Hello and welcome back everybody. Hey! Today we are continuing on
with our brush making series. We are doing part two
today, which will include, oil and watercolor brushes. So we'll be going into the wet
panel of the brush studio settings. Um, Abbie is going to be
guiding us through all of it, and I will be following along
here and fielding questions. So as we go, be sure to drop any
questions that you have in the chat. We'll be able to answer your
questions as we go. So, um, make sure that you ask everything
you want to know. Okay. So first step, we're going to make the simplest
brush that everybody wants and everybody uses. It's a very simple brush that
can be used as a lettering brush. And, um, it's sort of a starter
brush. And from there, we're going to use that brush to
build the rest of the brushes. So you can duplicate that brush
as we go and it will change. Okay. So you're going to hit the plus the top
of the brush menu to make a new brush. And we're going to make the spacing a
bit closer because the default is 17, which is weird. It's quite far
apart. My favorite is about four, and then we go gonna go down to Apple
pencil and we're going to turn off the opacity pressure influence, but we do actually want the brush to
get bigger and smaller with pressure. So 70 ish is a good number for that. If you are pedantic like
me, you can tap it in instead. Now you're left with a really simple, versatile brush that you can, if
you want to do lettering with it, you can add some streamline. So you can do that. If you want to draw with it, you can take away the streamline
and just make it into a simple. Drawing brush. [Laughter]. Okay. So we've got, now we've got a really versatile
base brush to start with and we should probably name
it. Let's give it a name or call it ordinary brush. Okay. And so, um, before we get further, I know I said, we're
going into the wet, um, like watercolor and oil
brushes in, in this session. But the other big difference between the
first session was we were doing a lot more stamped based brushes. And these are going to be more painting
brushes that you can actually use, um, to paint things and not just
as a single stamp or a texture. Yeah. I've heard these kinds of
brushes being called dynamic brushes, which is quite nice. So, okay. So we've got our ordinary
brush, so let's duplicate that, so we don't have to go through
all the rigmarole again. Okay. Now we're going to make a
watercolor brush. So for the shape, we're going to swap it out and we're going to go to
the source library and pick one of these watercolor-y ones. So just
pick the one that takes your fancy. I'm just going to use blotch one.
And don't forget to tap done, otherwise it's not going
to keep that there. Then for the grain we're going to go
and we're going to choose from the source library. One of these, um, papers that looks like
it's got a mess on it. So stained paper one is a good
one. This one is also very nice. Let's just do this one. Okay. And done. So it stays there now. See,
it's not watercolory at all. It's just a black brush. So to get that water color vibe, we need to go and make sure
in the rendering first step, when you'd make a watercolor brush,
it needs to be on intense blending. I mean, sorry, uniform, blending,
uniform, blending, focus on that. Um, because when you do, wet mix it, um, if it's not on uniform blending,
you'll see some weird kind of, um, artifacts in your brushstroke if
you're making a watercolor brush. So we'll head off to
wet mix. So at the top, the dilution slider is, could basically be called
water in this case. And the charge slider
could be called paint. So if you're making a watercolor brush, you always want your dilution
to be higher than your charge. So we're just going to
whack it up to maximum. And then we're going to
set the charge to 60 then. Yep. And Charge, I believe, when
you say it's like paint, it behaves, um, as though you've dipped your brush
and paint and you're running on paper, not that the paint stays continually
on the brush at the same level, it's at the start of the stroke. Exactly. Um, then attack is how much
more paint you can add with pressure throughout the stroke. So I usually for a watercolor brush, don't want too much extra
pigment to be added as I go. So I'm going to set it to about 20. And then the pull means how much
of the pigment that you started with is going to travel with
you and how much water is going to smudge, whatever was underneath. So if you have pull
all the way at maximum, it makes sure that what
you started with here goes with you the whole way in
front, drag it back down to, let's say, 50, what you start with here is
going to peter out as you go, and water will take over and start pulling
that whatever you've got underneath it as well. Okay. That was going
to be my question. Um, if it affects the stroke that you've
only painted or the strokes beneath it as well. So if you, if you put, pull on a hundred, it's gonna pull the pigment that you
added at the beginning all the way across what's underneath it. And you're
not going to see that nice mixing. So if you put, pull on 50, it'll pull
some of the pigments you started with, and then also begin to
pull what's underneath it. Um, and then the last thing
is grade. Put it up to smooth, cause you don't want
this to be choppy. If, if grade is not on smooth, you can
see a choppiness in the stroke, which you don't, you can't enlarge
this pen, but you don't necessarily, you don't want that with
a watercolor brush. Okay. Let's head back to rendering.
