Procreate - Brushes that WOW! - A Procreate for Lunch™ class

1. Intro to Procreate Brushes that WOW! - A Procreate for Lunch™ Class: Hello and welcome to this Brushes that WOW class on making custom Procreate brushes. My name is Helen Bradley and I'm a Skillshare top teacher. I have over 200 courses on Skillshare and over 90,000 student enrollments. In this class, we'll create a handful of brushes in Procreate that might surprise you with their unique behavior. These brushes paint in color and they also paint colored objects. There's a paintbrush that works as a blender rather than a paintbrush, and a brush to making delicate lead floral style backgrounds. There's also a brush that paints its own outline as it draws. I designed this class to introduce you to some of the possibilities for making your own brushes in Procreate so that instead of buying other people's brushes, you can actually make them yourself. By the time you've completed this course, you'll have enhanced your knowledge of developing Procreate brushes and created some fun brushes that you can use too. So without further ado, let's get started making Brushes that WOW in Procreate. 2. Pt 1 Make the Fried Egg Brush: If you've been using Procreate for some time, you'll know that you can't paint with colored brushes. Brushes are black and white. But I have a brush that will paint this fried egg in this image. Let's go and open up the image. Lets have a look and see what it is. It's got one layer on it. On that layer is a simple illustration of a fried egg. If you follow me on Instagram, you may have seen this brush at work. I already have it attached to the Smudge tool. This is how it's going to work. I'm just checking it's size, because it's size has to be big enough to cover my fried egg. What I'll do is just tap on the fried egg, until the brush size actually is big enough to cover the fried egg. Now, as I'm drawing over the screen, I'm painting as it were fried eggs onto the document. Now, there are few limitations to this brush and at some level it is a party trick. But it will teach you some things about brushes in Procreate, which I hope will be of help to you. I'm just going to wind this back. I'm just going to take off the fried egg painting. Let's go and create this brush ourselves. I'll tap on the Brush tool. I need to select where I'm going to put the brush, and I'm just going to put it into HB originals. You could if you wish or create a new set for the brushes so you could go up here at the very top and tap the plus symbol and create a new brush set. I'm just going to put it in my originals. I'm going to tap the plus symbol and we're going to set the brush up. We're going to swap out from the Pro library because these are just standard elements that come with Procreate. I'm using the Hard option here, so this hard circle. Then the grain is just going to be blank. That's going to be black on your screen, if you're using the lighter interface. It might be white if you're using a darker interface. What you want it to look like is this. The shape source is white circle on a black background. If it's not, you're just going to tap on invert shape to make it go the right way. Let's have a look at our configuration settings because some of these are crucial. The first thing is to adjust the spacing. I want quite a large spacing on this brush because we're going to be painting fried eggs, so we don't want them to be overlapping each other. For the type of settings down the bottom here, you just going to take pressure off entirely. There's not going to be any type of settings at all. Essentially, two adjustments to be made in the stroke area. We'll go to the shape area and under shape behavior, under rotation, I want my fried eggs to rotate as they go. I want them to be varied, not all in the same direction. I'm setting the rotation up here to 100 percent and for shape filtering, I'm just going to tap on none. For grain, we don't want any settings here at all. We can just zero everything out for grain. Obviously rotation, you will leave where it is, but there's no grain on this brush anyway. This is a meaningless set of settings for a brush like this. For dynamics, this area is crucial. You absolutely need to be selecting glazed, because that's going to adjust how this brush works. For flow, we want to be working on maximum flow. Make sure that you have flow set to maximum. For pencil, we're not going to have any pencil settings here at all, so everything is just zeroed out. For general, there's a really important setting here as well. There's a couple of important settings. The first one is smudge, because this is operating off a smudge brush. We absolutely have to have a 100 percent on smudge because we want it to paint fully opaque as I smudge brush. Now, the size limits, you can adjust the size limits, that's just fine. They're going to need to be allowed to be big enough to cover the element that you want to copy and paint with. In this case, this is going to be easily large enough, at 723 percent, to cover up my egg. That's all you need to do with maximums. Make sure that you're going to be able to adjust the brush size big enough to cover the elements you want to copy. Now, so far as opacity is concerned, you want it to be a 100 percent opaque in any situation. You're going to wind up maximum and minimum both to 100 percent. That's just fine. Now, we're done. But I think I'm going to just call this brush something. I've been calling these fried egg brushes, because that reminds me of what they were originally designed to do. Of course, they do work on other things other than fried