Procreate 5 Brush Studio - Create Custom Brushes

1. Class Trailer: What's up, Skillshare. My name is Jon Brommet of Crusoe Design Co, and welcome to Procreate Brush Studio, Create Your Own Custom Brush. If you've ever opened the Procreate Brush Studio, you may find it a bit overwhelming, but surprisingly, it's actually really easy to go ahead and start creating your very own custom brushes. Plus to start with, procreate has made it really easy to go in and edit any existing brush whether you pay for it or it came along in Procreate Studio. You can always start there and then work your way up to the more advanced features. It's really important to create your own custom brushes because it can really make your art stand out from the crowd. As artists, we're all unique. So even though if you find a brush that you already love, chances are you can make some changes to make it perfect for you and your taste. In this class, I'm actually going to be breaking down every single setting in Procreate Brush Studio, so there will be no more mysteries as to what setting actually does what. I'm also going to be teaching you how to create a stipple brush, a texture brush, as well as an inking brush to get your feet wet and get you inspired start making your own unique brushes. This class is aimed at intermediate users that have a pretty good idea of how to use Procreate, but have either never messed around in brush studio or maybe have created some basic brushes, but didn't understand what all the tools do. By the end of this class, you'll have all the confidence you need to create your very own custom brushes or at least edit brushes, because you'll know exactly what you're doing. If you want to know more about me, I am a Skillshare top teacher. I've been teaching on the platform for over six years and I've taught over 30 classes. In that time I've taught 70,000 plus students and they've watched together almost two million minutes of my content. Professionally, I'm a graphic designer and illustrator and I've worked on a wide variety of design work over the past 12 years. Now, I specialize in branding, T-shirt graphics, and illustration. I've worked with bands like Blink-182, brands like Hi My Name is Mark, and RPM Training Co. I've collaborated with a wide variety of companies like New Era to produce my own merchandise. But that's enough about me. If this class sounds interesting to you, keep watching and I'll see you in a second. 2. The Class Project: The class project in this class is going to be really straightforward. You don't have to create a custom piece of art like I've done here. Instead, what I would like to just see is any brushes that you created in this class, just draw them in a line or stamp them so that I can see what you created. Let me know which parts of the class you like the most or which parts maybe were a bit confusing or anything that you can give me for feedback. It's nice for you to leave a review as well because that really helps the class do better on the platform. But sometimes it's also easier for me to actually respond to you by your student project. I'd love to see any brushes you guys create and what you found the most informative and fun about this class. Another really cool thing would be, if you're planning to buy any Procreate brushes or maybe you haven't passed, let us know which ones are your favorite so we can see what we should be having and what we need in our arsenal, and why you loved the brushes that I created in mine and ones that I'm selling and why people should buy them. That would be pretty useful I'd say. Let's move on. 3. Getting Started: Over View: Welcome to the class. In this class again, I'm assuming that you have a rough idea of how to use Procreate. It doesn't really matter if you're a beginner or your advanced, as long as you have the general idea of how to use it so that I can skip over some of the tools that are necessary just to use the app. For reference, I am using Procreate Version 5. I think that newer versions of Procreate should be pretty relevant to this class as well because they just overhauled the entire way the brushes were made for Procreate 5. I could be wrong, but I don't think they're going to be making such drastic changes in the near future. To get started, we're just going to make a new canvas, and the canvas size does not matter at all because we're just going to be making brushes. I'm guessing that you're familiar with this, but this is the brush tool, this little icon here, this side here you have the smudge tool, and then you also have the eraser tool. The great thing about all three tools is they use the exact same brush library, so you do not need to make individual brushes for each tool, they work across all of them. You're likely familiar with the brush library on the left here, we have the brush sets, and on the right, we have the brushes that make up those sets, those individual brushes. There are two different ways to get into Procreate Brush Studio. One way is to edit an existing brush that you already have loaded, so that means you select a brush, like I have here, and it's highlighted blue. Then click it again, and that will open Brush Studio, as you can see in this top left corner here. Then we'll just hit "Cancel". The other way to get into Brush Studio would be to hit this plus in the top right corner and that will open with a brand new brush with all default settings so you can make your very own custom brush from scratch. It's great that at any point you can just go into an existing brush, doesn't matter which one, and you can look and get an idea of how that brush is actually made, which is pretty neat. I think for the purposes of this class, to keep everything organized, it's probably going to be useful to have our very own brush set. What we're going to do is we're just going to swipe down real quickly on the brush set section and you'll see this plus sign will appear. There's two different ways then it will interact, it will interact differently with your pencil or your finger. Let me just show you. If I was to click this plus with my pencil, it'll bring up this abbreviated box, I don't know it's a little bit different. Sometimes there's a little a here in the corner with your pencil that you can tap, which will bring open this box, and then you can just hit the keyboard. I'm not sure why it works that way, but it's annoying, I find, so I'm just going to tap and delete that. The other way to do it would be to just use your finger and if you click it, you'll see it'll bring up there a nice full keyboard that you're probably more comfortable and used to. I'm just going to call this Procreate Class and then hit "Return", and now we have our very own brush set in the Brush Library. To start creating our very own brush, we would hit plus. This would open again with all of the default settings. In each video, I'm going to break down each attribute, as well as each setting that makes up those attributes, as well as how to use the drawing pad. We're going to go over every single setting in detail so you can skip around to whatever is most important to you, or you can stay right here and go through every setting with me. It's going to be a bit of a longer class. Some of these are longer, more complicated, a little bit more difficult to understand at first, and some of them are super easy and dead simple. The great thing is making your own brush is actually quite easy, but you can choose to make it very complicated if you'd like to. But don't be frightened if you're a new user, you can definitely make great custom brushes with very little settings tweaking, you don't have to go crazy, you can avoid a lot of the things that make up the Brush Studio. Now that we have a basic idea of how Brush Studio is laid out and how we will access it, let's move on to the next video and start breaking down each attribute. 4. Stroke Path Panel: Now, we're going to talk about the first attribute in Brush Studio, and that is the Stroke Path. By selecting an attribute here on the left, you'll see that it'll open up the corresponding settings for that attribute and all of these combine together to impact how your brush will look. Again, it may seem very complicated at first, but as we go through the settings, you'll see that most of them are fairly simple, and any of them that are complicated, you can easily avoid if you don't want to go there. In order to understand how Stroke Path and any of these attributes work, it's probably best to have a rough understanding of how brushes actually work inside Procreate. What they are, is basically a shape which you will see here. In this case, it is literally just a circle, and a grain which would be a texture inside the circle. In this case, it's just white. Later on we'll go into more detail on how to actually add texture. What Procreate is actually going to do is, as you draw a line, you're making a path, and is simply stamping that shape and that grain as many times as you want along that path, and that is how you get a brush. One way to look at that is the spacing right here. If we actually crank up the spacing all the way to maximum, you'll get an idea that this is what each individual stamp looks like. It's stamping the shape all the way along your path. By cranking it up, you're seeing each individual shape. Then the tighter it gets, you're starting to see the shapes overlap. If you go all the way down to none, it looks like one big smooth line because the shapes are stamped so many times throughout that line. Streamline is a great one. It's something that I use all the time, and that is going to allow your line to be a lot smoother. Let's explain the drawing pad here for a minute, before we explain how streamline works. If we simply tap the drawing pad, you'll see that we have a few options. We can clear it, which will get rid of anything that's been drawn on it. Sometimes we can reset all brush settings, that's going to be if it's a Procreate default brush. We can change the size of the brush that we're previewing at, and we have a few color inks that we can choose from, not as many as you can choose when you're actually drawing. But this allows you to test your brush really quick and see the effects live. If we just tap here for a moment, you should know as well that erasing is a three finger swipe from left to right, and that works just the same in the drawing pad. If we put our three fingers down and we swipe, you can see that it is erasing the drawing pad, which would have been the exact same as clicking "Clear Drawing Pad" only a little bit faster. Let's just take our pencil here and let's draw, let's say, a circle to start with. You can see that that's circle's pretty rough. If you get in close, you'll be able to see there's a lot of little things that make this line really rough. Let's just draw another line for Example 2. It's a little snake that's very jagged. What streamlining does, is it will try and get as close to your path as possible. That's where you put the pencil down, and where you actually drew, but it'll also try and smooth it out so it looks a little bit more perfect. If we crank that up all the way, you'll see that your lines do move a little bit from where you originally were actually drawing, but it's in order to make your lines much smoother. Right here, you can see that it's nice and smooth, everything looks a lot cleaner and nicer. If we drag that all the way back to where I was, it's much more jagged and rough. That's what streamline does. It's basically making your paths much smoother, and of course, that happens live. I grazed over this, but the beautiful thing about the drawing pad here, is that we don't need it done and save our brush, and then test it on the canvas and come back here to edit it. We can actually see our edits live in the drawing pad, and not only that, but we don't have to even draw it to test it. We can simply see exactly how it reacts to something, that's already been drawn on the drawing pad. That's pretty useful. Let's talk about Jitter. We can keep our streamline up or not, it's not that important. I think for the moment, I'll just drag it back to None. Sometimes to see your examples of how different tools interact, you might have it better just to reset everything so that one setting isn't conflicting with another setting, which can happen especially later on. Jitter is basically going to take that stamp and randomly put it along your line. Let's just go ahead and crank out our spacing quite a bit so that we can see those circles again. As you can see here with jitter turned all the way to zero, it's basically stamping those circles nicely all the way along my line. If we crank out the jitter, you'll see that slowly, that stamp or that shape is getting hit all over around the line, but not that necessarily on it. The further we crank that up, it gets pretty far away from your initial drawing, and it starts stamping the shape all over the place. We've got to drag that right back down. At that moment, we'll put spacing right down. Now, we'll talk about Fall off. Fall off is fairly straightforward. If you think of when you're drawing has ink, as you're drawing your starting with the most ink, and as you keep on drawing your ink is running out along your stroke, and that's what Fall off is. It will control how little or how much your ink will actually fall off or run out. All the way cranked, you can see you barely just going to see the start of your line, and then the further you put it down, the more ink you'll have had throughout your entire line. If you turn it all the way off, you have maximum ink the whole way. You may see that the start of my lines are a little blurry. That's because of some other default settings that are already turned on in these attributes. But that's okay. You can just ignore those, and we'll talk about them a little later. But that is an overview of the very simple Stroke Path. This is very easy, but it's also something that you're going to be using a lot. Throughout this class we're going to be referring to Spacing, so that we can see some of the effects a little bit more easily. This is going to be something that we use a lot in this class, and it'll likely be something you use a lot when you're creating or editing brushes. 