Transcripts
1. Hello & Welcome: Hello, I'm Mel, an illustrator and
surface pattern designer living in Wellington,
New Zealand. In my early days as an illustrator and
surface pattern designer, I did everything in
Adobe Illustrator. Everything had a flat look. Even though I liked
what I was producing, it didn't have a unique
traditional art feel to it. Over the years, I started
to experiment with brushes and scanned-in photos and paint marks
to see if I could achieve a desired style
I was working towards. It took many years, but I can say now that
I don't have to think too hard when I'm in
Photoshop or Procreate. I just paint and
automatically know exactly what brush or texture to use for certain
elements of my art. In this class, I will
show you how to create your very own texture
brushes in Procreate, as well as textured overlays
for your illustrations. This will involve
learning how to convert photographs and
painting marks into textures and how to use them as texture overlays in your
illustrations in Procreate, how to use existing brushes or bought brushes in your
illustrations in Procreate, how to create custom
texture brushes and how to use them in your
illustrations in Procreate, and how to create
stamp brushes and how to use them in your
illustrations in Procreate. By the end of this class, you will have your
very own library of textured brushes and overlays that you can use to apply
to your illustrations. For this class, you
will need an iPad with Procreate installed
plus an Apple pencil, some paper and old paint
brushes, and some paint. You could use whatever
paint you have on hand. I quite often use my
kid's paints for this. To get the most
out of this class, you will need to have a good
understanding of Procreate. Finally, for your class project, you'll create a library of texture overlays and a
library of texture brushes. I think it's time to get
started. Let's do it.
2. Why Use Textures?: Using texture in your
illustrations can make your work more interesting
and more authentic. You can use textures
to make your work look like you've
painted in watercolor, gouache shock, even
colored pencils. One simple overlay texture can completely transform
your digital art. It takes once a flat design to something way
more interesting. You can use textured
brushes to add light and JT illustrations to make them bounce
off the page. Now that we have a fair idea of how textures can
transform your work, let's dive in and
create some textures.
3. Blending modes: [MUSIC] Now before we dive in, let's talk about blending modes. A simple and quick way to create interesting effects
in your illustrations is to use blending modes. Blending modes are a group of options that affect the way that two layers blend together. There are a multitude
of options. Some will create a slight
change to the appearance, and some will drastically change the look of your illustration. I use blending modes
to add detail, shading and light, as well
as interesting texture. It's a good idea to know
how they work before you actually start creating,
and using textures. To demonstrate, I'm going
to show you what some of my favorite blending modes do to change the appearance
of an illustration. Here's an illustration of
some flowers that I did. At the moment, it has no texture other than
the detailed lines. To access the blending modes, you need to go into
your Layers panel. In here I've got
my illustration on one layer and I've got some overlays that
we're going to play with. You'll notice here on
the right-hand side of the layer is the letter N. That stands for
normal and it's basically saying that the
blending mode is set to normal, which is basically no
blending mode at all. When you click on the end, you can see the rest of the
blending mode options there. If we just scroll through those, you can see there's quite a few. At the moment, I'm
just changing them on the actual illustration layer itself, but when I
use blending modes, I use it on the
layers that are above the illustration layer or above the layer that
I want to affect. Each of these layers
above are overlays which I'll be showing you how to create in a later video, and by playing with the blending
modes of each of these, it's going to really change the outlook of my illustration. Let's have a look. Now, the best way to discover how all of these
work is to play with them. You'll find that different
colors will affect the way that the blending modes
change the appearance. For example, a light color will work a lot differently
from a dark color, so it's actually quite a lot of fun just to get in there and play with the different
blending modes just to see how they will affect
your illustration. I find that I now
gravitate towards maybe three or four
different blending modes that I think suit
my illustrations, but for you it might be different ones so it's really important to just have a play. In here I've got four
texture overlays, which I will be showing you
later on how to create, but this is just to demonstrate how the blending
modes work with them. Let's have a look
at this top one. This is just some
watercolor paper that I've taken a photo
of, and scanned in. Now, if I change the
blending mode in here to, usually with a paper
we'll go to - let me just turn these other
ones off - probably, just a Multiply for that one. Then up here you've got the
opacity so if you want to, you can adjust that. Now you can see that it's
got a lovely paper texture. Let me go on a bit further. You can see that it's showing
up on there so it looks like it's been created
on watercolor paper. Then I've got a rustic one here that I'm going
to play with. I'll probably choose something like a Multiply or a Color Burn. Let's try this Color Burn. That's just creating a very
subtle rustic appearance. Generally, when the
texture is dark, I will use the Darken
blending modes. They used to have them
in little categories, but they don't anymore. But the darker ones are
generally the top ones and then it goes into the
lighter ones down here, and then there's some more
different ones further down. But they did use to have it in categories which
was quite handy, but they don't anymore. That one I'm going to
keep as Color Burn. Then I have some bark. I took a photo of
a tree that had this interesting texture on it with some dashes and lines. I thought that would
look quite cool. I would probably, because it's a darkish texture, I'll go with a Color
Burn again and obviously adjust the opacity. I really like the way that it's affecting this part down here. Then this last one is just
some painted on white. I used a texture brush
to do it, I think. Let me just turn the others
off so you can see it. Maybe change the background
color. You can see it there. It's just a white texture. For that, let's remove the
background layer again, turn those back on. I want a Lighten blending mode. I might actually add and
this will really bump out the light quite like like that. You can see here now that it's completely changed the way
my illustration looks, so let's have a
look and compare. If I turn off those overlays, you can see it's quite flat and then with the textures
over the top, it's come to life a bit. That's all through playing
with the blending modes. Now, you can jump onto the
Procreate website if you want to know exactly what each of those blending modes do. I'm not going to go through
them all because really, I find you could look them up and find out the
definition and that really, it's just playing with them that will make you understand
better how they work. I will put the link in the
classroom there for you to go, and have a look at each of the definitions of each
of the blending modes. But really just have a play
and see what each one does and you'll discover some
really cool effects. In the next video, we're going to create the start of an illustration, and
then I'm going to add textures, and take you
through how to add the overlay textures as well as brushes and detail.
