Digital Illustration: Learn to Use Procreate 5 | Jarom Vogel | Skillshare

Digital Illustration: Learn to Use Procreate 5

Jarom Vogel, Digital Illustrator

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13 Lessons (2h 29m)
    • 1. Intro

      1:16
    • 2. Part 1 - Getting Started

      7:39
    • 3. Part 2 - Concept and Quickshape

      5:53
    • 4. Part 3 - Sketch and Animation

      40:06
    • 5. Part 4 - Colors

      9:41
    • 6. Part 5 - Brushes

      18:15
    • 7. Part 6 - Blocking in shapes

      13:21
    • 8. Part 7 - Color Adjustments

      7:35
    • 9. Part 8 - Shadows

      5:45
    • 10. Part 9 - Tweaks and Details

      6:21
    • 11. Part 10 - More Animation

      12:18
    • 12. Part 11 - Export

      10:33
    • 13. Part 12 - Misc Tips

      10:10
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About This Class

Learn to use Procreate 5!

In this class you'll create an animated illustration using the new tools in Procreate 5. We'll also cover the basics of the illustration and animation process, and lots of tips for how to speed up your Illustration workflow using Procreate.

A few things we'll cover along the way:

  • Animation Assist
  • Creating a custom brush
  • New features in the Procreate 5 brush engine
  • Importing Photoshop brushes
  • New color picker features
  • Clone Tool
  • QuickMenu, Text, QuickShape, and more in Procreate

Tools used in this tutorial include:

If you've taken my previous Skillshare class on how to use Procreate, this will be pretty similar, but I've tried to cover a lot of new features that have been added to Procreate since then.

