Procreate - A Guide for Beginners - with Bonus Lesson on Procreate5X | Jennifer Nichols | Skillshare

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Procreate - A Guide for Beginners - with Bonus Lesson on Procreate5X

teacher avatar Jennifer Nichols, Leila & Po Studio

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

28 Lessons (3h 49m)
    • 1. Introduction

    • 2. Access Class Resources & Post Class Projects

    • 3. How To Get Started Right Away!

    • 4. Customizing The Interface

    • 5. Hand Gestures

    • 6. Apple Pencil & Keyboard Shortcuts

    • 7. Copy/Paste & Quick Menus

    • 8. The Gallery Options

    • 9. Creating a Custom Canvas

    • 10. Exporting Your Work

    • 11. Brushes!!!

    • 12. Layers

    • 13. Color Picker & Palette

    • 14. Reference Layer

    • 15. Clipping Masks

    • 16. Alpha Lock

    • 17. Layer Masks

    • 18. Blend Modes

    • 19. Drawing Guide & Symmetry

    • 20. Quick Shapes

    • 21. Text Features

    • 22. Animation

    • 23. Selection Menu

    • 24. Adjustment Menu

    • 25. Actions Menu

    • 26. My Workflow

    • 27. Class Project

    • 28. Procreate 5X: New Features!

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About This Class

I designed this class for those who are brand new to Procreate AND for those who want to understand certain features a bit more....such as Clipping Masks and Layer Masks! Even after you are comfortable getting going with the app, this class will be a great resource to come to when you need little refreshers on various topics as you work. It’s full of little independent mini lessons. 

Most of my classes are aimed at beginner and intermediate procreate users who are already familiar with the app so I thought it was time to actually publish a class about becoming familiar with the app! I hope you find it helpful!  Check the Projects & Resources for a link to Procreate’s Online Handbook for more details on each topic.

Meet Your Teacher

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Jennifer Nichols

Leila & Po Studio


I’m Jennifer Nichols and while I’ve always been an artist, I’m also a teacher, a musician, and a lifelong learner which is one reason I love Skillshare! I love sharing what I know about iPad art and the Procreate app. My teaching style allows you to follow along with me and learn a ton along the way.

If you are new to Procreate, I would start with the Beginner class and then you’ll be ready for any of my other classes! I gear most classes toward beginner and intermediate level procreate users. ANYONE can succeed at the projects I teach no matter what your artistic abilities are! All resources that are needed for my classes are given as free downloads, including palettes and brushes!