See you there. [MUSIC]
4. Blocking in Colour: [MUSIC] We've got this sketch here that you're
most welcome to use. You can just download it, or you can create
your own sketch, and follow along either
or. It doesn't matter. What I'm going to do is block
in some color for this. Then in later lessons I'm
going to show you how I add texture to
bring interest to it. I've got this sketch
on one layer. I'm going to turn
a blending mode on cool multiply and then
just lower the opacity. Then I'm going to create
a layer below and I might lock that sketch layer so that I don't disturb it. I'm going to use one
of my brushes here. It's called texture detail, which I'm going to show you
how to create later on. But there are lots of brushes that come with Procreate
that you could use. I quite often use the dry brush, which is in the inking library down here Dry Ink.
That's a nice one. Also the Inka is
my other favorite. But for this one
I'm going to use the Texture Detail brush. I'm just going to
block in some colors. Firstly, I'm just going to
drag in a background layer. I'm just going to
drag a color for the background and then
create another layer on top. I'm going to start with the elements from the
back to the front. Let's start with the ground here and I'm going to
select this color. I'm just going to drag in the color sometimes
when you do this, you might see if I zoom in here, you can see that it hasn't completely filled
it in. The texture. Brushes created a nice, let me just turn that
background layer off. It's created a nice
textured outline. But you might not
want these bits here, so you might need
to fill them in. Another thing you can do when you pull on a color like that, let me just go back. When I pull it in,
if you hold it, you can see we've got
the threshold here. If I drag it up, that will then decrease the
amount of bits missing there. I don't mind a little bit
creates a nice textured effect. I'm just going to continue on and block in some more color. I generally do each element or color on a different layer. This is helpful later on
when you add texture. I'm going to create
a new layer here and start on the duck. [MUSIC] For the legs and the beak, I can do them on the same layer. [MUSIC] Next I'm going to do the eye. [MUSIC] Then I'm going to
create a layer mask on top. I'm just going to duplicate that original layer of the eye. Then I'm going to clip it
to the original layer. I'm also going to turn on
Alpha lock and then change the color to black using
the fill layer option. Then what I can do is drag it, and you can see that
it stays within the eye. I'll group that and name it Eye. I might just a group that duck layer together
and name it Duck. Creating new layer to create
some of this foreground. [MUSIC]. To change this
foreground layer to an overlay just as l want to create a reflection or lighter fit you can see how it blends with the
other layers quite nicely. Creates a nice effect. I'll do some of that
in the background too later on I think. Just to create some shadows. I'm going to leave that there. That is most of my color blocked in and at the moment it's
looking pretty plain, has no detail, no texture, it's just blocked out color. In the next few videos, I'm going to show
you how to create some textures to apply to an
illustration such as this, just to bring them
to life and add more interest. See
you there. [MUSIC]
5. Texture Overlays - Part 1: [MUSIC] To create some
texture overlays, I'm going to have
a little play with some painted textures that I am then going to take onto my
iPad, and create overlays with. All I've got here is a
bit of watercolor paper. This is the Canson
watercolor paper. You can also just
use plain paper. You don't need to use any
fancy paper for this, it really doesn't matter. What we want to do is just get some lovely textures on there. I've also got a couple
of old brushes. These are actually
just my kids brushes. I like them because
they're so rough, and they create some
really cool textures. I like to avoid using my
good brushes for this. Then I'm just going to use some sepia wash which
I'm going to water down. I've got my palette, I've
got some paper towel, and I have water. All I'm going to do is, let's get some of
this gouache on here. I'm just going to get
that quite watery. Now you could use a black, you just need to use a
really darkish color. I wouldn't go pure black, just a sepia or a Payne's
gray, if you've got one, or if you've got some
old kids paints, acrylic paints hanging around, sometimes I use them rather
than using my good paint. Anything really as long as it's a darkish grayish
color should work. Then all I wanted to do
is just make some marks. [MUSIC] I wanted to show the brush
strokes as much as possible, and I want to keep the color quite consistent
all the way across. I'm just going to add a little
bit more here. [MUSIC] I'm going to use my other
brush to try and add a bit more interest to this. I want to see the brush strokes, so I find this adds them in. [MUSIC] You really just want to play. You don't know what you're
going to end up with. It's just fun to play around, get them on your iPad, and
then see what happens. You can't predict really
what's going to happen. Once I'm done, I like to
take a photo of that. Make sure when you take a photo that you have really good light. I have the set out under my camera and my
light at the moment, so that would be a perfect
place to take a photo. Another place is near a window. You just want it to be flat, no shadows, with good lighting, but you can then also play
around once you get it on your iPad to get it the
perfect texture and lighting. I'm going to create a few
more and see where we go. This time I've just got
some plain computer paper, just want to see what
happens if I use that. I'm just going to use this
brush a little like that. [MUSIC] I'm going to take a photo of that and send
it over to my iPad as well. So I've got some textures here. I've got three here that I painted and have taken a photo of, and brought
them into my iPad. I took the photo using my iPhone and then I AirDropped
them across. Or you could just take them with your iPad or you
could scan them. Whatever way, it
doesn't really matter. Once we've got them in here, we can then adjust
them as we need them. I've also taken a photo
of watercolor paper, and I've got another photo here. It was meant to be a
concrete look vinyl, and when I took a photo of it, I thought it looked
like a sandy texture, so I thought that
was pretty cool and I'd like to have a
little play with that. What I normally do then is, I will adjust the saturation
and a few other things in the Photos app on my iPad before I take
them into Procreate. Let's start with this one. If there's any bits that I
don't want on the edges, sometimes if you capture
it with some shadows, you might get a very dark corner and you don't really want that, so you can crop it out. If I go into Edit, there's a little
Crop button here, and then you can adjust
that however you need it. But that's okay for the moment. Another thing is,
there's some options down here on the right. I like to play
with the exposure, sometimes the contrast, and I also like
to desaturate it. I'm going to do that one first. I want it just to be black
and white, grayish colors. I don't want any browns
or any other color in it. By doing that, you can see
the texture really pops. I normally start
with saturation, and then might adjust
the brightness. I like that. It really brings out the black
and the white and you can see how much this could
affect the end result. The contrast as well, we'll make the text just
pop in different ways. If you put it at 100 percent, it's a little different
to a minus 100 percent. This one, I'm going
to keep it there. It's really just a
matter of playing. The exposure also, you can
really bring out the texture. I'm just going to click
down on that and leave it. I'm just going to jump in and
do the rest of these, and I might speed this up for you
and see on the other side. [MUSIC] In the next video, we're going to take
all of these textures into Procreate, and create overlays for an
illustration. See you there.
