Transcripts
1. Exploring Brush Settings Intro: [MUSIC]. Hey everyone, my name is Jane. In this class we're going to learn all about the brush settings in procreate. We'll start the class by going over a few basics and then I'm going to walk you through creating your own source image. This source image we're going to use throughout the entire class to create over 20 custom brushes. By the end of this class, the brush settings will be second nature to you, we'll learn how these brush settings work in combination with each other and how you can use them to achieve the results you're looking for. Throughout this class, we're going to create beautiful liner brushes and fill brushes. We'll even explore the Wet Mix feature and the Blend Modes option. So get ready for a hands-on experience and join me in this class. Where we'll learn the brush settings through creating 20 custom brushes. [MUSIC]
2. The Quick Basics: Welcome to class, and I'm so glad that you've joined me. I've always felt that the best way to learn something is to actually use it through trial and error, exploring, and experimenting, and that's how I've set up this class. I find the brush settings are best learned by working our way back and forth through them, while creating brushes. To get the full benefit of this class, you will require an iPad Pro and an Apple pencil. That's what I'll be working on throughout the class. You're also going to need Procreate app which you can find in the app store. Those are the only items that you need other than your curiosity and your willingness to explore. It helps to have a little familiarity with Procreate, but it isn't required for this course. So to start with, I'm going to walk you through a few basics. When you first open Procreate, it opens up into the gallery where you can create a canvas. Will be doing this in the first lesson. We'll be working in our screen with the layers that are up on the upper right. We'll be creating quiet a few of those in this project. Then we have our brush folders under the brush icon, also in the upper right. The brush folders are here, on the left. Procreate comes with quite a few of its own, and I've obviously created quite a few as well. I'm going to show you how to create a new folder by choosing new set at the top will also do that in the upcoming lessons. On the right-hand side here, are all the brushes that are in each folder. So when you've selected a folder on the left, the brushes that are in it, will show up here, on the right, and we create a new one by using this plus sign at the top. The next window to be familiar with is the individual brush windows. These are the windows where all the settings are located for each brush. At the bottom, are all the tabs, and within those tabs are all the settings. This is where all the work is going to be done. In this center section, is where all the settings are, for each of the tabs. It will change depending on which tab you're using. This area at the top is the preview window, and that's where you're going to see the changes take effect in your brush as you change the settings, every breath needs a shape source, which is basically an image that it uses to create the brush that's located here. We're going to create our own shape source and use it for all of our brushes. I'm just going over this very quickly, but don't worry, we'll have lots of time to explain all of these sections and how they work in the upcoming lessons. This is a very hands-on class, and for each brush we're really going to be playing around with the settings. So to help you out, I've provided a PDF download of all the brushes and the settings that I use for each of them. You'll be able to find this in the project section as an attachment file. Now if you're ready to get started, let's go into our first lesson and get creating our custom brushes.
3. Create Your Source Image: We're going to get started by opening the Procreate app and creating our own custom canvas. Go on to create custom size. I like to choose inches and I go eight inches by eight inches and I use a 300 DPI. That's what I use for my standard artwork. Now, we're going to go into the brush section and you'll see when you get in here, that Procreate comes with a lot of their own folders and their own brushes. They have a great selection. As I get creating them. This little symbol here means that I did something for the brush, whether I changed it or whether it's a new brush I made myself. You can see here that you can delete those. These little symbols mean that they have been changed or you created them. Their own brushes you can't delete. See here, there's no delete option. There is a reset option. That means if it's a brush that I've changed and it was one of theirs originally, like here, I can choose reset and it puts the brush back to the way it was when it first came with the app. Let's get started making our image. I'm going to go down to the Airbrushing folder and choose this hard airbrush at the bottom. I'm going to choose black in my palette. I already have a little pallet of grays and blacks chosen. You can go into value and choose a numerical value. All zeros is your black color. Here I have my blacks and grays already set to do this. I'm going to resize the brush just so it's a little bit bigger than my view window because I'm going to want three of these to fit onto my canvas. This is a pressure sensitive brush, so give it a little bit of pressure when you touch the canvas and you'll get a nice black dot. I'm going to show you a little trick here. You go into your settings, your little wrench tool, and we go into Preferences and see how you can have the brush cursor turned on or off. I leave mine on most of the time. If it's off, which I just turned it off and I touch this canvas, you can't see anything. But if I turn it on, see how you can see where the cursor is. That's where you know what size your brushes and where it's going to put the color. I want three of these on his canvas. I'm going to duplicate this layers so I can have two more of them. Slide it to the left and hit duplicate. Now I have two of them, and the top one is lying on top of the first one, so you can't really see it. Use your transform tool. It gives a highlight around that circle and you can drag it straight down below and duplicate again because I want three and I have my transform on magnetic, so I have a little guide there. Now I have the three of them all in a line. See down here is magnetic and we use that because it gives us a guide and I can make these circles line up in a perfect row. Now I want these other circles to be different colors. Once I have them lined up the way that I want, I need to recolor two of the circles to a different color. I have a few grays that I've already picked out up here. There's different ways that you can select your own grays. You can go into the values. There's a few different, there's a classic and the disc, and you can just slide the sliders around until you find the grays that you're looking for. For this image, I'm looking for one black, one medium gray, and one light gray. I already have these picked out on my palette and these are the ones that I'm going to use. How you do this then, is you go in and we're going to use the recolor function and see this little crosshairs. It's going to recolor anything that's in those crosshairs with the color that you've chosen in the palette. Down here you get a flood and you want the flooded maximum. Now we're going to recolor our last dot. Now they're not always lined up properly on your layers panel. Make sure you have the right one. The little square will be around it so you know that you have the right dot selected. I want my bottom dot, I'm recoloring it by dragging the cross hairs over top of the dot and see how it's turned it to a light gray. Now I have a black, a medium gray, and a light gray. This is going to make our brushes more interesting because we have different shades involved in the source pick. Now we've selected all three layers and put them into a group. I've named the group Source Pick. I'm going to keep that in case I want to change it later. Join me in the next lesson where we start setting up for our first brush.
4. Brush Folder Setup: Welcome back. Now we're going to pick up where we left off in the last lesson and with our source image in front of us, we're going to go into Image and copy Canvas and this will copy everything that you can see on the Canvas right now. We're going to go in and start by creating our new brush. We open up the brush tool and then we can create our own folder. Will want to keep our brushes organized. You scroll down and choose this new set at the top, and it pops up with an untitled set. Name the set, whatever you'd like. I'm going to call it brush class and we'll put all of the brushes that we create into this folder. Currently, you can see that there are no brushes in our new folder. They would all show up on the right-hand side and they will as we create them. If we go into a different folder, I'll show you, you get an idea of what it will look like when you have brushes. The inking folder has all these brushes. Inner brush class folder, we don't have any brushes. Choose this little plus sign and we'll create our first brush. We pop up with untitled brush and we'll name it ourselves. I'm going to call it and brush number 1, and then the first thing you're going to want to do is pick a shape source. In the pro library, that's one option. They give you lots of different selections of shapes. Another option is to insert your own photo and this would come out of your camera roll. But I'm going to show you here, you'll hold on the square, choose Paste and what we copied from our Canvas pops right in. Now it is the inverse and we can choose the inverse, but that's because we haven't chosen a texture. We go down and choose a texture out of our pro library and I just want this blank. It's a solid black square and that's the one that we're going to use. Now I can go back up to my source image and I can choose Invert shape, and now I get the colors that I'm looking for. Now notice when I did this, the name disappeared. Sometimes it happens. Just make sure that your brush is named and that the name stays there. It will after we get working on it. But sometimes when you pick a new source in a new green source, it switches around. The other thing that we can do here is we can alter the direction of our shape source. All you have to do is pinch and turn and you can rotate it all the way around. Then we can also sample it by using our Apple pencil on the preview window and it'll show us what the shapes source will look like in that direction. It changes automatically, but you can play around with it if you have a certain idea you want to do with it. Now we're ready to explore the brush settings, and I'll see you in the next lesson.