eggs. But it just helps me remind myself as to what it's going to do. Let's go and get this fried egg brush, but we're going to apply it using the Smudge tools. We have to tap on the Smudge tool. For the Smudge tool, we're going to go and pick up our fried egg brush. Now, we're going to make sure it's large enough to cover my egg, which it is. I'm going to tap on it. Now, what I'm looking for at this point is that the brush shapes, so I can see the outlines of the brush and it needs to be this big circle. If you're just getting a small circle, then you want to just tap away and start again. Provided you don't lift your pencil off the screen, then it's going to paint your fried eggs all over your document. Now, the caveats with this brush, there are a few of them and you'll have just seen one of them. You can't go over an area that you've previously drawn on over and the brush that you're carrying with you is a circle brush. It has no transparency in it except for outside the ambit of the circle. Let me just show you this with the background turned off. Essentially we've got a transparent background. I'm going to just go and pick up my egg. As I start painting with it, if I come back over my original egg, you'll see that the circular brush is actually painting over the tops of the eggs. It's wiping out the eggs wherever that stroke is going to be lied down. You need to stay way from existing eggs. Well clear of them. You don't want to be going over areas that you've previously covered. But, of course, you can come all the way around the outside. Now, the spacing between the eggs or whatever it is that you're copying, is going to be related to the spacing on the brush. You could put things closer together should you wish to do so by just adjusting the spacing? This is going to give me more eggs. All I'm doing is being really careful not to go anyway, near an existing egg, where this new egg is going to be put down. I can go over here right now, but I want to be well clear of it before the next egg appears. You'll just start getting a feel for this brushes to how it works. This is admittedly a bit of a party trick brush, but it does show you some things about configuring smudge brushes in Procreate. It does indicate some of the possibilities and potential that there is for working with multiple colors using brushes in Procreate, if you're using the Smudge tool. 3. Pt 2 Smudge Color Painting Brush: It's time now to take the concepts of that fried egg brush that we just created. The brush that would make copies of shapes across the document and do something a little bit more sophisticated with it and this is possibly going to be of even more use to you. So I'm going to start in the brushes palette cause I'm going to create a brush for this, I'm going to put it in Helen's favorites. I'm just going to tap a plus sign to add a new brush. We're going to use pretty much the same settings as we used for the previous brush. Except this time I'm going to go medium hard for the circle so it has a little bit of a sort of feathered edge. For the grain we're going to swap from prior library again, we're just going to choose blank. So this doesn't have any grain in it at all. It could, if you wanted to make it a little bit more interesting but right now we're just going to go for the basics on this brush. Make sure that in the shapes source you've got a white circle and a black outside. If it's the other way round, you will need to tap on it to change it. Now for the settings, we're going from left to right across the bottom. I'm going to reduce the spacing because I want this to paint a bit more like a regular brush. So a bit more like this. In pressure taper if you want some tapering, You could add a little bit of taper to it so that the ends will taper a little bit and you could adjust the size as well. I'm going to bring a little bit of taper in on this one. I'm going to dynamics so I'm going to tap on glaze. So we've got glaze dynamics for this. Now if you want to tapering as I'm going to do, I'm going to the pencil. I'm going to adjust the size a little bit so that I get some tapering on this brush. I'm going to general and I can add it classic taper should I wish to so I can tap on that. It's going to be really vital that I increase this much to 100 percent if I want this brush to paint at full opacity. So if you forget any setting and if you brush misbehaves, it's probably this smudge setting that's going to be a problem. For the maximum I want the maximum on the brush to be quite large because I have to make sure that it covers the color picker area later on. So you could increase the maximum a little bit. For opacity I'd like this brush to paint a 100% opaque and so I'm going to make maximum and minimum opacity the exact same amounts. So this is what the brushes painting like right now. I'm thinking that the spacing might be a little bit too, big so I'll just bring the spacing down a little bit. Now, this is a paintbrush, and of course we don't want it to be painting as a paintbrush, but before we do it, we actually do want to paint a little bit with it or with a brush because we need some colors to paint with in a minute. I'm just going to put down three colors, a red, a blue, and a purple. Now if your colors call when you create them are, too big, you can just smoosh them up using the transform tool. We'll go to the smudge tool and I need to attach that to the brush that I just made. Now it might help me if I actually name this brush. I'm going to call it a color smudge. Now with that brush selected, I'm going to start out with a shape that's going to cover