6. Texture Overlays - Part 2: [MUSIC] I've got a few
here now to play with. I'm going to jump
back into Procreate. I'm going to open up the duck illustration
and I just group all of these onto a single group
and then input my images. Sorry, I'm going
up to the Action, Add, Insert a photo. I'm just going to insert all of these and expand them out. Because these are textures, I don't mind if I'm
increasing the size slightly. If it was the illustration, you wouldn't do that, obviously. [MUSIC] I'm going to
group all of those. Let's call these my
texture overlays, and let's start playing. I'm going to turn them all off. I'm just going to put the
paper one at the top. I want to start with
this bottom one here and have it play. That's cool. I'm going to adjust the opacity, get that too, vivid light. You see how already, you've instantly changed the
look of the illustration. Look at the awesome
texture on there and on the ground,
it looks awesome. Then let's try another one. Basically, I'm just having
different layers of different textures to
add different effects. You can get rid of some, you can turn them on or off. It's just a matter of
playing. This looks cool. I always seem to gravitate towards the Color
Burn, I don't know why. Or the Color Dodge sometimes
causes a really cool effect. Quite like that too.
That's the Add. Let's have a go at this one. This light concretely one, let's see what we
can do with that. Like that. Then lastly, I'm going to have a play
with the watercolor paper. Generally, I put this on top and it will always
be a multiply. Then it just creates that
paper texture feeling. Now you can see that just by adding a few
layers of texture, it's created a whole
different look and feel to your illustration. I still need to go in and
add some details and stuff, but for the moment that looks
so much better than that. How easy is it? What you can do is create a canvas that has those
textures that you've created. Just keep that as a template and reuse them and always put the textures on the top and the illustration
on the bottom. Next step, I'm going to
show you how brushes can be used to create texture
in your illustrations. First up, I'm going to show
you some of my favorite Procreate brushes that
you get with Procreate, and then I'm going to show you some bought brushes
that I really love. [MUSIC] Then we're going
to start setting up our own brushes. See you there.
7. My Favourite Texture Brushes: [MUSIC] There are many brushes
within Procreate that you can use to add texture
to your illustration, as well as many brushes out
there that you can buy. In this lesson, I'm
just going to show you a few of my favorite
Procreate brushes, as well as some of my
favorite bought brushes. Let's start with some of my
favorite Procreate brushes. I'm just going to
turn this off and make another layer fist. My favorite Procreate brushes would probably have to be in the inking library and
the Inca and the dry ink, two brushes that I use a lot. Let's have a look
at the Inca brush. I'm just going to pick another color and might
increase the size. I like the texture
that it creates. You can see it's creating
a nice texture on the side on the
edge of the brush. I use this one a lot. Then if we clear that and the dry ink.
This is another one. I like to color in
with this one as well because if
you can see there, it creates a lovely texture within the actual brush itself. Those are two that
I use a lot of. Another one if we go into the drawing library
is this Styx one. Let me just clear that. That one creates
awesome texture. Sometimes I'll use
this one over the top, like a overlay with
the blending mode on. One more I'm going
to show you in the painting library is
this dry brush down here. [NOISE] That just gives us subtle texture that I
sometimes put on top of some black color as well. That's four brushes that I use a lot that come
with Procreate. There's no need to go
buy anything special. But if you do want to jump out there in the world and
by something special, I highly recommend Lisa Glanz
brushes or Bardot brushes. I have a few Lisa Glanz ones. I've got this texture
brush set here. This one which has
got like stamps. These are great for
overlaying on things. Then this Lisa
Glanz nitty-gritty, which is a relatively new one. This one has a wide
variety of brushes that you can use for
different things: there's sketching brushes, there's Philip
brushes, textures, shading brushes and then she's
always got stamps in here. These are some
really cool stamps. If you have a look at this. [NOISE] I'm going to
show you how you can create your own stamps
out of this later on. But if you don't want
to create your own, you can always go and buy some. I just highly recommend checking the license
requirements for them so you can determine
how you can use them. Some licenses may not allow you to use those
brushes commercially. You wouldn't be
able to use them in an illustration that you're
going to license or sell. Lisa Glanz brushes
when bought via Design cuts can be used
for commercial projects, but the company that you are
selling to or licensing to must have an annual revenue
of less than 25 million. It does pay to check those requirements before
using those brushes. I have links to all of these bought brushes in
the resources download. Go check them out
and let me know what you think and if you
buy any and what you create. Now, if you do buy
brushes and you want to install them, you can. Sometimes I will download them to my computer then
air drop them across. Then you can open them
up into Procreate and they will just add
to your brush library. Or if you want to, you can add them by just
going to your files. If you've got your
Dropbox connected or you have the Cloud connected, you can then navigate
to where you've saved your brushes and you just
need to then download them. I've got my Bardot Gouache
paint box brushes open here. I'm just going to select one and it's just going
to import it for me. It will be in the Imported, Recent. There it is there. Then you can put them into a
library wherever you like. Sometimes when you
buy a brush set, you can just have the one file and it will completely install the whole set into the
library, which is great. The Lisa Glanz brushes do that. Next up we're going to dive
into creating brushes. The first thing we're
going to do is set up a brush library.
[MUSIC] See you there.