Now we want some wet edges, like a water color paint, um, might leave in if you're painting with it. And we'll just whack
that up to maximum. Okay. Let's see what we've made. Let's grab some blue, whoops,
too tiny. Let's make it big. Okay. That looks, that looks pretty
cool, but I think the edges are, but too uniform. So get ahead back to my
shape and I'm going to scatter the edges of the shape. So the shape is going to be moving
around as you pull the brush. You put Scatter at maximum there? Yes, I did put it at maximum. And
then to change the edges even more, you can head over to dynamics and
you can bump the slider up to 50. And that will mean that the edges are
now nice and irregular because the shape gets bigger and smaller and bigger
and smaller, as you pull it. I'm just going to head down to properties
and make the brush nice and big. Okay. Now let's have a
look what this looks like. Clear that layer. And see? Okay. So, um, let me just tell
you what I'm doing here. I'm pressing hard and you can see the
color and then I'm pressing softly and pulling it away. See? Nice. Beautiful. Okay. Now let's put another color of the
top to see how that pull effect works. So we start and then you can see, it starts to mix it to purple
because you've allowed the pull to not only be all the pink. So if you'd put pull on 100, you
would pull pink all the way to here. Would you still have,
[interrupting] - I'm sorry. Would you still be able
to see the blue, um, hard edge underneath if
the pull was at a hundred? I'm not sure. Let's have a look.
Let's change it to a hundred and see. Let's start on the edge here. See the pink doesn't pull
any of the blue with it. It's just, it's just a thin
screen of pink over the top. So that's why the trick is to make, pull be 50 percent-ish. You
can make it, even if you, if you want a very, um,
pronounced watery brush. So let's leave that one on 50. Okay. So now you have a pretty
decent watercolor brush. Let's name this one. I spell colour like
that because I'm right. Okay. Next we're going to make a
watercolor brush that streaky. So for example, if you
have like a sable brush, [muttering to self] I had one on my
desk the other day ... that you've, um, that you're dragging
pigment and the little, um, the hairs of the brush are
pulling the paint with them. So we're going to duplicate our
watercolor brush again and now, because we wanted to pull, we don't
want that shape to jiggle jiggle jiggle. So we're going to turn off scatter. We're going to go to
dynamics and turn that off. Um. And then we're going to
go and change the shape. Cause the shape is fine for this, but we want something that's going
to look more like a brush stroke. So let's go to the source
library. These ones are okay, but I actually quite like
this one. It's called Ink 2. And then let's turn it that way
so that our stroke goes like that. Because don't forget, the right hand side of
the shape pane is your leading edge of your brush. Okay.
Let's see how this looks here. See it already has that, um, brush feathers look in it as it goes. Very cool. Um. Okay. Okay. And then also another
way that you can make, um, a streaky brush, even more streaky is you can
influence it by making the grain, not be regular. You can make the grain smear
out by moving the rolling down to a lower [amount]. So can you see, um, hang on. It's not very
cute. Let's make the previous size, but I guess so you can see. Okay.
So I don't know if you can see, that's
not very bright, but as you drag the
movement slider to the left, the shape
of the grain elongates in, within your
stroke. And so as you can imagine, you're getting a sort of lines effect happening
in your brushstroke. So let's find a nice dark color so you can see. Okay. If, if, um, you want, um, if
something is this bothers you, I don't know if you can see,
can you see these little, that now that is from
the stamp being at four, apart from each other, if
you don't like that at all, it's not that obvious sometimes,
but if that's bothering you, you can head over to stroke
path and you can put it on zero. You won't be able to make your
brush as big as if you had it on four, but it will completely eliminate
that. That's a huge difference. it's much better. Yeah. Okay. So now we've made two pretty decent brushes.
Let's go name that one as well. So this one is called watercolor.