the area of my little color picker here. So I need to be able to pick up the colors I want to use and as I did with the fried egg brush, all I'm going to do is start my drawing in on the colors and when I do that, the colors are going to be picked up by the brush. Now it is a bit hit and miss admittedly as to whether you pick up your colors correctly and how many of them you pick up but the smaller your color picker area is, the more likely it is that you'll pick up the colors that you actually want to pick up. Now, when I was adjusting this brush, I said that you need to make sure that in the general selection your smudge is really high. Let's go and see what happens if you don't set the smudge and the default values for smudge are not 100 percent. So you will have to make an adjustment to that. This is what's going to happen. So if you see this happening with your brush, where it's picking up the color but it's just not painting, it's because of that smudge setting. It's just crucial that you have a really high value on it there and then it's going to work perfectly. As with the Friday brush, this is only going to last for as long as you keep your pencil on the screen. As soon as you lift your pencil up, the painting effect is going to stop. It will just go back to being a smudge brush and such that you can put anything down at all. You have to start on your color area and the color is only going to last for as long as you keep your pencil or your finger on the screen but this is an indication as to the possibilities for getting brushes to paint in multiple colors or to paint multiple shapes in Procreate. 4. Pt 3 Dimensional Flower Brush: Combining transparent brushes with a little bit of additional data will allow you to create floral elements like the backgrounds that you're seeing here on the home screen. I'm going to create one of these brushes for you. I'll show you how to do it, I'll tap the plus sign, we're going to create a square document, 2048 pixels by 2048 pixels. That's the maximum and ideal size for a Procreate brush. We're going to start with a light color, so I'm going to pick a light gray, mine is about 180, 180, 180 RGB, Just choose something about like that. I'm going to tap on the Brush tool, I'm going to choose a Monoline brush. What I want is a brush that has no type it ends, that's really important because we want to close up our shape really neatly. If you don't have a monoline brush already in your collection, what you would do is just go and grab the Studio Pen, perhaps duplicate that. You'll edit the Studio Pen or whatever brush it is to make sure that you're removing all the type. Am ongoing to Pressure Taper, I'm going to remove all the options from this. I'm also going to remove any Touch Taper options too. For Pencil, you're going to remove all the Pencil Pressure options and that is obviously going to be Size. You would also check General to make sure that Classic Taper was disabled, so that's going to give you just a Monoline brush which, it's going to be ideal for drawing a circle that's going to cause up perfectly. I'm going to draw out a circle with my new brush, just hover over the end of it. When Procreate recognizes it, I'll tap Edit Shape and I'll choose Circle, and now I can just enlarge the circle and position it inside the document. I'm also going to drag the color into it, making sure that the color threshold is high enough to make sure that the edges are filled in and then no little gaps around where the line was and where the color fill is. You'll get that if you're color threshold isn't high enough, and you do that by just dragging and dropping the color in, and don't take your pencil or your finger off the screen until you've adjusted this color threshold value up high enough. Now if we want to fill the screen with this shape, we could go to the Transform tool and make sure that we select Fit to Canvas and that will just increase the circle to fill the entire canvas. Next up, I want to add some dots into this shape, and for this I'm going to make my own brush. I'm going to again go back to the brushes library, I'll just put it in HB Originals for today. I'll tap the plus sign, I'm going to choose Swap from Pro Library, and I'm going to use a Hard brush, the hard round brush here. For the Grain again, we're going to swap that from the Pro Library and we're going to use Blank, which is the black box, or if you're working on a dark screen, it would be a white box. Make sure that in the Source area, your brush looks like a white circle inside a black surround, if that's not the case, you can tap on Invert Shape to invert it, but you do need it to look like this with white circle and black surrounds. We're going to Stroke and we're going to increase the Spacing considerably. Will go to General and we're going to reduce the Max because we want this brush to paint really small. I go back to Stroke because I want to increase my spacing a little bit more. I think I want my brush to be a little bit more spaced out, so I'm just going to increase the maximum value a little bit. Once I'm happy with that, I'm going to create a circle, but I'm going to do it on a new layer just in case it needs some editing, and for this I'm going to use a darker color, so I'm going to select this gray which is about 88, 88, 88. Again, with my brush selected, I'm going to draw a circle. I'm going to whiten until Procreate picks up that I've drawn a circle, so that I can adjust it. But I'm also not going to close the shape and that's really crucial, and I explain to you why. Let's do one the wrong way. I'm just going to draw a