5. Create a Stipple Brush: Now it's time to create a custom brush. This is a great starting brush. It's a good one because it's very easy and it shows you basically how easy it is to create your own custom brushes from scratch without going too crazy with the settings. This is actually a brush that is available in my brush set that I'm selling called Shady Character. I do actually have two brush sets for sale at the moment and I plan to make more in the future. That is my Shady Character which is all different types of shading brushes and my dirty inkwell, which has all types of inking brushes as you'll see. As well as a few bonus texture brushes. I'll put a link where these can be bought, but basically at my website of crusoedesignco.com as well, some partners like Design Cuts and Creative Market. If you want to buy some of my brushes, they're really inexpensive and it would really support me and I'll love you guys forever and ever. But I'm going to go ahead and break down how I made one of my brushes. Most of my brushes are made of very much from scratch and I used a combination of traditional physical media in order to make them digital and they're very customized. There are a couple that are actually very easy to create and don't need to be made outside of Procreate at all. One of them is my dubious dots. This is basically, I have multiple versions of this. We have the sneaky stipple and the dubious dots. But we have different versions that are going to allow you to create a cool stipple brush. I have this character that I've drawn here. You'll see that traditionally drawing stippling would take a very long time. But thanks to the magic of digital, we can make it much faster. Those lines of course, look a little bit big. But now we can get in here and we can add some texture and not only can we do it, but I've made two versions of the brush. We have the dubious dots and we have the space one, so it's set to the same setting. You're going to get a nice light texture and you can experiment like so. Now I will show you how to create the brush. It is this simple. Let's go ahead and select a new brush here. We're going to look at our settings. If we go through these are just the default settings. Once again, we're just going to take a look and see if anything is out of the ordinary. In most cases you don't have to go too crazy. I'm seeing a opacity change here from the light to dark. I want to go into my Apple pressure and I'm going to set this to zero. Again, you don't need to be familiar with all these different settings right now, we'll go over those later in the class. But what we do want to adjust is the stroke path. We're going to crank up that spacing like so, so that we can see the individual dots. From there, all we actually have to do is play around with the Jitter. It's going to randomly place those dots all over the place. You can go as far as maximum, which will throw them way off the line or you can bring them nice and closely. We're just going to go somewhere in-between. Again, our shape in this case is just a circle, but we could change that and we could change our grain. But in this case, I just want it to be a basic grain. That is how easy it is to make your brush. If we go ahead and click "Done," you can see it's very large right there and that's something that we can play around with. Now, let's test our brand new brush. It's not going to be identical to mine, but it's going to be very similar as you can see there. The more we lay down over here, the darker we'll get and we can play so you get a nice creation from dark to light. The beauty of working digitally instead of working in traditional, is that previously you would have to draw every little dot. That will take you forever. But as you can see, you can really quickly shade things in. Thanks to using it digitally on the iPad. That's a stipple brush. That's how easy it is to create something like that. Now that we have that created, let's go ahead and just drag it into our Procreate class folder. Now, you will find a few issues. This is our brush set over here. Sometimes what happens if click, you're clicking and holding and drag you'll see a green plus appear on the right-hand side. If you try and drop it in, sometimes you'll see it's going into the wrong folder. It can be very frustrating. It's a little bit finicky when it comes to this. What you need to do is clicking and holding. As I hover over this, you're going to see that it's going to flash and if I keep hovering, it's going to open that folder and now we can drag it over here on the right-hand side. That's going to make sure it's in the folder that you want. Of course you can change the name and everything by going to Properties and clicking up here with your finger and calling your new brush stipple. Feel free to experiment to make your new stipple brush a little more unique than mine, should you want it to. Don't worry, any settings that I skipped in this we will go over later in the class. Congratulations to your first brush. 6. Taper Panel: Now we're going to go over the taper setting. We're going to go back to Stroke Path and back to my default and I'm just going to crank the spacing all the way to none, and then we can go back to our taper here. Again, some of the settings, later on, are affecting us, but that will be okay for this purpose. What I do recommend is an order to see this effect as best as possible. You'll have your tip that should automatically be to sharp just like so, and our pressure is set to max, but we can just set that to none for the moment. Basically trying to undo all of our settings in here so that we can see each thing as it takes shape. Now that we have everything turned off, I do recommend if you go down to the bottom here where you see classic taper, make sure that's turned off is that can affect a lot of the settings above it, and we'll use the way that Procreate used to render tapers rather than how you're setting it up here. Just make sure that it's turned off at the bottom of your screen. Now I'll also say one other caveat is that pressure taper is not an ideal way to actually get a taper. It is basically adding a fake computer-generated taper to give your line a little bit more variety. But there is ways later on which we'll talk about in the class where you can actually with pressure, get a much nicer taper. To me, this is not the best way to do it, but it will be useful for certain brushes. It's obviously worth explaining. To best see any setting in action. We're going to crank up the size so we'll really be able to see what we're doing. On the left-hand side of this graph here is the start of our line, and on the right-hand side is the end of our line. If we grab onto this little blue circle and we drag it as far as we can. We will see that we are getting a taper that starts very thin and gets thicker right at the start of our line. Same idea is if we drag here at the end, we will see the same thing happening at the end of our stroke. You can individually decide how much or how little you want a taper. But for this moment, I'm going to crank them both up. You can see it as best as possible. Linking the tip sizes simply links both of these. If I pull one side out, it will do the same to the other side so that they are even on both sides. I basically already showed you what sizing does. But as you can see right now, it's the most drastic thin stroke to thick stroke. But as we turn that down, you'll see it'll be a lot less drastic, and the starting of your line will actually start just as thick as the rest of it if it's all the way to none. But as you increase it, it will become much more obvious. Opacity is basically the strength of your line. If we crank this all the way up, you'll start to see that the beginning of your line is actually starting very transparent or invisible, and as you continue to draw, it will get brighter and the ink will be thicker. Same idea with the end of your line. Basically, this is affecting the opacity of your taper. When set to max your taper, we'll start off very light and get very dark and set all the way to none. You'll see your taper will be basically the same brightness as the rest of your line throughout. Our pressure setting here will interact with the Apple Pencil, and that is the more you press or less your press, you'll get a different result with the taper. Now one thing I do find is in order to use taper if you're drawing very slowly. I'm going to just erase this here. If you're drawing very slowly. Watch, I'm going to draw a very slow line. I find that what happens is the taper gets filled in and it's not very effective. However, if you draw a much quicker stroke, you'll start to see the taper much more obviously. Watch this, ready? You can see it a little quicker. I'm going to try push a little too hard at the starting, I'm going to try and push lighter, but go fast. You can see that that will take some time to get used to, but that is an effect of pressure. Having that cranked up, you'll be able to control it a little more with the actual amount that you're pushing. It can be tricky because I was finding that I was starting to push too hard at the beginning. If I have pressure cranked up and I push a little bit harder at the beginning, then the taper is going to be less obvious. The tip, right now we have it at sharp, so it's the most obvious for us to see. It's starting very small. But as we crank that up, it gets more and more blunt to the point of almost looking like there is no taper whatsoever, but that allows you a lot of control on your paper. Tip animation is good. I will check that on. Try and take a look here. This is going to be hard to see most likely. Let's just erase everything again. I'm going to try and draw really, really quickly here, and I want you to see what my line does. Try and pay attention to the beginning and end of the line, ready? You can see that almost instantly my line tapered in and then out. But if I turn off Tip animation and I do it again, and maybe more difficult to see. But basically what's happening is Procreate is adding the taper after I'm done drawing the line. There's a moment of a split second of your line didn't look like it would taper, and then the effect kicks in. Let's try it again. You can maybe see that, and then with Tip animation turned on, it looks a little smoother. I would keep tip animation on if this is something you're going to play with. If we scroll down a little bit here, you will see that there is Touch taper. I'm actually not going to explain these settings and the only reason why is because Touch taper is simply using your finger instead of your pencil to draw. It's not something that I do. But should you decide to draw with your finger, feel free to edit these settings, which are basically the exact same as the settings above. The only difference is since you're using your finger, Procreate cannot detect pressure. There is no pressure setting. Other than that touch taper is the exact same, but it's using a finger instead of your Apple Pencil. The last thing in here is Classic taper. If we turn that on, it will actually override a lot of our settings up here, and it will add a taper that it used to with the older software. It's the older version of their taper design so that that way you can still use it if you're an older user in your life that way. But make sure that that's turned off if you want to make any changes up here because it will overwrite those settings. That is the taper attributes. Little later we will show you a way to control this a little nicer and do it in a way that I think is a little more effective. But there is definitely a time and place for using the taper settings. Let's move on. 7. Shape Panel: Now it's time to look at Shape. As I mentioned earlier, Shape is a very important factor in making a brush, it is basically the thing that