5. General Settings & Streamline - Brush 1: We have our source pick. We're going to turn that off and create a new layer and we're going to have a layer per brush. Now, we're going to go back into our brush and before we get started, I want to go into the dynamic setting and choose glazed. We'll explain more about this setting later but because we have the different shades of gray, it needs to be unglazed for these initial brushes to work. Now under the general tab, we're going to explore some of the items that are in this window. You can scroll down to see there's some below as well. Here we have the brush name, which we've already named our brush, brush number 1. Here we have use, stamp preview. If you have it turned on, I have to reopen this brush sometimes to make this work. There it is. If you have it turned on, it's just a stamp of the image and if you have it turned off, you get what the brush is going to look like and you can even draw in this little preview window. Then you can reset it again and again. That's not working so I just go out and come back into the brush and then it's all reset the way that it was. Next here we have the preview percentage and this is just for viewing. This doesn't affect how your brush works. Here we have orient to screen and blend mode, both of which we will talk about later. Then here we have the smudge. This is the percentage of which your brush will smudge if you are using the smudge tool and you can find that up here in your toolbar beside your brush icon. Then next thing we're going to look at is our size limits for our brush. We have a minimum size limit and we have the maximum size limit. Over here, we have our slider for our normal brush when we're using it. But within this setting area is where we set the maximum and the minimum that we can attain with this brush using this slider. We can set it to the maximum or the minimum or somewhere in between but that sizing is established here by these size limits. We can make the maximum and the minimum anything we want here, depending on what we want to do with our brush. Then down below here we have a opacity limits also with a maximum and a minimum. I generally leave the maximum at max and the minimum at minimum and I'll show you when we get to certain brushes why I changed that, but for now you leave it like that. Now we're going to go into our stroke tab. Under a stroke properties right now it's has a spacing and I'm going to take that right down to none. You will see here in the maximum size limits, when I go back into the general tab, my maximum is at 100 percent. But if I go back into the stroke tab and put just a touch of a spacing and currently I have none. Again, my maximum here is 100. But if I go back into my spacing and add just a touch of spacing, not like less than 10 percent, you can't really tell in the preview window that there's any difference. But look at here, I have all kinds of percentage to work with now, the 100 percent is way down low and I can make this brush substantially larger. That's a little trick. I've had some people ask me that they can't get their brush to be as big as some of mine, that's the trick. You add just a small percentage of spacing. But anyway, so we're going to go back to the stroke tab and create our first brush. We're going to make everything down to zero under this stroke properties and then we're going to try out our first brush. It's a little hard to see. I'll try and make it a little bit bigger. As we draw it, you can see the two shades of gray and black. If we go back into our general tab, I can even change the size limits here and experiment with those. I encourage you to play with those. You'll get a better idea of how all these levers work if you play around with them. See how I made the minimum so much larger. Now if I go back and take that minimum down to the lowest, see how my minimum, it's almost impossible to see because it's so thin. That's how these sliders affect your brush. I like to leave my minimum just up a little bit so I'm not drawing with an invisible brush. I'll zoom in here. That's my minimum based on the settings that I have in my general tab. That sets the size range for this brush. Going back into the stroke properties under the stroke tab, let's look at this stream line. If I was to draw with this brush, let's move it up to about a medium size and I'm going to draw with no streamline at all. I get a very hand-drawn look. Now, I'm just going to move my minimum up a little more, I play with these settings all the time, especially the maximum, minimum. These aren't important right now, we'll just leave those off so they don't confuse you. Let's pick a color. I'm going to go with blue. Again, I'm going to try this as no streamline at all. See how my curves are very hand-drawn. Now if I take my stream line up, let's go all the way to the top. Now I'm going to draw the same image using the streamline on the max and you'll get to compare the two because they're side by side. You can see how much smoother my curves are when I have the streamline on. What the streamline does is it averages out your drawing as you draw and its smooth all your curves in your lines, so that it looks like you have this wonderful steady hand. I love using this when I'm doing flourishing or pretty much any of my spirals. However, there's sometimes that it can cause you problems. If I put it halfway, I'll just give you an idea there my Apple pencil jumped again. If your screen is a little dirty or your pencils not fully charged, it will do that. So see how I got nice curves on my loops. Now if I go and put it all the way to the top, it curves them even more like it's smooth that out almost to the point where you feel like you're dragging the line. If I wanted to do like a little, will be lying like that. It really smooths that out to the point where it's almost straight. Whereas if I take this streamline off, see how I can get all the little loops in there a lot easier. I'm changing direction quite quickly and streamline doesn't let you do that very well. It's nice to have the option of whether you want to be using that or not. Now, in the next lesson we're going to start to explore some of the elements in the shape tab as we complete our first brush.
6. Stroke & Spacing Tabs - Brushes 1 thru 4: Now, we're not quite done with brush 1 yet, because I want to show you some of the things that are in the brush settings in this Shape tab. We're going to keep brush 1 with all the same settings from the last lesson, and we're going to tweak it a bit more. Under the Shape tab, you're going to go to Rotation, and you're going to move that right up to the top where it says Follow Stroke. Now, let's try this brush out on a blank layer and see what we get. You can see here from what I've drawn, this doesn't look anything like what's in the preview window. Go into the General tab and turn this Orient To Screen off. Now, let's try the brush again. Now, it looks like what's in the preview window. That Orient To Screen button can really change the look of your brush, and we'll see that more as we go and create more brushes, but it really has an effect on the way that your image is being used. We're going to create a separate layer for each one of our brushes so that we can see what the final brush looks like for each of the brushes that we create. This is going to be brush number 1, and I'm going to go in and name the layer Brush 1, so that when we've done all of our brushes, you can go back and look and see how different each of these brushes are. Make a new layer and then we're going to go in and create brush number 2. We do this by going back to our Brushes, duplicating by sliding to the left and choosing Duplicate, that's the easiest way to use the same source image, and we're going to call it brush number 2. Now we can go in and play with the settings, knowing that brush number 1 is complete. Brush number 2, we're using all the same settings and we're going under the Shape tab and turning on this button Azimuth, that one little button will make a difference in our brush. On our new layer, turn off the old one, we're going to draw the same figure and see how in this one the lines actually cross. That's what the Azimuth button does, it almost gives it a 3D ribbon effect. If I turn on brush number 1, see how the lines don't cross and on brush number 2, using this Azimuth button, it's the only difference, the lines are crossing over. Let's name our layer before we forget, brush number 2 and now you have two different brushes, the only difference is that one button, that Azimuth button. Let's move on to the next brush. We're on brush number 3 now, we're going to go in and duplicate and create brush number 3. Let's see what else we can explore in just these two tabs, so far we've stayed within the Stroke and the Shape tabs. We're also creating a new layer, which is going to be for brush 3 and I'm going to change the color just to have a little fun here. We're currently in the Shape tab, and I'm going to turn off this Azimuth button. Then we're going to go back into the Stroke tab and we're going to play around with this spacing this time. We're going to bring this spacing up to about somewhere in the 50 percent range. You can't get the numbers exact because you're working with sliders, but let's see what that does. See now it's not a continuous line anymore, now we have all the little dots separated from each other. We'll go back in here and we'll play around with the spacing so you can make them overlap each other, or you can space them really close together, or you can make them spaced really far apart. Play around with that spacing and keep practicing drawing on your canvas and see what kind of spacing that you really like the look of. We're going to call this brush number 3 so we need to name our canvas, brush number 3 and I think this is what we're going to stick with with our third brush and then we're going to go back in and create a fourth brush. Now, your streamline isn't going to make a huge difference when you're working with the dots, it makes more of a difference when you have a continuous line. Let's go in here and duplicate and we're going to make brush number 4 and then we're going to play around with that one. I'm going to turn the Azimuth button back on and see what that does when we're working with spaced-out dots. See again, it's the same idea as it does with a solid line, but it does with the dot. The dots actually look like a 3D ribbon as well. Let's go back into the general tab and try this orient To screen button. We're going to turn it back on and see if it makes any difference. I find when I'm making brushes, a lot of it is just turning buttons on and off and seeing how they react with each other. Different source images will respond differently, and different combinations of buttons will also respond differently. I'm just changing up my color here to pink. You can run through the different colors because you get different perspectives when you change the color on a brush, you can see things differently. Let's try two versions, one with the orient to screen button on and one with it off and see if we can see any difference. This is the easiest way to see, you draw a similar image right beside each other and you just change one setting. You can see if you can see any difference and there is a little bit of a difference, it just seems like one is angled one way in one's angle the other way. In this instance, it's not a huge difference. In some source images, it will make a big difference and then when you get into working with texture, that's a whole other story. We're just going to keep it this way and we're going to call this one brush number 4. We have to go into our layers here, keeping things organized, and we're going to rename or layer brush number 4. You can create all of these layers ahead of time if you'd rather not have to do this each time. But we're going to leave this button on for brush number 4. We have the Azimuth on, we have follow stroke, rotation is to the max and our stroke settings, we have our spacing not quite halfway up and at the moment I have streamline on, but I don't think it's making a huge difference. Again, the PDF will have all of the settings for each of these brushes. If you get a little confused, you can have that in front of you because there's a lot of different tabs that we're working with. I encourage you to play around with the size limits under the General tab. The more you play with these levers, the better you'll understand them and you will find that you use this size limits max and min quite a bit when you're creating your brushes. There we've created four brushes already and in the next lesson, we're going to explore more possibilities when we get into jitter and scatter.
