothing happens, it is a simple, solid brush. Now we can't really see it's texture so I will go to the Stroke Path and increase the spacing a bit. The spacing is at 20. Go to Properties, so this is what we need to set and that is the maximum size and a minimum size. As it is going to be a really aligner, I think the biggest size of it could be at 20 percent. We will see. Yeah, the maximum opacity could stay. I just hit Done and let's see what it does. I would choose black. This will be the micron pen and I will choose a layer and it is too big. I will go back and the maximum size will be decreased to 10. Done. I can decrease the size. Nice. If I want the little line work here, I will make it smaller. What I miss is the streamline. The streamline smooths out every movement that you make your video hand. I will add 40 percent to it. Let's say I want to draw something here so if I want a circle, I can have a nice circle. If I want to draw something like this, it will really help me. I love it. Now we have a micron pen. Let's move to the next video where we will have the gel pen. 11. The Gel Pen: [MUSIC] Welcome to this video where we will do actually the final brush, the gel pan. Let's just hit the "Plus" sign go to About this brush and name it, gel pen. Done and hit "Done". Now what we're going to do is to go to the brush, go to the shape and as we said, it is going to have the same exact shape; the solid shape. What about the grain? Actually, what I thought gel pen has a little bit of how to put this, this painterly effect, as if it really was a thick paint. This gel is flowing onto the canvas and leaves marks. I will make my own. [NOISE] I want a chunky, not watery stroke. So I put a lot of paint onto my brush and do this. This is what I want. [NOISE] I don't even need to wait for it to dry because I want this blotchy thing here. I will put this aside. I hit "Camera". [NOISE] I go back to Procreate, I add this here. I go free handily. Select this part and what? The three fingers slide cut. I will turn off the background and save it as share as a PNG. Save image. Now go back to the gel pan and the Grain Source. Edit, Import, and import a photo. Take this PNG, or to repeat. Grain scale. Yeah. Wow, it looks interesting. Rotate. I don't really want to rotate it. Border overlap, mask hardness. Yeah, this is interesting. I will hit "Done" and this will be the texture I'm going to use for this brush. The texture raised thing is not going to be but the moving and it will be a rolling and it will follow size. I will scale it for 25 percent. We can add into the contrast so it is more seen, but actually as we are talking about a really tiny brush again similar to the micron pallette, it doesn't really need to be that contrastive or how to put this. Let's see the stroke. I want to add streamline again, at least 20 percent. Spacing can be at 15 so that we can see the texture still. Taper, we saw that there is a bit of a taper so I will add a bit at the end of the line. [NOISE] Let's say 30 percent. Let's link tip sizes. Linked tip sizes means that this will be the same size. It will match. Opacity, none. Pressure, max. Tip to be blunt. The Touch Taper means that if you are, because Pressure Taper only works with Apple Pencil, because iPad has pressure sensitivity only for the Apple Pencil, not for your finger. When you are painting with your finger, you set this. So we have the shape is going to be all right, like this. Rendering, intense blending, uniform blending, intense glaze. I think this intense glaze would work great with edges. Don't want this. Thanks. What to mix again, charge and pull will be off. Dynamics. Speed, does it change? No. Opacity? No, as well. Apple Pencil. With pressure, we don't change the opacity nor the size, nor the flow. Also when we tilt, nothing happens. Properties, maximum size, it will be a thin line. Let's say 10 percent and about this brush, so let's name it again. The Artmother. I will sign it, create new reset point, save, and hit "Done". Now if I choose the white gel pen, create a new layer here. We can have nice bit texture lines and it works fine. I guess I have to gel pen as well and now what's left is the bonus where we are going to create a texture for the watercolor paper. 12. Watercolor Paper Texture: So I'm not really going to create or include this in the brush planning worksheet, I want only to create a texture for the watercolor paper because it has an overall effect. So what I'm going to do is to take a piece of watercolor paper and take a photo of it. So hit "Insert Photo", all photos. I guess this was the best. I know it's a bit dark, but I will just place it here. I will go to Adjustments, Hue, Saturation, and Brightness. I will increase the brightness, and I will play with the curves. So I want the texture to be seen but I also want it to be bright, and a bit contrastive. This is not nice here, so this part of the texture looks amazing. So this is what I'm going to select, a rectangle like this, invert selection. Three fingers slide, cut and I will increase the contrast a bit more, adjustments, curves not that much. I will save it as a PNG, but I will delete everything else, I mean put aside, turn off the background, share