Here are a few illustrations I’ve made in Procreate. I lo... See full profile

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1. Introduction: Hi, My name's Jennifer Nichols, and this is my class on how to use procreate. I have a lot of other classes that are intended for people who already know how to use the app. But I wanted to have a class on how to get to know the app. So it's intended for beginners who know absolutely nothing. And it's also intended for intermediate procreate users who have been using it for a while . But they know that they're not quite understanding certain features, or maybe they aren't even sure about certain features. And I've put it in an order that kind of coincides with the online handbook on the Procreate website, which include a link to So a lot of people don't even know that that handbook is there, and it's a great reference. So if you don't get enough information in the class on a particular topic and you want to go bounce back to that guide ticket more information you'll have that link handy. And, um, E did that in the order so that you can easily find the topics on the Handbook online handbook. So the very first video is actually intended for people who They're just itching to get started on the APP. They don't want to watch all these lessons. They just want to open it and get started. But they don't know what all the little guy comes mean. They don't know what to do. So you can watch that first video and just get started. I understand that urge. Just get started. But I read recommend that you come back and learn some more details about the various things that procreate could do because it has amazing features and is awesome toe learn all the things that it can do. I don't even know all the things that it could do, and I've been using it for quite a while. So, um, I will be teaching you the things that I don't know how to do. So you'll have to use the hand, but for some things, and I'll let you know those when they come up, um and yeah, so you'll be able to bounce over to particular topics. It should be a pretty straightforward list of topics and hopefully not too boring. I've watched somehow to classes and you know, it's it's hard to make something like this exciting so hopefully it's just interesting enough that your understanding, the functions and all the different things that you can dio So I hope to see you in class. I really enjoyed making this class. It took me a long time to wrap my brain around how it was gonna make this class eso that it was intriguing for everybody and on. And then once you take this class, you'll be ready for any of my other classes. So a couple of them are a little bit more advanced artists. But I think that you can take any of my classes once you know how to use the app, so I'll see you in class. 2. Access Class Resources & Post Class Projects: Here's some information about downloading resources in Skillshare. So you need to be in a browser and in landscape mode, you won't be able to see their resources if you're in the app or if you're in the portrait mode on your iPad. And then go to the Projects and Resources tab of class, whichever class you're doing. I'm using this class as an example because it has a great variety of downloads here. So there's a brush set, dot brush set, right? And then there's swatches, the swatches or pellets. And then here is a procreate file and a jpeg. So the PNG JPEG, any image files, those are all going to work the same. And if you stay to the end of the video, I'll show you how to upload a class project to the classes that you take in Skillshare. So once you're in the projects and resources tab, all you need to do is tap on these. And there is a little See More button that you'll have to open up if there's a longer list here. If you're struggling with this, it might be the browser you're using. So I've heard a lot of problems with Firefox, with downloads. So try different browsers. If this doesn't work, I use Safari and I never have a problem. So for the brush sets, you can just tap and you're gonna see, oh, it'll ask you to download and then look up here. Right here, the little download fingers going there so you can go through and tap on everything. So I need the swatches and just get them all now I need that J peg. I'm just doing one if each AP and a Procreate file. There we go. So they all downloaded. There's plenty more here, but I'm just using one of each as an example. And then you can tap on them here, depending on the file type, it might bring you to the file's app and it might just directly download. So this isn't a zipped file, this procreate file, so it's just going to bring me right into procreate. And it's going to be at the very start of your gallery. So that is the procreate file for this class. The JPEG should open right up. Sometimes it opens in a new window in your browser. And then if it opens up like this, you can just save it as an image. You can save it however you want to save it. The swatches. So the swatches opened up into the file's app. It's in this download section and it's going to be in alphabetical order. So if you don't remember the name of it, you can go to recent and everything that you just downloaded is all right here at the top because it was the most recent. So this swatches are right here. It's called skin and hair something or another. If it were a zipped file, then when you tap it, it's going to bring it back down to downloads. So remember the name of it, and we'll just go back down to downloads and I'll show you an example of a zipped file. So skin and hair. So here it is, right here. This is what it would look like if it were zipped. And so all you would need to do for any zipped file is tap on this zip file. And if there's a folder within the file, the folder will open up right here and it has the same name. Sometimes there's as zipped brush sat or something. Sometimes if there isn't a folder within the zipped file, just the object itself, the brush set or whatever will open up and it'll open up after this zipped folder. So whatever it is, you just tap on the zip folder in it. You'll see it either here or here. But for the things that are zipped, all you need to do is tap on them. Now for pallets, they import if you go into the palettes and you go to this section here, it'll import all the way down at the bottom. So you can go back to files or go back to browser. And then here is the brush set. The brush set was zipped. So hmm, I don't remember the name of it. So I'm just gonna go to recents to try to recall. Oh, you know what? It wasn't zipped. So I don't know why it didn't just open right into procreate. Some things seemed to open right into Procreate somethings don't. So it wasn't zipped character process. It should look the same in this download section right here. There it is right there. So just tap on it and it'll import now brushes. If it's a full brush set, it will import to the top of your list. If it's a single brush, it will import into the section called imported. That will be at the very bottom of your list. I've reorganized mind, so and that's not at the bottom on, on my iPad. So this is where individual brushes will come. All right, so we got them all. So now you know how to import resources from Skillshare classes, at least for my classes, some people will have Dropbox link send other things like that. But overall, importing is the same way. It'll all kinda go into your files. Alright, I've hopped over to a new class where I have not added a class project yet. So I can show you what it looks like here. So with the same tab, the projects and resources tab, there's this Create Project. You can tap that. And this Upload Image button is actually for the cover image. It says cover image up there, but it's still confuses a lot of people. And it needs to be eight megabytes or less. If you save your images as jpegs, when you tap on that and go to an image, Let's go to this one. So for a JPEG, you should see this option here to tap on it and select a smaller image size. I'll go ahead and tap this large one and tablet use. And the cover image crops to a rectangle. On the iPad. I've never been able to move that around. I'm not sure if you can from a computer. So I just don't worry about what that cover photo is going to look like. And then you can tap Submit. So that's just the cover photo. And then you can title it and you can write whatever you want in here. But then this image button here is how you get to the other images that you can add to your project. And that's all you need to know about publishing a class project to your classes. If you keep it on public and you don't check the private box, then we can all see it and we can all comment on it. Um, here's an example of several class projects from this class. So we can, some of them that the cover image doesn't work for some reason. I'm not sure if it's because the image size was too big or something like that. But you can tap on these and you can comment on them and you can tap the heart. And everybody can see each other's projects. So that's kinda fun. See you in the next lesson. 