7. Stroke Jitter and Shape Scatter - Brush 5: Welcome back and let's get started on brush number 5. So duplicate brush number 4 and let's change the name to brush 5, and then I'm going to go in, I think I'm going to use orange this time. See how that shows up, and then we have to rename the layer that we're going to draw this brush on, to brush number 5. The first setting that we're going to go in for brush number 5 and look at, is under this Stroke tab and we're going to look at Jitter this time. This one can be a lot of fun and you have to play around with it to understand it, so, I'm just going move it up. Right now I have my dots have a spacing to them. As I jitter, as I move this up and down, it moves that source image further and further apart from each other, so, you end up is if somebody just grabbed a handful of that image and just tossed it onto the page. We'll notice all of our images are facing the same direction. We go into our Shape tab, and I'm just going take the rotation back to zero, and we're going to play with Scatter. Scatter actually makes the image twist and turn. See how they were all one direction and when you turn Scatter on, they all literally scatter. The way that Jitter works, is from the center line out, and the way that Scatter works, is it literally rotates around the center line. Here you see as I move the Jitter up and down, it spreads out from that center line. So if I leave Jitter off and I only have Scatter up to the max, this is the result that you get, and it makes a nice lettering brush, but if I add in Jitter, it's going to spread that out a little more from that line. I'm just erasing here so I don't end up with the ton of canvas work. We'll try this example here, we'll put one to this side, and then we'll go back in and we will move the Jitter up, we'll actually put Jitter on and see how it spreads out just slightly. It's so subtle and yet it can really make the difference. I love that the settings, you can fine tune your brushes so well, but at the same time, it's a lot of bells and whistles, so, you really have to try them out to understand them. We have Jitter on a little bit here. We're going to go back into shape and try this Randomized button right here, and what that does is it randomizes the pattern. When you're drawing the brush, it will continue to draw in a specific pattern of scattering jitter and the randomized button will randomize that pattern for you. So sometimes you can see the differences, sometimes you can't. It depends on what your brush settings are, but the randomized can come in really handy because, if you start seeing the same pattern showing up in your line, the randomized will break that pattern up. You can see here, these darker dots are lined up a little bit different than they are in that first one. Let's try some of the settings that we already tried in the last brushes. This is how you learn, you add them in, you take them out. So let's try this as Math button and see if it makes any difference in our brush. I really doubt that it will, because we have such a jumbled pattern right now, it's not really going to show up and make a difference. Let's try the rotation to follow stroke and see if that one makes any difference. It probably really won't either once again, because we have such a scattered brush that we're working with, it's hard to pick up those items, but the best way to tell, again, is you draw one on the left-hand side of your canvas, change the setting and draw a second one on the other. There is a difference in the brushes, and sometimes you know what you're looking for, and it'll show up simply by changing one button, so, it's a lot of tweaking and playing with the settings, if you are looking for a certain style of brush. I love to go in and just play with it and see what I end up with. A lot of the brushes I've created have comes simply from experimentation with no expectations. Let's try another thing, lets orient this screen button, turn that off under the General tab and draw yourself a little figure, then turn it on and draw another one, and I'm not really seeing a lot of difference there. So that button itself isn't going to make a difference. Let's see if there's anything else I can change in this tab. How about we try going to the Source tab and rotate our source image and you can just see in the preview window if that's going to make any difference, not really making a difference. I think I went to stay with this for brush number 5, and in the next lesson, we're going to create a couple more brushes and we're going to go into the dynamics tab. I'll see you there.
8. Size Jitter - Brushes 6 & 7: Now let's get brush number 6 going and we're going to experiment now with our Dynamics tab. This is one of my favorite ones. There's so much you can do with this tab. So let's get started by creating our brush 6 layer and labeling it. We've already duplicated our brush number 5 and are ready to go for brush number 6. Now let's set our brush up here. We're going to go into the stroke tab. I'm going to get rid of jitter completely and I'm going to leave spacing the same. Then I'm going to go under the Shape tab. I think I'm going to leave all that same green we're touching. So I'd like to leave these right down to nothing because it's not really affecting it. Now we're in dynamics and we were in here at the beginning to choose the glazed option. So we haven't been in your since. Now we're going to play with the jitter under this size dynamics and see how it changes the size. There's a real variant of size now: some large, some small. There isn't anything we need under the Pencil tab. Under General tab, I think I'm just going to turn off this orient to screen. I don't know if it'll really make a difference. I'm going to stick with the blue, and I'm going to experiment with this brush. So let's see what we get from this. Now let's make it a little bit bigger here. I want my size to be big enough that you can see it on the screen. You'll see a little bit better there. Still pretty small. I'm to go back into my general tab and bring my max up so that when it's about the center there, I should have a decent size brush. I usually keep it around the 500 percent. That seems to be the common thing I do there. Now I can see it a lot better than he could before. See how there's all those different sizes of circles? See if we can get you a really nice one. Just keep drawing with it, experimenting with it. You'll get the feel for your brush. Then it's easier to know what you want to do with the size settings. That was brush number 6. Let's move on to brush number 7. So I duplicate brush 6 and we'll rename this one brush 7. We're going to play around with some of the settings in the other tabs, keeping that dynamic size jitter on and see how we can make some changes. So I'm just going to name my layer brush 7. I think I'm going to go pink. Let's get in there and work on this brush. So under the Source tab, we're going to rotate the source image. I'm going to rotate it to the left so my dark one is on the left. Then I'm going to go back into the stroke tab. I'll probably bring the streamline up just a little bit on this one just to see. Now the spacing is fun to play with because your little circles are going to overlap your big circles. So that's fun to play around with. Then under our Shape tab, we're going to take our scatter all the way off. We're going to put our rotation all the way up to follow stroke. Then I'm going to turn off the randomized button. See if I turn it on, you can see in the preview window, it makes it chunky. I don't want that, I want it to be smooth and streamlines. So we turn off the randomized and back in dynamics. You have to scroll down in order to find those sides. There it is. I have it up to max. I'm going to leave it up to max. Then under Pencil, we don't need that one yet. Under General tab, I probably will mess around with my size limits in the preview window here just a little bit. I'm always messing with the size limits. You've probably noticed that already. Let's go on brush number 7. Then I'm going to go into the stroke tab one more time, tweak my spacing a little bit. When I'm happy with that, I'm going to give this brush ago. So there we go, see how it's more of a line brush now. Now you probably need a little bit bigger. So I'll move my size up a little. There we go. See how the jitter of the sizes of the dots all overlap and create a line and they follow my pencil wherever I go. So now if I were to rotate this back to the way we had it, see how changes in the preview. See now, that's funky, but it's not the look I'm looking for. I rotate it back, so it's a horizontal line of dots. Now I'll go into my Shape tab and I'm going to take this rotation right off just to show you. See, now you get a bit of an angle on it. But it's still not this perfect line that I'm looking for so I'm going to go back in and take rotation all the way up to follow stroke. Now I get this single line of dots that I'm looking for. So there's two more brushes for you. Now in the next lesson, we're going to stay with this Dynamic tab and experiment with some more brushes. We'll see you there.
