Transcripts
1. Class Introduction: Digital brushes and instruments
have a lot in common. For one, you're supposed
to adjust them. Just like tuning a
guitar or a piano. You would enjoy your
digital brushes a lot more after you play with
the settings. But I know. The brush studio in Procreate, with what seems like a Milan sliders can feel like a scary
place to be initially. And this class is
going to change that. We're going to warm up with some basic setting
changes on a brush, and then we're going to dip our toes in the space
of brush studio. Hi, everyone. Welcome
to the class. My name is Esther Nariyoshi. I am a working illustrator
based in the US, top teacher on Skillshare, and proud owner and creator of professional
digital brushes.com. In this class, I will
be sharing some of my favorite tips and
tricks to get you started with brush customization and make them work perfectly
for your next project. In this class, we will explore various brush settings
in procreate. From the basic stuff like
adjusting the size and opacity to advanced techniques like combining two
different brushes. And then we will be exploring three different ways to bring in texture to your
digital brushes. That may sound like a
lot at first glance, but I will walk you through
this entire process with you. The goal of this
class is not to cover every single function
inside for great studio, but to equip you with some basic knowledge of
customizing brushes. By the end of this class, you will feel comfortable going into the brush studio to tweak some basic custom
settings to make the digital brushes work best for your preference.
Let's dive in.
2. Mastering Brush Size and Opacity Adjustments: 's kick things off
with the basics. Adjusting brush size and
opacity may seem simple, but it's a game changer for achieving the right
look for your artwork. Ready to get started. Majority of the adjustments for a digital brush in Procreate
happen in the brush studio. But this one is a bit of an
exception because you can't adjust the size and the opacity of a brush
right on screen. So I have my toolbar
on the left, and in between
these two sliders, you can see we have
a little rectangle, and you can just pull it out to adjust the position
of the toolbar. So once you're happy, you
can just release that. I'm going to take a
brush out, for example. I'm going to slide up my
opacity all the way to 100%, and I will pick a
sketching pencil and maybe this oil pastel and
pick a darker color, so you can see the
texture a bit better. It seems fairly simple when you adjust the size of
your brush tip. You can see a preview on
screen as you use the slider. However, there is a lot
more to be understood. I'm going to draw another
swatch right next door. When we zoom in, you can see the scale of the
texture is a bit different, and that reflects the intention
of the brush creator. As you scale up the
tip of the brush size, you also scale up the
texture behind it. As you can see, the one on the left has much
rougher texture, than the one on the right. I'll give you another
example using one of my brushes from the pencil work. So you can see
better. Let's choose a different color.
Maybe this one. So when the brush tip is larger, you can see the pencil
texture comes out much stronger and more pronounced
than when it's a finer tip. Notice that not all
brushes behave the same. For example, some of the texture brushes
that you might have that have a
consistent background. Right now, I have a
pretty large tip, and you can see behind it, the texture is the
pencil scribble. And if I lower the
size of my brush, it's still going to carry
on this seamless pattern. As an illustrator, your job is to pay attention
to how each brush behaves so that you can really make intentional
choice in your illustration. So that's the size of a brush. Opacity is simple when you have a color selected and when you
have the full opacity, it is going to reflect the
color that you have selected. When you lower the opacity, it is going to appear a bit paler than
the original color. Of course, you can achieve the same effect with
a different layer. For example, if I were
to draw something with full opacity on
a brand new layer, so tap on layer and hit plus, And then I can adjust
the opacity of this entire layer
to similar amount. It's the same effect. You might be asking if we
can have multiple layers, which gives us more
independent control. Why do we need to adjust
the opacity of the brush? The answer is that sometimes when your canvas is really big, there is a limitation of how many layers that
you can create. So each layer has to carry
a lot of different motifs, and you can't just adjust
the opacity altogether. So in that way, you will
have to understand how to use the opacity of your
brush to create certain look. All right. That is how you can adjust opacity and
size of a brush.