8. Setting up your Brush Library: [MUSIC] In this lesson, we're
going to start setting up a brush library, so that we can create some
texture brushes, and keep them nicely organized
for illustrations that you create from now on. If we go into my brush library here and go up to
my brush library, I have them into categories. I've got some detail brushes. Then I call this one
organic textures that are created from some paint that I've splattered or created using
traditional methods. I have some filler
brushes which are great for blocking color or adding
texture to blocks of color. I have some light and shade, which are basically my
shading brushes where I add some shade or light
to the illustration. I have some background brushes, these are quite large
and they are good for creating textured
backgrounds. Then I have some
stamps which are funky little brushes that
you can use to stamp on different areas on
your illustration. I'm going to show you
how I set this up, to create these
little categories, what are we going to do? I'm going to go back
out to the gallery, I'm going to create
a new Canvas. I'm just going to create
a square 2,048 by 2,048 pixels, and then go
into my Brush Library, and if you scroll up to
the top of the libraries, sometimes it disappears, you can see it's disappearing, but you want to
get that up there, you can click on the "Plus"
sign to create another set. In here, you can call
it whatever you like, it's going to be your brushes. For this, I'm just going to
call it example library. Now we can then add our
brushes to the right, and if you go back
to my library, you can see I've got
this category headings. Let's create some of them. We'll start with the
detail brushes one, I'm going to go to my Canvas, I'm going to click on the
"Tool" and then "Add', and then "Add Text." And then I'm going to
type in detail brushes. Now I also want
this to be black, I'm just going to
select all of that and go up into my Palettes. Go to the classic one, if I drag it down
to the bottom left, it will do a pure black for me. Then I might edit the font, let's select all of that, go into the Font. I also want to make
it all capital, I can do that quickly by
just clicking on that one. I also want it to
be all on one line. We want to change the font
to whatever you want, you can change the size just as long as it's
on one line like that, and click "Done." I'm going to then
turn on snapping, and select it just so that I can
get it right in the middle, and you can see that orange
line come up to snap it. Not sure if that really working on. There we
go. That's better. Once we've got that there, we want to edit to the library. Then we need to go to the
Tools, and then select "Copy canvas" and what that is doing is copying
everything on there. We can then go back to our Brush Library,
and then click on the "Plus" then
click on any shape, then click on "Edit,"
"Import," "Paste." Then we want to invert it, we just click it once with
two fingers and then that will invert it so the text is white and the
background is black, and then make sure
you click on "Done." Then go to the Stroke Path, now you want to
increase the spacing to the mix to create
a stamp effect, then go to Properties and we want to change the maximum size. I'm going to boost that up, we just want to have one showing and then the minimum size, and you may need to come
back out and adjust this. Also, turn on use stamp preview, I'm just going to
click on "Done." Go back there, and you
can see that sitting nicely in the middle there. To go back in and adjust, just click it and go back in, and you may need to
adjust the size, if I click on it again, now that's gotten too big. I'm just going to reduce
that minimum size, and that looks fine to me. Then if I go back up, you can see it says
untitled brush. We'll get rid of
that, we'll go to the About this
brush, and then in here I normally like to put
an icon rather than a name. I'm going to click on my
little emoji icon down here and find an icon or emoji
that you think suits it. It really doesn't
matter, I might just do that little tag. You can also write
in here who it's by, and you can put image in
here if you wanted to, from your camera or your photos. I'm just going to
leave that for now. Now we've got that
little icon there, and we've got the
name of the category, and the easiest way to do
that is to just duplicate it. Then go back to here, and edit the text for
the next category. I'm going to put shaders, I go back into there and
just turn on the all caps, then we can go to the
tool Copy canvas. Then if we go into
that second one, what we need to do
is go to the Shape, and Edit, Import, Paste, and everything else
should remain the same. You may need to adjust the size. But in here, the maximum size
or minimum size, but generally they
should all work. I forgot to click "Save" again, then I click "Done." Go to Shape, Edit, Import, Paste, Done. [LAUGHTER]
Let's have a look. Great. We just repeat that for all the brush categories
that we want to do. I'm going to go ahead and
create a few more categories, and I'll just speed it up. [MUSIC] Now we have 1, 2, 3, 4, 5, 6 categories, and we can now go on and
create some brushes. In the next few videos, I am going to show
you how to set up your own brushes for
each of these categories. We're going to start
off with learning about all the settings in
the Brush Studio, and then I am going
to take you through individual brushes.
See you there. [MUSIC]
9. Brush Studio Settings: In this lesson, I'm going to briefly
show you some of the Procreate Brush
studio settings. Now, there are a lot of settings in Procreate
Brush studio, and it would be impossible
to learn them all at once, so I have created a guide to download and keep as
a reference to refer to when creating
brushes in Procreate, but I do find the best
way to learn each of the settings is to
jump in and explore existing brushes and create your own playing with
the different settings to discover what they do. So let's jump into
the brush studio. To access the brush studio, we either click on
an existing brush or click on the "Plus sign" at the top right-hand corner of the brush library panel
to create a new brush. The drawing pad can
be used to test and preview your brush as you're
adjusting the settings. You can also clear
the drawing pad, adjust the preview size, and change the color. You can also use
the import option to import brushes that
you may have bought. I save bought brushes
to my Dropbox folder, which then allows me to easily import them into Procreate. So let's start with
the stroke path. The options in the
stroke path allow you to adjust how your
stroke will appear. This is a great area to
create stamp brushes. The spacing determines how
smooth or jagged the stroke looks and the jitter offsets each shape
from the stroke path, which is great for creating
an interesting texture edge. I use this for texture
detail brushes. Falloff starts with full
opacity and it fades away with the stroke like the brushes
running out of paint. Streamline controls how smooth
the line is when drawing. I like to decrease
the streamline for a hand-drawn effect
and then increase it for when I'm drawing
letters or I'm trying to achieve a straight
smooth align. The next section is taper, so taper refers to the
thickness of the strokes, start and finish ends. There are two options in here. There is the pressure taper, which allows you to select how much tip of your brush