as a PNG, and save image. Now I go to the Brush Library, create a new brush, and name it watercolor paper brush. Done. Shape, it can be a circular. Grain, Edit, Import, import photo. It also repeat to be able to create a seamless pattern. So you can increase the grain scale so that it is bigger and it creates a nice texture, really nice, 2.9, it would be amazing. You don't need to rotate. You can a mask hardness or not. Yes, I will mask coordinates and increase the grain scale to 3.0 mirror or overlap, pyramid blending, alright done, and it will create a wonderful texture. I want it to be texturized. I don't want to scale it too much. I want this brush to be at 10 percent approximately. I want it to be the maximum size. So I go to properties and make it a giant brush. One thousand maybe. Let's make it 1,000. When you hit this, you can just type in size you want. And minimum size, I don't know, 100 percent stroke spacing. I don't think we need any spacing. Streamline, we don't need streamline. Taper, don't need taper. Shape, don't need reputation, nor scatter at the grain. We can increase brightness or contrast, but I don't think that's necessary. Rendering, light glaze, intense blending. What to mix? Can put charge and pull back. I'm not sure why is it always there. Dynamics, we don't need to set anything. To add a watercolor paper texture, create a new layer. Choose the watercolor paper brush, and choose white color. Now, decrease is the size of your canvas so that you have an easier job. Because you need to lay down one even stroke to fill the whole canvas. You cannot pick up your Apple Pencil because then you will have two strokes that will overlap and create something like this. So I filled it and if I had another stroke, it would show like this. And see what happens when I turn on the background, the whole texture disappears. The reason is that this watercolor paper texture is white and it will not show on a white background. So what you need to do is to change the background color to black, and your paper texture will just really, and you can do with this layer to go to Adjustments. If you find it too dark, go to Adjustments, Hue, Saturation, Brightness, and increase the brightness. You can just make it lighter. If you don't want that contrastive background, you can just decrease the opacity and maybe increase the background color to a bit grayish and you will have a lighter version. So you can play with these settings to get the best background for your illustration. Now you can turn on the background, the fox, you can turn on the sketch, and the stars. Now you have a nice watercolor background for your illustration. So now we have our whole set. We have a gel pen, we have a micron pen, we have a colored pencil texture, we have a watercolor shape builder, a watercolor background, and a watercolor paper brush. We can go to the next part where we will create a full illustration together with these brushes. 13. Illustration Part 1: Welcome to the final stage, where we are going to create the illustration. Hit the plus sign and create a screen-sized canvas because it is big enough to have great quality and not too big to have limited number of layers. Now what I'm going to do is to get the watercolor paper brush, choose the white color, turn up the background, and to Layer 1 I will just add this watercolor paper texture. Try not to lift up your brush. I will duplicate it and merge down these two so that I have a solid background with a texture on it. Now, hit the plus sign. Add, insert a photo. Here it is. You'll find it at that the resources, it will just fit right into the middle. Now we have the watercolor paper, we have the sketch. I'm going to create colors. I'm going to pick the colors up from this so that I can replicate it. But of course, you have freedom to create your own colors. What I'm going to do is to create a photo of this illustration. I will go back to Procreate, insert a photo and I will just keep it here. Go to palettes, I will create a new pallet and rename it fox illustration. I will go from the darkest blue. Actually, I will make it like this and I will just go through it. What I've done is I detached the color palette. I will do it again so if you click on the color button and swipe down, you have the stylized version of it. Here you have your palettes and you can just go around and grab the colors that you like. I have some purples here blues. I will take this, this blue again, and this blue. I have so many blues. I will just go around and pick the colors. I guess that's all. Those are the colors that I'm going to use. Now I delete this. I have my palette here, and I create a new layer for the background. I will do it similarly as I've done it before. I will go and free handly draw the circle around. It will help me a lot. Now I have the circle selected. I will choose this dark color that is the first one, and create a little base for the sky. There's a lot they saturated. I will add this dark blue over it. I don't want to make it too dark, but I want it to be more saturated. Let's see. If I go to this, I will go and select a bit more saturated color and I will add it to this guy. It looks great. But I also want it to be a bit dark