Hey, everybody! I wanted to do a little preview of these summer. Brushes that are coming your way in just a couple weeks. Maybe even sooner and this is a really diverse collection of brushes. It’s really different. There’s all kinds of stuff in here. Effects, brushes, brushes for drawing brushes for painting, and let’s just jump right in. So the first brush is called impression Ista. Okay, and this is a really fun, A sort of Impressionist kind of style brush. I’m just going to put some marks down here on the canvas, and you can see how nice that is so taking full advantage of color dynamics and also the sharpness of the brushstroke, depending on how much pressure I’m using, so I get these really lovely layered blobby effects, great for painting in a background that has a lot of texture and creates an interesting environment, so that is something to enjoy and, of course, if you use some subtle variation in the color and then sample from your canvas like this, you can get some pretty beautiful, blending effects as well, which I love so good for a variety of things here as well as using it just with black because it’s just got all that texture built in, and this is a nice way to just add a little bit of grit to something. Alrighty, so moving on. We have the fresh cut brush now. This is an inking brush, but it’s a very large one. If you look over here, it’s 300 pixels. That’s a big brush. So why have such a big brush for inking? Well because you can make a variety of brush strokes with it like this? Look at that, this is all with the same brush just using the pressure to control the width, and you’ll notice that no stroke is exactly like the last one. Alright, nice variety in there. So if you’re interested in doing some really expressive, drawing and making those kinds of marks, then I highly recommend checking out this brush and just pop in a little face here for just a moment and you can see how nice it is to get all these various different kinds of marks with the same tool all the way through so lots of things you can do with this one. Check that out all right now. The fresh cut variant is, of course, a variant of that same brush so slightly different texture and slightly different effects on the outside edges of the strokes. That you paint. Okay, so try that now. The Brics brush takes advantage of color dynamics as well. Why is it called? The Brics brush Well bricks look at this and so that reminded me of sort of a brick wall when I was making this brush again For texture and just for interest in in areas, you have to color that’s flat so nice to use a brush like this. And the color dynamics are going to add that nice variety in the hue saturation and value Wherever you make a mark and I love those layering effects. You will get smaller marks with less pressure and much bigger marks with more pressure, all zoom in 100% so you can see. This really is a big fat brush 374 pixels in diameter. So you’re getting a lot of coverage Very high Def. Good stuff moving on. This is the /e brush. Now slash your brush again. A little bit of color dynamics built in and it’s got its own unique stamp to it. That has one side that has a sort of a flat cutoff edge, and then the other side has these little spikes, and because I use the flipping of the X and y-axis of the brush, You’re going to get really cool. Mixes of one side of the other laying on top of everything, and you’re also going to get this really rich texture that’s built into the brush, too, so another one that’s great and what I like about. This is painting for a grass. So for example, I like just doing this. Just come up and down. It’s kind of a zigzag pattern like this, and you see what’s happening there inside the areas that I’m painting, right, You can see those nice /e diagonals and triangular shapes in there, which is lovely, so I like that very much for this kind of work concepts, artists. I know you’ll find some really great uses for this one great for quickly filling in a little landscape, kind of action, right, There’s a variant of this brush, which has a more pronounced brush stamp inside of it, so you’re going to have less of that texture and more of a sort of a solid background when you’re painting. Okay, then there’s also a variant of this that has type coming through which you might think is weird, but as a texture, it’s really fun to have type. So you can see this here. It’s like old typewriter letter forms that are built in to the brush as well. I like this one for using just pure black, because look at what you get when you paint with this thing. A suggestion of those letter letter forms that the random letter forms coming through, adds a pretty slick texture. Grab some white paint over it. Grab some black! What inspired this brush? You might wonder well. It was the phenomenal work of Dave Mckean. If you’re not familiar with his work, looking up brilliant artists who did covers for Sandman back in the 90s and a whole bunch of other. Cool things, so there you go the WaveRunner brush. Alright, so lets. Take a look at the wave runner. Here you go. Why is it called the wave runner? Well, let’s serve this wavy sort of a pattern to the stamp as it gets dragged along. And I really, there’s like this one. Why is it useful? Well, there’s a lots of things you could do. Obviously water, but what? I like it tour as well. Is this. Let me just show you so? I’m gonna grab that fresh cut brush size it down a little bit and I’m just gonna draw a little face here. Alright, there’s a person okay, and check this out. I’m gonna grab the waverunner brush and I love drawing hair with this. It’s like braided, textured hair and that gorgeous. So that’s a pretty fun little way to use that brush as well. All righty, moving on, so we have the leaf breaker brush leaf breaker. I just used