9. Alt Source Image & Opacity Jitter - Brushes 8 & 9: Now we are ready to do brush number 8. Let's go and duplicate brush 7 and change the name to brush 8. Then we're going to create our layer as well. Just create a new layer and call it brush number 8 as well. That's a good experimenting again we were in the dynamics tab and I'm going to stay within that tab. For brush number 8, the first thing we're going to do is go into our source pick and we're going to rotate our source pick back so it's vertical, didn't go all the way there. Now, just make sure it snaps in the place. It should rotate right into place. Then we're going to go back to our stroke and see how it's changed. Now, I'm going to remove a lot of the spacing. For now I'm just going to take this streamline down to nothing and I'm going to try. Now I don't know if I want jitter, see how it covers. I don't know if this is the look I'm going for. Let's just move it up a little bit. I want a little bit of jitter in there, but I don't want that black dot to take over the whole brush. I'm going to tweak my spacing and jitter till I'm happy. Then I'm going to go into this Shape tab and I'm going to try taking the rotation right off. Then we're going to play around with this scatter and I'm just going to move that up slightly. I do want a bit of scatter in there, again not a lot. I think I'm pretty happy with that. Nothing in the grain and the dynamic. We have to scroll down here and see what we've done. We have full jitter. Let's just move this backwards a bit and see. If you turn it right off, that's what I get. I turn it right on, it's really spacey. If I went somewhere in the middle, maybe to the lower end, that might be what I'm looking for, a blotchy look where the circles meld together. Now see this spacing in here. This is because in my source pick, I have my circles fairly well spaced out. let's just see what this looks like as an actual brush. I'm going to bring it down just a little. When I draw that, see, there's quite a bit of space in between my lines there. If we go back to our source pick, we can change this up. I'm going to duplicate that group because I want to leave my original untouched. Now I can go in and I can move these circles a little closer together. This is why we kept this source pick grouped together at the bottom of our Canvas just in case we want to change it. That's easily done. I'm just shifting my circle's a little closer together to keep that on the magnetic there, there we go. They're lined up perfectly, but now the space in between them is a lot less. If I go back and turn the other one on, I'm just going to rename this one so that I don't get them mix up. This would be source pick number 2 for now. If I were to look at compared to the original, there's the original and see how much closer together I've made them. That's going to make a difference in my brush. Now I can go back in and copy Canvas. I can go back into my brush and literally just change the source pick, hold it down, choose paste, and now the new source pick has taken over. There's a lot less space between my circles now. This is the old one I left it on, and now my new one, it might be a little tricky to see, but there's a lot less space in between the circles. I'll zoom-in here, see there were little gaps in here. I didn't want those. Now they almost look like they're overlapping each other. You can tweak your source pick as you go as well. Just keep your source pick in the bottom of your Canvas and It's always there for you to change. That was a brush number 8. I'm going to keep that as brush number 8, and I'm also going to keep the new source picks. For brush number 9, moving forward, we're going to use this new source pick where the dots are closer together. Let's go in and duplicate brush number 8 and change the name of the new one to brush number 9. Let's get in there and make a few more changes. Now brush number 9, I think for this one, I'm going to take this source pick. Right now, I have the black on top and the light gray on the bottom. I think I'm going to reverse this. I'm going to completely flip it by rotating it so that the light is now on the top. I'm going to go into my Stroke tab and I'm going to take my spacing down to zero, and I'm going to move my jitter up just so it gives me that nice, messy look. I'm just tweaking it a little bit to see how much of a messy look I want, because it really fans out with this jitter. See how it spreads out from the center line. That's what this jitter does. Then I'm going to go into Shape and I'm going to take this scatter right off. See if I have scatter on here with the black tends to take over and I want you to be able to see that light gray. Then I'm going to go into dynamics and I'm just going to scroll down here. We currently have a sized dynamics jitter on halfway. I'm going to take it all the way up to the top and then we're going to go to opacity dynamics and we're going to move the jitter about halfway. In a positive dynamics, you're dealing now with opacity not with size. Even though there's different sizes, because I have the size jitter on, this is a positive. It's how dark or light your source image is going to come through, how opaque or translucent it's going to come through. We're not going to do anything under the General tab, and I'm going to try out an orange. I really encourage you to play around with the colors with these brushes. It helps you see the brushes a little bit different because we all see the colors a little bit different. I'm going to try it again with a blue. I want it to come through clearly on the video. The blue has some darker tones in it. But you can really see a lot happening with this brush. There's all sizes and opaque variations in there. Even though our source image has two grays and a black, when you start messing around with the, I think I went just try little streamline here. When you start messing around with the opaque dynamic, the jitter with the opaque, you really get a fun look to your brush. It introduces a lot more shades into your source image. See here under Dynamics, I have my size jitter up to full, but my opacity jitter is only halfway. Experiment with that, but that is brush number 9. We'll see you in the next lesson when we start to learn about taper.
10. Taper - Brush 10: Now let's try the taper setting under stroke. So I've gone ahead and I've created brush number 10 just by duplicating the last brush and as well as my layer brush 10. So let's go into Stroke and we're going to remove the jitter from the previous brush. We're just going to clean up our settings. I'm going to move this to streamline in the Shape. I'm going to take my rotation all the way up to follow stroke. In the Dynamics I'm going to take both the jitters right back down to zero. Don't need to worry about pencil. We're going to go ahead into the general and I'm going to see if I need to change anything in here before I move on and work with the taper. So this right here, Size Limits, minimum has to be rate down to the bottom for the taper to really work, and then under Source, I think we're pretty good. I'm just going to leave it that way. So as long as we have this size limits minimum down to the bottom, we should be good. Make my way back through here and make sure everybody is set up the way I want them to be. This needs to be at Follow Stroke and we're back into the Stroke tab and I have the Stream line up to the top. Now the next thing we're going to do is on this Stroke Taper. Take the Start right up to the top and we're going to take the end right up to the top. They don't have to be right at the top, but I think that's where we're going to put them in to start with and then we don't need to do anything with Opacity. If I do move that up to the top, you can see how the Taper at the very end of our preview goes faint. I don't want that, so I'll leave that one off and now size, I want my Taper to be as tiny as possible. So I take my Size right up to the max, if I bring it down see it's a little blunt there so we'll take it right to the top and that gives me my nice points. Now will give this brush a try, I have the nice green on. Now here's the thing with this taper. It doesn't taper at the end when he used the pencil. I does at the beginning, beautiful Taper and if you used your finger, you'd actually get what's in the preview. You would get a little Taper at the end, not the same as at the front. I don't know why it works like that, but I want to just give you an idea. This is how you get this beautiful Taper at the beginning of your Stroke. We will deal with the End Taper once we get into pencil pressure, we can solve it there. But for now, we're focusing on this taper at the beginning while we're using the pencil, like I said, if you use your finger, you can actually get that taper at the end of the Stroke as well. So let's go back in here. See I have this Unfollow Stroke. If I were to take that off under the shape tab and then I draw myself a nice little design here. See the difference, this gives you that nice rainbow. They never cross here they cross just as if I had that Asthma button on. So let's take it back and do a little experimentation. The Azmuth is not on, so let's turn it on, but leaving the rotation at zero and then I'm going to clear this up. See how when I draw it again, I get the same look as if I had the rotation all the way up to Follow Stroke. So now we're going to try it with both the Follows Stroke on and the Azmuth on. Really not a big difference between these two brushes, the Azmuth does the same thing. So if I were to take that off and I'm going to go back here and get rid of that one and then I draw it again. Now I have the nice rainbow again. So playing around with those buttons, you can see one little button can change something and it's combinations that give you the look that you're looking for. So let's get rid of both of those. So one more time I'm going to go over that. If I just have the Follow Stroke on without the Azmuth, this is what I get. Now if I turn on the Azmuth with the Follows Stroke on, I'm going to get that overlapping look as if it's a three dimensional ribbon look. So you can see the difference between the pens. We dealt with this in an earlier lesson as well. But now you have this nice little taper on the end. Great for flourishing. So that looks after the basic taper setting, but in the next lesson we're going to get into Pencil pressure. See you there.