Let's call it watercolor stroke. Let us know in the chat if you're
following along. Um, and again, if there's any questions that you have
as you go, or if you, I know we have, uh, Jenny said that she missed last session. And so if there's any questions
that you have that are, um, you know, just about like
what these things are that
we're talking about and not explaining like shape or
grain, feel free to ask. Um, okay. Then, the next brush
we're going to make is an oil brush. Um, before we move on from oil
really quick, PinkTree Portfolio, um, asked if it helps to have real water
color experience when making these brushes. Um, yes. Well, I mean,
it can't harm you. If, if you look at you
trying to achieve, it's, it's much easier to get there
then if you have no idea, so you don't actually have to be
painting with watercolor to, um, have an idea of what of the
look that you're going for. You can go on Pinterest and you
can just like binge a whole lot of watercolor images. Um, I've
actually got a Pinterest board, which is all water color. Let me find it. It's totally okay to
just experiment. And you, if you're playing around with these
different shapes and grains and the settings, you'll likely find that you, you learn a ton just doing
that. Um, but like Abbie said, if you know what look you're going for, if you're trying to
achieve something specific, it definitely helps to
know what that is. Yes. So I've got this Pinterest board to show. You can - shall we link it
in the description? Yeah. This Pinterest board is zillions
of pictures of watercolor. And the reason I go and digital
hoard watercolor pictures is because I want my digital
watercolor to be as convincing as possible. So if you look at things
that make watercolor characteristics, like for
example, here, and this one, this lovely shape here in
the middle of this flower, you can see those edges and
looking over here at this edge here, over there and these edges around here, those are very typical. And it's, if, if you want your digital
work to look analog, it's really important to sort
of, um, what's the right word,I don't know, hack it, so
that it's got that vibe. Um, so if you [pause. Something that occurred
to me too, is that, uh, some of these artists that you've pinned
likely use techniques or different materials that you, you don't,
or don't have access to. And so I think that that
gives a better variety. Yeah, it does. Exactly. And also I haven't painted
a massive amount with watercolor, um, analog, but I have painted an
enormous amount on my iPad and I've tried to channel
as much of analog look as possible. So if you guys want to go
and look at this Pinterest board, you're more than welcome
to go and, um, binge it. Yeah. I've linked it in the chat and I
will add it to the video description, um, at the end. Cool. Oh, where were we? Oh, we were
going to make an oil brush. So we we've done a watercolor
stroke brush - this bad boy. So now we want that stroke
to be less transparent and more, um, gooey looking. So what we're going to do is to make it darker, we'll change
the rendering to intense blending. Okay. And that gives us a much darker stroke. We'll turn off wet edges
because wet edges actually makes your whole brush stroke
a tiny bit transparent, no matter what kind of brush it is. And then we'll head into the
Apple pencil and there's this really nice function called bleed. The way that bleed works is it
allows the pressure of your brush to, um, interpret the different tones
in your shape and grain. So if you have a very light gray, you'll have to press very hard
for that to register as a Mark in your brush. If you have a black
that will register immediately. So it allows you to create
a stroke that looks like you have feathered your brush
across the surface of the paper. So, you know how if you take, uh, an oil brush and it's loaded
with paint and you very lightly stroke it across the paper, it just
leaves that sort of scrape of pigment. So that's what allows you to do. see? Oh, that's cool. Then it will fill in the pigment. Okay. And now, because we wanted
to look like an oil brush, we can head back over to
wet mix. And for oils, you kind of want the dilution to be
a little bit less than the charge or very close, because unless you wanted to
look like you using a lot of linseed oil or, um, something like that. Okay. So put the dilution
slightly below the charge. Um, and. The pull is still at 50%. Let me just check my notes. I'm actually gonna put the
dilution a little bit lower. Okay. Now. Now you've got a brush that's quite
pigmented and we'll pull a little bit of that color from underneath it. Can you see the Navy blue as being
pulled with the pink? It looks really. Cool. That looks super realistic. Yeah. And that's a very,
very easy brush to make that. And if you want to make this, let's go in to rename this brush
into oil stroke, oil brush. And we can duplicate that. Now, if
you want it to look a bit ragged, like a little bit messy, sort of, um, like a slightly more, um, aggressive stroke, you can go
and change in the stroke path. You can give it a tiny bit
of jitter, not too much. Otherwise it looks a bit
wonky and you'll see that. Sorry. And in the dynamics, you can add a little bit of size change
and you'll see that the brush starts to look a bit less clean on the edges. Can you see? Yeah, let me give it some black
so that you can see nicely, not the brush in these
kinds of brushes is not that critical. So if you want, um, a brush with a middle of the
brush is darker than the edges, go and find a shape that, um, that you like that looks like that
in here. So for example, this one, so this is going to give you a
dark middle of your brush and the edge is going to be a
little bit more feathery. And that was one of the charcoal
shapes, right? Yes. Okay. See, and then that
combined with that jitter. Yeah. Yeah. And then if you want a
really open scratchy brush go and find one where
there are only a few little bits of black in there brush shape. So this one is a good one. So all those gaps are going to
look like gaps in your brush, really streaky guy. Very cool. Do we have any questions. You breezed so quickly through that! Um, let me - I think we have mostly
answered the questions as we've gone, um, because I typed out a
couple answers as well, but... Do we want to, um, should we make some again? Yeah. I was
going to say, do you want to start with yeah. Well, make a watercolor brush
again from the beginning. Okay. We're going to choose the shape this time. Let's choose a different
shape from the source library. Let's see how it works with this shape here. That's nice.