is repeated over and over along your stroke. That is going to be able to basically make your brush look cool. Then Grain is also very important because it will give that stroke some texture depending on what you want to do. Now there are quite a few settings under shape because it is such an important part of making a brush. This little video here is going to be a little bit longer than the others. But we're going to try and break everything down so that you know exactly what to do. First and foremost, you have this shape right here and you can see if I'm touching it, nothing is happening. What we want to do to edit it is to click this edit button up here. One quick little pro tip is that at any point if you have a shape that you would like to invert, so the opposite is used for the brush, that is when you single tap with two fingers and you'll see the brush invert. In this case, I don't want that, but it is a hidden secret. Procreate is definitely full of those. What we want to do is click on Import and you will see four different options come up. The first is to import a photo from your camera roll. The second is to import a file from the file's app. Third is to use the source Library, which is Procreate's pre-built library full of shapes and grains that you can use. Last is paste if you were to copy it from Safari or some other app and paste it in here, or even in this app, you can copy and paste as well. Most of these are pretty straightforward, but basically, you can make your very own shape. There's lots of different ways to do it. You can do it physically on actual canvas, on paper, on anything you want. Take a photo of it and then import it, from there you can scan it. There's a lot of different ways to get it into your camera roll. You can even draw a random shape in Procreate, save it, and make your canvas square, then save it to camera roll and import it or copy and paste. There's a million ways basically to make a shape. We're not going to go over all of those ways at the moment, but we will go to Source Library. In this version of Procreate, you'll see that it is broken down as shaped source and grain source. Shape source is perfect. These are all the different shapes that we can use. You can see there are a lot of different ones that we can choose from. If you want to be able to narrow those down and you can type in certain keywords that will actually narrow it down based on the type of art that you want to create. If you just type in ink, for example, all the different ink brushes will come up. If you type in water for watercolor, all the different water brushes will come up, and so on. So it's really nicely categorized as well. I think for the sake of it, I'm just going to go ahead and use the ink dry. Once again, if you want to, you could invert it by tapping with two fingers just like that. Once you have your shape, you can go ahead and click Done. Now it is time to manipulate that shape as much as we want. Now if I go back to stroke path, which I explained earlier, you will see that the spacing is a bit wide right now. You're seeing some funny things happening. If I crank that space out even further, you're seeing basically, as I mentioned before that, that shape is being stamped over and over along the line. If you tighten it right up, that is how tight that shape is being stamped. Pretty interestingly, because we've got a little bit of opacity change here. We're getting an interesting texture starting to show through, even though we don't actually have anything in our grain, that's just the texture from the shape itself coming through. I am actually going to crank open that spacing once again so we can really see each individual stamp because that is the easiest way to see some of these settings be affected. First and foremost, we have scatter. What's scatter is going to do is essentially randomly rotate each instance of the shape on your path. The further that you do it, the more it's going to rotate and the less, of course is less all the way to the point of the shape being in the exact same parallel angle all the way throughout your stroke. Do keep in mind that scatter is not affected at all by the stroke direction or any way that you are drawing the line is just random or it is turned off, so it's not random whatsoever. That is how scatter and rotation differ. It has rotation is actually going to rotate the stroke depending on how you actually draw the line. It's going to follow your stroke if you crank it all the way to the right or if you crank it all the way to the left, it will actually turn the inverse of the way that you were to draw your line. For example, let's just erase this. If I draw my line, I'm going to start from the bottom left and I'm going to curve it towards the right. We're curving towards the right, like so. Now you'll see that my stamp, if we go all the way here, that is where we start at, and here, you're going to see it starting to turn. Let's turn it like that, and if we crank it all the way, the opposite way, it's going to turn the opposite way. This is very much dependent on the angle and the way that you draw your stroke, where scatter is just totally random and it does not matter how you actually drew your line. Let's bring that stroke path really wide for a moment here. Go back to our shape and we're going to show count. In this example right now, each stamper, each shape is put down one time per instance. By cranking up the count, which is going to happen here, is it's actually putting up to 16 instances of the very same shape on top of each other. That is obviously going to darken it if it has any opacity or transparency in it, then on your stamping on top of the other, it's going to get thicker and darker. Now count jitter is actually going to change the count at random. If we crank that all the way up, what that means is that in every single instance of the stamp, it will be stamped from one to 16 and it will be totally random. That means I've looks like right here we probably have one instance of the stamp. Each one of these is some different randomly generated instance or count. That is how count jitter works. Let's go ahead and turn those right back down. By turning randomize on, wood it will actually do is change the rotation of the shape every time you draw a line. I'm going to try and draw just three lines straight down and we'll start to see that randomly, that shape is going in a different rotation. It's totally random. It's not following the stroke. It's not the same as scatter, which will actually be randomly rotating each instance of the shape. But instead, it will randomly rotate the entire line. If the shape is all turned off like this, so it's just doing one instance in the same direction. Then randomizing will make all of them randomly the same direction. But once you start playing with them together and you're going to have all over the place craziness. Next, is what? I do not really know how to pronounce this, Azimuth, I suppose. It is going to change depending on the rotation of your pencil. If I start here at roughly 90 degrees and I draw along, and then I try and turn my pencil further and further. If we turn this on, essentially what's going to happen is it's detecting the radius of the Apple pencil as it travels throughout my stroke. Then that will change the way the shape actually rotates. Again, a lot of these behaviors here are all in relation to rotating. Flip X and Flip Y are going to be pretty straightforward. Again, if we draw our lines, for flipping x, it's going to flip it horizontally. Then if we turn, flip y, as you can see, it will flip it vertically. Do keep in mind, as you can see here on the example, that both of these flips settings are randomly flipping individual instances or individual stamps of that shape. It's not flipping every single one of these, just flipping them at random. Now we get into our brush round in this graph. Basically, the way that this will work, there's once again, we can change the rotation of the stroke. This will make it the same throughout the stroke, but we can change how it rotates or where it starts out essentially. Or we can also squish our stroke. By pushing in these little blue dots, you see it's really squishing. If we want to squish it the opposite way, you can rotate it like that and then squish it this way. Now it's squishing horizontally essentially. Now pressure roundness will, of course, use the pressure from the Apple pencil and it will decide whether or not to squish your shape as you draw a line. If I draw here and I push really lightly, lightly, lightly, push really hard by the end of it. If I crank that all the way up, you can see what will happen is as I'm pushing really lightly, my shape is getting squished. As I push harder, it is getting less squished. If I wanted to be the exact opposite of that, I will crank it the opposite way. When I'm pushing lightly, it will not squish the shape as much, and the harder I push, the more it will squish it. The same idea is with tilt roundness. Instead of going by pressure is going by the tilt of the pencil. Once again, I'll try and draw 90 degrees with even pressure, and then I will turn the pencil all crazy like that. If we crank this up, it's hard to see on this way, but if we go the opposite way, it will definitely start to notice it based on the angle. It is definitely a setting I never use, but it's there so you can give it a shot. Shape filtering. Filtering is something that we're going to see a few different times in the settings. There are three main ways to filter. There is no filtering and it's going to be probably difficult for you to see without drawing it yourself on your own iPad. But essentially, each instance of your stamp is going to be very sharp. Even a little bit of it is going to be very sharp. It's not gonna be blurred whatsoever. That's going to give you a really crisp punched-in look. If we use classic filtering, it's going to use some anti-aliasing. It's going to actually start to blur some of those lighter or more transparent parts. It makes it a little softer looking. Then there's improved filtering which is sometimes going to be difficult to see the difference. The classic is the way that it used to do it in old versions of Procreate. Improved is an anti-aliasing algorithm that they like better now. That's going to be subtle, but generally, you're probably gonna use improved or none at all, depending on the look you're going for. That is it for shape. Let's move on. 8. Grain Source Panel: Now it's time to talk about grain. I'm actually going to break this apart into two videos because there's quite a few settings down here. There's also some interesting things with the grain source. This is specifically for grain source and the next will be about behavior. As you can see with this default brush, our grain source is just a plain white, so there's no really any texture at all. But of course, we can click "Edit." Just as I showed earlier under shape, we have the same options. We'll ignore auto repeat for a moment. If we click "Import", we're going to have the exact same four options where we import a photo from a camera roll, we import from a file in our files app, or we can grab one from the source library that Procreate has built-in for us, or simply copy and paste from another app. Let's just click "Source Library" for a moment and you will see now we are under the Grain Source tab, not shape. Just like before, we can either scroll down and pick one of these great textures or if we want, we can type in here and type in something like paper and any texture that is related to paper will show up to help you narrow your decision. Grain has a really great effect, of course, on your brush. Let's use one that's very obvious. We're going to use paper mush just for a moment and we're going to go ahead and click "Done", and you will see a huge difference in your stroke right away. Your brush is adding a lot of character by adding grain source. Again, we're going to explain those settings in the next video, but we're going to go back right now. Instead, we want to actually import our own grain. How you can make this grain is there's tons of different options. You could go and take a photo, you can make something in a physical medium and take a photo of that or a scan of that, or lastly, you can also grab something just from the Internet. We'll do that just for the sake of it. Now keep in mind that most instances you want your grain to actually be repeated or tiled nicely, so the grain is going to look really good throughout your stroke. But most of these are not going to be seamless. Now you could have just typed in [inaudible] texture, but I want to show you a feature built into Procreate instead. Instead I'm just going to type in free texture. You can go to any of these websites, it doesn't really matter which one. You could use something like Unsplash, which I've used before. It's a great website. We can take a look here at all the different types of textures. Some are going to be better than others depending on the type of