around what are these mountains. I will add bit darker things around it. I can return to this a bit later as well. Let's continue with the fox. Create a new layer and choose the watercolor shape builder brush. I will choose this middle range, orange to build the shapes. I will just start. I will speed this up a little bit so it is not that boring. I will try to make solid colors and if I overrun a line, I will just erase from it. I will need to add white. I will choose white and paint simply the ears. What I wanted to do is to go to the sketch and lower the opacity and make it to multiply so you can see through it and see when you are painting, what you are painting because this whole needs to work without the sketch as well. When I turn off the sketch, I need to see nice shape of the fox. I will take a raise to opacity again and just to make it right. I will create a layer below the head and simply continue. Actually, this is white as well. Now let's continue with this. What's that? Tail, and I will create a new layer for it. Actually, I will draw the whole in one color and then I will just Alpha lock it and add back this white to it. I will Alpha lock this tail and choose the white color and just simply add it back here. Now I will try to shade it. For some reason I have it in one group. I didn't want to put this in a group, so I will just put them out and delete this group. I will take the colored pencil texture and go to the body, choose a darker version of the color, this darker one and I will try to add a bit of texture here, but I need to Alpha lock this layer so I will add a little bit of texture here, but it's too harsh. I will lower the opacity and add just a little bit here. I will increase the size, decrease the opacity and I will try to add a little bit of texture here and there. Maybe to the legs, here at the side. Let's go to the head and Alpha Lock that as well. I will add a little bit of this darker color up here and decrease the size and the bit to the face, like this. Here as well. Basically, you can use these colored pencil for shading. You can use the tilted version of it. It can be like almost solid color, its too harsh, like this and I will add to the tail as well. We'll increase the size and maybe even bigger so that it is not that harsh. I will choose the light yellow to add from that as well, to play with the colors. It adds nice saturation to it. I'll go back to the body and add to the middle from it. Wow, it looks really nice. Add to the head up here, looks pretty well. Wow. I'm allowing these brushes already. I will try to add a bit of a highlight, so I will choose almost white and I'm at the layer of the head, I will add a bit up here. I will decrease the size and as it highlights case, I will add a bit of a highlight up here. It just looks incredible. I just love it. Go back to the tail. I will increase the size here and add back into middle to it. What about the whites? I want to add a bit of gray into it so that it is also a bit as if shaded. Just a little bit of this and I will decrease the size, increase the opacity, and add a little bit of line below this line here. I will add back this line with a micron pen later, but I want a bit of shadow below it. I'll add a bit here as well. I go back to the face. I will need a little bit of backup here as well. Like this. Now I will go back to the tail as well and I will add a little bit bigger size. Like this. Looks pretty amazing for me. I will turn off the sketch and I like it as it is. It is a bit rough. I can play with it a little bit more. Go back to the Shape Builder and just make the shapes a bit better now. You can play with adjusting the shapes and making it as good as possible. But you know what? Let's move on to the next video where we're going to the background and play with that a bit more and then we will return to the fox later. 14. Illustration part 2: [MUSIC] Let's create the mountains, at the original the mountains were like this lighter, aquamarine blue. Let's create a layer below the fox and take the shape builder brush. Let's just build the shapes, now when I got it, I will alpha lock it, and with white I will add back this white. Actually what I'm going to do is to select this layer and create a new one above it, so that I have this white on a separate layer and when I will add the texture, it will not interfere if I may say that like that. It doesn't really matter that it is not that perfect. We can be more precise, but obviously it takes a lot more time. Now I go back to this blue, we'll deselect, I have it alpha locked and now I will choose the colored pencil texture again and choose a darker blue that I have here. Let's say this one and I will just add a bit of a texture to it. Darker texture and then I will add a bit of a lighter texture as well. I will take this light blue and choose a really light version, and I will add back bit of this white brain seat to it. It will create a really nice effect for these mountains. Let's create this bushes behind the fox. Create a new layer, I will choose this blue to the workers shape builder. If you want a solid color from this watercolor shape builder, you need to go through it at least twice. I will create a new