Cause it's got those sort of, um, bleedy edges. Let's grab the grain and we'll go and get this one. Okay. Then we're going to go and
set our rendering to uniform, blending and whack on the wet
edges. Let's go to the wet mix, add our dilution, a little bit of charge, some attack, whack down the pull
so that it actually pulls stuff. Uh, grade to smooth, uh, Apple pencil - we don't want the opacity. And then actually we'll leave the spacing
at 17 so that we can make a really big brush. Okay. And it's going to scatter
our shape and make it change size. Okay. What have we made? Oh! That's pretty cool. What if we want to make it so that it's
the kind of brush that you pushed down hard on and it makes a big smudge of, um, paint. Yeah. Let's increased the size response. Let's see how that looks. There we go. So that's very, very cool. It creates a little bloom
of watercolor on your page. So can you then smudge with that brush? Yes. I think you probably could.
Let's put something down to smudge. To switch brushes, long hold on smudge to swap from your
paintbrush to the smudge tool with the same tool. So I was on whatever this brush
is called that we just made, and I want to use that as a
smudger, so i easily just go, long hold on the smudge.
And it swaps it for me. Such a good tip. Ooh. That is very nice. Look at that. Oh wow. And so you didn't have to
make any adjustments to
that brush to make it smudge right? No, no adjustments at all.
There is the, if you want to have an influence over the
way that it smudges the place where the way that smudging is
affected is on the brush menu, is here at, on the smudge tool. So if you wanted to drag
everything you touch to a new place, you put it on maximum. It's at works exactly the
same as pull actually. And if you wanted to
drag some, but not all, put it on about 50 - the default
is usually about 70, I think. So. Let's see what 50 does as a smudge tool. That's pretty cool. See, this one was on 70 and this one - this one is on 50% smudge. And let's whack it up to a hundred
percent smudge. It should make a really -- see it kind of drags more white
in that direction. See the white. Yeah. Um, so, uh, we have another question here. Um, how did we learn
all of these? Or, you, Abbie, especially after the
big update of the brush studio. I just spent ages fiddling with it. I think I'm the same way
as you learn anything, you just mess around with it and
see what works and see what doesn't work and see why it works and
see what it influences because all of these little
sliders and whatever have some sort of influence on the brush, but not all of them influence it in, um, in to the same degree or
as you expecting them to. So if you play around, you
usually get the hang of it. Yeah. I was also going to say, if, let me share my screen here. Um, if you go to the Procreate
handbook - it is a whole mine of information. Procreate.art is the procreate website. Oh, let
me straighten my iPad here. Um, and then if you, at the very bottom
select the procreate handbook here, this is just a wealth of
information and it's searchable, which is super handy. So if you have a specific question
about what one term means, um, then you can look it up and
they have, um, like the, all of the gestures and it's just,
it's a really great resource. Yeah, yeah. Um, you can
actually download it and I have it in, in iBooks. Oh. So I don't need the
internet to look at it. That's awesome. That's I also, like you could save previous
versions and see what has changed. I, um, it's like so obvious when
you go a few versions back, how very different the
app is these days. Yeah. Yeah, yeah. Some tutorials that I made
look so different now. And I wonder if people can
still follow with them. Yeah. Yeah. When, when, um, I'm sorry,
if I'm not saying your name right, Anna or Ahna, but uh, when Anna, I mentioned the big brush studio update. That was such a huge change. Probably one of their biggest changes. Uh, with that in mind, shall I show you how to use
the color dynamics to, um, really kind of make your
watercolor brushes? Amazing. So yeah, grab the first watercolor
brush that you made and, um. Angel's song also asked about
the hard edge watercolor brush. And so this is the, the hard
edge brush that we made, - cause they came late. And so this brush that Abbie
is demonstrating in, um, when you watch the replay, it's
the first brush that we made. Does she mean one that isn't
feathery around the edge? I can show you how to do this
smoother on the edge one, um, let me show color dynamics and then
we'll make a smoother edge one. So color dynamics are great. And, but they're like perfume. If
you put on way too much perfume, you just don't want to go near. I
mean, nobody wants to come near you. So don't go for slider all the way, use a tiny bit and a
little bit goes a long way. So stroke collegiate is what
you'd probably get the best effect out of with watercolor brushes. If, um, stamp color jitter means
that as you drag your pencil, every stamp is going to
be a different color. And that's going to look a bit weird.