3. How To Get Started Right Away!: So this first video is just going to show you how to get started and procreate right away without understanding all the features there. So many features that, um, it's something that you can kind of gradually learn. Over time, I'm going to go into some of those features in this class. But if you just opened procreate and you don't know what to do with it, anyone who gets started drawing this first video is going to show you how to do that. So go ahead and open the app, and it'll open into your gallery in your gallery. They'll be some procreate default art in there that you can investigate kind of see how they did what they did. And you can also delete it to delete something. You just swipe this way and tap delete the other way. You can delete something, is tapped this select button and tap a whole bunch of things and tap delete right there So you can do whatever you want with those, um, files that come with procreate. But to make your own campus, you gonna tap this little plus sign and they'll be some default options for canvases here and All of these are things that I've created using the new canvas option right here, and that's what I'm going to show you. And that way you can make sure you're doing something in high rez, and, um, you don't need to use the defaults. So tap this little plus sign, and in the dimensions, you can choose the measurements that you're more comfortable with. I go two inches and I'm just going to make a 10 by eight. So 10 inches for width, eight inches for height. DP I I always set to 300. You could go higher, but 300 is just fine for high rez. And then it's gonna tell you how many layers you get. And that depends on the iPad you have and the width height DP I settings that you choose. So the I've had pros are going to give you more layers. The errors are going to give you a little bit fewer, and the regular ipads are going to give you the fewest. So as you start figuring out, if you really want to do some awesome stuff in procreate and you don't have an IPAD pro yet , that's something you might want to start saving up for, and then you'll have more layers to work with. So if you have very few layers here, you just need to think about how you're going to draw a little bit differently. And it's OK. Since it's a pixel program, a raster program with pixels. You can't create something small and then print it in a bigger size. You need to think about what size you might wanna print. If you're going to print and start with that size or a little bit bigger, you can shrink things down. Not terribly small, but you can shrink things down a little bit and still have a nice quality. But when you're working with pixels, um, it's just a different beast, then vectors and vectors. You can go huge and small, and it doesn't matter. So think about size when you're creating your campus and we will go into these other things later. You don't need to know anything else. Just do that and tap create. You can call your canvas something right here, tap on that and name it, then tap create, and now you have your canvas and you can start drawing that canvas. If you top gallery goes back to gallery, takes a second, and when you tap this plus sign now, that canvas you just created is going to be right there, and you can move that around. Make that you can bring it up to the top of your list. Tap the campus again to get back into their and just a quick overview of the interface so you can get drawing. We already showed you what gallery does. This is the actions menu. I call it the Wrench tool so you can go through an investigate the different options. Here I am going to talk about these in class so you don't really need to do anything just to start drawing. And we'll talk about the adjustments in class later as well. And this er selection that also is a selection tool that selects with on the layer. But the Lear is empty. This is your brush size and your brush opacity, slider and your undo and redo buttons, and this is a modified button. So for me, I haven't set to the eyedropper, and I think that's the default setting. Over here are your brushes, so there are a ton of native brushes in procreate. I would highly recommend going through and playing around with these brushes. If you have an apple pencil, you're gonna have a lot of pressure sensitivity with the brushes and really get to know your brushes. Maybe even make a chart a little chart and name each brush that will be very time consuming . But you can really have fun playing around with all of those brushes. And, of course, you can buy more brushes, and that ends up being a little bit of an addiction. Eso beware and make sure you know what you have here before you start buying. You can also edit brushes and make your own, so there's a lot to get to know before you start buying brushes. The smudge tool is the same thing. You have all these brushes to choose from for smudging and smudging is literally what it says. It's just kind of smearing things around so you can smear it with different brushes to give a different look to the smudge. And then eraser is the same thing. All the brushes to choose from so you can get started. And then this is your layers. Layers is kind of something. If you're not familiar with digital art, you kind of think, What do I need to know about layers? Here's how you add a layer right here. Um, if you are wanting, let's see a quick example of layers. Why you would want layers is if you had some words and you want them on different layers so you can move them around. Let's see. Hi there. I'm not a letter, so I'm not even trying to make a nice fancy thing here. But if I because I have these on different layers, I can move this around and I just selected it right there. And, um and you know, for fancier art, you have layers for other reasons. And that's just something that you're going to get to know as you start learning how to use procreate. So it just gives you a little bit more flexibility with your art. And then you can clear layers like this. You can clear layers with other finger gestures, but that's all. Stuff will go over in class later, and then the color picker here. There's a lot of options here. This is the classic, this is the classic color picker. This is the disk, so you can change the hue here and then move this around inside that classic harmony. There's also this part of harmony here, so you pick a color and it's giving you two other colors that go well cause we were on the try attic. You can choose complementary, and then you'll be able to find the complementary color to whatever color you're on values and other waited she's colors or to enter a color code. And then this is a list of your palettes. So right now the default is on this rainbow palette right here, which is a download for this class just so you can practice downloading pallets. When you download a palate, it's gonna end up at the very bottom of this list. This is a lot of pallets. You don't need to have all these pallets. I just am lazy about deleting so you can move these around by dragging and moving them into a different order. Um, and then whatever one you want to kind of have in your main focus, you just set to default. And then when you go over to disk, I'm going to clear my history right here. This is that default palette right there. So then you can add to it by finding another color here and tapping on an empty spot on here. Pellet, We're gonna go into how to rename, delete, do all of that in other videos in this class. But that is all you need to know just to get started withdrawing. So find a brush, start having fun. And there you go. You can move things around like this, and then it's automatically saving as you go. So you don't need to tap save, and you can change the name of it and things like that, and we'll talk about that later. And, um, you do need to make backups. This is all saved. But if something crashed, if the app crashes or iPad crashes and you need to reset it, you want to have backups of everything because you'll lose all your work. So when I say it saves, I just mean that you can leave the campus, come back into it, and it's just how you left it. So you don't need to do anything in addition to to that. All right, so keep watching class if you want to learn more details and some tips and tricks, like the pinching men moving around and all sorts of things, so I'll see you and the rest of class. 