Transcripts

1. Intro: Hi, My name is John Vogel. I'm a freelance illustrator based in Portland, Oregon. I have created illustration work for clients like Spotify, Disney, Pepsi and Procreate, among others. And I have illustrated three Children's books, and I do pretty much all of my work in appropriate on the iPad Pro. Uh, so if you're not familiar with Appropriate, is a super powerful digital drawing and painting app created exclusively for the iPad and iPhone and especially when you use it with the apple pencil. I think it's easily the best digital drying experience out there. So in this class, we're going to use Pro Grade five, which was just released as of the time of this recording this week. See how long it takes me to edit this, but we're going to use appropriate five and on iPad to create an animated illustration, and some of you might have taken my previous skill share class on how to use appropriate. So a lot of this is going to pretty similar, like my process hasn't changed a ton, but I'm drawing a little bit differently, and I really wanted to create a new class to show off some of the new things inappropriate . Five like animation and the new brush engine especially, but lots of other things and things that have been changed since last time I filmed this. So whether you're already familiar with appropriate or this is your first time using it, I hope you learn something new, and hopefully, uh, draw something cool along the way. 2. Part 1 - Getting Started: so to get started, we're just going Teoh in our in our gallery view. Inappropriate. We're going toe tap on the little plus up here. You'll probably see +45 options here, but the one that we want for now is just this screen size option. Andi, that just creates canvass the exact same size as your screen when we get to our final artwork will probably want to do something else. But I pretty much always start my thumbnail sketches just a screen size in a different canvas than my finished artwork for a few different reasons. Eso screen Basically, the canvas size doesn't really matter at this point, but, uh, before well, first, if this your very first time opening procreate. Congratulations, first of all, but you might be wondering what all of these things are. We'll get all of these in more detail, but for now, basically, you're drawing and painting tools. Your laters and your colors are all over here on the tuck, right? And then you're slightly less frequently. Used tools are over here on the left, so this gallery button will take you back out of the canvas into your gallery. The settings adjustments selection and transform. So we'll talk about those more later. But first of all, before we start drawing anything, I want to talk about some of the settings and just kind of getting your workflow set up in a way that you like it eso I'm going to tap on this wrench up here and then tap on preps. Uh, and then most of these you can, uh, kind of ignore, unless you like it. So I am right handed, So I like having like, this is names just a little bit weirdly, but basically, if you switch this, it moves your size and opacity sliders over to the other side. So if you're left handed, you might prefer them over there. I like them on the left side, which is the default. I think brush purser just makes it so There's, like, a little shadow outline of your brush as you draw. I like to have that on you might not. It's up to you. Um, and then this light interface, uh, basically changes it between light and dark mode. Um, I have it in light mode, mostly because it shows up better on video. Usually are working dark interface, but I'm doing this for you. But the main thing we want to change is this gesture controls this section. So in here there's a bunch of different things. The one that I mostly want to talk about is this quick menu. So I don't think that this shows up at all by default unless you come into settings and turn it on. But you can choose from a lot of different ways of invoking this. The way that I have found that I like best is just touch, which means that to show you so you can see that when I move my pencil on the screen, it draws. But if I move my finger, it just pulled up the quick menu. Um, and this is one of the cool things about having this pencil that knows it's a pencil instead of just we're finger or something. So when I tap on the screen, it pulls up this quick menu, and I can actually customize each of these different options. Eso The way that I have this set up is that I have paint any race over on the right side so you can tap to bring it up, but most of the time I just kind of flick so such a paint and then switch to erase and then paint and race. So as I'm sketching, you'll notice I do this a lot on then. The other things I have in there are actual size right now, which basically just means if you've created a artwork in physical dimensions like inches or centimeters or millimeters or whatever with a DP I setting, you can choose this actual size, and it will resize the canvas to the size that it would be if you printed it out in real life. Based on those settings, um, and then Alfa Local show you more how use that a lot later, but I use that one a lot. Flip horizontally. Basically. Let's say you draw something that you love and you think, Wow, this looks fantastic. You can tell him a professional artist, because look at this great, really good drawing that I just did on me think like, Wow, this is the most perfect thing I've ever drawn. And then he flipped horizontally, and it's like, Wow, that looks absolutely terrible. And I can't draw anything much. Uh, yeah, you know. Say what you will about my drawing. Um, the other thing I'm showing you here is a two finger tap to undo so you can redo with three fingers, undo with two fingers. If you really don't want to use those gestures, you can turn them off in settings. I don't know what you not want to use those. You can also tap on these buttons over here. I have never, ever done that. That's probably the first time I've ever talked that. But in, uh And then, um, the other things. I didn't show you how to actually customize this. So, um, we'll get back to some of these later as I use them more. But you can just happen. Hold on any of these options and then you get a whole bunch of different things that you can set it to. For instance, you could set one toe add text. If you want to add a bunch of text again, we'll get back to that. Um, yeah, I would recommend when you're doing this, think about, uh, if you would want to do any of these things accidentally, eso because I haven't said to touch, I accidentally do this pretty frequently. I mean, not not frequently enough that it's really terrible, but it does happen. So if when you're thinking about what you want in your quick menu, I would be very careful not to do um, actions that are destructive, that you're not going to notice immediately on some things. Like I had mindset to merge layers at one point, which means it's combining all of your layers into one or combining with one below it on. And that's really easy to do and not know that it happened. And then an hour later, you realize that the layers that you thought were different layers are now the same layer. So just be careful with those things. But yeah, this this quick menu is super great makes things way faster. So that's why I wanted to show it to you before we get started. But as long as we're in settings, there's a couple other things that you may want to change. So back in gesture controls down here. This'll a er select one is really cool. I'll show it to you when I actually have some layers to use. But just so you know, I have that set to modifier and touch and modifier Button is this little square in between your size and opacity, Sliders, eso the way you would use that if I had any layers as you tap on that square and then put a finger on screen while you're holding it down. Um, and then the only other thing I wanted to show you in here before we start is in. So if you go to settings actions, I guess it's the actions and then help and then advanced settings. This will take you to the settings app, Um, and there's a couple of basically said it once and never think about it again. Settings in here. I really like to have simplified undoes turned to off. And the reason for that is when you're doing things like adjustments, and I think selection is included in this, um, you can undo through those while you're doing the adjustment. But once you commit it than a nun, do well just undo the entire adjustment or the entire selection. Uh, and you can't go back through each part of that that you were doing bends by default. If you turn this off, you can undo through everything. And I prefer to do things that way. So you might like it differently. That's how I like it. Honestly. Have no idea what this maximum speed distance this lighter does. I just wouldn't touch it. Um, and really, I probably would just ignore the rest of this in here. Unless you're having problems with Palm rejection. There's a couple settings in here that might help. Um, yeah, but with all of that set up on git, I hope I haven't lost everybody before. We even started here, but I think we're ready to actually start on some sketches. 3. Part 2 - Concept and Quickshape: Okay. Uh, so let's get started on some sketches. I really like to use this technical pencil. So you're going to tap on your brushes menu and you'll have a bunch of different options over here. These are different, uh, folders, sections, places, brush places. So the technical pencil is in this sketching section over here. I have it in a favorites folder. You can create a folder by tapping on this plus and name it. And then if you want to pull that pencil in there, you can just drag and drop it. Don't do what I did. Yeah. So now it actually just copied it. Cool. And I have a test folder with that Russian. It you can actually pull multiple at a time if you want to. Um, yeah. So it's pretty cool. Uh, but I don't actually want that so you can tap again and delete. It s oh, my favorites. I'm going to start with the technical pencil. I don't, uh I really want to spend a ton of time. I'm talking about this. You don't want to hear me talk about my stupid little doodles, but I will. Time lapse. That's taken. Watch the whole thing. If you really want to do that to yourself, there are a couple things I wanted to mention before. Um, before I switch to time lapse here, though first of all is you can see I just made a perfect square. I think that's perfect by eso. You draw a shape and then you just hold at the end. And then if you tap one other finger on the screen. So let's say I drew an almost perfect square. I mean, that's not almost perfect, but so if I just happen, hold it kind of creates this quadrilateral, which you can see that it's a little bit skewed. But if I tap another finger on the screen, then it's going to constrain it to the closest shape that it confined. Basically at the closest, perfect shape, I guess. So I can create a perfect square. That way you can do the same thing with a circle. Uh, you do the same thing with the triangle, and I believe you can also do it with a rectangle so like, let's say I draw something that is very obviously not supposed to be a square. Then you can tap it holding it will keep it to a directing All the other thing with that is , uh so let's say you have that rectangle and tapping holes. Okay, Well, that one apparently was closer to square. It will also snap to 15 degree increments as you go around while you keep your other finger on the screen. This is pretty nice. Especially when we're kind of creating our little from now on things. Thumbnail boxes, whatever you wanna call these. So the other thing you can do there is, uh, that one does not think it's a square for some reason. Try that again. You can hit, edit, appear at the end. So if I don't want to square, But I still wanted to be more or less a perfect shape. And you can drag the corners. You can drag the edges. Yeah, So if I want a roughly ipad screen sized rectangle and you can switch between different things here Yeah, so this is pretty useful. Uh, this is probably the biggest thing that I use it for personally, and I also should've Shoji. You can do perfect lines this way too. So again, holding one extra finger on the screen will snap it to 15 degree increments, which is very convenient. If you want to draw a perfectly horizontal or perfectly vertical line, you drive as close as you can, and then you put another finger on the screen and then it just stamps to Perfect. So it's pretty nice. So I'm actually going to start doing some sketches again. I'm going to create box here. Just hold one finger to make it a perfect square and then kind of drag it into more of the shape that I want, which is a sort of portrait orientation. I've had screen type of shape, Uh, before he switched to time lapse. I just want to show you kind of how I would do these sketches. So let's say I want to draw a person, but, oh, no, I've drawn inside of lines s so you can see I just switched to my grace or really quickly without going up here and kind of breaking my workflow by using the quick menu. So I just swiped over to be released really quickly and then back to pain. And let's do the same thing to kind of fix up some of these lines. This is a bad drawing. I know it's about drawing. Please don't make fun of me. But yes, So you can do that really quickly and again. Sometimes all hit one of those on accident when I don't mean Teoh doesn't really matter that much. Especially if you've chosen things that are not going to be a problem if you hit them on accident. Uh, the other thing that you'll notice if you're looking very closely which I don't know if the video quality is even good enough for this. But my eraser is on a different brush than my pencil, which could make things look a little bit inconsistent if you raise with the different brush. So if I want to quickly switch the exact same brush that I'm using to draw, you just happen. Hold on the eraser and it will switch. You can see it said series with current brush at the top. And now when I grease, it's using that same pencil that I'm drawing with S I'm going to switch the time lapse and just do a bunch of sketches here and hopefully we'll find something that I like, and then we'll move on. Teoh actually finishing up 4. Part 3 - Sketch and Animation: So I just wanted to take a minute here to talk about a couple of things before we move on. Teoh bringing this thumbnail sketch into larger sketch. First of all, I think we're done with the thumbnail. I might make a few more changes to it as we go to a larger size, but I'm pretty happy with the general shape and everything like that. But we are going to want to switch to a different canvas. You can see that This I mean, we want to make sure that we set everything up the way that we wanted in the final project . So I'm going to show you how to do that. First of all, before you leave this canvas, I'm just going to swipe down with three fingers on. But I'm just going to hit copy. You know, actually, you can copy all but that will include the background. And I mean, do you instantly work around that? But let's just copy that particular layer. So that copies the layer that I'm on, that I'm going to top this gallery button in the top left, and then you can see that I'm in this sketches folder. Can see sketches up here If we go back, this is my whole gallery. I hope there's nothing secret in here that you're not supposed to look at. I don't I don't think there is. But I'm just going to hit this plus in the top right, and that's going to give me all of these options. Remember, before we just said, Screen size? You can see because there's something on my clipboard Now there's a clipboard option, but I want to create a custom sized canvas. So let's dio I want to set this in pixel dimensions because I don't really have any plans to print this or anything. Uh, but you can if you wanted to, you could say in inches centimeters millimeters. And if you choose one of those than this DP I setting is going to matter if if you don't know and there's much better tutorials. But the very, very quick version is basically the D. P. I. Number represents the relationship between how many pixels there are and what size it's going to be printed at. But you can also see as you change the size. So right now, it says, there's 40 layers available in this artwork. But let's say I wanted to make it 3000 wide by, um, 3600 tall, which I think is about the ratio we're looking at here. So you can see that gives me 45 layers. If you're on a different iPad than me, you might be seeing different numbers here. That's based at least mostly on how much RAM is available. The iPad pros have four gigabytes of RAM at the time of this recording. Uh, I've had air the current version, and many, I think have three. And then the regular iPad has to, if I am remembering, Right. Uh, Apple tries not to tell you that, but it does matter for this particular thing. If you know anybody at Apple, please tell them to put more ram in these. Um, yeah, but, uh, So let's try that. There were a couple of things before we actually create this canvas. You can name it something, so I'm just going to name this skill share demo. And then there's a couple other settings over here, so some of this is new to procreate. Five, this whole screen is redone, but a lot of these settings were here before, but some of them are brand new. So, for instance, you can choose to use a CME like a color profile now, which is really great if you're trying to draw things for print. Like I said, I don't really have any particular plans to print this. But if you chose Siem like a, the colors that are available to you when you're choosing colors on the canvas would be different than if you chose RGB within RGB, which is what we want. There's a bunch of different options. If you don't know, I would just stick with the default. I really liked working P three because you get some brighter colors in certain places. But you can choose any of thes, especially if you want, if you're concerned about it showing up right on monitors or screens that aren't quite as nice. Uh, the other thing. And this is brand new to procreate five. As you can have time lapse settings per canvas before the setting was done in the Iowa settings app, and it would just apply to anything you created. But now you can choose when you create a custom canvas. What size of screen recording and what quality and everything you want it to be. So I'm going to just leave this a default as four k lossless. This does take up a lot more space. So if you're concerned about saving storage space on your iPad, you can set this to something lower. Uh, and then in here you can choose whether you want a different background color by default, you can choose, but you want the background of straw. But all so, where you going? Mostly stick with default here. Yeah, 3000 by 30. 