will have and then you've got the touch taper
settings work with your finger rather
than the Apple pencil. This is the shape of the brush
and it is generally where you start adjusting settings
when you create a brush, you have the option to
import an image or a file. You could import from the Procreate library or you
can paste from the Canvas. To paste from the Canvas, you must first copy the entire Canvas and once
you've imported the shape, you can then invert
it using two fingers. Now I want to show you how
to do this when we actually start setting up brushes. The next one I want to show
you is the grain setting. and this is where you
can change the settings to manipulate how
the grain behaves so you can also create
grain from any image and you can adjust if it stays still behind the stroke or
if it moves with it. Grain is the texture
that sits inside of your brush shape so when
you paint a stroke, the grain roles inside the
shape onto your Canvas. Rendering adjust how the brush reacts to the Canvas
on the screen. In here, you can change the way colors and
strokes behave on your brush and how they
interact with the Canvas, and you've got two
sections here. The rendering mode is how the brush reacts to
previous strokes in the canvas. These attributes work well with paint type brushes and the options range from diluted
paint, too thick paint. I typically use the
intense blending option. With blending, these
blending options affect how the paint
interacts with other colors, how diluted it is and
how the edges look. The width makes options change the way the paint works with
the Canvas and other colors. These options are great for
wet brushes like paints. The color dynamics, settings that work with the Apple pencil to
change the color, saturation, the brightness, and darkness of a
brush stroke based on how much pressure and touch
you apply to the pencil. The stamp color jitter
settings that can be seen best when the stroke spacing
setting is set too high. You can change these
settings to alter the color attributes for each specific color
stamp in a stroke. You can change the color in the drawing pad from white
to see these effects, and the stroke color
jitter settings change each new stroke. It has the same settings
as the stamp color jitter, but vary from stroke to stroke instead of affecting each stamp. The colored pressure
settings change with the pressure of
the Apple pencil. The color tilt settings change depending on how the
Apple pencil is tilted. In the dynamics settings, you can control how much your brush changes depending on how fast you draw or write. Plus it adds randomness
with jitter. Now these settings do not
depend on an Apple pencil, so they can be really good for people drawing with
their fingers. So the speed settings
change the brush depending on how fast
you draw so you can change the size or opacity depending on how
fast or slow you draw and then the jitter changes settings on how your shape
appears at each stroke, which is not affected
by the speed. The Apple pencil settings. How the Apple pencil
interacts with the Canvas. The pressure settings
change the way the Apple pencil
response to pressure and the tilt settings change the way the Apple pencil response
to it being tilted. Then we've got the properties. These are the basic
overall general settings for the brush. Use the brush properties settings to change how
the brushes show up in your brush library
and how they react to smudging and change the brush behavior
settings to set the maximum and minimum size and the opacity of your brush. The materials settings
I've actually not used, but this is where you can
adjust the roughness and the metallic materials
for 3D drawing, and then finally, in the
about this brush section, you can add your name
and you can add a logo. You can also reset
your brush back to the defaults or
set reset points, which is really handy for when you want to
play around with different settings
without losing what you have previously set. Now, download the PDF, which has all of
the settings listed at and what they do and I would recommend getting
in there and having a play and follow along with the next videos but if you
want to know a little bit more about a certain brush
and each of its settings, jump onto the PDF
and have a read so that you can understand each of these settings and what they do. Next up we're going to create a custom texture
brush. See you there.
10. Detail brush: [MUSIC] The first
brush we are going to create is a detail brush. I use a texture data brush to add line details to
my illustration. In my library, I have one
here called textured detail. Say if I wanted to add
some detail to this beak, I would select the beak color. I'll have the texture, detail brush selected, and then let's
just jump in here. Above that layer, I would add
another layer and clip it. I will change the blending
mode to multiply. Then using my detail brush, I can add some detail. That might be a little too big. Let's make it a bit smaller. You can see there it's
created a nice little mouth. We can just change the
opacity to that as well. This brush here you can see
has a lovely texture on it. Let's go ahead and create
something like this, just using the existing shapes within the Procreate
brush studio. Let's go on to my
example library and click on the "Plus" to
create a new brush. The first thing I'd like to do is go to the shape properties. This basically is the
shape of the brush. I like to start here, and then I will play with the other settings to
create the desired outcome. If I go into the
shape and then go to Edit and then Import, there's an option here to
go to the Source library. In here you can find
all sorts of wonderful texture shapes to use
for your brushes. For this one, I
want something that has quite a textured edge to it. I think this one here, the ink Number 2 is
what I want to use. Then make sure you
click on "Done". We want to adjust the scatter because at the moment it's
all going in one direction. We want the shape to rotate
to create a textured edge. Then another thing I like to do is I think I'll go up
to the stroke path here and adjust how smooth or
jagged the stroke path is. I'm probably going to bump that all the way down because I don't want any gaps in between
and I want it quite full. I just want the edge
to have the texture. I think that looks a bit better. Now the stabilization is another area I
like to play with. But the only setting for this paintbrush is
probably the streamline. What that does is it smooths
it out when you draw it. At the moment it's too thick and I want the edges to
be a little bit tapered. Let's go down to
the next settings, the taper, and I'm going to adjust the pressure taper a bit. I want the size to be max. If you use your finger to draw, you can adjust the
touch taper as well. Another one I like to
play with is rendering, which is how it interacts with the canvas when
painting or drawing. I think I'm going to go with
the intense because this is going to be a detail
brush and I want it to be quite intense, I guess, and not
fade out like that. I'm going to leave
that one in there and the rest of the settings
I can leave as well. You can also play
with the blending modes down in here as well, which I do with some
other brushes if I want them to interact