4. Customizing The Interface: you can do some customizing of this interface to make it suit you. One of the things that you can change is where this slider bar is. It can be over here if you're left handed or just whatever feels more comfortable to you. So you can go into this actions menu and in press you can change, too right hand interface versus left hand interface right here. You can also change the light interface. So if you toggle that it goes to a dark interface, so that's something that is just a personal preference. Or maybe at night, to might be easier to look at a darker screen. And then another thing to personalize is the brush cursor, and all that is is let me go on a fresh layer here. When I tap down, I'm gonna zoom way in. You're going to see a little black outline so hopefully you can see the black outline, and that's the shape of that brush. So if I just did a stamp, that brush is that kind of rectangle shape. But it's doing a whole bunch of them together, making the stroke that comes in handy. I prefer doing my art with the brush cursor on because I want to see Let's say I'm on my giant model a brush and I want to see the edge of that. Or maybe I'm erasing with that brush. I want to see the edge of that. You can see here the edge so I can see when I'm about to erase or if I wanted some precision. But if that is distracting to you, then you can turn that off. So those are the basics of the customizing of the interface here, and the other thing you can do is from the modify button. You can pull and slide this bar up and down and let it snap into place on your screen wherever it's most comfortable for you. 5. Hand Gestures: next is hand gestures, so there are a lot of little hand gestures that come in really handy as your drawing, when it is just the pinching so you can pinch and zoom out, zoom back in rotate. Of course, if you don't have a stylist, you can paint with your finger so you don't need a brush at all. The only problem with this is there is no pressure sensitivity. The other thing you can do with your finger is doing any of the brush things you can smudge and erase. If you've zoomed way out and you want to zoom back in, you can do a quick pinch like this and it'll fill the screen. I mentioned the undo and redo buttons down here, so with the drawing I did over here on the screen. If I went to undo that, I can either tap over here or I can do to finger tap. So any time you tap with two fingers, it's going toe. Undo. Now, if you have exited your file and you've come back in, that is going to be all fresh and cleared like your cash is cleared, right? So it's just while you're working on your peace. Um, once you exit and come back, you can't do the undo and redo, so keep that in mind. So three finger tap is the redo either to finger hold or three. Finger hold will do that rapidly. So you can if you hold down, it'll do it quickly. And there's an away to adjust. How quickly? Right here. Rapid, undue delay. I just let that go to whatever it is for default. If you are on a very specific layer that you want cleared, one of the gestures you can do to clear it is the three finger scrub. I don't always get this right on the first try, as you can see, but there it goes. The other three finger gesture you can do is three finger swipe down That brings up this copy and paste menu, and it is super handy. I use this all the time. I use the two finger and three finger taps and I use the three finger swipe down all the time. So from this, you can you know all the typical cut and copy cut paste, copy and paste. And what it's gonna dio let me show you. I made sure that this has all separate layers. So let's say I want to take my red dot and duplicated onto a new layer. So one thing I can dio is just swipe that and duplicate it, and now have a new layer. I can select it and move that around five to this is reminding me if you bring something off the edge of your canvas and then you de select it, it is gonna be cropped. So don't let things go off your chemist unless you want them cropped. So the other thing that you can do in order to copy and paste this on to a new layer is make sure your layer is selected three fingers wiped down, copy and paste. That's giving you another layer of that same duplicated lier. If you three finger swipe down and cut and paste, it's going to actually remove it from the layer it was on. Put it on a new layer that comes in handy. This isn't a good example of that, but that does come in handy, and another gesture is forefinger tap, and that's going to get rid of all of the menu icons up here so you can view your work without those distractions. Forefinger tap again To undo that, you can still edit your work while in that mode I rarely use that boat. All right, there are some hand gestures for the layers as well, so if you go into your layer menu tapping on a layer selects the layer. That's pretty obvious. Swiping right on multiple layers will select all of them, all of the ones that use white bun. At that point, you can group them together. So if I want to group all of those rainbow colors together, then I can collapse the group. Just so it's easier to view my layers if I to finger tap on a layer I can get to the opacity. I use thes two fingers because they end up touching the screen at the same time better than these two fingers. Since this, they're so different in length. So if I two finger tap on a layer now I see this. It says, slide to adjust and you can adjust. It looks like I'm adjusting my orange opacity right there. If I to finger hold. I've selected that layer, so everything on that layer has been selected. You can tap that toe de select it if I to finger swipe, it turns on and off the Alfa lock. So I'm hoping that you can see this. I can't zoom in on this menu here, but the Alfa lock is showing a grid behind the work that's on the page here. I'm gonna Alfa like this. Hopefully you can see that grid and I'm going to talk about what Alfa lock is later. But this is one of the gestures and I use this one a lot turning Alfa lock on and off. And there's other ways to turn Alfa lock on and off as well. But we're just talking about gestures right now. And the final gesture for hand gestures in the layers menu is you can pinch to merge layers . So I end up using these two fingers. I've seen people use thes two fingers, but you can see right here how I'm merging those two layers and it just merged them. I end up doing it like this. You can do groups, so I'm gonna undo So I have them all so I can merge them all together like that and do that . So I am just showing you an example here because I have thes in a group already. I could also just tap this and merge down, and that merges them all. But sometimes you might just want a couple here, a couple there, especially when you have fewer layers to work with, and you need to free up a layer. So once you get to your maximum amount of layers and you try to add a layer, you'll see a little warning up here that says that you don't have any more layers left and you'll need to go through your work and figure out some things that you might want emerge together to free up more layers, if that's what you need. 6. Apple Pencil & Keyboard Shortcuts: for the apple pencil. Um, there are There's an a pressure curve you can adjust. So if you go into the actions into press edit pressure curve, this is something you'll have to Google more information on. Or just look at the online handbook for procreate. I like my curves like this. It just makes it easier for me to draw with a lighter touch, and it reduces any hand fatigue. But you can just make all sorts of adjustments and, you know, tested out and just see, and that will apply to all your brushes. You have to top this little arrow to get out of that and then in gesture controls, you can make some all sorts of adjustments that apply to your pencil. So this is not something we're going to go into in class. Everything that's just set to default in here is probably good enough for most people unless you really kind of start becoming a pro at this. If you have the second Gen pencil, which means you don't have a camp right here, it's a magnetic charging one. Then you have a double tap feature, and that can be set to do something very specific. It doesn't have to be, um, switching to the eraser. For example. I actually disabled mine entirely, and I did that in settings on the iPad. So you just go down to apple pencil and turn it off the double tap feature turning it off. And that was only because I twiddle with my pencil to match, and it kept activating that double tap when I didn't want it to. So I am perfectly happy with it, not having that ability. And honestly, it's just like the first Gen pencil. Other than that and other than magnetically charging. So either the pencils air both very similar in how they work other than the double tap feature. So that's all I wanted to say about the apple pencil using it. Besides it having pressure, sensitivity and things like that, there are keyboard shortcuts. If you have a keyboard, you need to press the command key that has that