3. Achieving Smoother Strokes: Stabilization Options: If you ever struggled with shaky lines in
your illustration, that will be the
thing of the past. In this lesson, let's
look at ways to smooth out your lines without
compromising your drawing style. We're going to explore three different ways to
make your lines smoother. Starting from this lesson, we're going to tweak the
settings in the brush studio. So I encourage you to make a copy of any brush that
you're about to change. So you will have a backup copy. To do that, you can
just swipe left on any brush and then
tap on duplicate. And then when you
tap the brush again, it will take you to
the brush studio. In this lesson, we're going
to focus on the second tab. Actually, the first
three sliders of the second tab under
stabilization. I'm going to start out
by drawing a squiggle. It's not super smooth,
as you can see. So I'm going to use
the first slider to change the amount to
massage the lines. As the slider slides
to the right, the line progressively
gets smoother. If I go all the way up to 100%, It kind of changes
the trajectory of the little squiggle
a little bit, but it's also making
it very smooth. So depending on your preference, you want to find
your own sweet spot. And this will be true for any of the tips that we're going
to cover in this class. And then the second option says, by the way, you can use all
of these sliders altogether. I will just use one at a time
so you can see what I mean. And the second slider
is called pressure. Pressure controls the
timing of the smoothing. If the pressure is
turned off like now, the smoothing will
kick in as soon as my pencil touches the canvas. But if the pressure has
any percentage on it, it is going to affect the
heavier part of my stroke. You may not see as much
of an effect over here, but I will take
you to an example. So I'm going to set the
pressure to maybe around 80%. So it's pretty severe. I'm going to hit done, so the setting changes
is remembered. And I will take you
to a project of my so we can work
on it altogether. To understand how
the pressure works, I'm going to give
you a quick example. Basically, at the
beginning of my line, I'm going to use light pressure, and then the later
part of my squiggle, I'm going to use
harder pressure. As you can see, I will try not to make my hand
motion very too much, but you can see the heavier portion of the
squiggle will be smoothed out more because the pressure is considered as a
factor of smoothing. I'm going to start out light. Wow, it will be helpful
if I have a layer. There you go. I'm going
to start out light. The line wobbles
and but right now I'm using full
pressure and you can see the line is more steady. It's hard for me to
intentionally wobble, but I try to be steady
all the way through, but you can see I get a lot more help in
the later part of the squiggle because I have the pressure applied
heavier on screen. The beginning portion of
my line is a bit wobbly. Basically, if you want the
heavier stroke to be smoother, you can turn up the pressure. And then I'm going to turn
all the way down so we can look at the third option
that is stabilization. I don't think that's the
greatest name in the world because this entire section
is for stabilization. If we start out with something similar and then use
the third slider. You can see the correction
is more severe. It is more ambitious in terms of how smooth it want
your line to be. But the third slider
is also unique in a way that it is dependent
on the speed of your stroke. So it's going to affect the faster stroke more
than the slower stroke. So I'm going to set it maybe two 50% or so and then hit done. I'm just going to draw a
squiggle with varying speed. I will be slow at the beginning and then pick up the speed. And then you can see
how the smoothing is affected just because I
have speed variation. So slow at the
beginning, and faster. My movement is pretty
similar throughout, but towards the end, as I speed up my strokes. You can see the smoothing
kicks in a lot stronger. That is how you can make
your lines smoother. Sometimes if you say if
you're on a commuter train or if you need your lines to
be smooth across the board, no matter what kind
of brush you use, you can also set it up
at the global setting. So I'm just going to
hit cancel and then hit this Run chic.
It's called action. And then in the
middle of the menu, it says pressure and smoothing. Tap on it. And you can see
we have stabilization. So you can play with
these three sliders to see what is your
comfort level. I like to set up unless I'm
on a train or something, I like to set up the stabilization
individually for each brush. But if you need a
global setting, here's where to find it. All right. I'll see you
in the next lesson.
4. Achieving the Right Texture Using Spacing and Jitter: Spacing might not be the first
thing that comes to mind, but it plays a huge role on how smooth or textured
your stroke may look. Let's explore how adjusting spacing can change
your brush behavior. In a demo portion of this class, I am going to use a native
brush that is under inking, and all the way down, second
to st, it's called stipple. So if I just to draw
a line real quick, you can see it is, um, like sprinkling some steps over the trajectory
of my line path. This may not be super clear because I also have
speckled background. Let's head over to brush Studio. As you can see, this is how the staple brush
path looks like. This actually helps
us understand how really every
digital brush works. It's basically how you
arrange different steps. You can change the
distance between them, the orientation, and how
they blend and the density. So in this lesson, we're going to explore
spacing and Jitter. They're both controlling the, the location
behavior of a brush. Let's head over to stroke path, which is the first tab
under the brush studio. I'm going to increase the preview size to
a much larger size. Actually, I will cancel and
duplicate this brush first. Hit duplicate and I will
play with the duplicate. I'm going to increase
the preview size. When I draw now the Canvas, it's going to look a bit bigger. First slider is pretty
simple. It's called spacing. If you go to the shape, which is the number
four on the list, you can see the stamp
of this brush is pretty much just a
blurred out circle. When I adjust the spacing
between each step. You can see when I
decrease the spacing, I actually have a pretty nice, pretty textured liner that I can use just out of
this stippling brush. And then Jitter controls, if I were to draw a straight
line on the drawing pad, like that, and Jitter
controls how far apart these little steps fall away from the
trajectory of the path. When I increase the number, you can see the stems this whole line
become a bit fluffy. Then if I do all the way down, it will pretty much
become a solid line. If you want to bring in subtle
texture into your liners, this is a great way to do it. This brush has a lot of
steps and it's very dense, and you might be experimenting
with a brush that only the stems are
very far apart. That's pretty much how
you can use jitter and spacing to bring in
texture to your work.