layer below it. Continue with this color, what I'm going to do with these two bushes is that I'm going to alpha lock them and again, go to the colored pencil texture and choose a color. I will choose this lighter blue. Yeah, it looks fine, I go through them and I can choose even lighter version of it, and I can add a bit more of a glowing into it. I'm not sure, you know what we need to do is to react. We need to create a value check layer, I'll go up here, create a new layer, fill it with gray, and hit color at the blend modes and then we can see the hole in gray scale. It will reveal us how dark or how light things should be. Actually I think this darkness of the sky is okay, these mountains are okay and maybe these bushes should be a bit darker. I will add back to their darkness a bit, I will turn off and I will add this dark blue with a colored pencil. I will check the values, yeah, looks better. Now, what I'm going to do is to do the ground and I will create a turnoff, the value check layer. I will create a layer above the mountains that's going to be brownish. I will choose this color and make it a bit lighter. I will add this color here, so this is going to be that color. I will get the shape builder, and I am going to create a bit of a ground here. I will alpha lock this ground and choose a bit of this brownish color. I will just go through it so that it is a bit more colorful. Like this, yeah, and I will add the greens into the front now so I will create a new layer, choose the middle green, choose shape builder, and do the same again. This is what I live in digital, that it is so easier to create effects like this. This would take me so long in analog, now I will alpha lock it, choose a lighter version. Again, choose to call it pencil. I can lighten it and add texture. I will add a bit of a light around like this and what I wanted is to try this shape builder as a shader, we'll make it big and choose this darker version of the color and make it less opaque. To create a little bit of shadow below the fox, I just take it and just add this darkness around it as it is less opaque. I tried to use a tilted, it creates a nice blending. Let's move to the next video and add some more details. 15. Illustration Part 3: [MUSIC] Now let's do the details. This is the time for the Micron pens, so choose that and choose black and let's create a new layer above the head. I already have it here. What I'm going to do is to draw the eyes and I'm going to add some lashes as well. I will do these eyebrows as well, and also the nose. What I want is this line and this line as well. I will add some dots here and I will draw this cutie. I will make it smaller, not that small. A bit bigger. I will add this nice thing as well, but I will make it a bit bitter. Actually I can see that I need a bit more streamline for this. I increase the streamline. Let's move on to the background and I will create a new layer and choose the watercolor shape builder and choose white and I will draw the moon. I have the moon. Maybe I want to make it glow, so I will duplicate it, and the one that is below I will just hit and Gaussian blur. I already have little glowing effect. With the gel pen and still white, I will add the stars. What I'm going to do is to make it a bit thinner and just add back these little guys. Little dots here and there. Looks nice. Now what I want is the gel pen but with a different color and I will add some details onto these mountains. I will create a new layer above the mountains, and I will try to find a lighter color and maybe some darker ones for these. What I want is to add a little bit of detail into these bushes and I want this light blue to be even lighter and I will choose the gel pen. The gel pen. I love it, but I missed some white dots for some reasons. I'll go back to the gel pen and white and add some nice elements here. Just some dots. Now let's create these flowers in the front. Go to the top, create a new layer. Choose this dark blue. I will get the watercolor shape builder and make it thin. What I can do now is to Alpha lock it. I will go to almost black and just go through it and darken it somewhere so that it pops a bit more as if it was a silhouette, then I will choose to keep this black. Get a gel pen and make it white. A new layer, and I will choose these ones, this flower. I will choose the micron pen now and choose black, make it a bit bigger. It is so fun that it really is similar to the originals. It's an incredible experience for me now that I can do almost the same in digital. It really looks like even the mistakes [LAUGHTER] I can make with them. Wonderful. I love it. Now I will create these. I am going to use the watercolor shape builder as a thin brush and I will create a new layer and choose this green and make it a bit more vibrant and try to make it like this. Looks fun. It's really different as in the original because I used negative painting and I don't want to use negative painting now. I really love this effect. Just turn off this. It is like as if it was done with markers or I don't know. It is really interesting. What I can do is to Alpha lock it and choose a darker green and a colored pencil texture and just go through it to make it