little symbol. Let's see if I can draw that little symbol. It looks like kind of like that, and that should show you a menu of the keyboard shortcuts. I don't have a keyboard. I'm not familiar with that. So I'm not including that in class again. That's something that you can go check the online handbook for more information 7. Copy/Paste & Quick Menus: so returning back to the copy and paste menu with the three fingers wiped down, Um, the cut simply will cut something completely off of your work. So if you don't want that red dot on there any more, you can delete it from the layer, or you can just cut it. You can then go to a different file and pay stick or paste it on to a different layer, three fingers wiped down again. A copy is the same thing, but it won't get rid of the red dot It won't cut the red dot off. It'll just copy a version of its. You can paste it onto new layer and still have the original red dot. There you can paste it into a new file. A swell copy. All is going to copy everything you see, so and it's going to flatten that image. So right now I have the white background layer and all of these layers. If I copy all and go to a new layer, let's turn these off and three fingers wiped down and paste. You can see here it actually copied the white background as well, and it's pasted all of what I have on the screen into one layer. That is not super handy. I would probably use it more with no background color on copy, all paste. And now I have I turned my original group off. I now have a flattened image of basically a duplicate of my rainbow ball, and I can do all sorts of things with it now as I decrease the size of it, I'm gonna lose quality if I try to increase it again. So I try not to do that to the originals. So if I needed to have more than one of thes rainbow balls on the screen, this is exactly what I would do. I would make a duplicate, and then I would make adjustments to my duplicate, and I would leave my originals completely alone so I can come back to those and use them again. And I won't have to worry about image quality. So now that I have made this small, if I make it large again, let me zoom in here and show you the difference between the original. You can see the original edge of the purple right here, and the fuzzy, fuzzy edge of this purple right here. This fuzzy edged one is a lower quality because I decrease the size and then I increased it again. You can't do that to pixel work, so there's the difference right there. You can see pixels here because I've zoomed in so much, and that's just part of a pixel program. But when you look at it at a normal, um, viewing size, then you can't really see those pixels. So that is a nice, handy tool to have that copy. All the other way to do that would be to turn off your background, have your original and then go to this actions and share and share it as a PNG. Save it to your camera roll, and then I can add, Insert photo and bring that in from my camera roll. And here I have the PNG that I had saved and I can. It's all one on one layer because it was an image and and that's basically the same thing that I just did with the copy all on option. So the other way you can do it is duplicate this whole group. If you have enough layers to do that and then flatten that group, and now I have a duplicate. So there's quite a few ways to leave your original alone and make some duplicates to play around with. I make a lot of repeat patterns, and I duplicate a lot and change sizes a lot. So I always do this always, always. So, um, cut and paste will remove something entirely from a layer and put it on a a different layer . Copy and paste will keep the original layer that you're copying and put another version on a new layer. So let's show that really quick on one of thes that seemed to turn the big went off and I'm gonna just delete. So we have just one of these balls. Now I am gonna just select a portion of it, and I'm actually, there's a separate video for how to use this election, so don't worry about this part yet, but I want to show you if I just select Ah portion of that and three finger swipe down and copy and paste when it's done is it has been a turn the original off. It has pasted that selected area onto a new layer, but it has also left my original layer completely alone compared to if I make a selection and cut and paste, I can't tell right here because my cut piece is still right in the exact position it waas. My original piece is still there, but now I have this cut piece completely cut off of my original. So they'll be times when you want to do one way or the other. Cut and paste or copy and paste. So you can also use Thies to go ahead and go into a completely different campus. So if you want to copy a layer, make sure you're selecting the layer. You want a copy? Go back out to your gallery, go into a new canvas, three fingers wiped down and paste. And there you have it in the gesture controls. You have something called quick menu. I would recommend looking into this. It is something that, um so let's just say tap will, I'm gonna turn on. So when I tap the screen sorry tapping the modify button, it'll invoke the quick menu. Or I could actually let's due to a finger touch will invoke quick menu so touching the screen will invoke it and what that does is allows you to access some tools that you might find useful to just be. And if you don't wanna have to come up here and select things as you're drawing, you can swipe your finger in the direction So you swipe your finger this direction to get to the eyedropper. You swipe your finger up to add a new layer. So these air all if you tap and hold, you can adjust what you want. Each of these two dio and you can also turn it completely off. Don't see, um, no action right there so you can turn it completely often. Onley Use maybe this direction in that direction. Whatever feels most comfortable to you, I don't use this, so you'll need to look up some other how to videos on some good ways to use this. I do know that they recommend not having anything set where it's kind of a permanent change in case you accidentally invoke Be quick menu because while you're drawing, all you have to do is swipe. You don't have to tap to bring the menu up, so I just swiped and I have my eyedropper tool because I swiped this direction, this direction right here, which is where I had the eyedropper also apparently have it first wiping down. So, um, you wouldn't went to accidentally bump your screen and have that quick menu option be delete layer or something like that, right? Or merge layer. Say you're working on with a whole bunch of layers and you accidentally emerge some layers and you didn't realize it until way later. And then you find that you have these merged layers that is really messing with your plan. So make sure if you're gonna use the quick menu that you have options that are, you know, really obvious whenever you select one in case you accidentally select one. 8. The Gallery Options: So if we go back into the gallery, I want to show you what some of these things dio so you can select a whole bunch of things and do something to whatever you have selected. So for example, I will select this stack right here. Now I can delete the whole stack. Don't accidentally delete. You cannot get it back. Now, if you do tap delete, you do have another option right here that says, Are you sure you want to delete and then you can save yourself and say No, no, I did not want to delete that you can duplicate for since I selected a stack, it's gonna duplicate the whole stack. I'm gonna show you what a stack is in a second, and you can share it so you can save it all into your camera. Roll it once, you can have a whole bunch of steps selected not just one stack, and then say share save as PNG and all of that will save into your camera roll instead of doing it one at a time. So that's kind of nice. And you can tap preview and it goes to this full screen. I think I had a blank canvas selected here so you can swipe through all of your selections and see them in this screen where it's not creditable. So if somebody goes Oh, wow, look at that blueberry. They're not drawing on that blueberry. So if you find something you do want to start editing and you're in this mode, you can double tap it to go into that canvas to get out of this mode without doing it that way, I'm going to see if this work works. This usually crashes procreate on, and I think they know they've got some issues. There's always little bugs to fix with any software. So you kind of zoom out by pinching. Oh, it didn't crash usually just freezes on that, um, on this page right here. So that's good. It didn't crash. So let me go back into Nothing is selected. I'm gonna go back into preview. And if you're in when you went to edit, don't tempt. And now it's opened my canvas in my, um you know, in this view where I can edit