600. We're going to get just hit, create, and then we can swipe down with three fingers to bring up that cut copy paste, menu it paste, and that will pull in that layer from the other file. Eso I want to make sure that Magnetics has turned on down here. You can see this is my transform menu. So since you paste something, it automatically puts him in transform. And you can kind of move that around if you want. If you turn off Magnetics, then you can move things a lot more freely. You can see that if Magnetics is on its scales proportionally. It will move in a straight line in whatever direction you start moving it. But the other cool thing to note here is if you get fit to scream, uh, see how that fit it horizontally to screen with Magnetics on. If you turn off Magnetics and hit that it will. I think this is called aspect fit. And this is aspect, Phil. Or that's how I've heard it referred Teoh. We want something like this, but then we're just going to scale it up. It looks like we were just a tiny bit off on the size of canvas. So normally I would just ignore this because it's not really a big deal. But because this gives us an opportunity to show another cool feature, Um, I'm going to go and try to fix it. You can make really minor adjustments even when the Magnetics is turned on, and also, if you tap to the side, you can't really see this very well. But it's moving at one picks a lot of time in the direction that I tap on so I could move that up or down, or to the side and prison. It's jumping as I accidentally moved my stylist while it was touching the screen in one of those tiny little jumps. OK, so I'm just going to tap the little arrow cursor at the top to exit transform mode. Um, and let's actually try to get this canvas to the same size as the sketch here. Eso to do that, I'm going to tap on the wrench in the top left, and I'm going to hit canvas and then crap and re size. And this is relatively new. I think it was added in appropriate Ford out one or 42 if I remember. Right, Uh, and you can just move thes little grab handles at the top and bottom, and you can see you also have some specific numbers down here. Uh, you can rotate the canvas if you want. Teoh. I don't want to. You can If you have this re sample one, you can actually resize the canvas while keeping everything the same proportions so I could make it a lot bigger. So let's say I wanted a 6000 pixel canvas that gives me a lot less layers, but I don't actually want that. So you just do, um but this will be 3000 by 33 3000 310 pixels. Which sounds about right. But let's say I wanted it and even 3300 just for aspect ratio reasons. Because I have re sample on, you can see that that automatically changed my other number, which I don't want. So I want to turn off, for example, just change this to 3300 and then you can kind of tap and drag the crop area around a little bit, so we'll just put it right about a year, and then if you hit done, then it will crop canvas for you. One thing to know when you're doing that is that does affect the way the time lapse video turns out. So whatever size the canvas was when you originally created it, that's what size that video will be. Because you can't really change the size of the video halfway through eso do be aware of that. It might not matter to you. It might, depending on what your plans are, Um, and then I think from their, uh, mostly, I'm just going to be tracing over that's working out some details and getting it to a more detailed sketch before we move on to color. So I'm probably not going toe really talk about that A whole lot other than to say I'm turning down the opacity of this thumbnail layer and creating a new layer underneath it. And I'm just going to rename this so you can bring up that menu by tapping on the layer. Once were any of this thumb and then I'm going to rename this one sketch. I like to do it in all caps because then it's just a tiny bit easier to find when I have a lot of other layers in here. Uh, and if you really want to, you can lock this one. That just means if I selected this layer and tried to draw it will pull up a little screen that says that the lock player, You can't do anything there. You can unlock it if you want, but I'm just going to cancel. So I'm going to have my sommelier locked at that opacity beyond this sketch layer on Ben, I'm going to just time lapse this. Why work out some details? I'm not really doing anything new here other than spending much of time on the sketch. But then after that, we'll talk about some more things before onto color. But, yeah, time lapse. I want to talk about kind of the goal for the end of this. So one of the new things that has been added, inappropriate five that everybody's really excited about is the animation assist feature. I'm going to show you how to use. That would be the first to tell you that animation is super intimidating and kind of overwhelming. And I am not much of an animator, so don't expect miracles here. But I did want to show you how the tool works, how to use it. And we're going to just try to do a little, like, four or five cream the animation on a couple of simple things here. So probably something like the hair, which we might end up redrawing to make that a little easier. Some of these little background elements and maybe a little shine on the sword. Um, so let's just talk about kind of how you get started with that, how you plan it and how the world works a little bit. So to start, you're going to turn on this animation assist in, uh, actions under canvas on. You'll see that you get this little timeline at the bottom. Right now, the timeline only has one thing. So I hit play. Nothing happens because I only have one frame, Um, so those frames are directly tied to your layers. So if I was to duplicate this, you'll see that I get a new frame down here in addition to that nuclear, and it only shows layers that are turned on. So if I was to turn on that sommelier it that would show up as a frame. This is so if you want to really weird animation, that's which is between blurry, mostly transparent to sketch and more detailed sketch. That's one way to do that, but that's not what we want. So let me show. You actually don't have to use that layers panel very much for this, so you could just tap on the frame down here in the animation timeline and hit duplicated. And that's probably what we're going to want to do here because, um, most of the drawing is going to stay the same in between frames, so there's a couple other things that are kind of cool. There's this little settings tab, uh, that you can change the number of frames per second and because we're not going to do a lot of frames, we want this to be relatively low. So let's say like, five to starting to see what that looks like on and then also you get onion skin. Uh, you can't see this right now. I'll show you that in a minute. When we've made some changes on actually will probably just come back toe most of those in a second. Once we've made a couple of changes to those frames, Let me just talk about kind of how you're going to plan the motion here. So let's start with something pretty simple, like the shine on this sword over here. So I'm going to create a new layer at the top, and I'm just going to rename this as well. Say animation plan for lack of a better term. So you don't want this to show up as part of your animation, but we want kind of a reference for how far things should move each frame. So I'm going to pick a bright color. So maybe this pink here and then I'm going to tap on this new frame that we created at the bottom because right now that will show up as a frame. So you see, it kind of blanks out. But if I tap on this, actually, this is good to note because this is not the top layer. So let's move that thumbnail down to the bottom. Actually, you know what? We can just delete that thumbnail because we don't need it anymore. In It's in another file, uh, so you need to make sure that the animation plan layer is at the very top of your layers. Panel layers list whatever that's called, and then if you tap it, you'll see that you get this foreground option. You could also do it in the background, and you can tap and drag the layers around, and that will also make that change in your later list. So these are pretty directly tied together. But if it's the bottom, it will be background. If it's the top or end of the timeline, it will be four ground, so it doesn't really matter. You can do either one but if you turn that on and as you play, you'll see that doesn't show of us. One of the frames anymore on this can be useful for a lot of things. But now that shows up in every frame so you can use it for what it's actually called, which is a foreground. So let's say I wanted to add a bunch of plants or clouds or something like that to the foreground and have them stay the same in every frame of my animation. That's really good way to do that. And that could be a group or later, by the way, and that's true of any of thes screams. But what I'm going to use it for is just to kind of create this little grid thing, if you will. So we're going. Teoh Ah, start by deciding how many frames you want. I think I'm going to go with five, Um um, or friends, You add, the more natural your animation is going to look probably, um, but it's also a lot of work, so especially if you've never done this before, I would recommend uh, maybe starting simple. So we're just going to kind of create some hatch marks along here. We want these space about evenly for this one. Um, and you want one for each place that these little shiny marks are going to show up? Um, so let's see at the start is going to be here and then praying to it will be here and from ST Will probably be about here and then frame 45 It doesn't quite work, etc. Um, everyone was just a little bit farther apart, probably at 12 and then three for five and then back to one. Okay, so that's that's what we want. You're going to want 12345 hatch marks for five friends, basically, And this will make a little bit more sense in a second if you've ever done something like this before. But so I'm going to this frame that I duplicated or later, I guess, And you can control that down here to, um, you really don't need open the layers panel. I'm just going to use my selection tool, which we hadn't really talked about much, if at all, I think, But that's the little s shape up here, and I'm just going to draw a little selection around each part of this little gleam on the sword. Okay, so I have that whole thing selected. And then if I tap on my transform tool, then you can see that I can move it. We're probably going to want to turn off that Magnetics option on the transform tools because it's constraining Teoh online. That's not quite even with my sort. So I'm just going to turn that off and then you can see the start of this is right here at this red line. So we're going to move it down. One line to here on now if I hit play, it doesn't look like much now because we've just started this and haven't gone very prefer yet. But you wanna make sure you're on this second layer and then actually, I'm going to do with it the first layer because then we can reuse, are same selection and then just drag it to make sure that it's the last layer in the list . And then I can tap and hold on my selection tool. And if you zoom in, you can see that I have those same selection. The same selection got pulled up again. Um, so I don't know if this shows up very well on the video, and I have had a lot of people asking my previous skill share class about how to do this. So this is as good a time as any to talk about the selection mask. Invisibility setting. So the more you turn that up, you could make it. So you can't see the selection mascot all, or you can make it. So jobs just missed that somehow. Because, see, I fooled myself with that one because I turned it all the way off. Suddenly, it doesn't look like anything is selected, or you can turn it all the way up to the point where you can't see anything but what is selected. So for this video, I'll put it at about 50 guests, and I hope that you can see that there, um and then eso we're on the third layer or third frame, and then we're just going to move this down again, Another thing to note. So if I was to just try to move the canvas right now, you can see that it actually moves the items that I have selected instead if I don't want to get rid of that selection. But I do want to move the canvas. I can tap and hold on the transform tool at the top and then move my canvas so I can see this other hatch mark over here. I'm just going to do that and put this right there. And then I can just delete that part that's gone outside of the boundaries. Basically, Um, and then I'm going to want to do this same thing again. So I'm going to tap duplicate, grab that layer and bring it to the end. Well, my selection tool up guarded that selection. Eso I've got to do that again really quick. Um, the other thing, Uh, probably come back to this, But let's say you don't want to accidentally lose this selection and have to redo it again like I just did. Rather than relying on that recall the last selection mode like you've had to do in previous versions appropriate. Procreate five has added this nice little feature where you can save a selection. And then I could dismiss that and then pull it my selection tool and then load that same selection again so that's really nice. Especially if you're using this a lot. Uh, we're on our fourth cream. Okay, Just make sure if we were to move that can't see, I want to make sure that I'm not missing anything. Maybe just a tiny bit left at the end here. So, actually, let's copy that instead of moving it. Because I think I'm going to have to wrap around because we want this to move off the end of the sword, but also be coming in at the beginning of the sword. Over here. I'm so I'm going to copy and paste that peace. Move it down to here. So there's just a little bit left there. Delete most of it except that little piece. And then we do need to merge this with that last layer on. I just pinched those layers together. That's faster. Way to do this. You can also just tap on the layer above and hit emerged down and they will merge it with the layer below it. Um, and then I'm going to pull up that selection again and just move this back down here and that looks like it's going into places on my trying that I probably don't want it. I could have done that save and reload a copy and paste onto a different layer and then deleted these parts and re emerged it. But because this is just the sketch, I'm not gonna worry about it too much. Um and so that was framed. Four. So frame five. We wanted to be here so we can get back to start here by frame one when it loops back. So let's just go in and duplicate this one last time and then make sure that's at the top again. You can see I'm kind of switching off between the animation timeline and the layers here, uh, reload that selection and then move this to right about here. And with any luck that's still in the sword can turn off this animation plan layer at the top, and then if I hit play, you can see that I have a nice little gleam running down the sort. And if you wanted to get creative, you could make it. So this isn't moving at a uniform pace each layer. So because my little hatch marks on that plan layered are all evenly or mostly evenly distributed. It just looks like what's called linear motion, which means it's moving at a fixed rate. If you wanted this to look a little more life like you could do something where you kind of bunch these together at the ends, so it moves more slowly at the ends and quicker in the middle. Um, it's a little confusing if you have never done anything with easing because I only have five frames. I don't think I'm going to bother with that sort of thing. And because this is kind of beginner level tutorial, Uh, but just so you know, you can do things like that. It doesn't have to be an even fixed rate like this. So that's a pretty quick overview of how this works. Uh, I'll just show you with one of these little background things really quickly, And then let's talk about the hair because that's going to be the hardest part to animate. But with the background things, it's going to be pretty similar. Let's come back to our animation plan layer at the top, Um, so let's do it with, uh, what's going to be a relatively easy one. Let's try this guy. So on the razor, back to brush. Just a 12 three for five. And then I think, uh, no, that should be right. Um, so we just want to move that little piece in between each frame. Um, so it's starting on the second frame, and I'll probably want to vary this a little bit, so it doesn't look like everything is moving across all at the same rate and looping at the same time. So some of them will start at the starting. Some will start at the end, some will start. Part way between this is going to be pretty tedious. So a lot of this will probably be time lapsed, A swell, but it's all going to work basically the same way. Uh, so I got my first layer. I don't mean a mess with that one. So let's go to the second layer second frame and then just move this guy over and on the last one, we loop it back because we started at the second position there. Now, if I hit play, that just kind of goes back and forth will probably want to sort of mess with the scale on this so it looks like it kind of fades out at the end and fades in at the beginning. So let's turn off that top layer first and just play it to see how. See, so it looks like it just jumps, which isn't really what we're looking for. So the motion is right, but we do want to add just a little bit of, um, more subtlety so it doesn't. It's not quite as obvious when this starts over. Basically eso let's go back. Ah, let's start with the fade out. So we wanted to be largest at frame to which is basically, which is positioned three. Sorry, this gets a little confusing, but animation is just kind of this way sometimes. So that's our largest spot. So let's say we want it to stay that large at its largest. So this part, let's make it a little bit smaller, so I'm just using that transform tool to scale it down a little. And because this one is pretty simple, I'm going to try to ease the animation just a little bit like I was mentioning before. So rather than moving at a fixed raid, it's going to just kind of move a little more slowly towards the ends, and you can kind of see that with this progression here. So here it moves more than it was a little bit less as it gets smaller and probably when we switched to color. We can do something with opacity here as well. Um, and then we'll do the same thing here on this is going to be kind of our smallest one over here and then on frame one which is positioned to We're just going to bring that, you know, out here. And actually that last one needs to come in a little bit closer. So now if I hit play, you can see that it looks like it kind of comes in, gets bigger, comes out and it's a little bit of a faded there. So I'm going to do that for all of those background elements. But we're just going to start with that one. But let's talk about how we want that hair motion to work. And this is why I mentioned we might want to redraw the hair because right now I have a lot of craziness going on in there, and that's going to get pretty complicated for animation purposes. But, uh, if you don't want to do with the complicated wave, let's let's talk about one easy way to do this. First. It won't look quite a school that is going to be quite a bit easier, so and this is a good time to talk about the liquefy tool. If you were watching super closely and some of those time lapses, you might have noticed me using this of it. But I'm just going to select the entire shape of the hair over here to the point where it would be kind of hinging on. So I don't want to include this side because that part wouldn't move. But I'm going to save the selection. Actually, I'm going to delete that last section because we're done with it. And then I'm just going