11. Pencil Pressure - Brush 11 & 12: Welcome back and we're ready to work with the pencil tab. I already have brush number 11 duplicated and ready to go and I think I'm going to keep the settings all the same as brush 10. I'm just going to run through and make sure that they are what I want them to be. Then we're going to tackle the pencil tab. Under the pencil tab, that's where you get the most from your Apple Pencil because now we're going to deal with pressure sensitive brushes, and these can be so much fun and there's a lot you can do with it. We're going to get going here. I think I'm happy with everything. Now we're under the pencil tab and this is where we're going to deal with the Apple Pencil pressure, so a pressure sensitive brush. The first one we're going to deal with is size. Whatever we do here, we're going to be able to use the pressure of the pencil as we draw to affect how the brush is going to look. Opacity is another one that I really like to use. See, you can just try it out here in the preview window. Depending on the pressure that you exert on your pencil against the canvas, it's going to alter the size and opacity when you use those two levers. Let me just look in here. Under size limits, it's really important to have your max and your min. Not necessarily at the max and min, but pretty close because that's how you'll get the most effect out of pressure sensitive brushes. Same with opacity limits, you need them at max and min as well. Let's give this brush a try. I am using opacity and size, and I have them that the more pressure I exert, the larger the brush it will get, and the less pressure I get, the less opacity it will get. It's a beautiful feeling to use a pressure sensitive brush, the settings are a lot of fun. So that's your basic brush 11 with just those simple settings being moved. Let's move on to brush number 12 and we'll try something different, staying within the pencil tab. I'm just going to create a new layer here, call it brush 12. I have my brush 12 ready to go. So we're going to go in now to the stroke path and I'm going to create some space here. So I'm actually going to get my dots to show up again. Under the pencil tab, I'm just going to stay with opacity and size. Those are the two most common and those will have the most influence on my brush. Here I'm going to rotate my source image because now I want it to be horizontal. Now I'm going to go into the size limits under the general tab and play around with those. Since I created some space in between my images, I have a lot more percentage to work with. The size limits when you're working with a pressure sensitive brush, they set the minimum and the maximum that your pressure sensitive brush can reach size-wise. Same with the opacity limits in the general setting, your max and your min are going to set the limits that your pressure sensitivity for opacity will work as well. Now we're going to go back into stroke and just check out my spacing and see what I'm looking for here. I haven't quite got the effect I'm looking for. Let's see, you take off the azimuth. Yeah, it is actually. It's putting the dots in line, which is what I want. Now we'll go into dynamics. Let me see. That is what I'm looking for. Let's just see. No, not really. All the dots they're pressure sensitive, but it's not really what I'm looking to do here. So I'm going to go in under the dynamics tab, I'm going to move my size dynamics jitter up. I think I'll put it right up to the top. The opacity dynamics jitter I'm going to put it about halfway. Then I think that's going to help out with what I'm looking to do. Now, on top of the Apple Pencil pressure, I think because I've added some jitter in the opacity, I'm going to take the opacity out of the pencil pressure completely, but I am going to leave this size on to the max. I think I should probably give the brush a try. Let me just see if there's anything I need to do in here. I think my size limits are probably okay for this. So let's just try this brush out and see what we get. We're getting a little closer, but I don't like these big gaps and it's a little chunky. I don't want it to do that. So let me see if I can figure out why it's doing that. If I go back into my stroke tab, I'll take the spacing down just a little bit and I'm going to bring this streamline down. It doesn't need to be maxed out, could be causing the problem. I want to keep my taper. I really like that taper. So for the moment, I'll keep that on max and I'll just go through the other. You can see now when you introduce pencil pressure, you've got a lot of buttons you're working with. One button can change your whole brush, but it can also cause you a problem. When they work together, sometimes they create something that you don't want. So you have to go through them, look at all your buttons, look at all your sliders, and see which one might be causing the combination issue. Those spaces because I'm using three dots piled on top of each other, I'm getting those gaps in between the three dots and I'm trying to get rid of that. So let me see. Everything seems fine there. Let's try it again with that spacing changed and the streamline. I do think that streamline was causing me some problem. But see, I'm still getting a gap in here and I think I know what's happening there. Let's go back in. No I don't think it's that. I actually think it's here. I think it's the size dynamics. I think I have them on too high. Let's try it again here. I move them down a little. They are much better. So the size dynamics were causing the problem because they were making my small dots way too small and they were actually disappearing. So I've moved my size dynamics in my dynamic tab down on the jitter and the opacity is fine. So about halfway for each. The nice thing with the opacity, see how the dots are overlapping. When you make the spacing close enough, the opacity lets you see large dots and little dots overlap each other. So there is the brush that I was looking for, a nice brush that flows around with all the dots overlapping each other of different sizes and it's pressure sensitive. So I do get asked about this taper. Do I need to have the taper on when I have pressure sensitivity? Let's take the size right down to zero and see what the difference is. Now there's no taper because the size is at zero, but I'm still doing pressure sensitivity. So you are getting some form of taper there, but not quite as nice as when you use the stroke taper under the stroke tab. So now we have two pressure-sensitive brushes that you've created. I'm only going to deal with those two settings, size and opacity because there are so many settings under that tab. But those two settings can turn any brush into a pressure sensitive brush that you will love to work with. In the next lesson, we're going to get back into working with some more of the dynamics.