that, so that is very nice. I rarely use the preview because I'm rarely showing people work on my iPad and handing it to them to show them. But it is nice to be able to do that where people are gonna be able to flip through, like a slide show the very selected pieces you want them to see and not accidentally draw on them with their finger. The other thing you can do if you tap, select and, um, at a whole bunch of things to your selection is a stack them. So let me undo those because those were stacks already. So I'm gonna take these two ah, water color campuses that I kind of keep set aside from the famous Brenda Bucker and tap stack. And then I'm gonna tap X. Because now I'm done with trying to select anything in my gallery, and I have my stack right here. I can name my stack by tapping map and while watercolor BB for Brenda and now it's named my stack. I can tap my stack to go into. However many canvases I have in that stack will show up here. This little arrow is a way to kind of show that you're in a stack, and if I want to bring something out of the stack. I can grab it until I can slide it around and bring it up here, Hold it over that and now I can drag it to wherever I want it. Don't. Don't let it highlight another Stack does kind of drop it in between somewhere and and now it's out of the stack. Now busily had one left in it and it doesn't look like a stack, but it actually still is a stack, so you need to tap it. And if you don't want your stack anymore, you need to bring that out of your stack as well. And now your stack is gone, so there's no two finger undo on this screen. Eso minutes stack these again, tap the X, go into my stack, and I want to show you how to add more to your stack. My stacks no longer named because I could have got rid of my stack and I just created a new stack. So if I want to drag this stack into that stack so they all are one stack, I can do that. So, did you see the blue Flashy? So it just went into the stack and then I let go, and those were those air actually works that I did in Brenda's class, so that's kind of a nice way to keep that organized. And then you can also move your work around within the stack and also within the gallery. However, you want it naming your art just like a naming your stack. You just tap here and you name it if you are going to be doing backups in something like one. Dr. One Drive doesn't like duplicate names, so you do need toe, have original names. So even if it's rainbow when rain, But to ramble free, you do need to have original names. You can swipe left to duplicate or delete. Remember, be careful not to accidentally delete. You cannot get it back. Share just goes straight to all of your file options. So that is the gallery. I have way too much stuff in my gallery. I have a lot of storage on my iPad, so it allows me to do that. But I do need to make sure that I'm consistent about getting backups over toe. One drive. You going to drop box? You can do Google whatever and you know anything that you like. You don't need a lot of storage on your iPad if you're kind of offloading your work as you go, Um, and then if I ever need something that I've saved over toe one drive, and I deleted it from here because I didn't think I was gonna use it anymore. But then I decided. Okay, wait. I do want to make that. I want to edit that somewhere. I can bring it back in because, um, I'm I'm they're getting and saved as procreate files. So when you share that procreate file up there is going to keep it as appropriate file. So when you bring it back in, its going to be, um, maintain all your layers and all that. All right, so that's your gallery. 9. Creating a Custom Canvas: all right, So we on the very first video we talked about creating a canvas, but we didn't go into too many details. So let's go back into this plus sign here and creating a campus here, that little plus sign. So the dimensions that you're used to or the measurements that you're used to hear. So 10 by eight for me, 300 dp I. That gives me 70 layers because I have an iPad pro and that has the most ram. So iPads talk a lot about storage. They don't talk a lot about RAM, and the pros have more ram. There is one older pro from like 2016. It's the 9.7. It does have less ram, and it does give fewer layers. So if you have that older iPad pro, unfortunately, that one does have fewer layers. And all of the other iPad pros have more layers. So that was my first iPad pro. It is now my teenagers iPad pro and I upgraded to this in 2018 and I absolutely love it, Procreate announced. The 2020 iPad Pro has even more layers than any other I've had so those lucky decks air going to get a few more layers. Color profile. RGB See him like a I'm not going to go into detail on these c n y. Que is meant for work that's intended to be printed. RGB is more of a digital display color profile. This P three has richer tones for certain colors, and probably this very top RGB setting would be the other most recent RGB profile. That would also be something like affinity, designer and, I believe pixel mater. Both use this profile right here and then since procreate five came out. This display p three profile was new to Procreate five, and I do most of my work in RGB. I don't print a lot right now. I do use spoon flour, and any print on demand on sites are going to tell you which color profile they want you to use. Most of these you don't need to bother yourself like figuring out if you are going to go print professionally. You need to talk to your printer about which profile to use, and then once you create your canvas using that specific profile, you can go from your list of canvases and just keep selecting that campus, and it will have all of your settings exactly how you want them. Time lapse Studies Procreate Does a really cool time lapse recording and complaint back for you? If you adjust Thies to bigger and higher quality settings, you will have a larger final size when you're done with your work at the end. So that's something to keep in mind. If you don't have a lot of storage on your iPad, you're not gonna want a lot of high quality time lapse settings. I think it defaults to good quality. I just bumped mine up to studio quality. The color was a little different, and so I was just testing it out. And canvas properties. This is the background color set toe white, so you can have it automatically set to maybe an off white. If you're doing a series of botanical vintage, look, can you want them all to have the same background color right off the bat, and you can go ahead and change it right here and then any time you select this canvas from your drop down list, which I'll show you in a second, then it will open with that colored background, or you can hide the background altogether back here on dimensions you can title. Let's say you did choose a vintage color. Maybe you want a title that vintage and let's say you did shoes. See him? Why, Kate? Maybe you can title it vintage C M y que. So be a little bit specific with your your name, and that's going to show up in the list of canvases in your gallery. So let's just go ahead and get a bit of a vintage e color here, just a slightly off white background and then tap create. So my campus opened with that creamy background, and now, when I topped this plus sign on my list here, look what I have down at the bottom vintage. I didn't actually type the seem like a part. My vintage 10 by eight p free is down here, so I know that any time I top that, that same exact canvas is going to open. So if I wanted a Siri's, then that's a great way to get the background color to be the same on all of them. Then you can also stuck them as Well, if you get a nice long list going like I do and I don't title my canvases, which I really should and I don't use a lot of thes I should just delete them. You can rearrange them. So if you think you're gonna use that vintage campus a lot, just bring it up to the top and drop it in there somewhere. And then you have that too easily select from you can came through and delete any canvases that you are pretty sure you're never gonna use again. You could also, if you didn't name it, See, it's entitled. You can edit and you can change it and you can go ahead and give it a name. All right, so that is all the information. I think that's important about creating a custom canvas again. Refer to the online handbook for more information. That's a wealth of information. And it took me a long time to figure out that that Hamburg even existed. So, um, hopefully that will be handy for you when you want more information on anything that we've been discussing here 10. Exporting Your Work: All right. So to save your work, I mean, your work is already just always in here, er saved, but to kind of export it as an image so you can upload it somewhere. Um, email it to someone. Whatever you want to do with it, you can go into