texture brush you're using. If you wanted to use something that has an obvious pattern like wood planks, for example, you have to make a texturized brush and which I will show. But for this example, let's just go ahead and take a look at this wood one. I'm going to click over here at "Download Free." I'm going to look at original size. Now it's giving me the option to download or view it. I don't want to download it, instead I'm just going to click "View". I'm wait to wait for that to fully load. I'm going to click and hold on it and I'm going to add to photos, or I can just click "Copy". Now that I'm back in Procreate, this is a good opportunity to click "Import" and simply click "Paste". You'll see that our texture is instantly imported and perfectly cropped to a square. You'll also notice that it's turned to black and white. You cannot at this moment add a color grain. It's automatically going to be black and white, and then of course, you can change your brush later to add different types of colors. Now one big issue with this, if we go ahead and click "Done" is it's going to have some random lines and as you can see. Of course, it's going how you make your brush. But you do not want that. You essentially want your grain to have a nice seamless pattern and Procreate has built in a great way to do this. We'll go ahead and click "Edit "again, and now we will click "Auto repeat". Now Procreate has some automatic settings that may pop up and we're just going to go ahead and zero everything out for a minute and turn everything off so we can see how each piece works. As you can see right now, you're able to see the lines in between each texture. Right now we are tiling. It's automatically going to tile that texture. You can see that it is three-by-three. We're seeing nine instances of that very same texture. Now you can change the scale if you'd like to, so you can crank it up, and it's basically going to zoom in on that texture that we just had or zoom back out on that texture. At one, it's showing as much of that texture as possible and crank it up all the way to four and zooming in on one piece of that texture. Another cool thing is if you find that it's zooming in on a piece of that texture you don't want, if you just use your finger and just click and drag around, you can find whichever piece of that texture you think looks best. The repeat on your texture is going to be less obvious if you have less contrast. You can see there is a dark area in this texture that's going to make it a little trickier to make it seamless. What I'm going to do is I'm going to crop in just enough that we take that darkness out and I click and drag up and we're just going to try and move this around until everything is a little bit more of an even color. There's still some dark areas, but that's okay. Next, we can choose to change the rotation of the texture. You can rotate. Every tile is going to be rotated evenly, but you can move the texture around to whatever looks best. If you find an area that you think looks a little more seamless, and of course that's probably a great spot to stop rotating. I'm just going to put it back to zero for the moment. Now this is the border of each tile and if we turn up the border overlap, it's going to increase the amount of blurring in between each tile. Also you will see that mask hardness is set to soft right now. As we crank that up, it's going to change the hardness of the texture in between. It's basically taking away the blur. We're adding the blur. It's just going to move things back and forth until you find it looks best. Again, sometimes you might want to click and drag around and see if you're able to get it to look as good as possible. Some mere overlap will actually mirror the texture in-between in the border there, which will give it a different effect. I think in this case it's actually pretty effective. Pyramid blending is a new form of blending, it's going to stitch together the textures. Apparently it's very complex as they say. It's going to help you make the pattern more seamless, and just with any setting, you're just going to try and turn everything on and off and see what looks best for your texture. This is looking pretty good. It's not perfect, it's something that if I wanted to add, I'll spend a little more time trying to make everything perfect. This line is obviously repeated. But nonetheless, if we click down here, it'll take a moment to create our texture. The speed at which it creates that texture will probably be dependent on your software. Now you can see the line is looking a little better. We are able to see that line right there. But this is something that we'll be able to play around with in our grain behavior. Nevertheless, I think that's a pretty good grain source and of course you can go crazy making all different types of grain sources. Again, if you take a look at any of the existing brushes in Procreate, you can see what they use. Find an example of something you really like and see what they use for their grain source and see if you can make something similar. In the next video, we'll talk about grain behavior. 9. Grain Panel: In the last video, we talked about editing our grain source and now you're going to get into grain behavior. Keep in mind that although I'm using a new brush, just a random or with default settings. Take a look here that I've tried to zero out as much as I can. You can even turn pressure on these things off. Because everything that you have turned on is going to impact things. Make sure you have that blending. You're going to probably want that cranked. I'm going to leave this at light glaze for now. Don't worry if you don't understand any of these settings, we're going to go over them later. Make sure your pressure and opacity of things aren't played with and that should allow your grain settings to be most noticeable for you when you are drawing. Essentially the way the grain behavior works is you have two big settings. You have moving and you have texturize. The way the moving is going to work is Procreate uses the analogy that you have a paintbrush roller and if you have this turned all the way down to the stamp, essentially it's going to stamp your grain and then drag it across. Imagine the roller is getting locked, but you're still pushing it across your canvas so it's just smearing that one little particular image of the stamp. But the more you crank that up, it's going to smear it a little less and a little less and so on all the way to rolling and now it's rolling your texture on. But it's rolling it at random with your stroke. The difference will be which we'll go on all these settings in a moment. But texturize is actually just going to show your grain, essentially a revealing part of the image. Whereas rolling is actually rolling out the texture so you can have the same parts all over the place. Texturize is just revealing a grain. I'll explain why texturized is good for a different type of brush in a moment. I already explained how movement works about the lower you have it stamping and dragging and the more you crank that up to moving along with you. Now scale is probably pretty obvious. It's the size of your actual grain. The more you crank it down, the more tiles of your grain that will appear, immediately start to see that your texture is not so seamless. If you crank it up and up and up you'll see the maximum zooming in really tight on that grain. You can choose whatever you think looks best, but that is overall on a scale. The differences is with zoom is it is going to be different depending on the size of your brush. Let's turn this here. Let's just clear this and let's make our preview size really small and we'll draw a line. Then let's make our previous size very large and we will draw a line again. Now, the difference is, if you can see a scale is going to shrink the size of it appropriately across both no matter what the size of your stroke is. Whether it's huge or smaller, you're basically seeing the same type of scale. We'll just leave it roughly that. Zoom on the other hand, will actually change the scale of it depending on the thickness of your line. It may be difficult to see in this video, but something you can test on your own. But the zoom, as you can see with my smaller brush, the texture is going to blow up much faster than it is on my larger brush and that's the difference between zoom and scale. Again, it may be hard for you to see in this video, but that's something you can experiment with. Rotation of course, will change the rotation of your grain and you'll see it starts to blend together and it's going to follow the stroke that way and if we crank it, it'll be the inverse, so it will rotate the opposite way of your stroke. Depth is going to be basically the strength of your grain on your stroke. In this case I'm actually using just white ink, but let's go ahead and click blue for a moment. Basically the depth is controlling how strong or obvious your texture is on top of that color or on top of your brush. You can have a really subtle texture or you can have a very strong texture. Okay, so something that is worth noting at this point in the class is that on some of these settings, you'll see over here that you could click them and you can actually type in a number, so the number is nice and even. In older versions of Procreate, what you have to do is drag it and say you want a nice even 50. If you weren't able to do it here, what you could do is get it close and the further you dragged it away from the line, the increment would be slower and that's how you get to 50. Now you can simply click it and actually type in the number, which is really nice. But you may have noticed that there's also more settings depending on the particular attribute you're trying to change. With depth, we can go by maximum, or we can start to change the depth based on the pressure from my Apple pencil and we can actually edit the curve. When I'm pushing harder, the texture shows more or the opposite when I'm pushing lighter, the texture shows more. If you don't want to use pressure, you can do the same idea with tilt so the texture shows more or less based on the tilt of your Apple Pencil and you can control the angle of the actual tilt as well. The more it's tilted, then it'll start to recognize and change your patterns. Some of these settings are not only editable by this dragging the line back and forth, but you can go in here and you can make them so that they're dependent on pressure or tilt. When in doubt, just click one of these and you'll see in this case you can only change the number so you can't do it in here. You will be able to play around with pressure. It just depends on each individual setting, but it's more or less the same concept with each one throughout the class. My understanding of depth minimum is it's the minimum amount of contrast within your texture. Basically if you are going to play around with pressure and things like that it's going to be the lowest amount of texture you can actually see. It's a little bit confusing and it's not something I've experimented a ton with. I'll just read to you what they say in the actual Procreate handbook as well. They're saying that depth minimum will set the minimum level of contrast in a texture beyond which the brush can no longer go. It's regardless of how much or how little pressure is being applied with an Apple pencil. The setting is only available when you're using the moving setting. There's a little bit of a strange one that's more complicated and something you might have to experiment with. Depth jitter is a funny one. We knew that the depth is going to add or subtract contrast and depth jitter is going to randomly decide as you're drawing your line, how much depth there should be. It's going to randomly make it either stronger or lighter. Again, it's a totally random thing, pretty strange but maybe you've got a reason to use that. Offset jitter is going to change where your texture lands every time you draw. In this case it's rolling out that same pattern but if we do offset jitter, it's going to randomly select a different area of your texture to use. Again, that's using that maximum random factors so each line is more unique than the other. Blend mode is simply going to change the way your grain interacts with the color of your brush so you can play around with those settings. I recommend if you're going to play around with this, draw in a few different colors so you can see how your texture is actually going to interact in different ways with different colors of your brush. Brightness, of course, is going to increase or decrease the amount of brightness in your texture so you can see it's going to get rid of some of those low things and keep the dark or go the opposite way. Then contrast is similar in a way to depth but it's just really going to punch up the blacks, it's going to punch up the texture basically, or do the opposite if you crank the contrast down. Once we get into grain filtering, this is similar to what we talked about in shape. No filtering