Let me show you what that looks like. So can you see, it goes like turquoise blue
and it does it in a sort of, um, it looks of like a neon light
flashing effect. It's not great. Yeah. Can you turn it up
all the way to show the intensity of it? See it's yeah. It's just weird. I mean, it's sort of, if you want to make a
unicorn brush go for it, um, but if you wanna make a watercolor brush,
it's going to look like watercolor. What's going to work really well is to, is to vary the color between strokes. So stroke color jitter means that
the stroke is going to be that color. And then the next stroke that you do
is going to be a tiny bit different. And that's helpful because when
you paint it with real water color, when you take your paintbrush
back to your palette, you might smudge it
next to a bit of yellow, even though it's blue
and then bring it back. And it has that really nice sort
of accidental look about it. So we're going to add
a tiny bit, maybe five, if you go too far, you're
going to end up with this, which is not really what you're after. Yeah. Cause it's random. And
so you don't have the control. Yeah, exactly. Exactly. So see, that's turquoise slightly
bluish and it's just enough that it's interesting and not violent. So let's have a look at that. Yeah. Very minor. But it's nice. And then you can mix them together
and make it feel realistic. Yeah. Okay. We have another question. Um, with this brush, if we want your, I'll show it on the screen
here about adding the, just water without color.
That would be dilution, right? If you want to turn this
into a watery brush, head over to wet mix
and turn off attack and charge. Now your attack means how
much you add with pressure. So you've eliminated the option
of adding color and charge means you've eliminated the fact that
there's color in the first place. So here we go. And then we'll go to that one
that we'd made with just water. See, now this is just water mixing. Yeah. That's very cool. And you can play
around with, nothing's going to show. Yeah, you can play around too. If you want it to look like
there's just like a tiny bit of, of paint at the beginning. Or if you're almost painting
with like your dirty water. If, if you want that look, you can
increase the charge and attack. Um, okay. Let's make that hard edge
watercolor brush that isn't fluffy. So let's duplicate this one
that we started with and it's all about the shape. So head in here and we're going
to import a shape that is, um, not so jagged. So, but it also needs to be fuzzy around the
edge because the fuzzy or the edge of your shape, the more pronounced that thick
black or darker line around the edge of a wet edge brush
is if it's super sharp, you don't actually get
that line at the wet edge. So let's pick this medium hard, which is just a white
dot with a fuzzy edge. And now let's change.
Let's turn off our, um, size changing. Okay. Go
back here. There you go. Oh, that's wonderful. If you want it even more pronounced, let's go and find one a shape
that's got an even fuzzier edge. Uh, maybe this one. Okay. Let's see. They go. That's got a really dark edge. Yeah. So just remember that, um, wet, uh, what's it called? The wet edges slider.
If you want to use that, pick a shape with a fuzzy edge
and it'll give you a nice outcome. Which is kind of counterintuitive.