12. Wet Mix - Brush 13: We're ready now to work with a wet mix in the dynamic section. I have brush 13 here, I'm just going to remove some of these settings. I'm going to take everything down to zero on the stroke, then I'm going to go into my source tab and I'm going to rotate this image back to vertical. I just want to reset this brush so that I can get an idea of what I'm doing. Under dynamics, I'm going to get rid of some of that jitter under shape, no, I'm going to leave that follow stroke alone for now and this jitter under dynamics as well. So far we've been working with glazed under here but now we're going to use wet mix. Wet mix is a lot like painting and you'll see as we work with this brush the really nice effects you can get with it. I'm going to go back in to shape and just get rid of this follow stroke and reset that as well, start fresh. Let's give this a try, pencil pressure. Yeah, I want to get rid of that, the size on the pencil pressure. I think we're probably pretty good here tweaking all these settings as we go but you'll see as we work with this brush I'm going to readdress where the setting should be to get the different effects you're looking for. Let's just try this brush out with what we've got. I'll show you here, no that's not big enough. Let's make this a little bit bigger and you'll get a better idea. There we go. You can really see why it's called wet mix. You really get a nice painterly effect with this brush. There's many settings in here. The first one is dilution and just like with paint, it's either fully diluted or no dilution at all. When you have it up at the top it's fully diluted, at the bottom there's no dilution and you should get a darker brush at the bottom. Let's move all these settings down to really get the idea here. With everything off including dilution, there's no dilution. You get a nice solid color of brush. If I move it to the top, see how it fits right away because maximum dilution, there's no colors. See, no color. I can drag this around. I can see my brush cursor, so I know I'm touching but there's no color because it's fully diluted which means pretty much invisible. Now, if we move this back halfway with nothing else on, you get a little bit of color. It's like half dilution. Then when we move it right down at the bottom, it's full on paint. You can see the difference there, it's just like if you are adding water to your paint basically and making it more diluted. That's what that lever does. The next one we have is charge and this is how the brushes affect it at the very beginning of your stroke. Attack, that one is part-way through. Let's just try charge to start with. It's easier to understand these buttons if we do one at a time. See this color right at the front, that's the charge and then we have a very mild dilution so it's very faint, the rest of the brush. But your charge is how strong the color is at the front and attack is more about what's happening in the middle of the stroke. The attack actually depends on the pressure you put on your pencil. With less pressure I get less color and with more pressure I get more color. It's how you attack your stroke. If I take the attack right off and leave the charge on so you know how I've colored the beginning but all the way through it's very, very faint. If I go back in and I move the attack on and take the charge off, you're not going to see much color at the front but every time I lean into this brush I get more color and when I let off from the brush I get less color. Now you can see how charge and attack work together to create a stroke that you're looking for. That's charge and attack and the other setting that we haven't dealt with here is pull. Here you can have no pull at all or you can take pull up to the max. Let's set it up pretty high and give our stroke a try. I do have charge and attack on as well but the pull brings your paint through your stroke, it pulls your paint along your stroke. If I have my attack off and I leave the charge on and my pull on, let's see what the stroke looks like. There's no attack but the color is still being pulled through my stroke from the charge. I have a strong charge and that color gets pulled through the stroke. If I lower my pull leaving my charge where it was, see how I have less color coming through my stroke? That's because the pull isn't as strong. That's how pull affects your stroke. It's good to know what these settings to do but you really have to play around with them to fully understand what it is they can do for you and depending on the look you're looking for again, it's all about the combinations. This one here called grade, this is a fairly new setting procreate has come out with. When grade is up to the top, you get a very smooth look to your stroke. At the center, it's pretty much what you would normally get with the stroke and then at the bottom it gives you a choppier. You see how it's a little bit choppier especially because I have the dots. It gives you a rougher look to your stroke. I don't use this one very much, I usually leave it around the center. The smooth is nice but it smooths out this look here that I'm looking for when I have it turned right off. Every button has its purpose depending on whatever source image you're using and whatever look you're looking for. There we have brush number 13, I'm just going to draw it on here. I'm going to try streamline on here. Let's go in and go to stroke and put streamline on and just see what happens here. I'm going to draw it again. No, I don't like the streamlines. You see how chunky it has gotten here. It really breaks up my image so we're going to take streamline right off and now we have brush number 13 and in the next lesson we're going to tackle another wet mix brush. I'll meet you there.
13. Wet Mix Cont. - Brush 14 & 15: Now let's try another brush in our wet mix. I have brushed 14, ready to go. Under the settings, I'm going to go under the Pencil Tab and I'm going to put a little bit of pencil pressure on this. The size lever, I'm going to move up just ever so slightly so that I have a little bit of pencil pressure. Then back in our dynamics, I'm going to leave all of these settings alone the way that they are, and we're going to go down and adds some jitter into this size dynamic. The Preview Window really helps you keep tabs on what's happening with your brush without having to try it out every time you move a lever. So now we go into this shape and I'm going to put Scatter on to "Max" because I think that's the look that I'm going for and that's the only thing I'm going to do in this window. Let's give our brush a try on the canvas now and see how it looks there. Now you can see all the fun little circles that are in there. How cool is that? Now I went a little taper on the end here. I'm going to go back into Stroke and move my taper settings, the start, the end and the size all up to the top, and we'll see what that does for us. There's a nice taper at the beginning of my stroke. Now, not so much at the end of the stroke, but that's pencil pressure. We'll deal with that in a bit. Let's go back into shape. I'm going to take my scatter right-off and just show you the difference. See if I take the scatter off, I end up with more of a solid look to the lines. But with the scatter, that's what gives me all these really cool little jelly like circles with all the different colors in them. The scatter function, remember, rotates around the center line. We're going to put that back on because I'd want that on the brush. Rotates your image around the center line. It's really mixing up those gray and black circles for me. There we have brush number 14. I'm happy with that one, but I want to try some more things. Let's try a new brush to experiment with some more stuff. Let's create brush number 15. Duplicate my brush and I have to go in and make a new layer, turn that other one off. It's really nice to have all these layers so you can look back and see what kind of brushes you've already created. Now I have brush number 15 and I'm going to choose pink for this one. We're going to go ahead into the brush and let's look at the settings here. So under this Stroke tab, I think what I'm going to do here is bring a little bit of jitter into this one. I'm just going to watch my preview window here. I think I wanted about halfway. Then down here, I want the stroke taper on it, but maybe not quite as strong. You see here the start and end have different sliders from the size. That's just the difference between how quickly it tapers and how much of a point you get. Let's see here end of shape behavior. I think we're going to keep everything the same, Keep the scatter on. Then we're going to go into "Pencil Pressure" and take that right off for now. I don't think I want pencil pressure in this one. Then the next tab I'm going to look at is say everything is fine with the source, the dynamics. Now we're back into the wet mix. Let's see what else we can do here. I think I'm going to put my charge right up to the top. I'm going to take the attack right off for now. I'm going to put the pull right up to the top. I want a lot on at the beginning and I want to pull it all the way through. Now I'm going to bring my opacity jitter up to the top. You can see that in the preview window it gives me lots of different circle values. I have that on max. Then I'm also going to bring the size jitter up to the max as well. It gives me all different sizes in there. This'll be fun. Let's take around medium there and just try this brush out and see there. Now I have a beautiful scattered look of all my circles of all different sizes. It really works nice. Now there's no pressure sensitivity on this brush at all. So what I might do is I might bring a little bit of attack into this. That actually will give me a bit of pressure sensitivity because the harder I push the more paint will go on the canvas. You can see there where I push a little harder it does go a little darker, and I like that. That gives me just enough control. If you zoom in, you can see all the different capacities and sizes of these little circles. You wouldn't even know it came from our source image. That's brush number 15. In the next lesson, we're going to get into working with some fill brushes. I'll see you there.