circle, wait until Procreate picks it up, and here is the issue you see that at the top here I've got overlapping dots, and so if you don't close it up perfectly, you're going to get that happening to you, or you're going to end up with a circle that closes pretty well, but the dots at the end are going to be too close to each other. Now, I've done a pretty good job here, I could use that, but I'm going to show you a slightly more foolproof method for getting it perfectly right. Let me just undo that. I'm going to draw my circle and I'm not going to close it up, so I'm going to stop just short of closing it up. Procreate will recognize as a circle, it will give me the option of editing the shape and will give me the option of creating a circle, and so I can adjust the circle and place it where I want it, which is just inside the existing circle. I can go to the Transform tool and just nudge it, by tapping on it. Now, I'm fully aware that the circle is not closed up, and that's for good reason because what we can do is come in here with the same brush and add the dots that will close up the circle, and in particular in this larger gap here, we can spread out the dots or jam them a little bit closer together, just so that we can finish this edge off, and you're not going to say that later on, you're not going to notice that those dots are a little bit closer together than the other dots, but it does allow you to get a reasonably good finish on this brush. I'm pretty happy with this right now. I'm going to make a brush out of it, so I'll tap the spanner icon, I'll choose the Add options and choose Copy canvas. We'll go and create a brand new brush, and I'm going to tap and hold in the shape source until the word Paste appears and I'll tap Paste that lets me paste in my brush. For the Grain, I'm going to swap from the Pro Library and again, I'm going to choose Blank. We'll go back into Source because I need to invert the shape on this brush, it needs to be black around the outside,and then this gray in the middle. I'm going to the Stroke panel and I'm going to increase the Spacing so that this brush is going to paint as separate shapes, so it's being treated like a stamp brush. It has transparency, it's got dots around the edge. Now let's go and turn off the brushless, generally try to keep those at least, until I'm happy that the brushes is working well because of I need to make adjustments to it, I can do it from the original shapes. I am going to hit the plus sign to add a new layer, I'm going to the spanner icon and I'm going to choose Canvas and Drawing Guide, I'll tap on Edit Drawing Guide, and then make sure that I have Symmetry selected over here in the top right. Then we'll choose Rotational Symmetry, and we'll choose the fourth of these cemetery options, which is Radial and tap Done, and this is set up radial symmetry for this document. Now I can go and choose the color that I want to draw, and I'm going to choose this orange color. Now I need to make sure that this brush is really large and that's the setting that I didn't do earlier which we're going to need to do. Let's go back into this brush and let's go to general because we need the maximum size of the brush to be able to be at least half of the height of this document if not a little bit more. In the general area, just wind up the size limits on this brush. Now let's test it and why I'm testing it is I'm going to tap once in the document and I'm going to try and tap on one of these lines. In fact, the top middle line. Now the brush is way more opaque than I want it to be, so I'm going to drop down its opacity. At this point you can just experiment with where you drop this brush in and also the size of the brush. Now I'm really liking this effect. I think it's a really nice effect. If we have a look in here, you will say that there are actually the dots from the brush showing inside this floral shape. Now you could obviously work at being a little bit more accurate in terms of placing the shape and try and get it so that it's nicely positioned square in the document. You could also go back and adjust your brush. You could say, for example, I'd like the grays to be a little bit lighter but the dots to be a bit darker. Or what we would do here is go to these dots and leave them where they are but change the gray on this filled shape. I'm going to change it to about 208 something like that. Drop it in here and just turn off the layer that I've just been working on. I think this could possibly even be a little bit lighter still. We'll take it up to 220. We'll take that as our brush, so again, I'm going to copy the Canvas. I'll go back into the brush itself. I'll tap on the source and press and hold on the shapes source and paste my revamped shape in. All the other settings will be still in the brush, so that just makes life a bit easy. You don't have to set it up because it's already working. Let's add a new layer and let's make sure that this drawing assist is symmetry is working for this layer as well. To do that, I'll tap on the layer thumbnail and tap drawing assist because the setup for the document is already in place, so we have to do is make sure that Procreate knows that we want to use this layer for that same effect. It's going to get orange again and let's see how this one draws. This one has a little bit more lightness and a little bit more darkness in it. The contrast between the dots and the background is a little bit more intense. You can juggle between adjusting the brush size and the brush opacity to get the effect that you want. But we also have a dotted brush that we can continue