You would think for the hard edge, you would want a sharp edge shape. Let's rename this one. There you go. All right. Um, okay. Another question,
sorry. Was reading it. Um, your favorite eraser for watercolor. Uh, if you want a dark hard
edge, is it possible? Yes. Yes. I actually will make one. Let's make that eraser that
you can use for watercolor. So ahead to your ordinary brush that
you made right in the beginning, duplicate it. And it's all about having a jiggly edge. Because when you look at, um, watercolor where the color meets, the paper is never a nice clean line. And if you looking at digital
watercolor and you see a clean line, your brain immediately
goes, that's not real. So you need to make it wiggly
so that you can achieve by going to the shape and then
go to the source library and pick this one that looks like
an eye. It's called oval. Okay. Now it's just going to
be in one orientation unless we add some
scatter. And can you see, it's immediately wibbly on the edges. Now, if you want it even more
wibbly head to dynamics and you add some size jitter,
let's give it like 40. I will type it in, and now let's do this guy. And then we want same thing for, um. If you want to swap from
your brush to your eraser, I have ordinary one picked here and
now I want it to be the eraser and I couldn't be bothered to go
to erase and search for it. I just do a long hold on the eraser.
And it says, erase with current brush. There's your wibbly edge with your eraser. And I think the effect is that much more
accentuated when you're using a paper texture layer on top. Well, last week we made a paper texture. Let's add that text paper texture
that we made last week. Um, that's fine. Yeah. This is the one that we
made from the Unsplash, um, image that Addie imported. If you didn't watch that go and watch
it because it'll show you exactly how to make the paper texture brush. And Addie has an amazing hack on just
whipping it off from Unsplash and using it. So we're going to head for gray, the midtone gray, right in the middle, come on dot of plastic
color picker hit to the top, fill the screen. There's our texture. Duplicate
it. Make the top one. Color Burn on the bottom one,
linear burn at 10% or 20%. This is the only place in procreate
at the moment where you can't type in your value and it drives me nuts. Yes. Okay. There we go. So we've got this
lovely texture on our water color. We've got our hard edge watercolor brush. We've got our wibbly edge eraser and we're doing well. I don't know if the question
was also to recreate the darker part edge. Um, but I don't know if that specifically as
possible because with any eraser you're always removing pigment. And so you're not necessarily
pushing the pigment over or, um, squishing
it, if that makes sense. I think maybe using a brush as
a smudge tool might give you the look that you're going for.
So you wanted to do something where you push the... No, it still doesn't give you
a hard edge because with all, um, uh, reductive things like smudge and erased, you taking stuff away, I don't think
you could get a hard edge, uh, that, um, dark edge with an eraser. Yeah. The, the only thing that comes to mind that
would maybe replicate what you're trying to achieve would be something
like warp or liquify, where you're actually just moving
all of the pixels over, um, it doesn't necessarily give you the same
precision that you would get by using an eraser brush, but that'll
give you the hard edge. Yeah. Let's move that hard
edge around with push.Hey, it's still there and
it's working great. Yeah. You're a genius. Addie. And the, one of the more recent updates
you can add all filters and all filter options to the quick menu. And so if you want to access liquify
with just like a flick of your finger, you can add that to your quick menu. My quick menu is I attach, uh,
do this one and it's all there. I love the quick menu. It's the
absolute best. It's such a game changer. Yeah. Okay. I think that
that set up as well. Yeah. And, and once you get into
it and add it to your workflow, um, and if you have one core set menu
that you use, it's just like, it's like flying. It's so fast. I always, like, I always try to do a ton of like
learning new shortcuts all at once. And I have to like remind myself
to slow down and memorize one at a time and incorporate that and
then move on to the next one. Yeah. What do you have in your quick menu? Oh, that's such a good
question. Let's see. Um. Yes. So I have several quick menus
set up and I most recently was playing around with different tools that
I maybe wanted to access. So this is, this is new, um, that I added the paint and eraser
options here. What do those mean? If yuo press paint, does it take
you to your paintbrush? Yeah. So it'll choose whatever
brush I was using last. Okay. Um, and then I also have, I have my
quick menu set up so that I can, um, see if I can remember off
the top of my head. Um, I hold my modifier button and
touch my finger to the screen and swipe in the direction of the button, which makes it easy to switch
between commands like that. You just have to remember, remember
the location of the button. Um. Let's see. Okay. So if you open
quick menu, then you have, um, uh, let's say you have liquify, so swipe towards liquify, and it
will take you to the liquify menu. Oh yes. But if I'm off on my
direction and just added a new layer. Um, Ooh, what is okay. It's having a bad moment. Oh, okay. There we go.
I look at it. Um, and, and those diagonal swipes are
what I'm finding to be tricky if, um, I mostly use like the up and down.