the wrench tool and going to share and choose how you want to save it. I always choose PNG If I have a transparent background, I have to Jews PNG because that is what will maintain that transparent background. J. Peg will automatically at a white background to it. But the other reason I choose PNG is it's a lossless image file type, and J peg is lossy, so it's just a very, very slight quality difference. I don't know a whole bunch about that. That's all I know about that. So that's why I choose PNG if I want to share this as appropriate file so that whoever else is receiving this file, if they have procreate, they can open it and do their own editing. Uh, are mostly I've done this. What I when I back up my work in toe one drive, I'm saving his procreate files or if I'm troubleshooting something with procreate themselves. Sometimes they asked me to send them the file, and I have to send them at as appropriate file So but mostly it's just J. Peg or P and G and PSD is a Photoshopped filed hype. Pdf is Everyone knows what a pdf is. And then I have no idea what tiff iss these are for when you're doing animations. So, um, I have a whole class on animating fireworks. If you want to learn a little bit more about animations and how to save them and how to post them on Instagram or Facebook, which is a little bit tricky, you can go ahead and go to my fireworks class. It's really fun, and fireworks is born than just Fourth of July. You can do it for all sorts of holidays. So, um, and it just kind of helps you learn a little bit more about animation in general. 11. Brushes!!!: brush is the best part about procreate. I am giving you a set of some of my favorite brushes, all time favorites that I've created, but I would recommend that you go through all of native procreate brushes, especially this artistic section and play, play, play, play, play, play because they're amazing and you can. You can do so much with these brushes. So here's the size of gestures over here. Opacity over here. And, of course, opacity means it's a little bit more See through. If you turn the opacity down and just play, just play and have fun. Get to know all of these amazing brushes and the textures and what they can dio. There are a ton of brushes you can buy, Um, and you know, it's one of those things where it's a bit of an addiction, so I would get to know what you already have before you buy. And there is a huge section on how to make brushes. If you go into a brush and you tap it, it brings you to the brush studio. And there's all these different ways that you can make adjustments to brushes if you make an adjustment to a native procreate brush. Let's see. I'll just make that adjustment and tap done. Then you can reset it by swiping and tapping reset, and that just makes it go back to the default settings. If you went to just duplicate the brush and make adjustments to the duplicate, let's see. Then you can also call it something entirely different if you go into about this brush and tap up here on the little name and type. Gens. Right Eagle Hawk Jen's. You can type your name in here, and you can sign your name here and create a new reset point save. And now you have a completely separate brush, and you can take that rush out and go to a new section and drop it in. You can delete that brush. You cannot delete native procreate brushes so you can see here. I don't have a delete option, which is awesome. You'll never accidentally delete a native procreate brush. You can rearrange your brush categories. I put my most favorite brushes near the top, and then I don't have to scroll way down because I do have a lot of brushes and what I like to do um, sort of like when I am doing a class, I create a hole brush set just for the class. So I do that for my projects. So this one is called Scout Clover, and these are the brushes that I use in illustrating my little characters, my little human characters that I do. And that way I don't need to try to remember which brushes I used for my illustrations. So I'm familiar enough with the brushes that I can look at this and say, OK, this is my wide pencil. And I used the, um What's its skin? Shader. My mid century class has a skin shader brush. Since this fund texture right here and I can look at this and I can figure out what I did, I know I used my damp brush on the smoother color changing areas of the guinea pig. But then I used one of my pencils on these little streaks and so one. So I like to do, um, projects, Um, a whole category of brushes for certain projects. So that's just one way of organizing your brushes. But you need Teoh get to know your brushes before you really know what you want to do with them, and I have a lot of fun. It's really funny. I could sit here for hours and play with brushes. The the online handbook has a lot of information about making all of these changes and how , how do what each thing means. There's no descriptions here, so when I make brushes, I know a little bit. I know enough to know, like certain adjustments are going to do certain things, and then you play around with it Over here, you make an adjustment and play around and see if it adjusted in the way you wanted to do it on, and then you can save it. But I do have to refer to the online descriptions of what each one of thes things means if I really and struggling with not getting it exactly how I want it. So this isn't a class at the whole separate class on its own toe. Learn about the brush studio, but there are a couple things that you might want to know, and that is in this stroke path. If you turn, streamline up, it's going to be easier to draw a smoother line. So that's an important one in properties, the brush maximum size can be adjusted here. And that means that when you're adjusting your brush size here, you can go to a bigger size. If you If you increase that in the properties, then it'll make you have the ability to go to a bigger size than what we've got here. Now it's gonna look totally different if you do that. So it's not always ideal. So, um, like, this one is called fuzzy smudge er and I don't want that to be a big brush. So I limited that so that that could could go much huger and it just doesn't look quite right. So I don't, um I don't have all of them set. Teoh go really huge. But that is that is one of the things. So let me show you on monoline brush for the streamline. So if I have the streamline here, it's on 78. If I have this dream line all the way down and I want to draw a line, it is very much my wiggly hand squiggly line. So if I turned the streamline up and try that same line again, it is easier to get a smoother line, especially look up here, look at the difference. So it is, um, it does mess with your ability to be very precise, cause it's kind of dragging the line. It's kind of pulling it behind you. Think of it like a rope that you're pulling around, so you'll you'll want to adjust it if you maximize. It is really I don't know if you can see how it's it's moving even after I am done going over the top of a certain spot. I just activated my quick menu. Let me turn that off because I don't use that press Gesture Control click menu. There we go. So anyways, just play around with that and and that can be played around with on any brush whatsoever back to the brush library. If you tap on a category, you can duplicate the entire category. If you tap on a category that's maybe your own category or an imported category, you can rename it, delete it, share it and duplicate it so you would just tap on one of those and it would let you do any of those functions you can share and duplicate into lead. So, in general, and any brushes that air free or that you buy you, you there for your own use. So, um, you know, just keep that in mind when you're when you're having fun with brushes and you want to share with a friend you need Teoh. Make sure that you're able to do that just like you can rearrange your brush list. Here, you can also rearrange your brushes in here. You just drag and drop them to where you want them to go. You can select multiple brushes to move them into a different category, for example. So I'm gonna hold my finger down and start swiping across, and that brought all four of them. Tap a different category, and I can drop them all in right there. But I actually don't want to do that, something to bring them back. All right, I think I've covered enough on brushes. Mostly, I want you to play play play. This damp brush is fun. It's really watery. If you tap and hold the smudge brush, it's going to automatically select the brush you were on. If you tap and hold the eraser, it's going to automatically select the brush you were on. It doesn't automatically select the size you were on, though, or the opacity. So that's a nice way if you are, um, if you're painting with a nice high texture, brash and then you need to erase, you don't want to