to work with. I'm going to add a new layer here. I'm going to turn drawing assist on for this layer as well. I'm going to choose a lighter orange color. I'm going to set the blend mode for this layer to one of the contrast blend modes and I'm going to use soft light. Soft light is a good blend mode for adding color to color because it adjusts the intensity of the color according to what is behind it. We're going to get darker yellow where the illustration underneath is darker and lighter yellow where it's lighter. Let's go and get our dotted brush. Now we can start adding some dotted elements. What I'm going to do is just draw an arc. I'm going to hold down my pencil until Procreate recognizes this as an arc. Now, just realize that a little bit difficult to you to see what I'm doing here, so let's go to factory for a darker color. I just want you to be able to see what's happening. I'm going to draw out my dots as a arc and wait until Procreate picks it up that it's an arc. If I choose edit shape, I now get three points at which I can edit this arc. I can drag it around and rotate it spiraling around. I can alter its starting point and move it perhaps closer to the center of the symmetry that I'm working with and I can also alter the amount of the curve so I can drag the curve around. I get this fully editable additional arc that I can add to my floral drawing and I can position it wherever I want it to be. I'm going to actually position it as a spiral between the existing ones. Now because this is on a layer all by itself and it's a good idea to put it on a layer all by itself because then it's editable. You can also change its color, so I'm going to actually make it white. I'll go to white and tap on that. I'm going to tap on the last thumbnail and set alpha lock on. I'm also going to turn drawing assist off because I don't need them any longer. Now I can choose fill layer and I'm going to replace the pink or the red with white. When I'm done with this, if I want to just have a look at what I've done, I'm going to turn off drawing assist on any layer that has drawing assist associated with it. Go back to the spanner icon and make sure in the Canvas that I'm turning off the drawing guide. Turning off the symmetrical drawing is a two-step process. You not only have to turn off the drawing guide but you also have to make sure that any layers that have drawing assist associated with them do no longer have that enabled. Now if you have a look at this unlike the effect but you don't like the color then you don't need to start over again. I'm going to just select this orange flower layer and I'm going to tap on the adjustments option and go down to hue saturation brightness. Now I can change the color of the floral shape that I've created. Now you can only do this one layer at a time which again is a good argument for separating the additional dots for example, that you create from the actual initial flower. We can adjust the saturation and also the brightness. I can take this down to a more day saturated pastel color if you like. There's a floral background effect created not only with a partially transparent brush that has it's dots built in but also harnessing the power of that little dotted brush with the ability of procreate, to recognize shapes, to add some elements that are over the top of the initial design. 5. Pt 4 Build Your Own Blender Brush: So this next brush, it's going to be a little bit easier to explain what's going to go on with the brush if you see it in action first. I have a layer here in this document that has a blue dot and some red and orange stripes, and this is the on the layer visible. I have green paint selected and I've already selected my brush, and so we're going to start painting with it, and what you're going to notice with this brush is that, even though I've got green paints selected, this brush is not painting with green paint. There is no paint on this brush at all. All it's doing is behaving like a blender brush, so picking up the colors that I'm painting over and it's allowing me to blend them in. This is a really handy brush and it's very simple to create once you know the basics of doing just that. So let's go and delete this layer, because we don't need any longer or make a duplicate of the layer that I was working on so that we've got something to test it in a minute. But for now I'm also going to add an empty layer at the top and make that visible because we need to test the brush before we get it going. I'm going to tap on the brush tool and I'm going to add a new brush. I'm going to tap the plus sign. I'm going to choose the elements we will use for this brush from the Pro library. So this is nice and easy for anybody to create. I'll tap swap from Pro library, and for the shape source, I'm going to choose this medium option at soft around the edges and it is a circle. For the grain source again, I'm going to get that from the Pro library, and we're going to use a green on this brush, and I'm going to choose ink over here. But you could choose anything that you like. But just ink is a good one because there's plenty of texture here. There's a lot of black, there's a lot of white, and I want the ink to look like this in the grain source areas. I want it to be white in the middle and black on the outside, if yours doesn't look like that, tap Invert Grain so that you make sure that you have it set up looking like that. Let's start with this stroke in terms of setting up this brush. I don't want it to have any spacing at all. I would like it to have a perhaps a little bit of streamline. Just so we're smoothing out