14. Fill Brushes - Brush 16 & 17: So up until now we've been working with more like a line brush that would work well for forms of lettering. But now let's do a fill brush that will work good if you're doing illustration and you want to create painted backgrounds. So we're on Brush 16 now, and we are under the dynamics tab and I think I'm gonna go with normal this time we were working with glazed up until now. But let's try normal and see what a bit of a difference this can make. So under the Stroke tab, I'm going to take the jitter right up to the top and that really spreads my source image out. Under shape, I'm going to keep the scatter on and turn on randomized. Back under dynamics, we were doing glazed, but I want to try the normal. When you do a normal, it disregards the different shades that are in your source pick were glaze brings those in, so the different grays would be disregarded. Now, under the General tab, this will pass the limits. We haven't really changed this at all. It doesn't really come into play unless you're working with pencil pressure and under the pencil tab, you can change opacity based on pencil pressure. This opacity limits, I believe, sets the limits for that. Opacity shows up in so many different places under the settings, it can get a little confusing. If you're not sure, try it out, move the levers around and see if it makes a difference for you. But I think in this case, although our preview seems to change, you really don't know unless you try the brush out. Now in here, see I have opacity dynamics jitter up, and I do want that. Let me make this a little bigger so we can see, and you can see that there's a definite opacity difference there. Now if I move the lever all the way to the bottom and I tried again, I don't really see a difference in the effect. That's the best way when in doubt, just move the levers and try out the two different versions and see what you end up with. Now let's just see the difference between the normal and the glazed. First we're going to do the normal. I'm just going to make that bigger so that you can see it better. This one is the normal. Now let's try the glazed right above it and then I will zoom in and take a look. The glazed it has lots of different values of that color. But the normal one has a lot more variance in its opacity because you can see some of the dots through the other dots. I actually think I prefer the normal you can here, it's a very subtle difference, but enough that I like the normal version better and that's usually the best way to pick is just to experiment. This is your fill brush and you can fill your entire Canvas very quickly with a brush like this and then you can add in more colors to really mix it up and give yourself a really pretty painted background. I'm adding in some blue and I'm changing up the sizing of my brush just to give it lots of variety and lots of interests. If I don't like any of the colors that I've already got in my palette because I've created quite a few palettes here. I just go back into my color picker and I play around with the colors until I find one that I like and I can add into my little painting. So just a lighter, I was just going for a little lighter shade there and once you're happy with that, then the other thing you can do is switch up your background. So you go down to the bottom, click on the background and it gives you all your palate colors. Or you can do the same thing and you can just move around and try different background colors. Normally you'd have the white, but it can really change up and it creates some really beautiful designs when you change the background color. That's a really quick and easy way to make a painted background to use in your lettering effects when you use the Blend Modes. So the fill brushes make them so much faster to make. So let's move on and make one more Fill brush before we finish up this lesson. I'm going to do brush number 17 and I'm going to go in and choose my color. I'm going to choose the blue that I've been working with and I want to make sure that I duplicate this brush 16 and turn it into brush 17. Now let's see, we're not going to do a lot of difference in this, but you're going to see a difference in the brush. We're just going to choose wet mix and then tweak some of the settings. So I'm going to take some of these settings down. The dilution I'm going to put at the top and then I'm leaving charge and attack on somewhere around the metalish and leave pull at max and then I'm going to take the opacity jitter off and I'm also going to take the size dynamics off. So then I'm going to go back into the stroke tab. In here I'm a little jumbled up in my windows, so I am going to add a little bit of spacing in so that they're not all cluttered too close together. I don't need this stroke taper. I didn't need it on 16 either, so I should have taken it off on brush 16. It's really not going to make a difference when you're doing a fill brush and my jitter, I'm going to leave fairly high. Now in my shape, I am going to bring the rotation on and I'm going to leave the randomized button on. Now back to my dynamics, and I just want to see if everything is where I want it to be. The pencil pressure, I'm not going to add anything there, so that's all off and in my general settings, I can just take this opacity minimum back down. Again, it shouldn't really be making any difference in my source image is fine. So let's try this brush. This one might not show up on the video screen as well. You'll see it when you use it yourself. But it really comes up with a beautiful texture with all of the little dots overlapping and almost mixing together, which is why we're using wet mix. So let me just move this up a little bit bigger and I'm going to go back into the settings and I want to be in my dynamics. I'm going to take the dilution off, that's really big. Let's, that's why I haven't zoomed in. So let's see with the dilution off, this is the look that I get and it's a little darker and not quite the look that I had before. So when I move the dilution up to the top, I end up with is a very delicate, nice glass look. They're overlapping each other and almost changing color with each other as I draw over top of them. So what's happening here is I have my dilution maxed out, which really should mean I should have an invisible brush. But I have the charge up, the attack up, and the pull is at the top. So whatever color I'm putting on the Canvas is getting pulled all the way through and when my pull is maxed out, it'll just keep pulling the color that comes from the charge. The charge is giving you the initial burst of color and the pole is doing the rest. Now I can add in other colors and they work with a color that I initially put on there. So what you end up getting with this brush is almost a broken glass mosaic look. You can just keep adding in more color. It's a very relaxing brush to work with and make some beautiful painted backgrounds. So in the next lesson we're going to start to look at the Blend Modes. I'm just going to touch on a few, but we'll make a couple of brushes with procreates new ability to use blend modes in the brushes. I'll see you in the next lesson.
15. Blend Modes - Brushes 18 thru 20: Welcome back and we're ready to create our next brush, so I've duplicated brush number 17 and renamed it 18 and then I just want to run through these settings. Under dynamics, I want to choose normal, we're not doing wet mix anymore. Under the Stroke Tab, I'm going to take this spacing right off and then I'm going to leave everything else the same. Hopefully you're getting familiar with these settings now and they're becoming second nature, nothing changing under the Shape Tab, we're not using green, the dynamics, we did choose normal, now I'm going to take the opacity jitter up to the top and I'm also going to use this size jitter and I'm going to max that out as well. The more you use these settings, the more familiar you are going to get with them. I don't want any pencil pressure on this one and that brings us into the General Tab and I just want to make sure that my source pickup, everything is good there, so we're ready now to work with the blend mode feature, that's under the General Tab and these blend modes are pretty much the same idea as what you have for the layers. Below here you can see the categories; darken, lighten, contrast, difference and color, currently we are set on normal up here where the chat mark is and we're going to try out multiply, which is under the darken category. Let's try this brush out, we have brush 18, we have the layer ready to go and let's give it a try. This brush is going to have multiple images layered on top of each other, that's the way the brush is designed and you can see as we go, wherever the colors overlap, it increases their value, so it multiplies them. Whereas, if I turned the multiply function off and go back to normal, I'll show you what the brush would've worked like without the multiply and you can see there, it's just the way that it was before, the colors don't really intensify, they just lie on top of each other. What multiply does is it interacts with whatever else is on the layer and it darkens it. See I can go over top of it now that I have multiplied back on and we get the darker blue showing up wherever they're overlapping. Currently, we don't have a color on that layer other than what the brush is, so let's fill a layer with a color, let's go with a green and make it obvious. We'll fill layer with a green and then we'll switch back to the blue color, we need a different color to see what's going to happen and we're going to use our brush on multiply. See as I draw it again, the color is interacting with whatever color is already on this layer. It has to be on this layer, it won't interact with other layers in the brush settings. Let's go back to normal to see the difference and there's the blue brush, it sits on top of the green normally but with multiply, it blends in and works with the color that's already on the layer and that's brush number 18. If you want to have a better understanding of these blend modes, you can check out my class magical art, where I do a much more thorough explanation of the different blend modes. For now, we're going to make two more brushes, trying out the blend modes in the brush settings. We're going on to brush number 19, so I'm creating a new layer and then in my brushes, I'm duplicating brush number 18 and turning it into brush 19. Now, we're going to number four, I changed what blend mode I'm going to use, I'm going to go back in and change the settings in my brush, I want to go back to just a basic brush. Under Stroke, I'm going to take off the jitter and under shape, I'm going to take off the scatter and off the rotation, what else I'm I going to do here? Dynamics, we're going to go back to gray's, so I can see my gray's and I'm going to take off the jitter for the opacity and off the jitter for the size. Pretty much everything is going off, no pencil pressure there anyways and under my general setting, say if I need to make any more changes before I move back into blend mode, I might move my size limits a little further apart and the source image, I'm going to rotate so that the lightest shade is now on top, so with all of these moving around with the settings, I'm sure you're getting familiar with them. This blend mode, we're going to go back and I changed it back to normal just to change my settings but now I'm going to go into difference and I'm going to use this one called behind. Now, this one is unique to the brush settings, so you won't find this one in the layer blend modes, only in the brush blend modes. In this case, it's going to actually make the brush lie behind whatever you've already drawn, so I'm going to show you how this works. I'm using the blue and see how it would just normally draw this brush now, crossing over, when I zoom in, see how it actually crossed over behind the brush that I had. This is why I wanted the different colors in here, it's because if it's just a solid color, you wouldn't be able to tell it goes behind but because I have the different shades in there, it's a little more obvious, it actually looks like it is woven