5. Creating Organic Effects with Scatter Settings: To make your illustration
look more natural, the scatter setting
is your friend. By adding randomness
to your strokes, scatter can enhance
the organic feel of your artwork.
Let's take a look. So previously, we have covered
how to use the spacing and Jitter to add
texture into a brush. In this lesson, I
want to talk about another factor where we
can bring in more texture. So to fully understand that, it will be helpful for
us to start fresh. So tap on your brush and
then hit that plus sign on the upper right hand corner of the brush library,
and then hit done. In that way, we have
a generic brush. So when you tap on that brush, it takes you to
the brush studio. When you tap on shape, it tells you the shape source. By default, everything comes
in just a plain circle. I'm going to hit edit
and that import. In this case, I'm going
to for my own brushes, I do create my own
imprint and texture. But for this classes purpose, I'm going to just hit
the source library. And then I will pick something
that is not symmetrical, so it will be helpful for us
to understand the function. I'm going to choose
this little guy right here and then hit done. Then immediately, you can see
our brush has a angle now. If we go to the stroke path
and then change the spacing, maybe it's more
helpful if I draw just one straight line here. That is that is
our current brush. If you change the spacing, it is going to make a dominal
line between each steps, and then I'm going to
change the jitter. This one moves things up and
down along the trajectory. I want to add another
dimension, which is shape. If you go to shape
and scroll down, In the shape properties
section, there is scatter. When you increase the amount, you can see it adds
rotation to each step. We're not only
changing the position of the steps by using
spacing and jitter. We're also adding
rotational changes as well. It might not be super obvious what this one can do
for your illustration. I am going to do a
couple more things. I'm going to go to
the stroke path, decrease space and then
find a nice jitter, I will also go to shape. Under the shaped properties, I want to increase the count. This will make the steps denser. In the same amount of space, now I have three
steps instead of one, and then adjust spacing
to your liking. All of a sudden, I'm
going to hit done here. All of a sudden, you
have a textured liner. That is pretty fluffy and nice. When we think about texture, we think about macro
level and micro level. On a macro level, if you zoom in super close, this is the background of
this piece of illustration. We have light blue and
dark blue sprinkles to add texture to
the background. It doesn't look super flat, but we also have
micro level textures. For example, the
stem right here, You can see this
little zig zag lines. That is because I have used
a very textured liner. So the stamp doesn't
look super smooth. If texture is important to you, really think about how you can bring in texture on
the micro level, but also on the micro level by adjusting these different
brush settings. I'm not quite done yet
because I love texture. In the next lesson,
I will show you yet another way to bring in
texture to your brushes.