will mean, no anti-aliasing, so it'll have the texture as sharp and crisp as possible. Classic filtering, you'll add a little bit of anti-aliasing which will add a little bit of a blur to your texture to make it a little smoother. Improved filtering is just a new way for their algorithm to do it that's apparently a little nicer looking than classic. Personally, I can rarely tell the difference between classic and improved but let's just use improved because it sounds cooler. Now we're going to go up to texturize. Basically, as I said before, the moving was going to move along with your brush and texturize is just revealing the texture. Now you may wonder why you would bother with any of these things and I think one of the best ways to do it is to actually change our texture for a moment. Because instead, we want to reveal our texture and this is very important in certain instances. Let's go ahead in here and edit our grain source. We're going to go to import and we're going to go to Source Library and we're going to choose our grid here and then we're going to go ahead and click Done. I've actually made some brushes that use things like grids or halftones and things of that nature and the idea is that every time you draw you're just revealing more of the grain. The great thing about that is your grain is not changing as you're drawing. The more I draw, no matter what my brush size is, let's crank my brush size down, it's just revealing more of that texture. Whereas moving it wouldn't, it would actually change in and mess up my sizing along with it. As you can see, the grid is smaller here because the brush is smaller and so on. Even though it was set to rolling and not stamped. If we click "Stamps", we're just going to get into a whole crazy mess. That's a big difference between why moving with rolling is actually different than texturizing. Because rolling is only going to do it to the size of your brush, whereas texturize, keep that grain source the exact same size regardless of the size of your brush. Now of course, you can change the grain scale. This is going to change the scale across the entire thing again, no matter what size your brush is. You can make your grain any size you want. This is really great for certain types of textures. Depth is going to be very similar before. Keep in mind when we're drawing with a blue brush, you're just seeing the blues show through the grid. As we crank it down we're losing our texture, we're just showing more of the blue brushes if there was no texture at all. The blend mode is again the very same we can play around with how that grid in this case, that's our grain source interacts with our brush. Just like we had before, the brightness and the contrast are going to be the very same as under moving. But this is why texturize is going to be so useful is because sometimes you're going to want your texture to stay the exact same regardless of the size of your brush. You're going to want it to just reveal the texture rather than move it all around depending on the brush you're making. That is how you use grain. 10. Create a Texture Brush: Now we're going to go over how to create a custom texture brush. But this art piece that I've already created, you can see it has quite a bit of texture, but let's just add a little more for the sake of it. There are a ton of different ways to add texture. In the class, we will go over using grain in different ways. But what I want to do in my case is I'm going to open Dropbox on my iPad. We will see here that these are some of the assets that I use to create traditional media. I use Canvas, and ink, and brushes, and things like that so I could create my own shapes as well as my very own grains. Any of these grains could work. I have to do these the old school way basically where I actually had gone in already to Photoshop and I had made them just black and white and really contrasty. But in this new version of Procreate, we don't have to have this much work done in advance. We can actually just do it in Procreate. What I've done is I've navigated to a very old photo folder that I have here that I thought had some interesting grains, and I liked making textures many years ago. You'd see that this folder is for 2012. But these are unedited. What I'm actually going to do is just export this. I just save that image to my camera roll. Keep in mind you're not going to be able to follow along exactly in this point, but the idea is that you can get your texture from anything. You can get it from here, or you can go online. I don't expect you to follow along with what I was doing there in Dropbox since I had my own catalog saved. But you could also go to a website like Unsplash or just search in Google free texture, and you can type in something like texture and use any of the examples that you like. Keep in mind that since you're on an iPad, don't click "Download." We'll just select this here, just like this. If you go to download free, see here it says download, don't do that. Just click "View", and then click and hold until you have add to photos or copy, then you could paste it into Procreate. There's many different ways to get a texture, you can even just take a photo. Now that we've done that, we'll go over to our Procreate Brush set class and we will click "New." Under Grain here, we want to change the source so we're going to hit "Edit" and then we're going to import. This is where you could paste if you've copied it from the web or import a photo from your camera roll. Now that I've got my grain selected, this is that photo, it's automatically turned to gray-scale for me, this is great, something that I would have to do manually before. We can go ahead and click "Auto repeat." Again, I'm going to break down all of these settings, Procreate into class. Let's skip ahead here and I'm just going to pick what I think is going to look best. Once I'm happy with it and that is that it doesn't look too obviously repeated, you can see I zoomed in quite a bit, I made quite a few changes. At this point you have no idea where that source came from originally, but that's okay. We will click "Done". This may take a moment or two depending on how new or old your iPad is and how powerful it is. But just sit tight as it creates your seamless texture. Once your texture is ready, I'm going to go in here and I turn my spacing right down for the moment and then go back to grain. This is where we can play around with our settings to decide what is actually going to look cooler. At this moment, the scale is way too small, so I'm going to blow that way up. I'm going to keep my moving low. It's definitely more obvious as I crank it down that it's repeated, but something like that is okay. Again, later in the class, I will explain all this in great detail. But generally speaking, if you're creating your very own brush, just click around, see what looks cool. Once you have your texture brush to a point that you're satisfied with, go ahead and click "Done." Now we will see I have my color set to black. I can just come in here and start painting in my texture, and it's randomly going to have lots of splits and blobs. In this case we're getting a way to texture crazy for my liking. I'm a subtle texture guy. But another cool thing is if you've made a texture brush, don't forget that not only can you paint it in, but you can erase it in. One quick cool see I could erase, it's just going to pull up a random brush. If I have the brush selected here, and now I just click and hold, it's actually going to copy my settings from my brush straight over to my eraser. You can see I have the exact same brush setting, the same size and everything. Now I can actually use the same brush to cut away parts of the texture that are too extreme for my liking. That is the base of how you make a texture brush. Again, we could spend all day just on a setting like this, but the idea is to get your feet wet, and not only that, but see how few settings you actually have to change to make a really cool brush. Don't be overwhelmed by all of these options, only use what you feel comfortable with trying. 11. Rendering Panel: Now it is time to talk about rendering. To start with, we have rendering modes. A lot of rendering is going to have to do with how the strokes actually interact with each other if you have layers of paint on top of one another. If we start with the lightest here for the rendering mode and we go all the way to light glazed, you're easily diluting your paint so it's becoming slightly transparent. It may not hurt to go ahead and clear this. Let's just pick a color, push harder, add another color, like so. We may be able to get a little bit better of an idea of how everything works by seeing some strokes interact with each other. The harder we go here, you're going to start to notice maybe subtly, maybe not, that your paint is going to become less transparent and more opaque as we continue on here with each setting. It is mentioned in the Procreate Handbook the uniform glaze is the most similar to Adobe Photoshop if that's something you've used before with your brushes. We'll go back to heavy glaze. Each glaze is getting stronger and once we get into uniform blending, it is supposed to get quite a bit stronger. Once we get into intense blending, that's now basically the strongest in blending together. This setting will actually help to exaggerate effects under wet mix. When we get to that, we will keep this on. If we go ahead for a moment and just head to grain, and let's just choose a grain source that has a little bit of texture to it. Now we've got our strokes that I just quickly redrew with some texture, so we'll go back to rendering. If we take flow, it was automatically on max and we crank it down, is basically going to make the ink stronger or more transparent manually. So you can really dial in what looks best to you and is fading not only the stroke, but also the grain or texture as well. The idea with wet edges is of course that it's basically adding water to the edges of your brush and therefore, as you're going out to further of the edge of your stroke, it's basically going to get diluted so it's going to be thinner and harder to see. It was really effective to see that not only is it softening the edge of your brush everywhere, but you can really start to notice it as it interacts with colors underneath. If we crank that all the way down, you're able to see much more of the yellow interacting with the blue and then with that higher it's definitely getting softer. When you're pushing lighter, it's really blowing out. That's basically a way to really dilute the edges. Burnt edges is basically the opposite. So instead of making your edges more diluted, it's actually going to punch them up. This can be exaggerated even further under the burnt edges mode. Right now it's set to multiply, I'll leave that at max. As I drag this, you may start to really notice some crazy changes. In general, this is only affecting the edges, so it's the transparency being affected with the edges. They say it sometimes looks a little more noticeable in other places. But the blend mode rate beneath it is actually changing the entire stroke. So the blend mode of the entire stroke, so you'll really start to see how they interact with each other. Again, it's most noticeable where paint is matching over top of another paint. You can play with those settings to see what you think looks the coolest. All of these blend modes are really affecting the color and the way the colors are going to interact with each other. The idea behind luminance blending to my understanding is it's going to use the lightness of your brush and how those interact and it will blend them together. It's really subtle and something that I haven't really been able to notice a huge effect of, but you can see some small details in here in this example. But they may be difficult to pick up on camera. But nevertheless, that is how you use rendering and something that you can experiment with. Let's move on to wet mix. 12. Wet Mix Panel: So now it's time to go over wet mix. Just know that I've created a new brush and I'm just going to use the same grain that I used in the last video. But under rendering we just want to make sure that intense blending is cranked all the way up and that our flow is maximum as well, just so that you can follow along with me throughout this. Now we'll just head over to wet mix. So the first setting we can play with here is dilution. I talked about that earlier, but essentially you're adding water to your brush. The more dilution you have, the more water you'd be dipping your brush in or putting on the Canvas first and therefore a lot less ink is going to come out of your brush and land on the page. As you crank that all the way up, you're going to see that basically your strokes are fully diluted, and then you crank that down and your brush is nice and strong and noticeable. When you get in a charge, you're basically controlling the amount of paint that is actually applied to your brush without any dilution, without