the stroke. But I do want it to have some jitter, so I'm going to give it about 50 percent jitter. It's not going to paint in a straight line while the edges are not going to be nice and straight, it's going to have some interesting ages because this is a blender, it's not a paintbrush per say. Now, in the shape area, I could add a little bit of scattered tool, if I wanted tool just make it behave a little erotically, and so again, testing this brushes, we go just to say how it's looking, even though we're not going to treat it as a paintbrush, we still need to know how the grain and everything's working with it. I'm going to tap on grain and the settings I'm going to use for grain is, I'm going to have movement set to rolling, and I'm going to set my style to around about 30 percent just so that it's a nice size social style. I'm going to again adjust the zoom probably around about 30 to 40 percent, and the rotation I'm going to set to a 100 percent, and again, I'm going to have a look and say how it's painting now. The texture is smashing into it a little bit more. I like that effect, but nothing's going to be wrong here. You can just adjust this to suit yourself. But you do want to say how it's painting before you do the next step, because in the next step is going to be pretty near impossible to say what this brush even looks like. So just be aware that you want to make sure that it's painting nicely before we turn off its ability to paint effectively and to turn off its ability to paint, we're going into dynamics. In dynamics we're going to choose wet mix, and then we're going to set the dilution to a 100 percent and we're going to take the charge and attack off entirely, bring pull down to about 50 percent, it's not rocket science it is not set in concrete. Grade, well, we're going to take that up to smooth. Now you may or may not be able to say anything in this brush area at the top, as soon as I tapped on it, I lost everything, and so that's why we spend the time looking at the brush settings first of all, because as soon as we come in and set these dynamic settings, it's really hard to see what our brush even looks like. So I've got the brush selected and I'm actually going to name it because that'll make it easy for us to say what it is. I'm going to call it HB blending. I like to put HB in front of my brushes, the brushes that are mine, because that helps me identify which brushes are mine and which brushes might come from somebody else. Let's go back into our layers. We don't need empty layer any longer, but we do need the layer that has these colors on it. Of course, the ink color doesn't matter at all because we're not putting down ink. This brush does not paint with ink. What it does is it paints with the colors in the image itself, and so now I can use it as a blender, and it's going to pick up the blue color up here and allow me to smoosh it around the document. Now, from here you can adjust this brush however you like, there's no hard and fast rule with it. All you need is a brush that has an interesting source for painting with perhaps some grain so that you get some movement as your painting along the lines between two colors, for example, to blended it in. I've added some jitter on the stroke so that the dots that I'm painting offset from each other. Again, getting some movement either side of the brush so that it's not painting in a straight line and so it's going to blend, and the more movement you have in it, the more blending you're going to get out of it. Grain, because I've got a huge amount of grain in this brush is going to be really important for making sure that the brush isn't painting as a soft circle, but it's being broken up by that ink grain that's inside the brush. Dynamics, you're not going to change this. This is pretty much where you want to leave them set up, to make sure that the brush behaves as we have it behaving as a blender and not as a paintbrush. Consider stroke shape and grain being the key areas that you're going to be able to impact. You could also set it to be pressure sensitive, but you don't have to do that. But these first three settings are going to allow you to control a setup for the brush, makes sure that the dynamics are set in concrete and then it's going to behave, just as it's behaving here. It's going to allow you to blend these two sets of colors into each other, and of course, if you dial down the opacity, then you're going to get smoother blending process. That's the basics of creating a blender brush. But, of course it's open to you to add the grains and the shapes that you want to paint with. 6. Pt 5 Self outline and Self shading Brushes: Brushes that shade themselves and create their own outlines are really valuable when you're creating lettering effects. I'm going to create one such brush here. I'm going to hit the "Plus" sign and again "Create" a square document, 2048 by 2048 pixels in size. I'm going to start off painting with black. I'm going to select black and for my brush, I'm going to use the mono-line brush. I've got a mono-line brush setup here, the one that we used earlier that has some streamline on it. I'm going to draw a circle holding my pin on the screen or my finger on the screen until we get this edit shape option appear. I'm going to make it a circle. I'm going to size it up so it pretty much fills the entire document. I'm going to drag and drop the blacking again, making sure that the color threshold is high enough that this is a solid filled shape. I'm going to make a duplicate of this layer. I'm going to turn the duplicate off for now, and i'm going to focus on