6. Fine-Tuning Pressure Curves for Responsive Strokes: Most drawing styluses
like Apple pencil offer incredible pressure
sensitivity for artists. Knowing how to adjust
pressure settings can make your drawing experience
a lot more enjoyable. Let's see how to do that. Before we head
over to Procreate, I want to make a quick stop over my sketchbook to show you what I mean by
pressure sensitivity. So here we are with
a highlighter. So no matter how much pressure or how little
pressure that I use, it still gives me
relatively consistent lines in terms of the
size of the line. That is because the tip of the brush is made of rigid felt. It's pretty hard. And
here is another brush. It's made of much softer felt. So when I use lighter pressure, it gives me a finer line, and when I increase
the pressure, you can see the line
become thicker. When you use lighter pressure, it gives you a thinner line, and when you increase
the pressure, it gives you thicker line. With that basic understanding
of the mechanics, let's head over to
procreate again. So over here, I have a guash
brush from my own brush set? So when I vary my
pressure on screen, you can see it behaves
very similarly to the natural bristle brush that we have seen a minute ago. So how does that happen
with a digital brush? I'm going to start
over with a new brush. So we're at a similar
starting point. So it plus on your
brush library. And then hit done, so you have a generic brush. I want you to go over
to the Apple pencil. Under Apple pencil, the first
section is called pressure. It gives us some
different factors that we can manipulate
by using pressure. This is not the only
pressure sliders that we have inside
the brush studio. I want you to pay attention
to the size first. If we increase the
percentage to the right, L et me just clear this
drawing pad real quick. I'm going to vary pressure
as I draw this squiggle. Lighter at the beginning, and then heavier gradually. As you can see, the
pressure does make a difference because
this is a digital tool. It does things that natural analog media
may not be able to do. That happens when
you slide the slider of the size all the way
down to the negatives, it's going to give
you the opposite. Lighter pressure gives
you thicker lines while heavier pressure
gives you thinner lines. This gives you a lot
of opportunity to be creative in your
digital illustration. Similarly, you can also tie
in the opacity with pressure. Although, personally,
I don't find it super helpful just because
it's not my style, but I do use the size a lot. Whenever I want the size of the brush tip to be
responsive to the pressure, I would change this slider. That's pressure
regarding to size. And also, I want you
to come over to Taper. So there is a whole
section under taper to help us to make the thick
and thin transition more natural and graceful. So basically, if
you can think of this graph as the
tip of the brush, for example, this brush that
we've seen a minute ago. So when we start out, it's going to be very sharp. As we use pressure down, it is going to produce
a thicker line. So there is a
graceful transition between the thick and thin. And similarly, when
we lift our hand, it is going to transition
from thick to thin. This whole tape or section is in charge of mimicking
that dynamic. Initially, the head and the tail of the
stroke is not linked. I like to have mi linked because just a
personal preference, the longer the distance between the beginning and
the first node, the smoother the
transition is going to be. Maybe start out somewhere
like one third of the place and then change the
size to maybe 50%. And then now when you
draw your strokes, it's much, much more
pressure responsive. And you can also
add more dynamic to how much of opacity do
you want to add in? The best way to learn any of these settings is
to play with it. Make a really nice copy of any brush that you want
to play with and then do maybe 20% to 10% increments and see how it's
affecting your strokes. Then once you find a happy spot of any brush
that you have modified, come over to about this brush, and then write your name there and you can create
a new reset point. This one tells
Procreate brush Studio to remember all the
settings under this brush. So whenever you make any new modification
and you want to revert back to
the reset point, you can just hit reset brush. So there's pressure
curve and taper. But before we wrap
up this lesson, I want to show you
one more thing. Head over to actions and
then pressure and smoothing. Inside this window, you can see there is an app
pressure sensitivity. If you observe in real life that some people have heavier
hand when they draw, some people have a lighter hand. Notice that if you haven't set anything here,
let me just reset. This line is going to
be straight diagonal. I have mine always
curved up a little bit. What this one means is that when I use lighter pressure
to lay down the stroke, it's still going to
make a decent mark. So in that way, if I have
it curved up like that, I don't leave scratches all over the place because I naturally have a heavier hand when I draw. This gives me visual feedback. Even if I'm using
a lighter hand, that reminds me not to
draw too hard on my iPad. So if that is your case as well, you might want to curve up
this pressure sensitivity. All right, that's it. I will
see you in the next lesson.