any water, depending on what your dilution is set to. So the lower you have this, the less paint that is going to be coming down, and the more paint that is going to be coming down. As you can see in the specific example, it doesn't really look like it's doing much, but one of the things that you'll notice with anything under a lot of these different settings is they're all interacting really strongly with each other. For example, let's just crank these settings all the way down basically so everything is disabled and let's click our dilution here and hit 50. Not only can you type in the number as I mentioned, but sometimes you can also click a pressure tab and this number will fluctuate based on the pressure that you are putting down with your Apple pencil. Not only that, but you can even adjust the curve to be more responsive or less responsive to those pressure settings. I'm just going to turn that off. But that's available for a number of settings, so just make sure to click these little circles over here and you'll be able to see whether pressure is an option if that's something you're interested in. Now that we have dilution at 50 percent, now we're going to just turn up that charge and you're going to start to notice it's much more effective. It was hard to see it before but now basically what's going to happen is at the start of my stroke, I'm having more paint added, and as my stroke goes on the paint is running out throughout and this effect is much more noticeable with dilution turned up. If we crank that all the way to max, it appears that you have basically the maximum amount of paint throughout your entire stroke. Let's just turn it down a little bit so it's a bit noticeable that it goes from a stronger stroke to a lighter. Attack is the amount of paint that stays on the canvas. Again, if you turn that all the way up, you may notice more paint through out your entire stroke. Again it's very similar to charge. So if you want to see how that works best, go ahead and play with those two settings independently. There are definitely similarities. The pull, for example, if you turn that up, is also going to interact with the paint that you've already put down. It's a good way to mix colors. For example, if you have yellow paint that's already on your canvas and you lay down some blue paint, not only is it going to lay down the blue, but it's also going to pull some of that yellow into it. You're going see some green starting to come in. It'll be hard to see in this drawing pad, for example, but it's best to experiment on the actual canvas. We're picking up for a minute here after pull. I am finding and I do not know if this is because I'm using an older version of an iPad and I'm using a screen recorder, but I'm finding that sometimes as I'm drawing one of my paint strokes, some of my other ones are disappearing. I don't believe it's supposed to do that. I'm not sure, again, if it's a glitch or if it's just my iPad's memory not holding up really, as this is a slightly older version. But it's just a little bit frustrating. But if that happens to you, you can always click ''Done'' and go in and start drawing on your actual canvas to really try and experiment with the brush. Most of the time you'll be able to see everything in the drawing pad. But I have found that in my testing that wet mix is the panel that causes me the most amount of trouble with using the drawing pad on this particular iPad. Unfortunately, with that in mind, the pull is difficult for me to see a huge amount of variation here. But the idea is that you're pulling the ink not only in your brush but the ink below it as well. You'll see sometimes I jump around to slightly different settings so that I can try to make each setting as noticeable as possible. In this case, it's difficult for me to see the green. The grade is supposed to affect the green in your stroke either by adding or subtracting contrast. But in this example it's difficult to see. When we want to blur, as we crank up that blur is essentially just blurring our entire stroke. You can see that affecting both the texture and the actual paint at the same time, so your shape and if we keep that turned up and we turn up the blur jitter, just like a lot of the other jitter settings, it's actually going to affect basically a random amount of each stamp. So that means that each stamp is going to be blurred somewhere between zero and 53 percent, as I have it set here, and of course that changes depending on that blur. The more I have this blurred here, the more it's going to randomly choose which parts stay blurred. With wetness jitter, it's similar in a way to dilution where it's randomly going to add water into your stroke. Totally randomized but this way you're going to have a little bit more of dilution added to your stroke at random. That is it for the wet mix panel. Again, sorry that didn't show up so well here on the drawing pad side, but you can only work with what you have. 13. Create a Inking Brush: Let's take a break in the action here, take a moment away from all those crazy settings, and let's try making our very own inking brush. Inking brushes are quite easy to make. We're just going to go here. In our brush set, we'll click "New". These are all the default settings and I'm just going to go to shape. I already shown how to import custom things. So instead, we're just going to use the Source library. If you go through here, you can find whatever one you want, I want a rough, scratchy looking ink that's circular but not too perfect. There's so many different options you can really go into here. Also if you wanted to, you could type in the keywords ink and get an example of the inking brushes that they have in mind. I think for the sake of it, I'm going to go ahead and I'm going to click "Dry Ink". Now keep in mind that because we're making an inking brush, you don't have to click something that says "Ink" or use the keyword ink. You could use any shape and still make a pretty cool inking brush. As I mentioned before, it's the opposite of what I would think, but anything white here in your shape editor is going to be what is the brush? If you were to click with two fingers, it will invert it. Now the brush is going to be like the reverse. There you go. Go ahead and we will select "Done" and you'll see some things starting to happen here. For the most part, all we really want to play around in is the shape and the stroke path. Because I'm using ink, I don't really want it to start transparent and then get hard. I'm going to go into Apple settings and I'm going to just turn my pressure all the way down, so it's a nice consistent ink all the way across. Now here in my spacing, I'm going to play around a little bit. I think I want my jitter, something like that. I'm going to turn my spacing. I don't know. Let's try something like this. Keep in mind here that because our shape is unique, even though we have nothing set for our grain, it's just plane, we're actually getting some texture just because of the spacing and the fact that there's texture in our shape, it's not just a plain circle or something. Again, if I turn that spacing all the way down, it's going to blurr out all that texture because the stamp is on top of one another, therefore it's losing any texture. But by cranking it up just a little bit, you can start to bring in the texture that is in your shape, and you can also get some interesting effects on the edge. We'll leave those settings roughly there. Again, I'm just totally experimenting. This hasn't been pre-planned. I'm just trying to make a cool inking brush that'll fit the style that I want. Again, for the most part, I've gone over all of these settings and we'll go over all these settings. But just play around, see what looks cool. Sometimes scatter is nice. It's going to give it a random thing. We've got rotation, it's going to follow. I don't think I need to apply too much with any of this. Turn Randomize on, turn that on. I like no filtering in this case, it's going to give it a really strong edge. I think if we go back, let's just bring that jitter in just a little bit. I think that's a pretty cool, edgy looking inking brush. Perhaps if we go to our Apple pencil, we can play with the size a little bit. I don't want anything too crazy, and we're going to turn that smoothing up. We'll go like this, I guess. Maybe I will go crazy, I'll changed my mind. Now we can go from thin to thick. Thin, then as I push harder, you can see thick. Let's try that out here. Again, this is a pretty wild example of an inking brush. We're getting into the paint round. Well, let's turn this opacity down nicely, and just create a new layer on top. Let's give it a shot. I was going to twist this around. This will be my trial run of my inking brush and start thin and light, get real thick in here. Again, this is just a rough example. I am finer here, but because I have the smoothing all the way cranked down, I'm pushing really light, and then pushing hard, and then lighter again, but it's trying to smooth that out so it's not allowing me to get lighter quickly. If we go back in here and go back to our Apple pencil, let's just turn this smoothing down a little bit so it's less extreme, let's say like 70 roughly percent. Undo these strokes. Let's see if that works better. Lightly, push harder, and then lightly again. You can see I can really control it. This is a pretty rough example, but the idea here is that you can really go crazy. It makes pretty cool inking brushes with minimal effort. I would love to see what you guys come up with. Show me your inking brush. 14. Color Dynamics Panel: Now it's time to talk about color dynamics. This is where things can get pretty wild and crazy. These are things that you cannot really replicate in the physical media as a purely digital and things are going to get super weird. In order to best show off this effect, I'm going to go back up to my stroke path and I am going to increase that spacing even further so that you can really start to see the circles in your stroke. Now we'll go back to color dynamics and this is really going to get crazy. The first thing we're going to do is we're going to affect the hue. As you can see as I crank this all the way up, you're not noticing any change and that is because we are using a white brush. If we go ahead and turn that all the way down, I'm just going to erase this and what we want to do is click our drawing pad and pick some cool colors. Let's go with blue, and I didn't mean cool literally, I just want a color. It's coincidental that I said cool and then I picked a blue. We can see all our individual stamps that are making up our stroke, as I've explained in other videos, and now if we start playing with the hue, you're going to see that it's going to randomly change the color of each stroke. The closer we leave it to the original, it's going to vary the hue by a small amount. You basically seen all different blues because I put down blue ink and the more you crank them up, you're going to start to see things get really wild and all the colors are going to change quite a bit until you are just getting a random rainbow of colors throughout your stroke. Again, not something you're going to be able to figure out how to do it in a physical medium. Not individually doing each stamp. This is why digital is getting crazy. If you crank this up, it's pretty interesting to see you get some pretty weird in the effects, it gives it almost like a 3D effect as if that line is punching up value. Definitely a cool setting. Go back to color dynamics and we will turn down the hue. Saturation is the same idea. It's just going to randomly desaturate or stay at full saturation. Some parts of your stamp are going to be nice and fully saturated, so you're seeing that blue. Some are going to be randomly less saturated, so they are going to turn grays or whites in this instance. I have gone over this in some other videos, but if you want to, always try and click here, and you can either manually enter a number like so, or sometimes instead of having this set to randomly 50 percent, you can actually control how much it changes based on the pressure. How much you're pushing, you can control the values, how strong or not strong it is. The more I push, the easier it is to recognize or less. Or you can do it by the tilt of the Apple pencil. You really have a lot of things that you can experiment with but for now, we'll just play with the sliders. Let's turn the saturation all the way down. Next up is lightness, basically, it's going to randomly change how light each individual shape is. In this case, it's pretty subtle, hard to see, but it is slightly changing how bright each stamp is. Darkness for whatever reason is much more noticeable, I find it much easier to see and as you can see, it's changing the darkness of each stamp. Again, all of these settings are completely at random. Now we're going to talk about secondary color. I've drawn another line here and basically, it's going to bounce between two colors. There's a little difficult to see