to save that here selection. And then I'm going to tap on the magic wand up here and pull up my liquefy tools. So if you've never used to liquefy before, basically, this is a way of just kind of pushing your image around the screen, and there's a lot of different ways you can do that. You can use this Taurel option, and that could be right or left. There's a bunch of different options when we're going to be using here is push. And basically I just want to move this hair kind of up and down really subtly, a little bit. Um, so we'll move it a little bit up here, and then we'll move to the next frame and we want to move it up a little bit more. And because this is looping back in a five frame loop, we want to start moving back. The other direction already on Bacterium's actually go, frank. So we'll go pretty much, Um, no, quite. And you have to play around with this a little bit. When you press play, you can notice some of the weirdness and kind of how that loop works. Probably a four frame loop would be a little bit simpler, but I think I mean, I know we've decided on five, so we're sticking with five, basically, so the frame right before I mean the last frame because this is a loop is going to be right before the start frame, so you don't want it to be the same as the starting frame, but, um, see how this looks, so it's not great, but there's a little bit of motion there, So that's that's the easy way to do this. And you can certainly do that. There's nothing wrong with it. Um, but I think we could do a little bit better. So let's talk about some more complex motion that we could do in that hair to get a little bit of wave going on in it and kind of that fluttering in the wind sort of look, uh, and this does get a bit complicated, so definitely no shame if you decide not to do this. But, um, let's start with, uh, clear one down here are from one, and I'm going to switch to black. And then I just want to draw a kind of a sine wave and says, where math comes in so don't get too scared. It's not very complicated. Basically, I just want this kind of sneak shape sign, way of shape. I guess it could be a co sign wave if you want to be technical, but you want to drive that about us even as you can. Uh, and we're just going to be moving this in between frames a little bit. Um, so I think that's maybe not quite long enough. Okay, so I'm going to go up to my animation plan, layer, go back to my pink shape, and we want to look at about how many kind of waves we want in the hair at a time as we move this, I think where you start up, go down and go up again. That actually just kind of starting middle, go up, go down and go up. So I think we want about two here. So we're going to start part way through this guy. This is our starting line, and then I would start ending line. Um, about here. Start, go. Hello. Go high. That only gives us a one. Actually, let's go about here. And this isn't make a huge difference. You can play around with whatever it seems good to you. And then in between those we want to make sure that we have five hatch marks. 123 on five. It's hard to do again. Probably would've been easier to do for, but we're committed. So wait, that is for, uh, no. If I doesn't hurt to do what we thinking. Alright, so I've got five different hatch marks. Um and we're going to offset this shape by one of those hatch marks in each frame, so we'll start. We didn't need to copy that onto each frame first. I'm just going to copy, and then we're going to pinch together to merge. And so now it should be on every layer. If I play, it doesn't move. OK, that's what we want. All right. And we probably need to move this piece over a little bit, actually. So let's start over here to make sure that we have enough on the left side to move through it. Um, And then we're going to go back Teoh frame to because we don't want to move on from one, and then I'm just going to select this, actually, uh, sorry. Go to the last frame. So we want to move to our last position first. So right before it would be back to its starting position. Basically. So something like their ish. I didn't try this super, even as you can see, but it shouldn't matter too much for what we're doing, and then you just want to move it a little bit in between each one. It's something like that. And then last one should be in between. So about their So this isn't perfect, but it should be good enough for now. And then If you hit play, you can see that that moves between those lines but then jumps back at the start so we don't want that jump back. So let's go back to our first frame and just create this selection, Um, after the end and before the beginning, and just scrub with three fingers back and forth to clear. You could also swiped down with three fingers and do a cut command, but I find that that's a little bit slower. And if we did this right, I can turn off my animation plan. Layer hit play, and it will just look like kind of a wave. And that looks pretty good. Um, but you'll notice there's a little bit of a problem. If we were to try to use this as our hair animation guide, Um should have to be bobbing her head quite a bit up and down because the start of it goes up and down a lot so going to try to correct that, we'll start at our first layer here and just select the entire thing and move it to about the middle for that starting point. And then we'll do that same thing on all of the's, right? So now if we turn that off and hit play, that looks a little bit better. But it's whipping pretty violently back and force in the middle. It almost looks like it just flips at some point and the end. It seems like it jumps too far, so we're going to try to correct one last thing here before we are satisfied with our motion. Um, go back to the start and we just want to select that whole thing and then we're going to rotate, make sure the starting point is in the middle of that line again. And then it's like this guy, do you kind of the same thing, But we want the end here to sort of look like it's staying in roughly the same place, but moving up and down just a little bit. So we I just need to do that for each one. Okay, so now let's turn off our animation plan layer and just see how about looks. And it's not perfect. But that looks a lot better, so it kind of looks like the wave is emanating from this point. Now if you watch that closely and it could be a lot better, might try to improve that a little bit before we get to the hair part. But your hair sort of stays in place. Generally, you could play with rotating that a bit more to try to get a little bit more of a way of at the end here. I think I kept it fixed in place a little more than I should have. But things gives us a lot more natural motion for sort of a hair in the wind. Look, if you'll look at both of those, you can see this looks kind of fake. That's a little bit more house. Something would actually behave. And again, this is pretty complicated. It's going to involve a lot of retrying here at some point, but what time lapse that So you don't have Teoh. At least watch me do it. If you want it, you'll probably have to drive still. No, I guess I should tell you how you would actually use this rather than just put it there, um, out of context. So let's take that first frame. Well, actually, you know what? Let's let's just delete the hair. Uh, gonna be a little bit bold here and just kind of get rid of it, and we will retry it after the fact. Um, I guess I could have used my hair shape selection, uh, and just so used to re calling the selection by tapping and holding on that, though. All right, so we should be No. Here knew. All right, so now we can go back. I'm just gonna select that and then make sure your selection is active, and then I'm going toe swipe from left to right on each of these layers, so you'll notice this bottom layer. The original sketch layer is a darker blue, and these ones are lighter blue. So this means this is my active selection or my actively. Or if I was to draw right now, it would draw on this layer. But these are all selected as well. So if I wanted Teoh like a tap group and make those a group. I don't want them as a group. Right now. I probably will in a minute. But it also means that if I want to move that, I can move that entire thing all. It's one piece again. I'm going to use my tap and hold on the transform tool so I can get a little bit more detail here. But we're probably going to want to kind of move this over here, but try to get it in the spot where it will sort of emanate from, or the center there, if you will and, uh, make it about as large as ours, long for whatever you call this. It's luxurious as we're going to want this hair and then we hit play. That should give us a little bit more idea of how that works again. That's probably going to need a little bit of, uh, work. Still, don't play with this a little bit more, but I'm probably going to time lapse it, but you get the idea, and then we're just going to draw more of ah, here shape. That's kind of based on that wave for each frame, and then we'll do each of these little background guys, and then we should be good to go on the color. So yeah, going to time lapse it from here. - So I don't think I explained very well about some of these animations settings before he switched time lapse. So I just want to go over a couple of those really quickly, so you'll notice if I zoom in that the frames that are not my active frame are colored differently than the current one. The way that you set that up is by tapping on this settings button on your animation assist timeline and troubling this color secondary frames switch. And the reason you'd want to do that is especially, let's say, I want to edit something on this cream or a lot of the time when you're animating. You want to create money in between frame, and it's a lot easier if you can see, for instance, that uh, previous frame is green. The next frame is red. It just makes it a lot easier to do that sort of thing. There's also a couple of other options in here. You can change the opacity of your onion skins so you can make those stand out a bit more or fade back more. You can change how many frames show Oppa's onion skins if you want. Teoh French for second we talked about and then blend. Primary frame just makes it so. Your primary frame kind of mixes with the other one's a little bit more if you wanted to stand out less on Ben Thes options at the very bottom. We're making a looping animation here, uh, especially because it's only a few seconds long. A few a few frames long, not seconds. Sorry. You can also set it to Ping Pong so you can see if I change it to that. It kind of goes back and forth. It's a little bit hard to tell with this particular animation, but you can kind of see it on the, uh, I'm not sure about that story. Here we go. You can see that these kind of go back and forth a bit, Um, and then you can also do one shot, which means it will just play through one time and then stop. And, uh, that's more for a long form tack of animations. So I think that's pretty much it on the animation options. And I think I'm pretty happy with the way the animation is working. Mostly, there's probably a few places that we could fix it still, but overall, this is looking pretty okay here. I d 5. Part 4 - Colors: but let's talk about colors a little bit. Before we get to that. Let's kind of clean this up a little. I'm going to turn off animation assist for now because we're not going to worry about that for a little bit while we do. The main illustration s. I'm just going to come in here, turn off animation assist and then, um, turn off most of those layers. Select all of these creative group, and then we're going to call this animation. We'll just call this sketches, I guess. And then I'm going to close that and just change the opacity on my main sketch that we're going to be going off of, um and yeah, So let's let's start talking about just sort of how the color panel works in appropriate, especially appropriate five as it's changed just a little bit and kind of how we pick colors and a couple of cool tips. So the main thing, this is kind of the main color view. You choose the hue around this ring on the outside, and then you can change saturation and brightness on the inside, and you can pinch out to get a little bit more detail there. Three other thing that's kind of cool with this is Let's say you want this pure white, but it's kind of hard to get it exactly. From here, you can just double tap. You can also double tap to get perfectly saturated halfway in between perfectly black, perfectly great things like that. Um, so that's kind of nice. Little quick change. And also this is brand new and create five. You can see that it keeps a history of all the colors you've chosen. I believe that this does not show up on a smaller iPads. I'm not sure where they cut off is exactly I know it's not there on the iPad Mini, I think for size reasons, I'm not sure about the regular iPad, but it's definitely here on their God pro, and it's very nice. So, um, and then this is your palate. And you can customize this. We'll talk about this in a second. On the other thing, that's really cool. Appropriate five. As you can just tear this away and have it sitting up to the side as you work s o. I have this palette already set up, and I can just kind of draw stuff over here. Based on that, um, and then I also wanted to talk about color harmony. So I'm going to put this back. Uh, you just click the X tippet it to dock it back in the toolbar. So this color harmony section is a brand new one Inappropriate five. And basically, you can use this to automatically choose some colors that go along with a primary color. You've chosen eso. You can kind of change the brightness here and then select a color within this wheel, and this is complementary. Just so just gives you the opposite color to the one you currently have selected. But if you tap on this, you can choose a couple of different. Well, it's a few different kind of color harmony algorithms so you can do split complementary. So it's just offset from the opposite of what you have selected, and this is kind of nice. I should choose a different brush. Um, so you can see at this color and then you just happen these ones across from it, and you get this automatically chosen kind of harmonious color palette, or you can dio analogous, which is so you can just kind of have some minor variations of the color that you've chosen . Uh, try attic, which goes, uh, 1/3 around the color disk, and Ted traffic, which is 25%. 1/4. However you'd say that. So those air super nice will probably use that a little bit as we're choosing some colors. Um, but let's just show these other color space is really quickly. So this is your classic, basically have this. This works very similarly to the disc one, but you choose hue, saturation and brightness independently, and you can do all of those except you on this main square appear, um, value. I use this one quite a bit because you could be really precise about what color is your selecting. So, especially if the client has given me a color palette toe work from that, you can come in here, you can enter the hex number. You can choose specific RGB or C M y que. If you've chosen that color space and then you're saturation and brightness here as well, and then the pallets section. There's a few on here by default, but we're just going to create a new one for this piece. Specifically, She worked, you know. No way. That's not working. Oh, it did work. I'm I created groups. Okay, well, I have a bunch of blank ones now for future reference, I guess. Um, so you can tap on here to name this, actually have to do it in here. So we're just going to call this a skill share, and we're going to go back to our disk. I kind of like to choose colors this way because I think it's easiest to visualize them. And then sometimes I switch over to value to kind of, like, make fine adjustments. Um, but I think with this particular one, I want to do a little bit of, um, it yellows in the in the dress here. I want some sort of skin tone, and sometimes we just kind of put them down on the canvas to see how they kind of work next to each other. Um, that's one skin town. And then maybe something. A couple of variations of that. See, this is a situation where we might actually just want to use this split complementary. So let's say I choose this primary skin tone and, uh, I'm not spoke complimentary. I mean, analogous. So you can have some little variations of that and the kind of more yellow, more purple. Those are going to be kind of nice. I don't know if we'll use this yellow much, but the purple is nice, and then, ah, probably want some sort of hair color. So to do that, I'm probably going to go darker and towards the blues. Uh, a little bit less saturated. We'll see. Might be not quite as stark as we need. Start with something like that. And then I want sort of color. And I mean, we're probably going to be adjusting these a lot, but I like to kind of pick a few to start with, just to sort of based illustration on its probably little more saturated than I like. It's probably a little too dark, Um, and I think it's pretty. It's starting place. I want just a couple of like greens and things as well to sort of start with. The other thing I like to have is just a sort of base color. A lot of the time, especially with kind of texture. A brush is it's nice to have a base coat. That's kind of complementary to the color that you're actually using on top. And it creates this nice, shimmery effect with the color. So this is a good use of the complementary mode. So I'm going to just choose this yellow, go to harmony and say complementary and choose this blue, um and then possibly with the green as well. I'm not sure exactly where we're going to use that, but try to find somewhere, Um, she's this guy. We might make some tweets to these after the fact, but for now, this is a good starting point. Um are the other thing I was going to mention and we'll talk about this a little bit more with brushes because that's where it really matters more. But, you know, a secondary color option. Inappropriate. Five. Where before you would only get this one. You can now have two colors selected at the same time. And for a surgeon brushes you can kind of mix between them as you paint. But you can also just use them as too active colors. If you'd prefer so tapping on, one of those is going to make it the primary color when you open it again. Um, I do, actually, kind of like that dark red. So let's keep that, um and then I think that's about it. For color. Uh, we'll talk about this a little bit more as we go on, we'll probably tweak some of those, I guess. Let's show you how to actually put these in palette that we just need. So I'm going to choose this yellow. I'm also using the eyedropper. I think I didn't show you this before. This is I think this is how it works by default. You can also just tap on the, uh, modifier. But in once, usually I might have turned that off. But you can tap and hold with a finger on the canvas to open up the eyedropper tool that will let you just select a color from the canvas. So I'm going to just tap in my palette zone over here on. Start putting these colors in there, and I can do this off camera, so But you get the idea. Also, if you do decide that you want to share your palate or delete it, you can go to your pallets or if you wanted to leave a color, you can tap and hold and hit. Delete. If you want to replace a color you can tap