the bottom layer and that i'm going to fill with a different color gray. I'm just going to grab a lighter gray here and i'm going to drag and drop it into that shape, will go back and turn on the visibility of this top circle. Go to the 'Transform' tool, make sure that we're on uniform and magnetics. I'm going to size it down and move it into position in the center of the previous circle. Now, the distance outside the black circle where the gray circle is going to be the outline. This brush is going to paint with its own outline around it. If you want a wide outline, then you're going to have a very large gray area and a smaller black area. If you want a very narrow outline, then it's going to be as narrow gray area and the larger black area, i'm going to make mine very large, the outline very large so you can see how it works. I'm just checking here to make sure that I've got pretty centered, which i'm fairly confident that looks pretty good. Now i'm going to take a picture of this. Go to the "spanner icon," tap "Add" tap "Copy Canvas." Going into my brushes tool, I'm going to tap the 'plus sign' because I'm going to create a brand new brush. I'm going to press and hold in the shape source until paste appears and tap "paste" and they grind for this is just going to be blank. Again, that's just that black box or white box. If you're working on a dark screen, let's go back to source because we have to invert the shape. It should be white in the middle and gray on the outside. Now will go to dynamics and we're going to select glazed. You're going to know that normal is not going to be good because you can already see that the brush is painting as a solid line. But when you go for glazed, you're going to actually see the outline. Right now we probably don't need much in the way of changes to this brush. Let's just go and test it out. I'm going to turn off these lights again, try and save those circles just in case the outline is too dark or too light or too big or too small, so that you don't have to re-create those shapes they're already there and you can just adjust them. I'm going to select a blue color. Let's see how they're straws, but I just realized that I probably do want streamline on this. This is drawing really, really nicely. You can see that even with the large outline that we had on this brush, the end result of it is that it's actually not an extraordinarily large outlines. You may decide that you want to adjust the brush a little bit. For example, the middle is a bit smaller and the outline is a bit larger. Well, you've got all the elements that you need in the layers palette here to do just that. Let's go and make this a little bit smaller. The outline is larger, the middle of the brush is smaller. Just copying the Canvas again, i'm going back to the exact same brush I don't have to reset anything. All I have to do is go to the "Source", press and hold until the paste option appears. Then the exact same settings are applied to the brush. It's just that the outline is now a different ratio. Let's go back. Clear this. Let's try again. For outlining brushes like this allow you to create interesting effects very, very easily. It is just a case of experimenting with shapes sources. Now, you could create a self shading brush. The way that you would create a self shading brush is very similar. Let's just go and see how we would create it. What I'm going to do is take this gray circle and make it much smaller. I'm going to go and get my black circle and I'm going to make it a bit larger. Basically this is the shape i'm going to use to create a self shading brush. Now for this, i'm going to mistake a duplicate of the brush that I just created. Let me just duplicated and tap on it and we'll just replace the source. It's a nice, easy way of creating a brush very, very quickly since we know that the setup is probably pretty good. Let's go back and turn this off. Let's go and clear this. Let's see how this new brush is going to paint. This self shading brush is pretty good, except that the shading is directly underneath the brush and not over on the right-hand side. Well, we can easily change that in the source for this brush, what I'm going to do is just take my two fingers on the Shapes Source and rotate it. This time it's going to paint with a better shader on it. Again, if you wanted the shading to be larger then you would change the proportions between the black circle and the gray, which is the shading on the brush. 7. Project and wrapup: We've now finished the video content for this class and so it's over to you. Your class project will be to make one or more of these brushes and to use them for some lettering or for a design. Post an image of your completed work as your class project. Now as you're watching this class, you will have seen a prompt asking if you would recommend this class to others. Please, if you did enjoy the class, would you do two things for me? Firstly, answer yes, that you would recommend the class and then write even in a few words, why you enjoy the class. These recommendations help other students to see that this is a class that they too might enjoy and learn from. Now if you see the follow link on the screen, that's an indication that you're not following me yet. So click it to keep up to date with my new classes as they're released. If you would like to leave a comment or a question for me, please do so. I read and respond to all of your comments and questions, and I look at and respond to all of your class projects. So until next time I'm Helen Bradley. Thank you so much for joining me here in this skill share class.