this for a postcard that I did for my picture book agent, and it’s just great for painting foliage and things like that, So I’m paint little stuff like this and then watch this. You blow it out and look what you get, so it’s got all this control having to do with the pressure that you’re applying with the stylus. There’s also really funky texture built in so this is the leaf breaker, and I use this to death in this promo piece. I did where I painted these two little bunnies walking through the woods looking for a place to have a picnic and you had to use this brush by layering like this lighter color on top. See that, But the darker color down first put a nice light color on top. You could probably hear me sort of stabbing at my canvas with my stylus, right, These welcome style! I can really handle that kind of abuse as well as the other glass of the stylus really really durable. All of these things. Go down to a nice, dark color again. Add a few accents here and there look at that. So that is the leaf breaker. The split douche is just what it sounds like, bloody shrine. Big, splashy kind of a brush, so lets. Take a look at that thing. Let’s see. Sorry here we go sputters. Bam, now this thing is monstrous. Look, it’s 900 pixels. Okay, and you’re getting multiple instances of the stamp when you paint with it as well as some color dynamics so really fantastic for splashy effects Like what you’re seeing me, put down right here, Also great to set the brush mode to clear up here instantly. Turn it into eraser. Get rid of some of that action and then like what you know. All these fantastic variants of the basic set of shapes that are built in and the dual brush, of course, is really adding a lot to this. So it’s removing part of that stamp as you go through in a random fashion, really fun to play with this one. If you go to my Instagram feed, scroll down, maybe about like 3040 posts back, youll! Find a surfer that I painted using this strictly for the water and the splash of the waves. There is a variant of this brush as well. This one has a lot more negative space built in so also really fun to play with, okay. Check them both out, look at that. Hmm, good times. They’re also really mat monstrous that the first one nine hundred and some change, the variant is over a thousand pixels. These are big brushes. Alright, cardboard. Wash well. Secondly, what you probably think it is wash brush that has a lovely cardboard texture built in. Look at that. That’s one of my faves, The zoom in on that full, full 100% so you can really see what that looks like when I paint with it. So, of course, this is more of a watercolor sort of effect for a brush right and the more you paint with it. The darker it gets. You know, until you get up to full the full value now. This is not set to multiply like a lot of my watercolor. Brushes is just normal, but you can, of course, take advantage of brush modes and make this to do whatever you like. Okay, so there you go, That’s a fun one. Now, of course, there is a variant of this as well. It’s called cardboard wash too, and here’s what it looks like now. This is more of a brushy brush. You can see what’s happening with the bristles there in the brushstrokes, and I really like this one for painting inside of a selection. So if I were to make a selection here, just do this kitty cat. Okay, sitting here having a nice time and then come across it like that Sort of got that, like Eric Carle. Kind of vibe to it, right, love Eric Carle, but really fun way to just kind of paint inside of the shape. Maybe we need some really bright pink in there. Pop here and there, a fambam. And then look what you got, huh? Isn’t that fun? So that’s a really a fun way to use that brush. But, of course, you’ll figure out much cooler ways to use it. I know you will and the watercolor handmade paper. So this has got a really great sort of a irregular edge to it when you’re painting and the paper texture that is being used as this sort of handmade paper. It’s it’s beautiful, really like this one nice washy effects, right there. You go so using light pressure means. I get a very faint. Mark heavier pressure means I can build up to a much darker color. Moving on, we’ve got this wide vine charcoal. Well, what is that? It’s exactly like what it sounds like. It’s sort of this vine charcoal that you would use for shading or for just adding a little tone to an area. I like this one in combination with a drawing tool of some kind something from the drawing box in the mega pack. You know where you could do some charcoal drawing and then go ahead and add some tone with this bad boy. So you’d be in good shape with that, and you can see that. I’m moving from dark to light using the pressure that I’m applying. Here’s a variation of it with sort of a more cardboard kind of a texture to it, which is really quite nice as well. I know you’ll find some uses for that. And then we have the old fence. The old fence brush looks like this. See that so you can immediately tell why it’s called the old fence brush because of that texture that it reveals as you paint with it. This one, though, I think you’ll find is quite interesting for cityscapes like you were doing a nighttime. Cities, Gabe, Or you’re trying to suggest a city in the background in a comic that you’re doing because of the vertical lines that you get with the texture, you can quickly fill in this idea of there, being skyscrapers off in the distance and get these cool cityscapes like this, you know, so it’s nighttime boom got some buildings in the background, maybe some reflections of those buildings down in the water or something like that. Okay, but lots of cool things you can do with that. Brush that again is the old fence water lilies named after our good friend. Claude Monet is probably going