in the drawing pad. Let's just go ahead and click Done here here what I want to do is check out my colors over here. If I click a color, basically you can see that my first color is gray and my second color is blue. I have gray selected by clicking on it and what I'm going to do is just change that color. I'm actually going to make this blue color or we could click here, anything like that will work just fine and so we'll go with a light blue. Now if I click over here, I want to get the exact opposite. Let's drag this all the way across here. We'll get a nice light orange, that is our primary color, and that is our secondary color. That's how we're going to see secondary color work best with our brush. Now as we're drawing, it is randomly jumping between both of that orange and that blue, and then mixtures, so that's how we're getting some of these ugly colors. It's randomly going to jump between those two colors. Keep in mind again that I have my spacing overly exaggerated just so we can really see that you could crank that up very tightly like so. Now if we draw this down and you can see that things are getting wild, but jumping between those two colors. That is how secondary color works, which is a little bit difficult to see in here because you can't control all of the settings exactly the same. The biggest difference is stamp color jitter was affecting each stamp that is the shape being stamped all the way along your line. Stroke color jitter is going to have all of the same settings as we were just playing with. The biggest difference is it's going to affect the entire stroke so I can now turn my spacing all the way down to none and if we go back to color dynamics, you will see that as I play around with these colors, it is changing the entire stroke at random. It is not changing each individual stamp. Keep in mind that each line that you draw, you're just getting a totally random color that deviates totally from what the color you originally had. If it is cranked up, but if we crank it down, you'll see that it's closer. Same idea as all the settings before, you're playing around with saturation and randomly saturate or desaturate randomly light, randomly dark, in that case, it looks like they've picked all the same, but again, it is random. Same idea with using your secondary color. You can experiment with that. But basically, the settings are all the exact same, but they're affecting your entire stroke, entire line that you drew. Now, these ones are going to be affected by pressure. Let's erase this. I'm going to start by drawing a line that starts very light. I'm pushing very light and then I'm going to push very hard on the way up just like that. Now if we experiment with our color pressure, you'll see it is reacting differently to how light or dark I push, that's pretty crazy. Somebody said they are just super fun to play with just because you're just going to get some wild unexpected results. I do love it when you're using digital art that you can experiment and just get pretty wild. As we explained before with all the settings are basically all the same. Now they're just reacting to different parameters. One was doing the entire shape, one was doing the entire stroke and now it is being changed not at random by these settings, but rather by the Apple Pencil pressure. It's now we're going to talk about color tilt. It's essentially the same, but instead of using pressure, you are going to use the tilt of your pencil. We're going to try by starting with it, basically 90 degrees, and then we'll draw another line with a very strong angle. This as you can see there. Now if we crank this up, you can see that it is being affected by the angle of our pencil each line, just like so. Did find that if I started at 90 degrees and I turn just like that, and then if we crank this up, you can see that is affecting the line as you turns. You can do it throughout one stroke as well. Again, all these settings are basically the same. They're just reacting to a different set of parameters. In this case, the tilt, the pressure at random by the entire stroke or a random by each individual stamp, and that is color dynamics, very fun panel to play around with if you want to make experimental art. 15. Dynamics Panel: Today is another time to talk about dynamics. This is a strange one. Basically, it has two parameters; the jitter, which is totally unaffected, or speed, which is affected by speed. We'll just erase here. Let me show you. If I draw a line slowly. I'm going to try to even pressure, drawing this line fairly slowly, and then I'm going to draw another line really fast. Ready? 1, 2, 3 boom, super-fast like lightning. Now if we play around with our size, we're interested to crank it up, of course, since it shows the example the best, it is hard to see on this first line because I drew it rather slowly on the second line, I drew it fast and it started wider and got thinner as I went along and if we crank it the reverse way, it will start thinner and get wider. Now you can't see because I drew this line very slowly. It is consistent throughout, but consistently either wide or thin depending on the size setting. Exact same idea with opacity it's either going to get lighter as you draw along or more transparent or the reverse and it will get stronger as you draw a line. Keep in mind that if you draw your line too slowly with this setting crank to minus 100 percent you can see that my first line is completely disappeared. It will only show up if you draw fast enough. As you will see, jitter is completely unaffected by speed. It will affect both lines equally and essentially what it's going to do is randomly change the size of your shape that is being stamped along your line. The more you crank that up, the more each shape is a different size, it's very noticeable and if you do it subtly, you're getting an interesting hairy look. Same exact idea with opacity, the stamp or shape is randomly going to be different variations and because they are on top of each other right now, it's a little harder to see. Of course, you can always crank out that stroke paths. You can really see what is happening under the hood but if you have that set all the way to zero, it's going to be very difficult to see the reaction, see that, the capacity, the problem is that even though some of the stamps are different opacity since they're directly on top of each other, it's all blending into one line. But you can see the different shapes. But keep that in mind if you play with opacity, you're going to want that stroke path turned up, I've explained this a few times in different videos but if you're finding that some settings are really hard to see, go ahead and research it, consult the handbook on Procreate and very importantly, take a look at some of your other settings because all of these settings are going to combine together in each panel. Sometimes a weird setting in another panel will make a setting here very difficult to see, just like we saw by using stroke path and opacity. That's it for dynamics. Let's move on. 16. 7th Inning Stretch: This class is a doozy, there's a lot of settings, and sometimes settings can get a little bit tiresome. You've been doing good. But remember, always take a moment, take a couple of deep breaths, maybe do a nice stretch, get relaxed if you want to absorb all this information. Of course, you can take notes as well. You do so in Procreate if you wanted to while you're following along. But don't fret because Procreate actually has a great artist handbook that's now basically just a website. They break down all the tools. I'm a visual learner, so I actually like to see things happening. But since you've all watched this class, you can also refer to those that'll be like your course notes, so it should be easy to follow. Take a stretch, maybe take a minute and screenshot or video that you're watching this class and tag me on Instagram at Crusoe Design Co. I'll be sure to share it. Maybe you'll get some followers and people know that you're low in the class. Let's get back to it. 17. Apple Pencil Panel: Now it's time to talk about the Apple Pencil. Of course, as it is titled, these settings will only affect an Apple Pencil; that can be a first-generation, which is what I'm using, or a second-generation, but it must be an authentic Apple Pencil, will not work with your finger. Or if for some reason you're still using a third-party stylus, although not judging you if you're using an iPad that didn't have Apple Pencil technology at the time. I did mention earlier when we were talking about taper that there is a better way to have a much more controlled taper. We are going to see exactly what that means right here under the Apple pressure settings. If we just turn this all the way down for the moment, we will see that these settings are going to be affected by pressure. We're going to just get rid of this default line, and once again, I'm going to draw a line and I'm going to push very lightly, very lightly, and then push much harder by the end. Right now, because of all of our settings are zero, it looks basically the same. If we start to turn these up, you'll see that the lighter I push, the smaller the stroke, and the harder I push, the wider the stroke, or we, of course, can invert that so does the opposite. Now if we skip ahead just a moment here, we're going to skip a couple of these settings for a second, you will see that there is a setting called Smoothing. Let's just keep that crank for a second. As you can see here, my line gets really thin and then it drastically changes. Not the worst, but it's a bit ugly. If we turn smoothing on, it is going to smooth out the transitions used in the effects above it. Now you can see the line is much more gradual. It's a much smoother transition from thin to thick. Having smoothing is really nice, I think when you're using these pressure settings. That's my personal opinion. I'm going to leave it on for right now. Let's turn this pressure all the way down to zero. Now, of course, the same exact idea with opacity. If we crank that up, we're starting with a light opacity and it is getting darker. I do have my smoothing cranked. It's fairly subtle, but it is there. If you look really closely, you can definitely see that my line starts lighter and gets darker. As we just saw, opacity is fairly subtle. I find flow much more noticeable. If we crank that up and you can see that it starts very light and gets very dark or vice versa. I I that flow is a much stronger setting than opacity, small difference. I think is probably the amount of ink being laid down rather than actually making the brush transparent. That's something that you can experiment with on top of other paint when you're in your Canvas. Bleed will affect the edges of your brush, it's going to be a little bit difficult to see sometimes, but right here my brush is getting very jagged, very sharp, and edgy at the edge. If we crank that down pretty low, you can see it's much more smoothed out. That is going to affect the edge of your brush, and we've already covered smoothing. Now it's time to talk about tilt. All of those things above were all affected by pressure and now these settings will all be affected by the tilt to your pencil. I'm not good at a smooth transition of 90 to a really strong tilt. Basically what I'll do here is I'll just draw a line at 90 degrees, and then I will draw a line at a very strong angle. Very strong, for reference. I'll try and do somewhere in the middle 45 or something like that. But that is essentially what I'm going to try and do. The tilt is going to be activated right now once the pencil hits at least nine degrees of tilt. You can play with that, but let's go ahead and skip over that for a moment and we'll go to opacity. You can see that the opacity is drastically changed depending on the angle of the pencil. My pencil is extremely angled here, almost parallel with the screen and zero angle here on the left. Now, as I said before, if we start to play with these settings, you're going to see that they are reacting stronger or lighter depending on the tilt of my pencil. I'm finding that not super obvious, so I'm just going to leave it at the default of nine degrees. The idea is the same with the other settings that we were playing with first, I have the gradation settings here. It does say in the Procreate Handbook that this will work better when you are basically sketching. It's going to give you a more pencil-like effect. If you put your pencil on an angle, it's going to get that nice light sketching effect. All of these settings again are the same. They're very subtle here, but we're getting a different type of edge, so the edges, the bleed, and of course size is going to be changing. Once again, playing with this if you want to do a sketching pencil, for example, if you play with the gradation as well as the size, you're really going to start to get a different effect from when you're drawing straight up like this or when you're shading on an angle. That is definitely a fun stuff to play with if you want to try and make a pencil. The size compression actually relates to the grain. Let's go ahead here for a moment like that, spacing a little smaller, and let's just pick a random grain here. I'd like to try and use ones that are a little more obvious so you can see it. But the idea here, if we go back to our Apple Pencil settings and we go here, you'll start to see a very different effect in our grain. If we turn on size compression, the idea is that the size of the grain is supposed to be equal, but it's most noticeable with the grain turned on. That's it for the Apple Pencil. 