with different layers. Obviously, that will
affect the way that they appear but I'm just going
to make them as default. The wet mix I will leave as is. Another one I want to
check is the Apple pencil. This one affects when you
tilt your Apple pencil, how much it affects the brush. This is a good one
for when you're creating say a
pencil brush and you want to be able to do
some shading on the side. But for this one,
I'm just going to keep it at about 10 percent. I'm going to change
the opacity to none and the size
to max as well. Let me just clear that. This is the pressure. Depending on how hard
I push on the pencil, it will affect the
size of the pressure. If I'm going to do it
lightly, it's quite small, then if I push quite heavily, you can see that it's
getting quite big. You can turn that down so that
it doesn't do it as much. But I'm going to do that on max so that I have
the mix ability here. The last one is the properties. In here, I might change
the maximum size. At the moment it's too big for detail work so I'm
going to bump that down to maybe about 20
percent. That looks good. The rest can stay the same. Now that's starting
to look quite good. The last thing I'd
like to do is name it. This one I'm going to
call detail brush. I can put my name in here
and then click "Done". Now we need to drag that into
my detail brush category. If I just hold and click and then drag it down
underneath there. Then let's test this out. I'm going to go and put some
detail on the duck here. Let's just turn my sketch on to see what I
was planning to do. I'm going to go and put a new
layer on top and clip it. Change that to multiply and make sure that I've
got the same color as the duck and then
here's my detail brush. To add some detail, let's
just bump down the size. That's where if you wanted
a really smooth line, you can go back in and go to the stabilization and
increase the streamline. I quite often play with the streamline
throughout the process of an illustration so
something to be aware of. I'm just going to clear
that now and try again because I want a smooth
line, not so jagged. Just turn that sketch off and then in that
looks a bit better. I'll add some more here, then maybe some little
ones down here as well. Next step I'm going to
show you how to create a shading brush. I'll
see you then. [MUSIC]
11. Shading brush: [MUSIC] In this video, I'm going to show you how
to create a shading brush. So I have a few shading
brushes that I've created. I'm going to show you how I created this gritty shade one. This one has both a
shape and a grain. The grain I used from
the source library and the shape I created myself so let's have some fun
and create this one. Let's just hide that for the
moment and on a blank layer, I want a black color
so change it to black. Then I'm going to
use the inker brush. That's in the inking library and then just select "Inker." With this, I'm just going
to create some marks. Now, when you do this, you need to create them
in a circle shape. Basically, just brush them on. You can use whatever
shape you want really this is just to create
that gritty feel. You could use dots maybe but you want them going
around in a circle. Well, contained within
a circle, I guess. That's looking okay. I'm going to then go to the tool again and then copy canvas. Then let's go back to our
library and create a new brush. The first thing we're going
to do is add that shape. Go to the shape, go to edit, go to
import and paste. Then once again, we
want to invert that. So a two-finger
tap and then click done and while
we're in this part, let's increase the
scatter, maybe around 30. We also want the rotation so that you can
see that there is rotating each of the
little fragments in there just to make it
more scattered, I guess. You might even
increase the count a little bit and the jitter. If I put the randomizer on even, it creates more random
in the shape behavior. Now you can see it's
starting to create a really nice texture
there, a shading texture. Let's go and find a grain. In the grain, go to edit, import, and go to
the source library. Now I'm wanting a
concrete grain. I'm just going to
look through here, I want something with
the scratches on it. That one could be good. That one could be
quite good too. This is the one
that I think I use. It's scraped. It's very subtle. It has some little scratches on it. Yeah, that looks good. I'm going to invert that
too and then click done. I'm just going to play with
some of these settings. I'm going to keep the
rolling movement as it is. Maybe increase the scale. Now you can suddenly
see the grain there. Let me move that up and down and you can see it getting bigger or smaller within the brush. I'm going to maybe put
it around 50 or 40. I want the zoom to be nothing and I think I'll leave
that on there like that. It's starting to
look really good. In the stroke path, I want to turn on the jitters. You can see that,
they're really big, you can see it jitter's
all the way out. I just probably wanted about 50. That's creating a
really nice edge to it that tapers out a bit. I don't want any of the
stabilization there. I want to be very
organic and raw, so I don't want any streamline. I will put a little
bit of taper on this. I increase the size of that and put the opacity
all the way to the max. I just adjust that so that the pressure
that you put on doesn't affect it too much and
sharpen that up a bit. I'm just going to
adjust the settings for the touch taper as well. Now I think the rendering
needs to be adjusted. Maybe that's going to be
too light with the intense. I want to sway that in that
tense bleeding seems to be my favorite and the
rest can stay the same. In the Apple pencil, I'm going to turn
the opacity all the way off just to
see what that does. It just makes it a
bit more intense. That was for the pressure
and then with the tilt, I'm going to turn the
opacity all the way on and that will cause it to be quite the opacity to
kick-in just on the tilt. If I'm putting it
straight up and down, you can see it's quite intense
and then if I do it on this side, it's quiet light. That gives you a bit of
freedom to play when you're actually shading to change the way that it appears
when you do it. If I turn the graduation up that will help that even more. Let's clear that out. I'm going to just play
with the size here a bit with the bleed. That looks pretty good. In the properties, I'm just
going to turn the orient to screen off and change
the size slightly. Adjust the opacity and then
I'm going to name this. We just need to drag that into the shades and we
can now get rid of that layer and let's turn back on our illustration
and just test that out. I'm going to create
another layer above the base
layer of the duck. Once again, I'm going
to put it on multiply and select that
pink color again. Let's just see what happens when we put
that into there and that creates a lovely
shade underneath. If you wanted to, you could
then create some light, so if I turn on overlay
and then change this to white and do it on the top and just bump
down the opacity. It just gives it a bit of light so now you've
got to be light and shade to create a full
illustration, not so flat. The next one we're
going to create is a organic type texture
that we can put on top of that to create
some more interest on our duck and illustration
[MUSIC] See you then.