to look like what you’d expect. So there you go. This is another Impressionist Brush Really Nice For Impressionists, brush painting effects, So every mark, you make slightly different hue saturation and value and again you could take advantage of this at different sizes. So if I size it down, have more control with the area that I’m painting, right, You can also control the size of those little dots and things like that. So this is a fun one to use. Check that out! Dottie pinwheel is a strange one. I don’t know where I came up with this one, But that’s what it does look at that, so that’s again interesting for adding texture to an area. Maybe you’ve got some solid color that you’ve painted. You just want to add a hit of texture. So, for example, let’s say that. I’ve got the old fence and I paint this. This area like this. Okay, and I say oh, you know? I want to add a little weird texture to that. Okay, let’s do that. Grab that dotty Pinwheel apply a slightly darker color, alright? I’m going to lock the transparency of this layer and then just come over here and add that and check it out. Boom, That’s what you get. So you guys find a cool way to use that and no, you won’t. There’s a variant of this brush. The variant of this brush is much denser and so what? I think this is good for. Is this watch? I’m gonna go dark, it’s a light. So if you’re building up a cool gradation that you want to have some texture right, almost like, really dense cross hatching. This is what you can do using this dotty pinwheel very intense and it’s. Get in on that nice and tight. You can see how that looks lovely. So comics artists not a bad thing. Okay, moving on, we have the fray. Gonna frighten our amazing. French painter? I in a museum looking at some of his work, It was the Frick or Fricke. How do you say it freak or freaky in New York? And they had this frog on our room? These beautiful paddles any pain, and I was looking at how we painted the the leaves in the trees, and there was a sort of a systematic approach he had. This is kind of like formula where he would do this. He would, he would have these. These leaves that were dark. See this, and by the way this is controlled with the tilt of your brush, so I’m angling my brush to make the leaves go in the direction that I want so he would do this. Have the dark ones, and then he would just grab a slightly lighter color and do these hits like this over the top, and I was like, wow immediately. That adds this sense of there being like these dense areas of foliage and these are what the leaves would look like in the backgrounds at the painting. So these wouldn’t be like right up in your face. They’d be kind of a little bit farther away. You know, like a couple of hits of light like this here, and there see that and there you’ve got these like try gonna leaves that you’ve just painted like this. So I really was inspired by this formula that he had devised. Make sure I get in 100% zoom so you can see those how they look, okay, and there’s a variant of this as well and I’ll just throw that on top, actually better for me to use it on its own, so you can really see how that looks got. A little bit of texture built in. It’s also got a little bit of an opacity change happening with the amount of pressure that I’m using as I’m painting. Okay, if that makes sense there you go, but same basic idea, Okay, So those are the Fragonard brushes. The Roughen 2020 is a variation of the rough and brush from about a year and a half two years ago that I released hard to explain how it feels to paint with it. You just have to try it, but it’s one of those brushes that. I’ve heard from concept artists that they just use for all kinds of things or they just want to rough it in an area rough in a pain and they want a little bit of texture, built-in and they can also size it down and they’ll use it for, like little smaller areas and things like that, It’s pretty versatile. Just give it a try, nothing else can. I say scratchy scratchy. Look at this! This is a texture brush clearly and it’s called scratchy scratchy because of these scratchy textures that you get with this brush. Now this one also has color dynamics built-in. So if I were to paint with a color. Look what that does. And so if you paint a really dense area, check this out, look at all that nice variation you get in there, Okay, really, nice, scratchy, scratchy patterns, pretty cool stuff already. Now we get onto some halftone brushes. The halftone doily is called that. Because look at that doily pattern you get in there! See, that makes me think of that hilarious. Portlandia sketch with Jeff Goldblum and the doily shop. If you haven’t seen that, look it up and for those who have seen it, You’ll get what that is, okay, Halftone Lattice well. This is lattice. Look at this beautiful, so a totally interesting range going from pure black to this pattern here to this to that to these little dots. Everything in between so all that happening with the pressure of your brush, Of course, the biohazard brush. I’m going to zoom out for this one. Because it’s a monster, 700 pixels again, great textural brush. The shape reminded me of this morning. This biohazard warning mat. You see, so this one could be good for filling in some like suggestion of some foliage in the background, biohazard too much darker. Look at the contrast here at pure black or nothing. That’s what you’re getting with this one. But speaking of foliage, the jungle. Jam brushes! Now these are really big. Beast’s thousand pixels need to quickly add in some jungle foliage in your comic. Okay, your illustration. Bam here is the ticket now, of course again. Color dynamics that make a big difference this one. So if I were to do it in color, you just see what you get right there, and there’s a variant of this. The