into itself. If I were to choose a different color, let's say pink and I'm going to draw it and normally this should lie on top of what I've just drawn but because I'm using the blend mode, behind, it lies behind what I've just drawn, so every time I draw, it's going to lie behind what's already on the canvas. If I create a new layer here and I fill it with pink and then I'm going to change my brush to white and I draw, nothing will show up no matter what color I use, I could try blue as well because it's behind what's already on the canvas, you're always drawing behind the last thing drawn on the canvas. Another way to see this is to go to the transform tool and we're just going to move our edges of our filling, so now it's just filling the center of the screen and we'll choose blue and we will draw and see how it lies behind that little pink rectangle. That can be handy when you're doing some design work, it's a fun little brush to use, it makes whatever you're drawing lie behind what you've already drawn and again, it only interacts with what's on the same layer, so it doesn't work between layers, it only interacts with what's happened already on that layer. The blend mode brushes can get a little confusing, if you forget that they have a blend mode on because if you were drawing without one and you couldn't see it, you'd wonder what you are doing wrong. The blend modes are fun but remember if you have them on, your brushes are going to interact differently. Moving onto brush number 20, let's try a different blend mode. Now I have brush 20 ready to go and I have my layer ready to go, so let's change up some of these settings again, I'm going to take the spacing up just a little bit, I'm going to create a little bit of space in there, I'm going to take my jitter right up to max and my scatter under the Shape Tab and my rotation, I'm going to make this a really messy brush, so the next tab I'm going to do is dynamics. I'm going to turn it back to normal mode and then I'm going to keep my size dynamics or percent dynamics at zero. Let's see if I can get that, it's really hard with these sliders to get it to zero but it should click in, it actually does click in to zero if you take it slowly enough. We're on normal in dynamics and no pencil pressure for this brush. Under the Source Tab, I'm just going to rotate that around, probably just because I can, I don't know if it will make a big difference and then we go into the blend modes under the General Tab and we're going to choose lighten category and the add mode is the one that we're going to go for. This is a lighten and brighten, so everywhere the color overlaps, it'll brighten it up, just bring it really lighter and brighter. Anything on the same layer will be affected and since I have another tossed brush here, we'll see how this works, so I'm using blue and see how everywhere that the image overlaps itself, it's brighter and it just keeps getting brighter, the more color that I add on top of itself. Let's move this down and make it a much smaller brush and we'll just fill our screen, so see how, when I overlap the colors and I can keep going even more and more. The more I go on, the brighter it gets, it can really brighten up everything. You don't want to overdo with this brush but you can add more colors in and those colors are going to interact with the colors that are already on there and often when two different colors interact a lot, they just end up being a white because it keeps on brightening them and it's a really useful tool if you want to add a glittery look, it's almost like putting glitter onto your design. You can experiment by adding different colors in and creating a really pretty digital background. Now on the layer that I'm working on right now, I don't have a background on the same layer, so it's only reacting to the colors that I've already put on using this brush. If I make a new layer and I fill it with a solid color, so this brush won't work with black, let's do just a dark blue. Add function doesn't work with black because you're going brighter and black has no effect on it. Here we have a navy blue and I've chosen a lighter blue to put on top. See how you get a really nice glowing effect, almost like snowflakes glittering in the lights or night lights in a dark sky. I personally love blend modes because of the effects that you can do so simply and it's great now that they're in the brushes themselves because you can create some really fun brushes but then keep in mind, your brushes are going to react differently. Get to know your blend modes and then when you use them in the brushes, you can come up with some really cool effects. There you have 20 brushes just by changing the settings and using the same source pick. In the next lesson, I'm going to do one more bonus brush and I'm going to touch on that green tab that we haven't touched yet, so join me there.
16. Grain Source and Tab: We could go on and on with these brushes. There's more that you can do with the settings but what we haven't touched is the texture. This green tab, you find your green source under your source tab, and when you scroll down in the pro library, you have to go down until you see the squares, here we are. These are all the textures that they include with their library, and you can change how your brush reacts to those in that green tab, so let's create a new brush just to play around with this. Brush 21, and this brush will be whatever you want to make it. Under the stroke tab, lets just take it all back, so turn off all these levers, turn off scatter, turn off rotation, we don't want any pencil pressure, so nothing there under the general tab, remember under your blend mode here turn this back to normal, make sure we're on normal so it works, and turn off our source image layer. We're going to create a new layer and let's stick with black. Currently I have the brush on normal. I think we're going to go back to the glaze just so we can get those grays and textures back in. I think we're good. We're going to go into our source and we are now going to pick our texture. Under green source in the pro library we're going to scroll all the way down until we get into the texture area here. I'm going to choose bark, you choose whichever one you're drawn to, and then we can try it in the preview window but I think we need to try it on the canvas. Using clays so my grays show up. I think I'm going to leave all the levers off and this grain tab, all the levers are off right now, so let's just see what it looks like with all of those off. You really can't see anything, it looks the same as if it normally would, so let's get some of these levers moving. Now, the levers do work together, so even though I turn that on see there's still no difference because we have no scale. The scale, which is the most straightforward one here, is the scale of the texture inside the image that we're using, so lets have it around the middle and now you're starting to see a little bit of difference in your brush. The next lever is going to be movement, and this is how it will apply to the canvas. It'll smear your texture pretty much unless you have it on rolling. At the very top here at rolling, it's as though it would be going on just as if it was being rolled on like a paint roller. The next lever that we're going to look at is the zoom, and with this one it's how it applies based on your brush size. At the very top here it says follow size, it will follow the size of your brush. Then we have rotation which has to do with the angle that the texture is used in relation to your brush through. Then this filtered button is more of an advanced feature with the anti-aliasing. You can play around with these levers, that is always the best way to learn things, is just to play around with them on your own and see what kind of different effects that you end up with. I do find that it can be a little frustrating if you're not really sure what you're trying to accomplish. See how that smears, the movement changes. Sometimes the best way to do this is to go into their brushes and see how they have used theirs. Go into their texture folder, that's probably a good one to take a look and pick one that really pulls you. Let's create a new layer here so we can play around. Let's pick this Victorian one. This is an interesting pattern. You can see how they've set up their settings. This is what their source image is and this is what their grain source is, this really cool pattern out of their pro library. Let's go and look at a few of their settings. Most of these are off. Let's just go ahead and look at the grain setting. You can see here they have it following size and rolling, and they have their scale about midway. Go ahead and play around with the settings, you can always reset the brush, so don't worry about messing it up. This is how you learn. See how the movements smears the pattern or if you have it up to the top it's rolling. Same with the zoom, it's follow stroke. Just play around with these sometimes the preview window gets messed up so the best thing to do is to play around with it on the canvas. We can try the rotation, see how it changes the angle of the texture image, and how would get applied to the canvas as well. We can go back in and reset this brush, so we didn't ruin it, and now we can go back in and try a different one. Let's go look at this grunge. You can mix your texture in your shape, so let's go into the source tab. See how they've picked a really unique shape here, and then they've also added a texture to it, that's how you get these really cool painterly effects. We can mess around with that and see what that does to it in the preview window. Different scales and a different effect depending on what you do with these levers. There's zoom, there's not a big difference you're seeing in the preview window. It's probably better to try it out on the canvas, so experiment with these brushes, try the different levers, that's how you're going to learn how to use that green tab and your green source. Any textures they use in their pro-library and any textures you make yourself should be seamless, because you don't want any seam marks to ruin the realistic look of a texture that you're using for your brush. You want it to be a repeatable pattern that you can't tell where it starts or where it ends. In this particular one that I've chosen it's like a paneled wood background. See how you can't really see where it begins and ends, and even if I pick my brush up I still get the same texture flowing with no seam, so those are really great for creating background images, especially if you're doing mock-ups or you want to add texture into your painting you want them to be seamless. That's all I'm going to touch on for that because like I said, that's a whole class in itself. But I didn't want to end this class without giving you some explanation for that green tab that we kept skipping. See how much you can do without even adding texture into your brushes, we created 20 brushes simply from one source image with a blank texture. Join me in the next lesson where we wrap it all up.
17. Inspiration and Wrap Up: Hopefully this class has given you a little bit of inspiration to try making your own custom digital brushes. My goal was to get you working with the brush settings so they become familiar, and second nature to you. You can see just how many brushes you can create solely from changing the brush settings. I wanted you to see that with only one source image, you can come up with a lot of different kinds of brushes for different purposes. We've barely touched the surface on the many things that you can do in procreate with the brush settings. But you do have a good foundation now for making line brushes, lettering brushes, and fill brushes. There's so many more ideas waiting for you. Go ahead and share your creations in the project section. Show us what you're using for source spec and show us some of the backgrounds and lettering that you've done with your new brushes. Thank you for joining me in this class. I always loved to share creative time with all of you. Go get creating your brushes and have some fun. We'll see you next time. [MUSIC]
Jane Snedden Peever, Living the Creative Life