7. Enhancing Illustrations with Grain Texture Settings: Grain texture can add a lot of character to
your brush strokes. It helped create a more natural and interesting
look in your artwork. Let's see how it's done. So previously, we have
talked about how to bring in texture with spacing,
jitter, and scatter. In this lesson, we're
going to introduce another way to add texture
to your brushwork. So I'm going to give
you a quick demo here using one of my brushes. Previously, we have talked
about how to use spacing, jitter, and scatter to add
texture to your brushwork. In this lesson, I'm
going to introduce you another way to
bring in texture, that is using the grain source. I'm going to give
you a quick example by using one of my
pastel brushes. If I lay down some lines, you can see there is a bit of in addition to the brush
texture itself. There is also Canvas texture that is inside the brush stroke. The internal texture is Canvas. So How is this done? If I tap into my brush and go into the brush studio
and check on the grain, which is number
five. On the list. You can see the grain
source is not flat. It is actually the Canvas. You can do that as well. I'm going to start over again, so you can follow
me step by step. Just go anywhere in your brush library and
hit plus and then done. So you have a generic brush. Inside that brush,
we have talked about how to change the
shape, which you can. But in this lesson, we're
going to change the grain. By default, the
grain is just flat. Hit t it. Then import
and source library. In the grain source library, there is a variety of different
pre made texture already. I believe one of them is Canvas. Actually, I'm going to go with this charcoal burnt
and then hit done. And you can see immediately, the belly of my
stroke has changed. The shape is still smooth, but the internal texture
of my brush has changed. This is another way to bring
in texture to your brushes. By the way, any of
these tips that I offer in this class
can be combined. For example, in this case, if I go to stroke paths, and I can change the
spacing and jitter, and then I can change
the grain shape to be something more
wonky than a circle. Actually, I don't want
to import a photo. For my own brushes, I do create my own textures. It looks more realistic. But for this purpose, I'm going to just pick
this charcoal block. Charcoal on charcoal. Let's see how it
looks like it done. It's looking a lot more realistic than what
we have started with. Remember to save it
by hitting done. Now, you got yourself a
brand new charcoal brush.
8. Adding Movements to Brush Strokes: In this lesson,
we're going to build upon our understanding
of the grain texture. It is definitely
a quicker tip in comparison to most of the other tips that we
have covered so far, but it definitely
deserves its own spot. The brush I'm going
to use is one of the native brushes that
is under calligraphy, and it's called chalk. Let me just take
it out first spin. This is what it looks like
on screen by default, and then I'm going to tap on it to go to
the brush studio, and then tap on green. I really just want to focus on this one slider that
is called movement. Let me increase the preview size so you can see the
changes a lot better. L et me just make a
stroke real quick. At the moment, the status of the movement is set all the
way up. It's called rolling. It's somewhat of
static background. It reflects the nooks and
crannies of the grain source. However, when I grab this
slider and slide it down, you can see there's a bit
of blurry effect happening. As a result, it adds a lot of
movement inside the stroke, as well as some
shine as a result. In the future, if you stumble upon a texture brush
that you really love, especially those ones that have really beautiful
grain sores, you might want to play
with movement settings. Before you knew it,
you got yourself another favorite brush just by changing the
movement slider alone. All right, I will see
you in the next lesson.
9. Combining Brushes for Unique Effects: I don't know about you, but
when it comes to brushes, I definitely have favorites. I got so excited when
I learned that I can combine my favorite brushes
to make even more brushes. So that's what we're going
to cover in this lesson. I'm going to start out by using a brush that is very
characteristic. So this one comes
from my gouache set. As you can see, the brush
is pretty streaky and wet. The second brush I choose is going to be this
artist crayon. You can use any
of the brush that you have in the native library. As you can see, the
crayon is pretty dry and textured and harsh. I'm curious how these two
are going to work together. I'm going to tap on the
brush and then select my primary brush and then swipe right to select
my secondary brush. This tells procreate, you want to combine
these two together. You can see the combined next to the brush library,
and just tap on that. Boom. You have a new brush. It's going to take
on the name of the primary brush
that you have chosen. Right away, you can see the brush studio look
a bit different. For one, there are two brush strokes on the
upper left hand corner. The first one is
the primary brush, which is guash, and the
second one is the crayon. I'm going to choose
a different color, maybe this pink to show you
what the stroke looks like. Right off the bet, when you
use this new brush to draw, you can tell it has the
genetics from both sides. It has the streakiness
from the wet brush, but also the internal texture
looks very crayon like. Notice that when you highlight
either one of the brush, you can change the
settings independently. So all of the things that
we have covered so far, you can play with that independently on either
side of the brush. When you tap on either
one of the brush, you can also change how
you combine the strokes by tapping the blending mode and then just scroll through
the different options. From the preview, you can see that the possibility is
pretty much endless. Once you're happy, say that
you want to go with this, you want to hit
about this brush, and then give it a name and set a new reset point
and then hit done. If we use it on Canvas, let's see what this
one looks like. This is our new brush.
That are both wet and dry, which is impossible on an
actual piece of paper, but possible on the screen. Whenever you want to
uncombine two brushes, you can tap on the first one
and then hold the second one and then just tap
on combine and confirm. There you go. Spend a few
minutes to play with it, and I will see you
in the next lesson.