a bit more blended in. It's a wonderful effect. I will add more white gel pen dots because I'm just obsessed with gel pen dots now [LAUGHTER] because I can see them better. How cool is that? Now I miss these things at the side, so I will create a new layer. I will choose this really dark blue. I will choose even darker and I will choose the watercolor shape builder and I will do some random shapes here. I will move it below these things. Wonderful. I will use the gel pen again. This white one I will make it smaller and just add some lines with it. Look at this effect. I love it so much. You can see the texture in those lines and it adds to it so much. I feel as if I was a kid now. I'm rediscovering my old pals in digital, so fun. Now add even more dots with white gel pen. [LAUGHTER] This might not be the best illustration I've ever done, but this is the illustration I enjoyed the most in the last few weeks. If you have a simple white background turned on, you will not be able to see the texture because it is white as well. What you need to do is to go to the background color and change it to black and then you will have this contrast in the background and the layer of the watercolor paper texture and this will make it to be seen. Can you see that? This is what I had when the background was white and then when you make it black it starts to reveal. Don't forget if you want to use a white watercolor paper texture, you need to set the background color behind it to black. I call this finished now because I satisfied with it, but I am really excited to see what you create with these brushes and how your brushes will look like. See you in the next video where we're going to sum up what we have done in this class. 16. UPDATE: Add Texture To The Illustration: [MUSIC] In this video, I will show you how to make your illustration even more realistic in terms of having this watercolor texture on the illustration. Because what we have done so far, it's something like this where you have solid colors. It looks great, but we can make it even better. If you go here into the layers, you can just select all the layers you have by sliding them, select them all. You will have an option of grouping them. Hit Group and you will have a new group. Now slide this new group this way and hit Duplicate so that you have the original layers and you have a group that you can flatten. Hit one one of your groups. You can turn off the layer of this group and the group above. Just hit it and hit Flatten. Then you have a flattened image that you can turn on and off. What you can do is to hit this N button, which opens the options for blending modes and hit Multiply. Simply as you can see, you will have this watercolor texture also in your illustration. It will be seeing more on lighter colors, not on darker colors, or really solid shapes, but it will add to the illustration as well. Let's move on to the next video. 17. Project Description: [MUSIC] Let's talk about your projects a bit. I would be super happy if you would create a digital illustration brush set from your favorite traditional supplies obviously, if you have them. As the project of this class is the illustration itself, do the illustration with those brushes. You have artistic freedom, so you don't need to use my sketch. You are free to do any subject that you wish. The only thing is that use those digital brushes to create them so that it has this traditional touch to it. For those who don't want to create new brushes, I'm offering you my brushes, and you can do the full illustration with my sketch and the color palette. But I suggest stay creative and do it with your touch in your own way. What I really want to do is to create a collection of handmade brushes that you create in the Discussion tab below. So I suggest you create your brushes. Don't forget to sign them so that you have the authorship. Upload them to Google Drive and share the link in the Discussion tab below. At the end, I imagine we have hundreds of handmade brushes to use, and that would be super cool. I hope you are open to this and I'm excited to see what you create. Now let's continue to the final video where we're going to summarize what we have learned in this class. 18. Final Thoughts: [MUSIC] Congratulations, you have finished the class. Well done. In this class, we have learned so much. We learned to analyze traditional supplies and their characteristics. We learned the process of digitizing their marks to reach the strokes that we desire. We created a full brush set that we can use for digital illustration. Then we completed a full illustration together with a touch of traditional supplies. Now your practice skills and confidence to create your own brushes, to make your work more original. Thank you for taking the class. It was a pleasure to have you here. Don't forget to leave me a review. I would really love to know what you think about the class. Connect with me on Facebook and Instagram. Check out my website and stay tuned for the latest classes, challenges, and announcements by following me here on Skillshare. It was exciting to have you in this class. I am really looking forward to see what you create and see See in my other classes. Goodbye. [MUSIC]