and hold and it set. And if you want to delete your palate altogether, you can swipe to the left from your palates. Uh, space down here at delete or share, and that lets you air drop it or save it to files and things like that on. So I'm just going to add all of these colors in here, and then we will start trying and we'll talk about Russia's a little bit. 6. Part 5 - Brushes: Let's just talk about brushes for a minute. So a couple of the brushes that I really like I mentioned that I have my favorites section here. I really like the built in what acrylic brush. And I mentioned this in my other still share class for anybody who's taken both. And I really like the wash brush and these very the amount of texture you get based on pressure and speed and things like that. But appropriate five has a lot of really cool new brush features and a lot of new brushes s so you can see a lot of those. They're mostly kind of mixed in throughout the different brush sections, But, um, I really like this thylacine probably saying that wrong brush from the inking section. There's a few really good ones, but I've made a few custom brushes, and I'm going to include this in the resource is section of the class, but I want to talk about how to import those. I got a lot of questions about that last time, and so I'm just going to pull up my files up, and I have a brush set that I've made here and this is going to be at least very similar to what's included in the resource is section. So you can either just tap on it and it will imported directly inappropriate. Or, if you want to be more specific, get all fancy with two handed gestures and just drag it directly in here. So I think I now have three copies of this. The other really cool thing about We'll talk about these a little bit in a minute. But the other really cool thing you could do in Procreate five is you can actually import Photoshopped brushes as well. Eso I have a couple of a BR brushes here. You can just drag this in and put it right in your brush section. It will import the brush and then you could just start drawing with it. So I think that actually goes into an imported section. Actually, I don't know where that went. Think I dropped it up? There we go. It imports has its own section, apparently. Okay, so you can just start drawing with that, uh, and it works just like it would in photo shop, except a little bit faster. So, uh, yes. So that's really cool. I've got a couple of those that I've pulled in that it's really nice to have that. And part of the reason that that's possible is that pro grade has a lot of new brush settings and procreate. Five. They've completely rewritten the engine, I think. And so let's talk about some of these brushes that I've made specifically. Some of the cool new features are You can dio color variation based on pressure so you can . If you look really closely this brush, choose that color where it's a little more obvious. Um, if I push hard with this turns red, and if I am, I don't push hard. Then it's the yellow color that I have selected, and you can get some really cool effects with this. But basically it's just upsetting the color hue based on the pressure of the brush. And we'll talk about this a little bit more as we go to make our own a second here, but I just wanted to show some of the cool things you can do with. These also just made this one another cool thing that this does now, and this is a bad color to showcase this, but is it can actually stamp more than once at different angles with the same brush shape, which is really cool. So you could get a lot more natural looking, repeating textures and things like that. Um, And then, uh, and we're going into a couple of the other new things as we're making a brush, because I don't think these show them super well. But if you want to make your own brush, you're going to tap this. Plus at the top. Actually, let's go starting you canvas because I want to draw our own brush shape as well. So I'm just going ahead. Plus, and then this is buried for me. But square 2048 by 2048. It doesn't really matter the size exactly, but square is what you want on. Then I'm just going to come in and, um, choose a brush that I could draw with. Let's pick one that's built in on bits, relatively hard industries black. And then I'm going Teoh kind of draw a brush shape. Let's start with a triangle because that's a pretty nice all around. Russia shape works for a lot of different things, and then I want to center that pretty well. Maybe make it just a little larger than again. We're just using the transform tool to do that. I know sex. Somehow, I think there we go. Um and then that's got in off center a little bit. Okay, So I'm just going to swipe down with three fingers and hit Copy all that. I'm going to tap up here and hit this. Plus in my custom section and then under shape, I'm going to hit at it and then import and then paste. You can see that brings in the shape that I just troop. And then I'm going to tap with two fingers to invert it because we want that white shape on Dwight basically is going to draw dark in the in the breast shape. So you want the part that you want to show up as white? Um, and then you could just test all of your brush settings in this little section over here. This is not a great brush so far. And you can also clear that by EMS. Why? Being back and forth with three fingers, just like on the regular campus? Uh, you can also change the preview size and color, which are some cool new things in appropriate five. But we can change the scattered just a little bit for this to look natural. I wanted to be really subtle, just a tiny bit of scatter on Disorder's gonna talk about some of these shape things and then rotation. I want to follow the stroke. Um, that doesn't seem like it's quite doing what I want. That's right. Trying to scatter down. Maybe it's closer than I think. Another thing that really plays into this is this stroke path. The spacing is a little bit high by default. If you want larger brushes, your size limit is going to be pretty affected by this spacing setting. Um, so the smaller you make the spacing, the smaller the brush will be, but you can still make it bigger than it is right now. But just so you know, uh, so then we go back to our shape settings and you can actually rotate this as well. So let's just see what that does for us. That's nice, because see how the area was kind of pointing in the direction that I'm moving my stroke so that's a little bit more what I'm looking for. And and then, uh, Taper. I don't usually worry too much about this, but basically, some of these things can affect how large the stroke starts and ends. I think that I think that's working. Yeah. Yeah. You can see that it tapers off a bit at the ends. Now, I don't usually do too much with this because I kind of like Teoh. Just have this based on pressure or speed more than more than anything. Automatic. I think it gives me a little bit more control. Uh, but let's do a grain now as well. So we're going to go in. You might need to go on a field trip to take a photo of some green somewhere. Um, so basically, when you're choosing a good grain for your brush texture, um, I have a few photos in here that I've already taken. So some really good options are things like like concrete or something like that, or gravel. Basically, you want something that's regular enoughto look like a pattern, but with enough chaos to be interesting, if that makes sense. So I'm going to try this picture of some must that I took. Uh, this is just outside of my apartment. It's nice and grainy in Oregon, So got a lot of this right now, but I'm going to hit auto Repeat, and this is a really cool new thing. Inappropriate. Five. If you've ever tried to make a nauta repeating repeating brush texture on your own, you know that it's kind of a pain. You have to kind of, like offset things and overlap and blend and basically appropriate. Five. Just doesn't know that for you now, which is really fantastic. So you can kind of play with these different settings down here. You could make a little larger. You can also just I thought you get pinched Vegas on. You can tap with two fingers to invert, though UM can rotate. You can scale, and you can kind of change the way that the overlap between the different pieces works. This is where you go S so I think that looks pretty good. Let's offset that just a little bit. Basically, you want it to look as little like it is a repeating texture. It's possible. I think that's pretty good. So let's start with that and then you click done in the talk, right, and you're going to get this texture up there. So I want, um, and you can change the way this texture behaves by. So you can either have texturizing, which basically means it just repeats the texture behind your brush and combines them in an interesting way. But there's not a lot of variety in the texture where if you do moving, it has a little bit more variety. But also you're not going to get a stamped texture, so it depends on what you're looking for. Let's go with moving for now, and you can kind of change the size of the green within the shape and some different things like that. Um, you can change the blend mode. I I'm pretty sure this is new and pro pretty five as well. I don't think you could do this before, but basically this changes how your shape interacts with you're green, and you can just kind of scroll through these and see how different ones behave. I think we're just going to go with Multiply can also change the contrast on, so I like to bump that up a little bit kind of getting more interesting, um, texture in the background. And then I also want to go into these apple pencil dynamics and just make it so size is affected by it. The amount of pressure and also opacity, I think, happens by default. Um, you know it does. It's just not super obvious with this one. Bleed is also pretty cool. It kind of changes the contrast of the texture based on how hard you're pushing. Um, so the the less you push, the higher. The contrast is, I think, which basically ends up being you see a bit more white until you've pushed harder, which kind of adds a little bit more variety to your textures, which I think is really nice. Some of these other settings affect kind of how the pressure changes based on how you push so smoothing will make it. This is going to really hard to see, but basically it will. This is really nice for, like, calligraphy type of things for something like a texture brush. We probably don't want that on because we wanted to be pretty sensitive to how how we're pushing on the on the screen. Um, and Yes. So you can just play with a lot of these settings and kind of figure out how they work. I don't think we have time to go through everything I do like Teoh kind of change the, uh, size and capacity based on speed just a little bit as well. Um, so you can see it gets bigger if you draw faster, and then Justin Properties will make it so this brush can be a little bit bigger. And then I think that's probably about all I want to change before we go test this on the canvas. He turned them. What edges on just a little bit. That's going to mean that as you draw over the stroke even before you left your pencil, it can kind of fade the edges a little bit. So you end up with softer edges if you want them. Um, so let's see how that looks to create a new layer. And she was a color. I can't guarantee that this is going to be a great brush, but it's not bad for a first try, but you can see that texture works pretty well. Um, so I want to go add some of that interesting color dynamics stuff. So let's Thio going to tap on that brush to go back into settings, and then I under this color dynamics section. There's a lot of really interesting stuff here that's been added in procreate five. I mean, actually, everything here has been added inappropriate five, I should say, But you can change the way the color behaves in three or four for, I guess, different ways. The 1st 1 is stamped color gender. So this one is probably more useful for a stamp type of brush where something like this it doesn't look quite as good. It really depends on what you're going for it, but basically it's going to randomly change the color of each stamp as it repeats across the stroke s. I don't think that's what we want. You can also do saturation, lightness, starkness or that secondary color we mentioned before on any of these. I'm finding that hue and saturation are the ones that air most interesting to me so far. You can also do a stroke color jitter. This could be kind of cool because every time you lift your pencil, you're going to get a slightly different color mecca and make for really interesting kind of painting effect. But I don't, uh, having control, and that doesn't give me quite as much control as I want. So the thing that I find has been working really well. Is this color pressure? So basically, that's just going to say, based on how hard you're pushing, it's going to change the color. And one thing that can be a little bit tricky with this is Ah so the color I have selected is this light blue, and you can see that the darker I are, the harder I pushed, the darker it gets. So it's a little bit hard to get the color that you want with this, unless you're drawing really lightly. Um, but if you want to, you can actually tap on this and go to pressure and then just invert the way that pressure works. So by default, um, the I mean, basically, this just means it thinks that it's at highest pressure when you're not pushing it all, and lowest pressure when you are pushing as hard as you can. So what that will do is it will start dark and then go to the color you have selected as you push harder and again kind of depends on what you're looking for. I think I actually prefer it the other way in terms of getting kind of interesting colors, because you can buy a sort of base layer that's their own color and then kind of lightly go over the top and bring in your real color. And then you get some of that nice color shimmer with the color that you wanted originally , but it depends on what you prefer. Um, And then again, you can do that with saturation and brightness. You can also have that based on tilt if you want Teoh. So we do that, then more tilted is more red, not tilted is more blue, so it's kind of cool. Um, but I'm not going to do that. I think that's about it. One of the really cool thing in Procreate Five. As you can name your brush. I'm just going to be in this test. I'm type your name and even sign it here, and you could do this with your artwork as well. Try to remember to show that to you in a minute and you can add a photo of yourself if you want. Um, see, if, uh, have any photos that aren't too embarrassing. Let's let's say this guy so you can just add a photo. Your name signed the brush, and you can even save kind of a state in this brush. So if you want, if you're pretty happy with how it is, you can say create reset point and then you decide you want to go play with some other stuff was just mess with all kinds of things here. And oh, wow, I hate that. I can't remember what I did. Then you could go back and just hit reset brush. And we'll go back to that last saved point that you that you said So then if we go in here and play with this brush, suddenly I think the color dynamics make it a lot more interesting. And then I'm just lightly pressing to get that original color that I selected over the top here. So then I get this nice kind of offset color underneath, which is kind of cool effect. So I will include this brush on that makes more tweaks to it. But all included in the set that's in the project. Resource is, um so I think that was There was one other thing I wanted to show you with brushes, So this is really cool. This probably is not going to be a really great example of it, but you can select two brushes and hit combine, and it will create a dual brush, which means you're basically trying with both brushes at the same time. So you can see I have that triangle brush and the assault brush that are both drying together when it's actually kind of cool. But I don't really know when I would use it so you could go in and kind of, uh, player. You can still change the settings for either of these brushes individually, even while their combined. So you just select the brush that you want to change the settings for, and then you change the settings. Um, but you can also tap twice on this, and then you can change the way that they interact with each other. Um, and that's all based on blend modes. So this takes a little bit of trial and error to get what you're looking for. typically, but, um, you can just kind of play around and see what looks nice to you. So if we go too hard, makes you get kind of, Ah, interesting combination of the two textures. And that could be really cool. Way to make some brushes with a lot of variety in them. So I think that's about it. For custom brushes. I love to see what you guys make on your own. It's gonna be pretty fun. I did. Yeah, it's pretty fun just to combine them and see what happens to If you do, decide that you want to un combine your brushes coming here, cap on this twice and then tap on the bottom brush and just hit and combine, and then you get both of your brushes back. So just something to be aware of if you decide to combine them. That does take the, uh, take the second brush that you selected and just merge it into that first brush. Andi. So a lot of the time, you might want to make a copy of that brush. If you're happy with it, how it is just so you don't lose that brush when you combine it with another one, but I think that's, uh, about it on custom brushes. So for this one, I think let's just try to use these brushes that these custom ones and, um well, just kind of see how it goes. But I've been really liking this stamp pastel one. And, uh, yes. So, um, I think it is a good place to break for the next section in the next section. We are actually going to start trying and putting some colors in this. I think I might have promised that for the last couple lessons. The next one. It's really we're really going to color this thing. Okay, It's either 7. Part 6 - Blocking in shapes: All right. So let's actually start coloring this. Um, So the way that I typically start is we've already done this more detailed sketch, so I don't have to think too hard from this point. Um, but I'm going to be using the selection tool. Um, and just kind of blocking in my shapes. If you took my other skill share class, you're probably already familiar with how I'm doing this. Um, I'm going to show you how I do that. And then another technique that you might want to try, But let's start with the selection tool. Um, so I you'll notice that I kind of loop back pretty frequently. That's because I'm pretty happy with this part of my selection, but I started to go off course right around here. Uh, so I don't want to redo this part, so I'm just looping back, kind of going back to where it was right and then continuing my selection. Um, and if that's inside the shape that I'm trying to select, then it will just be included as part of my selection. And I don't have to redo that part of the tracing around the shape, which is nice So I'm just going to get the neck here and just kind of finish that off and coming out here. And I can just tap on that dot at the start of my selection, Teoh complete the selection. Um, let's say that I didn't want this part here. There's they changed this just a little bit inappropriate. Five. How