10. Bringing Natural Media to iPad with Angles: In this lesson, we're going
to explore how we can use the tilt angle to adjust
the size of your brush. So the drawing experience feels more natural to your hand. Before we head
over to procreate, let's make a quick stop here. So here is a colored pencil. When I draw with
a sharper angle, you can see that my lines
are thinner and darker. And when I change
the angle like this, my lines are much thicker. It covers a bigger area, and also it looks a bit lighter. So that's the basic mechanics that we're going to
learn in this lesson. One of my goals as a brush
creator is to transfer the natural drawing experience from a piece of paper to screen. When I created this
colored pencil set, I really considered how people
use their colored pencil. For example, when you draw
with a sharper angle, your line is going to look
sharper, finer and darker. When you change your
angle like this, your lines are supposed
to be lighter, wider, and the texture
show through a lot more. In this lesson, we're
going to talk about the angle aspect
of this creation. It took me probably close to 100 hour to create
a good set of brush. I'm not going to make you watch through my entire process, but I will teach you how to ask procreate to consider
angle as one of the input. Let's head over to
the brush library and it plus. And hit done. We have a new generic brush. When you tap on the brush, let's go over to Apple pencil. When you scroll down, you can see an entire
section is named under tilt. This is how we can ask Procreate to consider
angle as one of the input. I'm going to clear
the drawing pad. There are different things
that you can play with, but for the sake of this lesson, we're going to focus
on just the size. If I change it to around 50%. That tells procreate,
the difference between the whitest stroke and the
thinnest stroke is about 50%. If I'm drawing with a
sharper angle like this, that's the original
width of my brush. But when I tilt it, it is going to be 50% wider. You can change that
to up to 100%, which means that
the whitest line is going to look twice as thick. And you can make the
effect more subtle. Let's just say
100% and hit done. We can make a little swatch. If we draw with sharper angle, it's going to give us
this thin monoline. But when we tilt our pencil, The lines look a lot thicker. And within this, you can use the previous tips to
change the texture and change the jitter setting and do all that magic to make
your brush more nuanced. But in terms of how
the angle input can affect the size of your
stroke, that's how it's done. And I will see you
in the next lesson.
11. Identifying High Quality Brushes: As you continue to
practice with procreate, you will begin to identify stylistic preferences
and explore brushes beyond the
native library. Since digital downloadable
products like digital brush sets are
usually not refundable. How can you make a decision without having the
ability to test it first? Here are some key indicators
of a high quality brush set. Well, a good set doesn't need to include all of
these elements, but having some of them can help you avoid purchasing
a medial cur set. First, we want the brush sets to have clear and
descriptive names, making it easier to understand their intended use
and characteristics. This helps you quickly
find the right brush for your project without
needing to test each one. Second, we want to have a
reasonable amount of brushes. A high quality brush set doesn't need to include
hundreds of brushes. In fact, a curated set of well designed brushes is often more valuable than
a large collection. Look for sets that offer a
reasonable number of brushes, ensuring each one serves
a distinct purpose. Third, it's also a good sign
that brush sets include examples of artwork created
with that set of brushes. Because it can provide you valuable insight into
their potential. Look for sets that
showcase sample work, so you can see the
brushes in action and determine if they
suit your style. Number four, we want
to see swatches, such as lines or layers, which allow you to see
the brushes texture, opacity, and stroke variation. Quality brush sets often
include swatches to give you a clear idea of what to expect before you commit to using
them in your projects. Last but not least, video tutorials that
demonstrate how to use these brushes effectively
can be incredibly helpful. These tutorials often
provide tips and techniques for getting the
most out of each brush, making it easier for you to integrate them into
your workflow. By considering these factors, you can make more
informed decisions and choose a brush set
that fits your need. So really take some
time to understand your current art preference and your art goals before you
make your next purchase. There are several brush
makers that I really respect, and I will list
their name here on screen and really take some time to browse what they offer and
see if it fits your style. I hope you find a good
match when you're ready.
12. More Ways to Learn: Alright, you made it.
Congratulations. We have covered a lot of ground, and I don't expect you to remember everything
all at once today. In fact, the best
way to practice this chunk of
knowledge is to pick two or three things
that resonate most with you today and
then keep practicing, and then to come back to pick
up other pieces later on. If you like my teaching style and would like to
learn deeper with me about all things illustration and running an art business, feel free to book a one oh
one call at your convenience. You can find all the details at esternaryohi.com
slash Coaching. I will see you in
the next class.
Esther Nariyoshi, Published Illustrator based in the US