18. Properties Panel: Now we're going to talk about properties. I think the best way to do this is to pick an existing Procreate default brush. Now, just under my Sketching tab and let's go down here to say Artistic Crayon. I showed you in the beginning of this class how we can edit the existing brush or duplicate it. I think in this case we duplicate it so that you can see the difference. We're going to pick our duplicated brush, which will have a number to the right of it. We'll just select that and now we'll go to our Properties tab. This is going to affect how our brush looks in the brush library for reference. If we click down just for a minute, just so you can see again, you see that line is being dried out. It's showing a good example of how your line looks drawn. Now if we select Use stamp preview instead, it is just going to basically show the shape rather than the whole thing. This is good for a texture brush and you can see that it's very large there. If we come in here and we go back to Properties, we can change that preview size. Now it is showing better live here. We can turn that preview size down, let's say to four, hit "Done" and you'll see that it's showing just the stamp. Again, great for texture type brush not really useful for this type of brush. We'll turn that off. Now of course, the preview with that turned off is also going to change. Let's go ahead and click "Done". You can see that my line is much smaller now than it was before, see that? If we crank the preview size all the way up, for example, and hit "Done" it is going to show that line all the way across very large. The way orient to screen works is certain brushes are going to have a very distinct up and down. It is going to be dependent on how your screen is angled. Right now I have it in landscape mode, it's wider. But if I'm holding it the opposite way, certain brushes, you want to orient to your screen. You want the brush to recognize how you're holding the Apple iPad, but it's going to depend on the brush. Smudge is going to change the amount that the brush can be smudged using the Smudge tool. I did mention at the beginning of this class that the tools are the exact same and that you do not need to change your brushes to work with the Smudge or the Eraser tool, which is true, but you can control how much the brush will smudge or not smudge using the Smudge tool. This example is best shown on the canvas, the brush behavior, maximum and minimum size, as well as maximum and minimum opacity. We're just going to hit "Done" here for a moment and we we're going to make sure that that brush is selected and for the sake of it, just going to use a black. I'm going to draw lightly and then I'm going to draw hard just like that. That is the size of the brush right now at only five or six percent. If we crank that all the way down at one percent, here's how big it is. It's actually pretty thick, pretty wide. This is probably going to be pretty scary, but if we crank it all the way to maximum, it is huge. It's taken up my entire canvas. Depending on how you're designing or editing your brush, you may find these extremes way too extreme. We were going from if we undo that tiny little line, that giant brush just by cranking this. You may find the exact same thing with the opacity. If we turn this way back down to a more reasonable size, you may find that I'm pushing really lightly, it's basically invisible. I'm pushing really hard, it is extremely easy to see. You may find that balance a little bit out. That is the thing that you can change here. If we go back to our Properties, you can change your maximum brush size. Say you didn't want it to get as enormous as that because it was really big, let's change it to 50 percent. Let's say the minimum size was, in this case, too big as well, we'll just change that to zero, which means there is no minimum. Same idea with the minimum opacity. As we saw it was pretty light. Let's say it's 25 percent. I'm turning up awfully a lot and it will leave the opacity maximum at 100 percent. Now if we draw our line, we're actually getting a different result even though it's at the same amount, see that? I'm pushing harder. My minimum opacity is not bad and if we crank this all the way up, you'll see that our brush size isn't too ridiculous before it was taken up the entire screen. Again, this is your opacity slider here from one and this is your brush size slider here. You are likely already familiar with that, but that is what those properties are changing and that is how to create your brush properties. Essentially, this is going to be extremely useful, especially if you're planning to distribute your brush, either sell it or give it away. Because you can control how it's going to work and how people are going to interact with it. 19. About The Brush Panel: Now it's time to talk about the last setting in brush studio and that is about this brush. I went over this a little bit earlier in the class, but if we just click an existing brush and we go to about this brush, you'll be able to see who the brush is made by, and if you edit it or make any changes to the brush what you can do, at any point you can reset all the settings provided it is a Procreate created brush. If it is not a Procreate created brush, say it's a brush that you've downloaded or imported somehow, let's look at one of my brushes, for example. Let's go with inkwell here. If we click that and we go down to about this brush, you will see that I've filled it in. I've put there my Crusoe logo and I've put in the name here, and instead of being unable to reset all the brushes, you can instead create a reset point. Again, I did talk about this earlier in the class, but basically, you can select that, hit "Save". Now you can make any changes you want and at any point, you can just click this to reload that reset point, which will put the brush back to how you want it. Now you will notice there is no signature here, so if we click "Cancel", let's just pretend we were creating a new brush. Say this is our new masterpiece. If we click it, these are settings that we can change if we're making a custom brush from scratch. First, we can click up here to change the name again. That is reluctant to either your Apple pencil or your finger. I do like to use my finger. If I click up there, you'll see now my the full key will blow up. I can change my name to whatever I want. If I just click the thumbnail, I can either import a image from my camera or from my photos. Again, just by clicking here, I can change the name and I can of course sign up my pencil just like that, so we have a nice cool signature, and I can create a reset point so that people can reset at any point. That is the About this brush. It's more or less just behind the scenes so people can see who made it. It's a nice little feature because it does give you credit in case your brush gets distributed through a third party source. You can see who originally created the brush. That's it about this brush. It is an easy one. 20. Dual Brushes Explained: I'd like to talk about a hidden setting, something that is easy to glaze over and not even notice exists in Procreate and that is something called a dual brush. Now, built-in dual brush has already been created by Procreate is if under artistic. Let's select one of these, we'll hit "Wild Light", for example. You'll notice a dual brush because you will see two different previews of brushes over here in the top left. When it's not a dual brush, you won't see nothing and this will just start up there. A dual brush is very similar to a singular brush except for that they are reacting to each other. That means, if we have our primary brush selected right up here, we can make all the settings changes that we want to it. Then we can click our secondary brush, and we can make all the setting changes that we want to it and you're just combining both of them to give you a ridiculous amount of possibilities. Not only that, but if we go back up here and we click on it, we can actually change the combine mode, so the way that these two brushes are combined. Once you're happy with where you are, you can go ahead and select that and you can play with the combined mode and see different ways for those brushes to react. Now, if you want to get out of these, you can click the secondary brush and you can uncombine, and that will take both brushes and put them back to their original states. We don't want to do that in this case because this is a Procreate brush that they designed so instead, I'm going to click "Cancel". Let's say I want to create my own dual brush from scratch. Basically, what I would do is select my primary brush and then select my secondary brush by clicking and dragging to the right, and that will give me the option to combine the two brushes. Now, you will see that I cannot do this, and the reason for that is because these brushes are Procreate brushes, so you actually have to duplicate them first. What you would want to do is you would want to swipe and hit "Duplicate", and then swipe and hit "Duplicate". Again, select whichever one you want to be your primary brush. Swipe on the secondary brush and hit "Combine". Now, here's the next issue, you cannot combine brushes that are already combined, there are a few rules. We'll go ahead and delete those. Now, we'll go back to sketching, for example, and let's pick two brushes that are not dual brushes. In this case, we're going to duplicate peppermint, and I'm going to duplicate soft pastel. I want peppermint to be my primary, so I'm going to swipe on soft pastel as my secondary. Again, I'm using the duplicated version of each of those brushes. Now, I can click "Combine", you'll see it combined it into one and now, if I select it, you will see that is a dual brush. Again, at any point, if you want to, you can select, hit the secondary brush and then you can uncombine it to return these brushes to their original uncombined state. In this case, I'm just going to delete them. The only last caveat is that the brushes need to be in the same brush set. It's not really a big deal because if they're not, you can simply grab the brush. Let's say I duplicate this brush and I can drag it into a different brush set just by doing that. You just need both brushes to be in the same brush set when you try and combine them. That is a dual brush. 21. Thank You!!: Thank you so much for taking the class. I really hope you enjoyed it. Please take a minute to hit "Review" and leave me a kind review. As always, you can always contact me on Instagram or through Skillshare. I'd really love to see your class project. Please be sure to click "Follow." There'll be a Follow button over here here make sure that you see when I put in our new classes. I am going to try and put our classes every couple of months, so definitely check back off. At this point I will have had 33 classes. Obviously this class can't be uploaded yet, we're not in the future. But once this class is uploaded, so there's a ton of different classes to go over. If you're into Procreate, I have drawn a few different drawing classes that dabble in them like my 1930s character class, or my drawing skills class. If you're more into Illustrator or Photoshop I've got tons of classes on those as well. Really a pretty wide variety. If there's something that you would like to learn in Procreate or anything related to graphic design, please let me know. Again, you can contact me here or on Instagram, that is @crusoedesignco. I have the same username pretty much on everything, so Facebook, TikTok, whatever other social medias I'm using at the moment. Of course, you can actually buy my Procreate brushes. They are available at Design Cuts. Right now they are only $8. You can see both sets right there. I'll put a link to them to. If you click my link, I'll love you a little extra more, even though I love you no matter what for your support, because I'll get a small little affiliation. I get a little bit bigger chunk of the pie than if you were to go here. But whatever you want to do, you can of course search Crusoedesignco, rather than typing the long link that they give me. Lastly, of course, you can always head to crusoedesignco.com, that is where you will find everything if you were to hit digital shop and then hit Procreate brushes. You can buy them here. They're also on Etsy. I have them for sale ever at Creative Market, but Design Cuts, my website, those are my preferred places for you to purchase things.