this works. Eso Aiken cut off that part of the section by selecting it and then, before tapping the dot hitting removed just like we used to. But with appropriate five, you need to remember to switch back to add mode after that, and the reason they have done this is because you can now switch to rectangle and you can basically choose what mode you're going to be using before you start making your selection . So now I'm in removed mode. I can just remove parts of that selection if I want to you, which I don't. But that can be really useful, especially for this rectangle. Any lips mode where before, I don't think there was any way to use those to subtract from a selection except getting kind of complicated with doing like invert and then select and then inverted gang, which is not really ideal. So, uh, so this is nice. It's Ah, no improvement. But just be aware that sometimes if you've removed part of your selection, you will need to switch back to add much to continue adding to it. And, uh, on I'm a rectangle. So I typically used freehand. I guess if you have not used procreate before, you might be interested in some of these other selection modes. So I showed you a rectangle, which is pretty obvious what it does. Ellipses kind of the same. It's just you conflict circles or ellipses and then automatic. It don't really have anything to show you with right now, because I don't have any shapes on the canvas. But that kind of acts like a mix between the magic wand like that's it. It is a lot like the Magic one tool in photo shop, which basically you can select a shape or something like that. And so we'll try to show you that later when there's actually something to select with it. See if I actually remember. I think I'm making a lot of later promises, and I'm very sorry if I forget them all. Um, but yes. So we've just selected this head and next shape, and then I'm going to go and choose it Brush to draw with. I'm going to be using the stamp pastel bra brush, which will be in your, um, in the resource is section groups don't edit that. And then I'm just going to choose a color for a skin tone. You can see I did tweak my colors a little bit. Mostly, um, just to kind of get them a little bit more consistent in terms of saturation and things like that on and I conclude this palette. Actually, if you are interested when I'm done with the project, I'll try to remember. To put that in the resource is as well. But I'm just going to take this brush and you can see that I'm pushing really hard to kind of fill in the whole shape, and that gives me this more like pinkish purplish color. Uh, maybe magenta might be the term I'm looking for, Uh, not this skin tone that I chose. I actually want that right now because I'm going to come in and just pushing a lot lighter . I'm going to start layering in that skin tone on top, and I'm just going to go over it a few times to kind of get that to build up that color over the top of it. And then I still get just a little bit of a hint of that pink underneath. And if I want to kind of create ingredient where a kind of fade into that, I can push a little bit harder at the bottom. And this is a really nice and easy way to get some kind of interesting color variation in your shapes rather than have them just be static, um, filled the shapes, but so I'm just going to turn that off and then turn off my sketch layer just to see if I am happy with that shape overall. And I think I mean, barring the top of the head word we're going to have here anyway. And that shape is pretty good. You will notice if you filling your shapes this way, that I have kind of this a little bit more jagged edge than I'd like. And part of that might be that I should have selected are created a higher resolution canvas if you're really worried about that kind of thing. But if I use my selection tool and it just kind of trace over and cut that off, you can see that it gets anti alias to a little bit better. So one way to avoid that have to undo quite a few times because I went over that a lot with May 1st Fresh is I'm just going to use that Phil Layer option that I showed you on my quick menu to quickly fill in the entire shape. And that's going to use the color that I have selected. And then I'm going to use my Alfa lock option, which is also in my quick menu. If you don't want to add that your quick menu for either of those, well, just undo that so you can do both of these things. If you just tap on the later you can hit Phil Layer and then if you tap on it. But this little context menu, you can also hit out the lock or to get into a flock. You can swipe to the right with two fingers. Um, that's what I was doing it until I started using quick menu, you could do either one. I've found that quick menu is really fast because I used awful walk a lot. Eso If you are not familiar with Alfa Lock, you can tell the layer is locked because it has this checkerboard background on the thumbnail. But basically what that does is it lets me color on the shape I've already drawn without going outside of the lines. So that could be really nice for kind of blocking in a shape and then changes and colors around after the fact. And so we're just going lightly. Go over this a bunch with our brush again and touching very lightly here because my color pushes more towards that magenta pink color on the harder I push. So we just want to kind of have a hint of that. But mostly stick with this skin tone. Um, so now if I turn off my sketches on his, you mean you can see that the edges anti alias a lot more nicely. So something to keep in mind if you're worried about that kind of thing at the other thing , I should show you and let's let's do this on the hair shape. So I'm going toe create a new layer. Actually, let's Neymar layers as we go. So I'm going to call this, um I want to call it head because I'm probably going to put some other limbs on here so we'll just call this body and then I'm going toe every name, this layer to hair. And then let's start to fill in this hair shape for something like this where part of the hair comes in front of the head and part of it goes behind the head. You could do to different shapes, but because we're going to be animating that suddenly, that becomes a lot more layers. So I'm just going to try to really carefully match that edge instead. Um, if you weren't animating, I would probably create. I would either cut out of this part of the head and just have the entire here shape behind if that makes sense, or it would have one piece of the here in front and one piece behind. But, uh, we're going to try to carefully match an edge instead, which we'll see how it goes. And another thing you might notice, as I'm during these selections is that I kind of just build them up a piece at a time instead of creating the whole selection at once. Not really any particularly good reason that I'm doing that. Other than that, that's how I work. Yes, that you're welcome to do whatever you want. That's probably what I'm going to be doing. Um, and then I'm just going to finish off of this part and I'll go get the rest of them here shaped later. But for the sake of this tutorial, I just want to show you I'm going to choose this dark, dark hair color. And then I'm just going Teoh rather than do this Phil, which I typically use because I think it's a little bit faster. But you can also just tap and drag the color from the top, right, And this is called color drop and you can just drop it right there. Um, so if I turned on Al Pha, lock on that layer on and start to change my color a little bit, let's say we had a little bit of some other color in there. A cool thing about color drop is you can I'm just doing crazy colors here for a second toe show is that you can change the threshold by dragging back and forth before you release it , and that's not particularly useful right here. But it can be really useful if you are. I'm trying to fill in a shape that might not have Ah, really strong edge. Um, so you can kind of change how far out it goes over, like a partially transparent or anti a liest mind or something like that. So that's I think that might be really useful to know S I'm just going to go through and, uh, do that with all of the shapes. So I'm trying to block in my main shapes, and I'm going to be taking my best crack it initial colors while I do this. But I'll probably going in a tweet a bunch of colors later, and I'll show you how I do that after this time lapse section. One thing I did want to show you because I think I promised this before and didn't show it . Is this layer select, uh, block it off just so that's example of accidental input there, But I'm just going a tap and This is something that I set up in my gesture preferences. I'm going to tap with my thumb on that modifier button. And then as I move my finger around the canvas, you can see that I can select the layer based on what I'm touching. And if there's a layer that's partially transparent, you'll get theon shin of that layer or the layer beneath it, which is really nice. So you can just kind of move your finger around and say I want to choose that here and then if I draw, that will be on the hair or I choose the body I can draw on the body. So that could be really nice when you have a lot of layers. And, yeah, I think I'm going to switch this to time lapse and just fill in all of these shapes. And then we will talk more about kind of adjusting the colors and things like that afterward. So before a starting at time lapse, I just remembered I told you I was going to show you another technique for doing shapes instead of the selection tool s Oh, almost forgot. Sorry. Let's just, uh, let's start with the dress here, um, or armor? I don't know. We'll see. We'll see out. Colors go. Whatever. This is the clothes. So rather than the selection tool, I'm just going to choose my, uh, damn pastel. And then this yellow color. And I'm just going to fill in to make sure that I cover that entire shape and then come in again over the top pressing lighter to get the actual yellow color that I want with a little bit of that red showing through. Um, Andi, that is great. Okay, so then I'm going to cap and hold on my eraser. Remember, that pulls up the same brush that I'm currently using on my painting tool. And then I just want to make it a little bit smaller and start kind of cleaning up the edges with the eraser. And this is if you will believe it, at least for me, a little bit more tedious than the selection tool, because you often have to kind of go over a couple of times. But the reason you might want to do this is it gives you a little bit more of like a natural, rough cut looking edge. Instead of that like very clean edge. So it kind of depends on what look you're going for. This can also leave a little bit of artifact ing around the edges. You can't see it, but there's probably a little bit of color left there, which is actually kind of a nice effect. You see, there's a little bit here, and then if I was going to really do this, I'd make the brush even smaller and then go clean it up a bit more, just to kind of make sure that I don't have any thing to strange going on here. So that's that's another way you could do things. I think for this particular project, I'm just going to use the selection tool. But just so you know, this can also be an interesting way to build your shapes to Okay, so now I'm going to switch to time on 8. Part 7 - Color Adjustments: so I'm actually pretty happy with how the colors turned out overall on this. But there are still a few areas that we want Teoh make some tweaks to. I'm going to show you Ah, a couple of different ways to do that. But before we get into tweaking the actual colors, I'm going to create something that I don't know what the real term for this is. But I call it a saturation mask, and the way that you do that is you choose a completely de saturated color so either black or white is going to be easiest. And then I'm just going to fill that layer. And again, you can either tap here and click Phil, or you can just slide over to fill in your quick menu. If you set it up that way and then you're going to tap on the little end next to that layer , we can a street name this a saturation mask, so it's easy to tell as we're going to tap on the end, and that's going to bring up our blend modes menu. And this is new the way this works in procreate five. So as you scroll through here, and we'll talk about this a little bit more when we get to shadows. But against grocery and just see a quick preview of each blend mode that comes up. So the one that we're looking for in this case is saturation. And so I'm just going to tap on the little essay that's changed, because now it's on saturation blend mode, and then you can see some of these areas that we're having some contrast problems with now . So kind of the inside of the skirt down here. You can see that it's way too close in value to the legs because it's hard to tell the difference on then the same thing with the sword hilt and the blade over here. We're having some problems, and then this isn't really a contrast problem. But I just want that shadow on the ground to be about lighter and maybe tweak the color a little. So those are the areas we're going to be focusing on, so I'm just going to turn off that saturation mask. By the way, I don't think I mentioned this little check mark next to layer turns the later on or off without bleeding it. Um, so let's start with that, um, area under the skirt here inside of the skirt. Whatever you wanna call, that sounds a little creepy when I say it that way on. So I should show you how I got into their psyche. Top on the magic wand of those are adjustments, venue. There's quite a few things in here that we can use. Uh, but the ones we're going to focus on right now are hue, saturation, brightness. And then curbs are the two that I use the most. So hue, saturation and brightness is a way to just adjust that color saturation and how dark it is with sliders, which is really nice. And this has also changed a little bit and procreate five. So it used to be in previous versions of Procreate that there was a little preview but in and reset button over here. Those buttons are going, but you can still do that by just holding one finger on the screen to preview. And then if you want to reset, you can tap twice and hit reset. And then, of course, you could not do that. And so this is wanted to be less saturated and probably quite a bit darker. Teoh not look too strange there, but I'm still not completely happy with this. I'm going toe just tap on the little selection icon to get rid of my selection and dismiss the adjustments, uh, menu there, the huge actuacion and brightness sliders, and that does look a lot better. Contrast wise, I'm not entirely sure if I like the the color of that still seems. Maybe just a little off. So I'm going to go and tap on my magic one for adjustments again and hit curves. So if you've ever used curves before, this could be a little bit intimidating. But basically you have four different channels. You have gamma, which adjusts all of your colors together. And this is basically just the brightness over all this. The how that ends up looking effectively so I can make it brighter or darker by sliding on different areas of this and then through the the graph here. So this is higher values up top lower values at the bottom and along the bottom. This is kind of how it applies to your layers of darker values that you already have arm or to the left, and lighter values are more to the right. So if you want to adjust the light areas and make them lighter and dark areas and make them darker, then you can create this sort of s curve. And this is a nice way to boost contrast. In general, you're not saying really contrast boost here because it's all pretty much the same color. Um, but we can just go on kind of tweak these color is a little bit and see if we could get something that were a little happier with on. I think that looks pretty good again. You could just happen. Hold one finger on the screen. Samos with the hue, saturation brightness lighters to preview your changes. And while that's a slightly lower contrast, I think that color is a little bit better. And a general concept in illustration design is that your eyes going to be drawn to the area with the highest contrast? Chances are pretty good. This isn't the area that we want our focus on, but we have pretty good trump contrast in the face. So a little lower contrast there, I'm just going to tap on the Magic one to dismiss that. And you can tap any of these buttons up at the top. And it should get you out of the curves menu, by the way, or any of those adjustment menus. Eso the other area we want. Teoh change is probably a sort hill sword Hilt. It looks a little too green. So I'm just going to come in here, turn down the green a little bit and maybe turn up a blue and you're going to play with those until it looks a little bit happier. Also should show you, uh, this isn't a great example, But in an area with lots of color, let's say we want to adjust the color of this dress. Actually, black looked cool. Uh, we'll see. Um, you can see there's a little bit of a red street here, so that shows how much of that color is showing through or how much that channel is available. In which part? So you can see that this dress gamma wise, has a tiny bit of blue over here and a lot of red. So that's yeah, just kind of gives you a general idea of where the color is currently, but we don't want to. Just that and the other thing we wanted to do was this sort held. I think it's a little too dark and a little too saturated, so I'm going to pull it. Those who saturation and brightness lighters bring down the saturation a little and bring the brightness up a little bit. Those do. And while they're not, I think technically tied together it. Usually when you turn the brightness up, it's going to tend to look a little more saturated. I mean, it kind of depends on where you start, but I think that's more of a perception thing than what it actually is. But effectively kind of ends up being the same, and you can kind of play with the Hugh there a little bit. I think, actually was pretty happy with the hue, so just undo and then going tap on the brush to commit that and then last one we wanted to change was the, uh, shadow down here there does. So I'm going to tap there, and, um, I want this to be a little bit more red, quite a bit less saturated and a lot brighter. Actually, Now that I made it brighter. I think I wanted a little less red. Do you just kind of play with these back and forth of it until you land on a career that you are happy with? So I think that looks a bit better. It's probably still a little too saturated. I think I, um pretty happy with that for now. So we'll believe that and, uh, possibly come back to a leader. That's all I wanted to show for colors. So next we're going to talk about shadows. 