12. Organic texture brush: [MUSIC] In this lesson,
I'm going to show you how to create a organic texture type brush. In my library, I have this one here
called salt and pepper. I'm going to show you
how I created that and so you can then
create your own. For this one, I used
a texture that I had scanned in for the grain. Then for the shape, I used
a texture from the library. I'm going to jump out of here
and go into this square. Needs to be a square because the texture
that I'm going to use, I want it to repeat, so I'm going to create
a repeating texture. I'm going to go into my photos, and I've got this leather here. It's actually fake look leather, and I'm just going to adjust it. We're going to get rid
of the saturation that way and maybe brighten it
up and adjust the contrast. I might also just crop it a bit to get rid of that
bright spot over there, that will do, I'm going to
get back into Procreate, and I'm going to bring that in and just increase
that to make it fit. Now we can create our brush. I just want to copy the canvas. Then click on the plus
to create a new brush. Go to Grain, Edit, Import, Paste, and we're
going to leave that as is. I don't need to invert that
because I want it dark. Click "Done." I'm just going
to boost up the scale a bit. This is the scale of the
grain within the brush. You can see that it doesn't increase the
size of the brush, just the grain within it. I want the zoom off, I think. You play with it a bit more. The rest can stay like that. Now we want to change
the shape source, I'm going to go into
Shape, Edit, Import. This time I'm going to go
to the Source Library, and I'm going to select this
one here called Azimuth. I don't need to invert that either I'm going to
leave that as is. This is the shape of
the actual brush, so we do want to
scatter this a bit to give it a nice texture each and turn up the rotation and Azimuth needs
to be turned on as well. In this Stroke path, I'm going to maybe just
adjust the jitter a little and just see what
the spacing does there. I'm going to go back to the grain and just change
the brightness down. Just, this will
take away a lot of the grain and just leave
it with some speckles. I'm also changing the
blend mode as well, just to make it stand out a bit better and in the properties, I just want to change
the maximum size, to make it quite big, and the minimum and make sure the maximum
opacity is on as well. Now you can start to see these really cool
flickers like salt and pepper is how I called
it and the Apple Pencil, I'm just going to
change the flow to max. The opacity down and
the rendering I'm also going to have a play with
so making much difference. That's starting to
look pretty good, so let's have a go with that. Drag notes, we haven't named it. Go back to the name, salt and pepper was the
name I think I had. Salt and pepper and drag that down into my
organic textures there. Let's go back out to our
illustration and add some to, let's send some to the ground. Actually never said
some to the duck, so I'm going to
create another layer that's on the
multiple blend mode. Also going to select
that pink color again. Make sure my salt and
pepper is selected, and then you can see that there, maybe down the
scale of it a bit, just creates a lovely
organic texture on top. The next brush I'm
going to demonstrate is a filler brush, which I use for large
color-blocked areas, so maybe for the ground, just to give it a bit
more organic feeling, so I will see you there. [MUSIC]
13. Filler brush: In this video, I'm going
to show you how to create a filler brush. I use filler brushes
to add texture to larger areas of
the illustration. In this example, I would
probably use a filler brush to add texture to that
ground area there. I'm going to show you how I created this one here
called forest floor. This one used a combination
of a scratchy painting. I used a dry brush and
created this lovely texture, took a photo of it,
and scanned it in. It also uses, we go in here, and then I used a grain from the Procreate studio library. Let's go ahead and
create this brush. The first thing I need
to do is to adjust the saturation of
that painted texture. In my photos, I've got it here. I'm going to go to edit. Much like the other
scanned and textures, I'm going to make some
adjustments in my Photos app. We're going to go
back into Procreate. I'm going to go into
my brush library and create a new one. First thing I want
to do is bring in that shape and then
go to Edit, Import. This time it's going to
import it from a photo, and I'm going to select it there and then I want to
invert it as well. I demand that she
turn it around, so the bit that's
tapered off is at the bottom, then click "Done". While I'm here, I'm going to
increase the rotation and this scatter just slightly
and turn on the azimuth. Then let's find a
grain for that. Import and this time I'm
going to take it from the source library
and I'm going to this grunge grain here. Click "Done", leave
that as it is. This time I'm going to click
on this "Texturized" option. I'm going to just brighten it up a bit and change
the contrast a little. With the stroke path we don't need any
jitter or fall off, but I'm just going to change
that spacing slightly. We don't need to
address anything in the stabilization for this one. I will adjust the pressure
taper quite a bit, the size. Now you can see that it's
got a nice taper on the end. Just so I can have this
for multiple uses really. I could use it as a detail
brush as well maybe, change the opacity to max, and I'll take the
pressure down and just maybe I'll make that so sharp. Then turn off tip animation and then I'm going to adjust
the touch taper as well. Now it's got these beautiful
tapers at the end, depending on how I put
the pressure on my pen. In rendering, I'm going
to change it to intense. I might up the wet edges a
bit and the burnt edges. Apple pencil, I'm going to turn the opacity off and
turn the size up. Same down here with the tilt, turn the opacity up to about 80, their gradation to 100 percent. A little bit of bleed and
the size up to about 63. In properties, we can probably
keep these all the same, I'm going to turn
orient to screen off. Let's just do the max
size as big as possible, because we're going to use this to cover quite a big area. Change to the minimum size. The rest can stay the same and I'm going to
change the title. I think I'll call
this forest floor, add these little fairy ends. This could be good for like a fairy character or something, couldn't it? It's great. Let's test this out. Let's just put them
in a filler brushes. I'm going to select this color and go to my ground layer and
create a layer on top, clip it, and turn on the
multiply blend mode. Let's see what happens
when we paint over that. That's really nice, I like that. Then if we just bump
down the opacity, just to make it a
little bit more subtle. Another thing I could probably
put in here is create, let's create another layer
and use my salt and paper. Just add a little bit
more and then you could also add another layer and put multiply on again and create a bit of a shade onto the bird maybe
under the duck. As you can see, everything's
starting to come to life now with these brushes. I think we've got one
or a couple more. Let's do a background brush now. This is something
that I will use to create a lovely
textured background. I will see you there.
14. Background brush: [MUSIC] For my background brush, I'm going to recreate
this scratchy background, although I can't quite remember exactly what
I used for this, but I'm going to
combine a few photos and some manual painting to
see if I can create that one. Let's go back, and if
I go into my photos, I have a couple of textures here that I
want to use or try. This one here is
like a concrete. I'm going to edit these much
like my other textures. Let's see what happens
when we combine these. I'm going to import
these photos, let's do the concrete first and then the mossy
concrete thing. With these, because
I'm using two, I need to play with
the blending modes so I'm going to just adjust the blending
mode on this one to a multiply maybe
on a color burn. Then on top of that, I'm going to select
a dark color and go to my inker and just add
some little splotches, and then maybe it's going to use my detail brush that we just created and just do
some little scratches. Then I'm going to change
the blending mode again. I just want them
to be very social. Very few more scratches. I'm going to give that a go. I'm going to combine them all together and I'm going to create a repeat
from that so I need three more copies, and I need to drag each to the corners making
sure snapping is on. Then I'm going to combine these. This may be a bit hard
because it's quite a defined line there,
but we'll give it a go. To do this, we need
to use the clone, which is in the adjustments menu and I'm going to play
in that bit there. I just want to make sure
this is on a texture. We could probably even
use that first floor. I'm just going to bump
down the opacity a bit. I'm just doing
this very lightly. That will do. Now, I just want to copy canvas, go into my brushes, and create a new one. Then go to Grain,
Edit, Import, Paste. Just play with the invert there. I think I like it in
the darker version. Before I change any settings, I'll just go to the shape
and select that first. Before I'm getting this one
from the source library, I use that one there, and I
might twist it around as well. I'll click Done.