Jungle Jam variant here. It is remember if you go small. I’m gonna get nice, tiny leaves like this, but if you go big, right, and that’s me just applying again. More pressure with the brush. Okay, see that pressure. It’s gonna control all that good stuff. Go a little lighter here on top and some stuff. But look how fast you can just build out this sort of jungle scene like that. I’ll zoom in 100% so you can see how sharp that is, right. No softies here! All right, moving on, this is the Geo tree brush, and this is just inspired by seeing these illustrations. We’ve had four. Oh, my gosh, now 100 years, At least these really beautiful oversimplifications of trees in the distance. See that I just love the way those look in picture, books and posters and things like that, and I just thought. Hey, why not make a brush where you could just quickly throw those in, right. Why not so controlling in with pressure? Here we go in the distance. I’ve got some smaller ones. Go a little lighter. Come up front! Oh, look, bigger ones here in the foreground. Maybe even bigger ones, right, so I can go massively big like that. I think I just accidentally opened up something I didn’t mean to. Oh, well, okey-dokey moving on. We have this geo tree directional. Well, this just follows a direction of your brush. So look at that. Lots of cool things you can do with that. Probably the most obvious is. I’m gonna paint a pretty Sun for my picture. Book, Tada, gorgeous, look at that little texture in there and color dynamics, right so much fun. Alrighty for those of you. Who are big fans of the classic line art illustration in the Golden Age of American illustration. We have the Bob Peak brush. Haha, call it! The pop beak brush. Look at me trying to be clever right there. So there’s a 1 we have the Briggs, which is named after our good pal Austin Briggs. Look at all this variation you can get with pressure, so yeah, anybody who’s into those classic drawings from early the mid century, right, you’re gonna get a kick out of these, and you’re gonna find all kinds of ways to do you need. Oh, mosquito drawings with them and the break’s photocopy is really really sharp. I love this one because it just doesn’t leave anything but black on your paper. So this is the brig’s photocopy. You want a nice variation to your line? You want it to feel chopped up like it’s been run through that photocopy or a dozen times? Okay, well, here’s what you’re going to get. I just love this one. No line is like the last, but plenty of control. Look how fine! I can get with this thing. Teeny tiny, teeny tiny, but I can also do that all with the same brush. That one is a versatile beast charcoal. Uh, well! Why do you think it’s called charcoal? Check it out, It’s a charcoal brush that’s cool, Alright, and with this brush if I use tilt, look at this, I’m tilting my stylists away from vertical. Here’s vertical. I’m tilting it away from vertical right and changing the angle to 45 degrees or sixty degrees or somewhere in that vicinity, and that’s gonna expose more of the paper texture, so see this I can go from here to just start to angle it up to pure black fun things you can do with that and the Zeen liner. Where does that come from well? If you ever collected genes in the 90s you will know that the quality of the reproduction was not always great. So again we have this nice lion brush. You can use for cool textural work. And, yeah, it’s just, it’s just fun. What can I tell you look at this? Make this little cartoon character and all. I’m doing, I’m just drawing regularly. I meant to be anything fancy here, but I get all that nice variation in the line happening naturally with the brush, okay. He’s all dressed up for something important, so he’s got to have a tie on, okay, and last, but not least certainly not least the Milton Hendrix pencil. What is this brush? So this was an idea that mr. John Hendricks and I concocted if we concocted the formula for this When I was on a school visit Washington University with him, the great Milton Glaser, who used to did these beautiful, multicolored pencil drawings, reijis those multicolored pencils. You can buy that. Have four colors built into the wood casing all at once, and depending on how you angle the pencil. You’re gonna get a different color well. Hey, check this out same. Whoops, sorry. I can kind of select the brush first same deal. Check it out! Whoa, how fun is this? So this is one pencil, all right, and when I say pencil, I mean it because with light pressure. Look, I’m getting a pencil Mark. I’m getting that texture to come through. I’m angling my hand in different directions, and I get all these different colors. Alright, my line art can change. I’m also using the tip of the pencil by just changing the angle at which I’m drawing by holding the stylus. Okay, so, oh, my gosh, well, there’s a million things you can do with this, and I’m sure your imaginations will just take over and you’ll be so happy to play with it. Look at that and it’s just so fun. Ah, okay, and folks that wraps it up now. One of these gonna be available well. June in the United States and definitely by second week of July world wide, Hopefully sooner, but I just want to make sure that we’re expecting these to become a coming out at the right time. That is a whole massive, ridiculously large brush set. So, um, maybe too much to release in one go. Maybe I should have split these into, but no, I decided to go nuts and just make them all for this one release. I hope you all had a great time with them are really fun and we will hang out again and do some more drawing at some point, but I wanted you guys to check this out and get a nice sneak peek, so thanks and everybody stay safe. Stay healthy. Please take care of one another. Be kind and I’ll see you next time.