9. Part 8 - Shadows: so shadows you can see in my sketch. We've kind of started planning those out quite a bit. I kind of drew them in in a lot of places. Um, so the way that I've been doing shadows lately and I think this is a pretty good way to do it generally is amusing clipping masks. So actually, this is not a good example, because I already used one there. Um, let's see. Let's do one on the dress. So if I create a new layer above the layer that I want and then hit our tap on it once, it will bring up this context menu again. And you could just have clipping mask. And what that does is, um, I can see if I draw anywhere. So this acts a lot like Alfa Mask. Except I can turn it off. Are alpha lock? Sorry. So I don't want that big black smear. Uh, but I do want to still be clipped. Um, so I just tend to use this and then I'm going to turn it to multiply. So again, we're going to tap on the little end for the blend mode menu over here and just scroll up until we get to multiply. And then I'm going to use my selection tool to kind of highlight areas that I have in shadow because this is arm is the arm is behind technically, but I cut out that space, so I don't need to be too precise there because there's not actually any overlap. Um, on Let's start with that area because I think it's going to darkest. So I'm going to turn off my sketch and then I want to choose a coder that's going Teoh work well with that yellow. So I'm going. Teoh, uh, let's try using a different brush and just see how it goes. Let's just let's use this test brush that we made earlier. Don't know that it's going to be the best choice for this, but you never know until you try eso That's a little too saturated, I think, but can just kind of hold that in there. You can see that doesn't look like it's the same color as, uh as we chose, but if I turn, multiply off, come over here and scroll down to normal and you can see that is the right color. Um, but the way multiply works is effectively just multiplies each value. So so every pixel has, Ah, red, green and blue and Alfa value being transparency. And when you use multiply, it actually multiplies the value of each of those together. So it always makes things darker. So if you have a kind of red and a blue and multiply them together, you're probably going to end up with some sort of purple and things like that. And that multiplies one of the most useful blend modes. I think personally, I don't really love that color. So again, let's pull in our curbs and just kind of play around with us a little bit until we get something we're happier with, probably a bit more blue, a bit more red and maybe a little less screen, and that's getting us a little closer. I think so. And then I'm going to just turn off, multiply so I can use that same color, and I'm just going to use one finger to means my eyedropper tool and then undo to put it back in multiply mode. And, uh, so we'll come back to the rest on the dress. I just want to show you on when you're using multiply. So I already have a multiply layer to have, like the knees and the cheeks and things like that on her. But I'm going to create a new multiply layer just in case they overlap anywhere. And it doesn't matter what order they're in because you're multiplying them. It works the same way as in Matthew can. As long as they're being multiplied, it doesn't matter what order things go in. So let's let's do the shadow under her chin. Um, so I'm just going to use my selection tool, come in there and draw that shape that we planned in the sketch. I turn off my sketches so I could see what I'm doing a little bit better and then come in here with this texture brush that seems a little strong for that spot. So let's make it a bit bigger, just kind of try that again. And remember this fresh head son color dynamics. So, depending on how hard or soft we press, it's going to look a little bit different. But I think for the skin tones, this color might be just a little bit to read. So because this is a new layer. I don't need a selected that I can just go right into my curves. And rather than bringing red down because that's going to darken it, we could try it. Actually, that looks pretty OK, so I'm just pulling down, read a little bit. You do that in the middle on that, you can have a little more control over it because there's only read. Uh, I mean, basically, this just affect it a little bit less in the middle. If that makes sense, were pulling it down at the top is bringing down the highest values of red. This kind of pulls them down, which are mostly over here. Um, I think that looks a bit better. So again, we're just going to you switch back to normal and grab that color and then undo the sort of back to multiply. So I'm just going to go through and start doing a bunch of shadows on different pieces. And I think, uh, well, just time lapse it for that, and then we will talk about colors and textures a little bit afterward. 10. Part 9 - Tweaks and Details: before we get back to finishing the animation, that there's a few more things I want to add, mostly just kind of tweaking some colors a little bit more, adding a little bit more color variety to certain areas and then adding some of the details that we didn't get to in our from from our sketch. A lot of this is going to be time lapse, but I did want to show a little bit of thes texture and color strategies. So on the dress you could see that I have a clipping mask here for the belt that is not on multiplies. We're just going to use that to add a little bit more, uh, kind of highlights and things. And then in some other places, I will just add a few random highlights and maybe some color, uh, shifts and things like that. So when you're adding textures, you probably don't want to add too much more texture on the skin just because, uh, I think as humans were pretty attuned to what skin looks like, and it doesn't have a lot of weird textures on it, typically, um, but I'm just having some kind of little highlights and things. Uh, I'm not planning these out too much because they're just a little bit random. I'm using this soapstone wash brush. J will probably not rename before releasing this, but this just adds a little bit more interest. Kind of same thing on the boots layer down here. I didn't need Teoh, actually, because that's on Alfa Lock. I'm just going to leave it. We're just going to draw directly on the layer with live dangerous, you know, um but I think I am going to switch to time lapse for most of this at thes, and I want to show you a little bit of like adding some highlights to the skin before, uh, we switch over. But you can see that just adds a little bit more contrast and makes it pop a little bit more andan on the skin. I wanted to kind of the same thing. This one. I am going to add a new layer. Just leave it on normal. Or actually, let's switch that one to overlay just to see how that works. Overlay is a bit more complicated. Mathematically, Ethan multiply on a little bit because that it's a little bit more unpredictable. But generally, if you're drying with a color that's lighter on top, it's going to kind of emphasize that lightness and kind of combined the colors to create a lighter color. If you're drawing with a darker color on top of your base color, it's going Teoh. Make it darker, so kind of splits in between. Whether it acts more like screen or more like multiply, um, that you probably want a color that's not too much lighter than your base color. And with all of these blend modes, if if you don't know how this works, this is when you draw anything on a layer set toe a blend mode, it's going to affect all the layers underneath it. Well, it doesn't affect the layers, but it interacts with all the layers underneath it. I should say, Uh, so I'm just going to kind of create some random shapes here because light is kind of random sometimes, and we're just going Teoh after I just warned you not to use to texture of Russia's, so I'm going to go back to my favorites and pick my gosh brush, which will also include in the brush pack by the way on this is just a very slight variation on the building. Wash brush in, Uh, that's a default appropriate brush. Um, I think the only thing I changed was adding a little bit of speed dynamics for size and capacity. But you can see this just adds a little bit more visual interest. Um, but you want to keep it pretty subtle, unless that's not what you're going for. But that gives us a little bit of okay, I'm going to be brave and try to add something to the face. But this doesn't always work out super well. Ah, we consider kind of the light direction. It's sort of coming from up here ish. So actually, this side of the face would probably be in shadow. When I plan my shadows and things like that, I do not think too hard about it other than kind of a general direction. So that's not quite right. But it's just kind of split halfway down and a little bit of a highlight up at the top. And actually, you know what? Let's do that as a shadow. Instead, I think that's gonna look better if we, uh, dark and the other side rather than lightning this side and again because it's on the face , I want to keep it pretty subtle. So I'm not going to use one of those heavy texture brushes. Um, I think it would just look a little strange. Green. Adjust that shape a bit, just kind of play around with the shape of the shadow. A little more that's a bit more interesting, but maybe a little too interesting. Okay, so I'm going to switch to time lapse to do the rest of this. But I'm just adding some details, pushing some highlights and shadows a little bit more and just kind of generally doing a few more final tweaks to the design. And then we'll go on Teoh working on those animations for the last section. 11. Part 10 - More Animation: but I think I'm pretty happy with this illustration. Overall haven't added a whole lot of texture to the hair yet We'll see if we get to that the animation part. But I did want to show you one other thing that I keep meaning to show in these videos before I move on to the actual animation. And, uh, that is the clone tool that's been added inappropriate. Five. This is just really cool. I want to make sure that I don't forget it. So let's say we have an area with some really interesting texture and color that we want to duplicate somewhere else or kind of continue. So, for instance, uh, let's say we wanted to extend this shadow on the hair. Sexual might be a kind of bad example because it's a little bit transparent. What's merge it really quick and then pretend like we want to extend the shadow on the hair . Um, so not curbs. So you top on the Magic one and then hit clone, and then you get this little circle that you can use to define where you want the source of your texture or where you want it to sample from, I guess, is a better way to think of it. And then you can use any brush from your brushes here. I'm going to just grab one of my custom brushes. Um, and then we're going toe, choose a sample size our area, change the brush size, and then you can just draw and it will sample from wherever you've included it. And you can move that around us. You go. It's just super easy use and super useful for a textured artwork and then release it. And there you go. Okay. So with that out of the way, uh, also one other thing, um, you tap and hold here to choose your previous color on. So I'm going to undo that because I want those players to be separate. I'm pretty sure still merged a new merch layers. Okay, So, uh, before we get into the animation, some of you, especially on iPods that are not as pro might be running out of layers, are running low. And once we get to this animation stage, we're probably going to want to merge a lot of things that we aren't animating eso. And this is just kind of a good way to get around layer limits in general. So I'm going to go back to my gallery and I'm going to select this artwork and hit duplicate, and that just creates a copy of the artwork. So then I can keep all of my layers separate here, but I can merge things here to have more layers to work with a lot of the time. If you're working on a large artwork that you have limited layers on, that's a good way to kind of get around it. So you can have your background in one file your mid ground in another, your character or something, and you can just kind of break it up that way a little bit. But also as long as I'm in the gallery, we have these three different files, and I'm just going to hit Stack so you can either select them and then hit stack or, uh, you can. Let's see, let's just add something else about that's a stack already. I don't have any individual artworks to include jobs, so let's say I wanted to add this stack in here. You can just drag it and put it in. So a couple of ways to make stacks. I don't want those in there, so I'm going to you click and drag go back to here and drop them in my gallery on going back in this stack and you can rename it just like you would rename any artwork by tapping here and we'll just say skill share and then go into the stack on day. Either of these short should work because they're just the exact same artwork. And then I'm going to want Teoh. I'm just start merging everything that won't be animated. So that's going to be. And I can delete things like the saturation mask because we're pretty much done with done with colors here, uh, one keep my animation things and all of my sketches converge the pieces of the face. Maybe there we go. And that doesn't have to be above the hair. So then, pretty much all of this, I think I'm going to start merging Just the pieces that I have clipping masks on. Um, I don't I think I want to merge the sword yet actually. Yeah, because that part is going to be animated, So not that one. But I can move this shadow on the sword down and merge that in. And then all of this I want to merge except for the hair. And let's see, sword can be down here below everything else. Why is this not memory? There we go. And then we can merge all of these pieces. So then, if I turned that off, all of my layers, except for the ones I'm going to be animating, are all merged together. So that's where we want to be. Um, and I can delete my little color samples eso before where we start. Let's turn the animation assistant back on innovation assist. We're going to go toe actions, canvas animation assist. And you can see that suddenly things are looking a little bit weird. Eso We've got some, like, partial transparency on some of the layers. Uh, so to fix that, we're going to select all of the layers and just hit group now that that group is one frame . So we're just going to rename this frame one on. Then we're going to want to turn our sketches back on. If you remember, we have all of these sketches where we planned out our animation before eso. I'm just going to take the bottom one, pick it up with one finger and drop it in frame one. So I have and make sure it's not on clipping mask. And then I am going to start duplicating this frame, and then we're going to delete the pieces that are going to be moving. So we redraw them and the other frames and start renaming. These is going to be framed, too, so it's going to be framed three and so on. Basically, we're just kind of setting things up to where we can start working on the actual animation here. Andan In each of these, I want to delete that sketch and put in the sketch that should be there instead. And because I have a clipping mask at the top, when I drag that and it turns into a clipping mask, you might not have that problem, depending on how you have things set up. And then if we make sure all of those sketches air turned on, then when we hit play, we should see. Make sure we go back to settings and switch it toe loop instead of one shot. And then when we had play. You should see our sketches animating in the background. So we have that guide and we can just kind of go and start making those animation changes in the actual colored version. So I'm going to turn off all of the layers, accepted bottom one, and this is the one that we've been working on. So actually, that one is good to go. That's the only one that is actually done s that I'm going to turn on frame, too. And I'm just turning these off because it makes things a little bit easier to see. And we already have the sketch there as a guide. It does do some onions, getting even with the groups so you could keep it on and keep working. But I think it's a little year to see with it off when I already have my animation all worked out. S I'm just going to start with the sword and just kind of move this little, uh, what would you call this highlight across it based on the sketch that we have So taking that make sure Magnetics is off and just move it down, and then we're going to do that in each one. What city there and then comes Well, actually have to duplicate it here. So let's turn that off. Duplicated first and one of these is going to go down to the end and one is going back to the start. If you remember, we have a wraparound situation here. And then that's why I was showing up. Weird. This one should just be back here now. If we had play, we should see I turned off clears hopes. So I have to turn those back on before it will anime. Now, that kind of moves across the sword. So if I was to turn off the sketch, that would look a little bit better in theory. But I'm going to go in and start animating the hair in the background a bit. Uh, let's go through one of the hair frames before where you switched to time lapse for the rest of these because this is going to be a little bit tedious. Hopefully won't be too bad because we already planned out a lot of it, but so later too. So we're just gonna want Teoh, Uh, rather than just deleting the hair right away I'm going to turn that off so I can sample my colors. And I want Teoh. Use that as a color guide, basically for now. And so I'm just creating a new layer. We're going to call it here as well and then turned down the opacity on this one. Uhm, I'm just going to trace over this. It should be pretty good. So I have that color selected already. So I'm going to turn off this other hair layer and turn off my sketch layer and then trying to get that. Actually, I'm going to fill it and you can see I have a little bit of problem here. Were accidentally overlapped the cheek, Um and then I'm just going toe clean up this little edge really quick and add I'm going to turn that sketch back on and then add my, um, clipping mask turning to multiply. And then I think this part was on time lapse. But I chose this blue color in the bottom left, and I'm just going to select an area that I want to be shadowed here. And if this looks weird in the animation, we can adjust it. This might be the wrong amount of area to have in shadow, but we'll see how it looks then I can just kind of come in here. You know, I used a different brush. That's why he's this soapstone wash brush. You get this nice kind of glee is texture or wash, if you will. And one thing I don't think I showed very well in the previous part where I was talking about animation was you could just kind of scrub back and forth here to see your animation and action, which is kind of nice. And I think we did go up to high on that shadows. I'll probably go cut that off, but you kind of get the idea. If you want to see that a little bit more clearly, you can just turn off the onion skin frames for a second, and we'll turn off the sketch on both of those so you can see what's happening. You could just switch back and forth, so there you go. All right, so I'm going to switch to time, lapse and just start working on all of these shapes and just matching the sketch that we made before. Uh and then we will see how it goes 12. Part 11 - Export: and I think this is done. Um, we hit play. You can see the animation loops. I'm not completely perfect, but I think it's good enough and you can spend some time polishing things if you want to. You can see I also went in and kind of faded out these little streak. He's in the background at the start and end of their arc a little bit on Gwen and used