While we're in here, I'm going to adjust
the rotation to that. We get it rotating as it moves. The scatter can stay off
and I might just use this Flip X and
then if we go into the grain and I'm going to use this texturized setting again and bump up the scale a little
and just change the depth. I'm also going to change
the blend mode to height. Let's go to the stroke path. I'm going to leave that as is. Maybe just reduce that a bit. I can increase the pressure
here for the streamline. The rest can stay the same. I'm going to leave this as is. I might just turn it
to animation off, and rendering is what's going
to change it quite a bit. This clear that. It's starting to come together. Now let's look at
the properties. For this because it's going
to be for a background, I'm going to make it quite big. I'm going to test this out with a color as well because I
wouldn't use a black. With the color, you can
see those scratches coming through and the backgrounds getting quite a nice look to it. Let's give this a name. Let's call that
Scratchy Background. Let's go and see what that
looks like on an illustration. Above that background layer, I'm going to select a color, maybe this one, but a little
bit lighter. That's right. Put this background
scratchy in here. Let's see what happens. That was way too big. At the moment, you can't really see much. But if we go over it again
and do it a bit lighter, I can see this
scratch is coming in. I'll probably go back in and
adjust some of the settings. You can't see the burnout, but I just want to show
you what it looks like so you can see the texture there coming
through in the background. Next step I'm going
to show you how to create texture stamps, which are really good for just stamping on
different things. You can create
little patterns to stamp or little symbols. The options are really endless. I will see you then. [MUSIC]
15. Stamp brushes: [MUSIC] For this brush, we're going to create a
watercolor blob brush. I'm actually going to use this Gouache Tempera
primary blue. I've just put it in my
palette, and I'm going to add some water and get that really watery
just like watercolor. I find it's best to use
a bluish color for this. What I'm going to do is
just do some watery blobs. [MUSIC] Make some with lots of
water, some without. Just want a variety.
[MUSIC] That will do. I will take a photo of that
and bring it into my iPad. I have taken a photo, and
I've sent it over to my iPad. I've got open it in photos. I'm going to edit my photo, and just get rid of
the watercolor paper a bit. I'm going to first adjust the saturation and the contrast. The brightness is
where it will take away the textured
background there. You could always just do this on computer paper if you
don't want to have to do the step and that will do. I'm going to jump
into Procreate. Let's go back to this
working file here. We can get rid of that. I'm
going to input that photo. I'm just going to
select this one here. Three fingers to cut and paste. Then this part here, I'm going to increase
the size a little bit. I'm also going to
adjust it a bit more because I can still see
the paper around the edge. I'm going to use the curves
to just adjust that a bit. Then let's do a Copy canvas,
and create our new brush. Go to Shape, Edit, Import, Paste, and then invert. We need to increase the
scatter to the mix. If we go the the straight path, because this is a step, we want to increase
the spacing to the mix so that we can stamp it. We don't need anything
on the stabilization on. We can edit taper, and
turn the pressure off. The rendering, I'm
going to change that to intense blending again and
keep the rest as this. We might in the wet mix, turn off the charge, and keep the rest as this. Nothing in color
dynamics, or dynamics. In the Apple pencil, I'm going to turn
the opacity off. I'm just going to
adjust the tilt as well, and leave the rest. Then maximum size. We want to really bump it up. I'm going to turn this
smudge off and the preview down to one percent. That just clear the drawing pad. We want to use stamp
preview as well. Now when we stamp, we can see it's just
the watercolor stamp. Let's rename this to watercolor. Clear that and test this out. That looks good. Let's
go to our illustration, and let's add this to
the ground as well. I'm going to select that same ground color, and put the blending
mode to multiply. Make sure my stamp is selected. Actually, I need to
drag that down into my stamps. Let's
see what happens. Let's see, creates a
lovely texture there. It just looks like it's
shadows from the leaves. It really adds another level of texture to your illustrations. I could do the same on the
deck as well. Let's try that. That just really creates
an interesting look. Let's create another stamp. This time, let's go to our
little playground here. I'll get rid of that one. For this stamp, I want to create a stamp that has dashes on
it, so let's just go back. I'll show you what I mean. This one here, I call
it the Inks Dash. To create that, all I do
is use my inking brush, the inker, and let's
change the color to black. We just need to
create some dashes, let's increase the size. They need to be arranged in that circle like we did before. That'll do, go to the
Actions, Copy canvas, and this time let's go to Library and Duplicate
the watercolor stem. Because all the
settings are going to be pretty much the same. If we go into there, go to the shape, go to Edit, Import, Paste, and you've
pasted in your dashes. We don't really need
to change anything else other than the name. We can call that Dash Stamp. Let's go back to our illustration,
and give that a color. Perhaps we could do
something in the background. Let's try a white color
and looks a bit big. Creates an interesting effect. I might change the
overlay there. I probably won't keep that, but it's just really to
demonstrate what you could do. You could also do
it on the deck. Maybe there's a
different effect. That's it. Basically now, you should have a library
of brushes that will help you to create an illustration with lots of
interesting textures. I want you to go, and
have a go at those. Create some of your own. Follow along with these ones, but then go and create some
that are yours that allow you to have a play around
with all the settings and discover new
ways of doing it, but try and do different types, so different categories, detail brushes,
shaders, backgrounds, and stamps, and build
up your library with textures that you
can use again and again, and that will help develop
your style as well. In the next video, I'm going to show you how I
completed the illustration. I'm just going to
take you through the whole thing
using these brushes, right through to the end
Illustration. See you there.
17. Final Thoughts: Wow, you made it to the end. Thank you so much for coming on this little texture
journey with me. I really hope that you
discovered the joy of textures and how they can enrich your illustrations
in Procreate. I'd love to see the brushes
that you've created, so please do upload them
to the project's gallery. Don't forget, you
can download my full texture brush
set for Procreate. It's in the download section
and it's free for you to use for personal work
and commercial work. If you want to find more tips, I have a newsletter
subscription which I share all sorts of goodies and
inspiration and tutorials. So just click on my link in the profile or visit my website, melarmstrong.com to sign up. If you're sharing
on social media, don't forget to tag
me Mel Armstrong, Skillshare so I can see
your gorgeous work. Thanks again for watching. I'll see you in the next
class. Bye for now.
Mel Armstrong, Illustrator, Pattern Addict & Teacher