So I always swipe up for a new layer. Maybe it's just part partially
the angle that I'm at, but I have several other ones set up. So my always forever
favorite brush set is the, um, pencil paint and
paper set the Abbie made. And I chose my favorite brushes from here. The ones that I was using most frequently. So that on projects where I
was using several different, uh, brushes, I, I was able to
more quickly switch between them. Um, And then I, yeah, I was, I had like several setup, but the most frequent ones I use are
the pencil paint and paper brushes switching between them and my,
my new standard workflow tool. So you actually have more
than one quick menu set up. Yeah. Right now I have
four. Oh, okay. Okay, cool. I didn't know. You could
set up more than one. Yeah. That was a 5X update.
And you just add the plus sign. And as far as I know, you
can add as many as you want. That's amazing. Cool. Okay. Yeah. Yeah. I wish I'm
like, I kind of want, uh, more options within this. I don't know how you would do that with
swiping in the directions, but like, if I could just easily access
10 options, I would. So the, the multiple menus is
a good, a good backup. So another good question as
how did you know each other, if you want to share which yeah. So, yeah, so I could start, because I found Abbie's post on the procreate forums when I first
gotten an iPad. That was, so. That was like 2016. Yeah. I found well, because it, it was like, the it's still is one of the most
popular posts in the free brushes section. It's like forever, consistently at the top because people
commenting on it. So that's why. Unconvincing watercolor. Yeah. And I think the brushes
are still there. Right? Yep. They're still there. Yeah. So that's
how I got introduced to your brushes. And um, like looking for that watercolor look.
Um, so yeah, years and years ago, that's where I found Abbie. I think I sent you a DM on Instagram
saying how much I loved your brushes. Yeah. And then we've sort of been
in the same sort of circles on Instagram for ages. And then
I, I really wanted to, um, chat to Addie one day. So I sent her a
message and said, can we do a zoom call? You must've thought I was nuts. No, I was. So I was like
star struck because like, you know, you were this brilliant person. And I have learned so much
from you, from your tutorials, from using your brushes. So I was
really starstruck and super excited. Well, that was awesome. It was a really
good idea. I'm so glad that we, yeah. That we doing this. I love doing this. It's
just like a total delight. It's really nice. Is there so few people who do
this sort of weird job that we do, where you go on the internet
and sell digital stuff and like, your family will say, what do
you do for a living? Or, you know, how's it going at your job? And you
can't explain it because you're going, I'm selling pretend things to people and, and telling them how to use
them. It doesn't make sense. It's. Nice to be able to talk to
somebody who actually understands. Yeah. And like, I feel like, you know, my family and friends that I do
talk to about it, they indulge me. My husband listens when I talk about
this procreate update, but it's, it's so different when you talk to
somebody that gets it and yeah, exactly. Yeah. And being able to like
bounce ideas and different, uh, different techniques
and like workflow hacks. That's just been so much fun. Yeah. It has been, it has been awesome. Yeah. Yeah. Yeah. So I think I
answered the questions. Um, I will add all the links that we
mentioned to the description right. Afterward. Um. I, unless. There's anything else, um, Oh, this is a, this is a really good comment. "It's nice to feel a connection and no
competition at all with a fellow artist." And that is so true. I
think the, that phrase, um, community over competition. Yeah. It's usually--people just like throw
it out there and then stay very competitive and that it
freaks me out. So yeah, it was really nice to meet Addie. And I think with social media and, and having things be like
that kind of distant, um, less interactive space, it
can be easy to slip into feeling, uh, like the comparison trap all the time. And so having that face-to-face time and, and just like getting to know
Abbie getting to make those, those like real life connections,
um, eliminates all of that. All of that comparison. Yeah. Yeah, it does. Yeah. Yeah. Yeah. All right. Well, thank you
everybody so much for joining us. Um. I hope you're enjoying your
brushes that you made. Yes. Definitely take us. If you paint things
with these new brushes that you've made, and as always, you can DMS on
Instagram, any questions that you have, um, we have a third session planned. Um, and so keep an eye out for that
we'll post on social and email lists. So we'll be getting into the
depths of, um, combined brushes, which will be huge. That's the minefield. Yes, yes, yes. There's lots to do there. So that'll
be in a couple of weeks. Um, but we'll, we'll promote it and link everybody
to it when we schedule it. Cool. All right. See you guys next time. Yeah.