to liquefy it. Kind of animate the necklace here, so you can kind of play around with some things like that as well. Um, but I wanted to talk about how you're going export this both as an illustration and as an animation. And before we do that, what's going to settings and then down under canvas, we're going to tap on canvas information, and you can just like with the brushes, you can add an image so you can put your little profile picture here. Um, put your name, write your name, put your name Graham, where you know, and then you can sign it. I understood. Then you could also rename it there if you wanted to. Uh, just by tapping on this guy, Uh, I don't know its name it so you know, pressure. But then some. Once you've named your artwork, you can tap on share also under the wrench menu here, and you have a lot of different options on DSO. I'm just going to save it as a PNG uh, you just hit that and then hit Save image down here, and that will save to your camera roll. You can also choose to save it as a PSD, which will include all of the layers, pdf JPEG or tiff or appropriate file. And that will include all of your layers, your time lapse video. Basically, you're going to want that if you're backing up, so you want to keep all of the information for your canvas or if you want to share the file with somebody else who has procreate, Um, and then you can also just share all of the layers. So if you were working on a project where you wanted the layers individually, as PNG files, you can tap this and it will let you save them to files. I'm not going to do that because there's a lot of layers here, but these ones are the interesting ones to us right now because we have this animated image that we created. We want to export it in a way that's going to be animated. Eso a couple of ways to do that. 1st 1 is gift. So if you're sharing online, this is you know, I mean, I think we're all familiar with gifts, kind of how that works. You have a couple options here, so if you don't know, gifts are limited to 256 colors per frame, I believe. But that kind of makes your image look a little washed out a little bit weird. And also, gifts just tend to be really huge files. If, uh, if you make them like a large, useful resolution, kind of so there's like you can play around with this and you might find a place that you're happy with, depending on your artwork, depending on what you're going to do with it. I'm not going to use the gift format for this one. You can also use Web ready, and it will scale it down and try to make it a file size. That's reasonable. But, um, rather than Doig, if we're going to export this as an MP four file, but ah, and again, you can say that was a smaller file if you want to. But if you zoom in over here, you can see that it ends up pretty compressed on you can change the frames per second here . So if we wanted this to be super fast, which I don't you could do that. Um, but once you had export, you might notice, depending on what size you made your artwork that there is no safe video option here. Um, and this actually kind of stumped me for a minute. I think that this is a limitation with the size of the artwork. Eso because this one is over 3000 pixels tall, I think the either by a bug or by some decision that Apple's made. You can't say the video like that. And so what we're going to do is go back out to our gallery and then I'm just going to duplicate this again, and we will call this animated export on that I'm going to come in here and tap on marriage , and instead of going straight to export, I'm going to go canvas and then crop and resize like we talked about a little bit before. And remember, we mentioned this re sample canvas, which is an option you can use to resize without changing your proportions. I'm just going to tuggle that on. And then, um, we'll make this 2160 and we'll just see how that works so you can see nothing. Looks like a changed their, but it did resize the canvas to a smaller size, so hit done, and then that should work. And then if we go up to the wrench and go to share and animated MP for export now, you should get an option to save the video. So rather than tap that right now, though, uh, there's another problem with this video if you want to use it for anything, and that is because we have six frames per second and we have five frames. This video is less than a second long on, especially if you're going to upload this to instagram or something. They don't allow you to use a video less than I believe. The limit is three seconds, but also less than a second loops once and well, I guess, doesn't loop just place through once type of video isn't super interesting to watch, so you can just export that way and use other software toe loop it if you'd like, But I'm going to show you, um, just kind of a way to do that within procreate. So because we've already duplicated this and we have all of the information for these frames in another file, I'm just going to tap on each one hit, flatten and then remove any extra layers that we don't need. And then I'm going to rename each of these just the frame number, and but I'm going to start duplicating them so we want. Because it's five frames at six frames per second, we're going to need to loop it more than three times, but not quite for eso. Let's just do locate each of these, so we have four copies of each layer, and depending on your iPad again, you might run into later problems with this so I can show you another way to kind of get around this on get a looping video afterward. But let's see it one more time. But you could also just try resizing your artwork to a smaller size first, and that will give you more layers. So that's another option, because I think that instagram at least compresses to 10. 80 p mission, which means 1080 pixels tall. So you could go as far down as that. And I think most ipads will give you about 250 layers of that size. So we have four copies of each layer, so I'm just going to start reordering these. Actually, let's keep all of our layer ones down here and just start doing them in between. It's going to get just a little bit confusing. Probably might be better. Teoh do this beforehand. So we have. Let's see. 121212 wanted to and then more than four copies of to have five copies and two clubs. That's why it was confusing. All right, so I'm just kind of making sure that these air in order So to check that I'm just going dismissed my layers panel and hit play down here, and I'm pretty sure that is good to go. Okay, so now if we go up here, kept the wrench, share animated MP for export and wait a second, and then it's a video then that should have saved to my camera roll in here. And I have a three second video which cool it should be actually able to be used somewhere . So the other option if you want the quick and easy but not quite as precise way to do this it is. This is this is kind of cool thing that I don't think I showed you before within the gallery view in appropriate. You can now just pinch open and artwork to get a quick preview, and that works with animated files as well. So I will mention, though, if you have 10,000 artworks or whatever it is that I have in there, it's not 10,000 but I have a lot. Um, it can be really slow when you pinch open. So within a stack, it is never slow unless you have a ton of stuff in there. But yes, so the other thing you could do is just use your control center and use the screen recording. I'm already recording my screen here, so I'm not going. Teoh, stop that right now, But you probably don't have this in here by defaults. I'll show you how to add it, but basically you tap that button, it records your screen, and then you tap it again when you're done, and it saves the video to your camera roll so you could do things that way and then just use IOS, built in tools to kind of crop the video to the size you want and things like that. You will get a slightly lower quality video, probably because it will just be the iPad screen size. Um, but let me show you how to add that if you don't have that in your control center. So if you go to your IOS settings APP Control center and then customize controls, there should be a screen recording option down here, and you just hit the plus next to it. It would probably be in this more control section, and then when you swipe down in your control center, you will have that option. So, yeah, that's a kind of easy hack your way to do things if you don't want to bother duplicating layers and reordering them. But you'll have to be a little bit more careful about cropping the video toe length that it will loop properly. So I think the only other thing that I wanted to show here for exporting is, uh, how to export your time lapse video so appropriate automatically does this for you. And I think we talked about this before that you can kind of set different time lapse settings for each file. This is a pretty long time lapse video for this particular one because, um, because it took me a while. But when you go to export, if you hit export time lapse video instead of time last replay, you can choose a 32nd option, and then you will get a really quick time lapse with you, which is really great for sharing on social media. I think that's about all for exporting. So in the next section, we're going to just talk about a few tips that we didn't actually end up using in this artwork. Andi, just kind of a few odds and ends, but I think we're pretty much done with the actual illustration. So we'll see you in the next video 13. Part 12 - Misc Tips: and so we're done with the artwork for the class. But there are a few other things in procreate that I didn't cover very well or talk about that just didn't really fit with this particular artwork that I'd like to show you if you're interested. Eso I'm just going to create a new canvas and, uh, yeah, we'll choose a brush that's a little bit more of a drawing brush. So let's just go Teoh technical pencil again. So if you want to drop perspective, for instance, you can kind of just guess which is great or her great has a lot of drawing guide options that are really nice. So let's say you want a grid. You can just use that as a grade. You can change the size of it. So if you come into here and edit drawing guide, you can change the color of the lines. It changed the thickness on capacity and the grid size, so the screwed one is actually really useful for when I'm working on book projects. Sometimes I want to figure out the bleed or something, and you can set this to a specific size in any dimensions you want Teoh, and then it's pretty easy to kind of use it as a ruler on the page. So, uh, that's pretty nice. You can also do is so metric if you want to do an isometric drawing and you can tap and drag these notes around, kind of adjust the look of it. Andan perspective is really cool. If you want to create a perspective seen, you can just tap to add points so you can create one point two point or three point perspective. Pretty sure doesn't go to gurgle in your stuff. But then, if you decide, actually three point is a little intimidating. You could just delete that and then leave your perspective guide here, which can be really nice. But you can also turn on drying assist, and you can do that from within that edit drawing guide menu. Or you can tap on a layer and just turn drawing assist on this way. And what that will do is keep your strokes, um, with that guide so they don't even have to be along the lines, for instance, with this perspective guide, but it will make sure that your lines line up with the way the perspective should be working, so that could be really cool and really helpful. And that also works with horizontal lines. I'm pretty sure horizontal and vertical lines, and there's another type of drying guy that can be super useful. Eso if we come in here and do symmetry. This one is super nice. There's a bunch of different options, so you can do just horizontal symmetry. Which means if I drop here, it will mirror it over here. It's very that was critical horizontal, same thing, but the other way quadrant, which just means, uh, that scene it's reflected vertically and horizontally. And then, uh, radio is pretty cool. So this kind of looks like a quite a scope type of effect. Um, but you can also do rotational symmetry with one of thes, And then you get this really interesting sort of, uh, again kaleidoscope type of look or Spiro graph. If any of you are old enough to remember those, so that could be really fun. Uh, that's pretty much all of the drying guides, I think. And you can just turn those on and off per earlier so you could have an assisted layer if you want to kind of create some guides and then create another layer that is not assistance . If I draw here, you can see that I get all of that symmetry. If I drive here, it only draws in one place. I would just also very helpful theory thing I wanted to show. And let's just delete this layer is, uh, yeah, add text option, which was added in, I think procreate Ford out to, uh, but this could be super nice. If you want Teoh, create some text if, whether it's for layout, types of things or drug, I don't still or you want to make some means pulling an image something like that. And if you're using the pencil and it's still texting in, just double tap with the pencil on the text to edit it. Or you can come in here, tap on the layer and hit edit text, and then you can take this edit style button and change it to Impact. Will say we were making a mean, for instance, you could do some cool things like switched all caps. Switch to outline mode at an underlying change alignment. There's a lot of different things you can do in here that are all very useful. But you can same size current ing, the tracking, letting that only effects whether when there's more than one line. But there's a lot of cool text tools on Ben. You can also this is this Looks terrible. Don't Don't mess with Corning unless you know what you're doing. Um, if you I forget how to do this, there is a way to change this. Teoh. There we go. Vertical orientation. Yeah. So if you come in, basically, you double tap on it as though you were editing text in anywhere in IOS, and you can switch between vertical and horizontal. So there you go. And another cool thing you could do with the text is without rast arising in. So you can keep it as edit herbal text. You can create a clipping mask and start drawing. Uh, it's just true colors here trying within that. So if we go back to my custom brushes can start creating some interesting kind of effects behind the text. Sort of. Yeah. So this could be pretty nice. While these colors are terrible. I'm sorry. This is this is not playing that well Um, yeah, if you want. If you want really ugly colors, you've come to the right place apparently, Uh, but also, if you do decide you want to edit that text, let's say you want to include some text in a scene or something. You can use one of thes transform modes that lets you distort on the text. So have a couple of different options down here, you can warp things you can distort, which just means you can grab each corner and move it independently. Or I like freeform, which is kind of a mix between uniforms and distorts. If we re set down here, uh, by default, it acts more like uniform. But you can tap and hold on and he knowed, and it will let you distort the shape. So you get a little bit of a mix there. Um, so that could be really cool on that Will, As soon as I get out of this editing mode that we're grass dries the text, you see a text layer dressed arised message up here. So just so you know, you might want to create a backup of your text or something, unless you're pretty sure you have it where you want it. And then there's one other thing I wanted to show you was you could change the capacity of a layer onda couple of turn ways. You can do it there, Do it within this bun modes menu. Um, and you can do some different blurry effects. So if you want some really blurry text with some ugly colors, you have still come to the right place. But there's a couple of different types of blur, so you can do motion blur. Which kind of, uh, as you move your finger up and down and changes the angle. And as you move it left and right, it changes the amount of blur. So that could be kind of a cool effect, especially if you have a scene where something is supposed to be moving fast and then perspective blur, Um, kind of similar. You can see if I put this really close and then turn the train this up. You can see that it kind of is based on the point where I have this little circle, and then it will blur kind of moving out from that point, and you can do the same thing and here, but kind of have it be stronger in a certain direction. So is so kind of based on that point. But you get a little bit more about pushing that and the direction that you point this arrow. So yeah, that's I think that's most of our adjustment options. You also have noise and sharpen and things like that, but I think they're pretty self explanatory. Just remember, when you're doing any of these adjustments at the top, sliding your finger back and forth on the screen is going to affect the strength of that effect. And then last thing I wanted to show you, let's turn back off and turn on top lock and just make this a color of text is, uh, we talked about blend modes on layers, but we didn't talk about using your brushes in a blend mode. So I'm just going to choose my wet acrylic brush here that I'm going to tap on it, go to rendering. And then, in this blend mode option down towards the bottom, I'm going to use multiply because I think that one is the most useful personally, and as I try, you can see that it gets darker and darker, So this is kind of like a marker effect. Um, let's choose something that will look a little more interesting. So if I use that red, you see, I get kind of a mixed color there, and everything gets darker as I drive, which can also be very cool. I use this a lot for shadows and things like that. So, uh, yeah, I think that's about it for tips and procreate and feel free to ask me questions if you have any in the discussion section. Um, there were a couple other things I wanted to mention first ball on my last class. I got a lot of questions about the stand I'm using. We're going to see my tape down here. This is the Park Slope. Stand by 12 South, and I'll try to include a link to it in the description, Um, and I like it a lot. It's really heavy. It's hard to move around. So pretty nice. I can't tell you whether it's the best iPad stand, but it's the one that I have, and I like it a lot. I also have if you go to my website during Vogel dot com. I have Ah, procreative. You were for Mac, which basically means if you export your appropriate files, uh, and put them on your Mac. Typically, we'll just show up as kind of a blank file icon. But if you install this appropriately, where I have, you can see a preview of brushes and procreate files in the finder, which makes it nice to kind of offload some things from your iPad occasionally. That is, Mac only really sorry. If anybody is a Windows developer that knows how to make something like that for Windows, feel pretty reach out. I have the source code, and you're welcome to try, uh, about I'll be including the layered file for the final artwork on the brushes that I talked about in here and the swatches. So the colors that I chose, But thanks so much for watching post your artwork. If you make anything based on this class and I'd like to see what you make Thanks