erase with something that doesn't look similar to the brush itself. Um, here's a better example. If you erase with this, you have this sharp edge on this texture design here. So it is more ideal to erase with a similar brush so that you have that textured erased edge. All right, that's brushes. Have fun and play, play, play, play. 12. Layers: in the gestures video. I did talk about some some things you can do, like pinch to merge things like that. But I am. I want to show you some more things about the layers menu. And I'm gonna go ahead, turn my little rainbow back on here so you can swipe and delete a layer That way, I mean a two finger tap. To undo that action, you can duplicate a layer and moving around again. I'm gonna delete that layer because I'm just kind of showing you examples here, and you can lock a layer. So that means that you can't accidentally draw on that layer as you're doing your activity . I can't accidentally delete it. I can't do anything until I unlock it. I find that the most handy when I have a sketch. Let's say I have a sketch up here on another layer, and I don't want to accidentally drawn that layer because I want to delete that sketch layer at the end. So if I am working away and I think I'm on some other layer and I'm doing this fabulous artwork and then I come back and I realize Oh my gosh, I just did all that on this later that has this sketch on it. I don't want that to happen so I can lock that layer and then I can never accidentally draw on that layer. The little check mark is turning a layer on and off just to have it visible or not. You can leave it off if you decide. You don't want that in your artwork at all. You can turn things off and just leave them off. If you want to isolate a layer you can tap and hold and all the other layers turn off except for the one that you tapped and held the little check mark tap and hold again to get them to turn back on. If you tap this little end, the understands for normal you are on a normal color mode, thes air blend modes and normal just is exactly that. It's and it's gonna be Everything is normal about it, but the other modes all do different things. You go into the handbook to read the long descriptions about what each one of these does and how they are interacting with the different colors. That is a lot of information and how I use blend modes and I use them a lot is I literally just sit here and I look at my work while in cycling through blend modes, and then I decide on which one I want based on how it looks. So that is how you access blend modes, and that's also how you access the opacity of a layer. We also talked about doing a two finger tap on a layer to adjust the opacity with the slider. That was when, in the gesture video, the background color is something you can turn on and off. You can tap on it to adjust it. That's the only edit you can do to it, is it. Adjust the color of it. Besides turning it on and off, we talked about selecting multiple layers you could do with your finger, and then you can pinch and do that. You can reorganize layers by dragging them around. Pretty much. Everything in procreate can be reorganized just by dragging it like that. You can also select several layers and paste them into a new canvas so you can select the whole group like this, or you can just select very specific layers like that and then drag them out. Hold on to them. Go out. This doesn't work for me. I never, ever do this. Let's see. Let's create a new canvas and drop them into that canvas. It just put them in the opposite order. I don't know if that's a bug, but if you look at your list, it's got purple on the top, and it also the other thing that it does is it doesn't maintain your clipping masks. And we're gonna talk about clipping masks soon that, um, it it's just not It's not very functional, so the be a better way to if you need another, UH, it duplicate is just a duplicate your whole file and then do whatever you want with your duplicate. And then finally, if you tap on a layer, you have this huge layer menu you can rename a layer orange. I don't do this too often, but sometimes it's makes it much easier to navigate your work. Sometimes you can't see what's on their very easily. Maybe it's just a couple little black lines, and so you can name it. Oh, that's the other time I used the lock future. If I have something that's just got a couple little spots on it, and it can't see it very well in here, let me show you an example. It's turned this off and I'll pick a gray lips and I have some fun little lines doing something. I can see these on this one, but sometimes I can't see what I've done in this little tiny thumbnail, and I don't want to accidentally delete it, thinking that there's nothing on that layer I don't want accidentally writes. Draw something else on it so I can go ahead and lock it. And that just tells me there's something on that layer or I can rename it as well. So the layer menu, so renaming you can select everything that is on a layer. So here I've just selected the red dot going back to actions and press de selection mask visibility adjusts the diagonal lines that make it hard to see. Um, that's just something that's personal preference wherever you want that to be set and it'll stay that way for future reference. Copy. I don't know why copy is here, but paste isn't, but it's the same thing as if you just did the three fingers wiped down and copy Phil Layer . Whatever color is selected. If you tap feel layer, it's going to fill the entire layer. However, on this layer it's Alfa locked. So the only thing I can draw on that layer is where there are already pixels on the layer. So if I did feel layer right now, I'm on this gray color. It's only gonna fill the red dot If I didn't have Alfa lock on and I did feel layer, it fills the entire layer. Clear does exactly that. It clears the entire layer. This is one way to turn Alfa lock on and off. The other way is the two finger swipe to the right. A mask adds a layer mask to that layer. We're gonna have a whole separate video in this class on layer masks, clipping masks. Make that. You know, you can see the little arrow here. It makes that a clipping mask to whatever's underneath it. Invert it actually inverts the color. I don't know. It didn't do very good job with red. Let's see what orange does. Yeah, I don't know. It is I don't use invert but it's supposed to invert the color on Let's see reference. We need to talk about reference a little bit. I'm turning something into a reference layer. Uh, is a great tool for when you have outlined work to dio. So if you tapped reference than it says reference right there And, um, that means that's your reference layer, and we'll talk about that in a separate video. Merge down is just like if you pinch these two layers together, that one and the one below it. I never use that combined down. It grouped them so it didn't merge them, but it created a group of the layer and the layer below it. I also never used that. But you might find that handy. I'm gonna delete this layer mask. That's a separate video. All right. The other option that you don't see here is something that only shows up once you activate the drawing guide. So if you turn drawing guide on here, you can edit the drawing guide right here. We're going to talk about that later. But once that is activated, then you have this drawing assist option. If you tap it, you'll see the word assisted on your layer. And that means that that layer is going to have the drawing assist applied to it. In this case, it's the grid. Which means I'm gonna be able to draw, uh, lips. I'm on Alfa Lock. So let's turn Alfa lock off so I can draw outside of that red dot in a minute. She's black. So it means that because I have the grid on, I can only draw up and down and see if you can see that better the great better. We're gonna have a whole separate video on the, uh, drawing assist. But that is on lee an option. Once you've activated drawing assist and you can turn it on and off because sometimes you're gonna wanna draw a squiggly line and then other times you're going to win a draw with the drawing assist. So that is all you need to know about layers to really do a lot of work. And, um, as you may not remember all of that, But as you go through and get used to the program more, you'll really start to find some of those things very handy practice 13. Color Picker & Palette: Let's talk a little bit more about the color palettes here. Um, the disk is my preference. It's just a personal preference. I can choose my hue here, and you know anything within that. You hear if I want to zoom in on this, I can pinch out, and I can see that better. But I don't have my hue adjuster there, and I can pinch again. Um, I typically don't do that. I just leave it right here. You have a history if you have Ah, bigger iPad. I think the smaller I've had for some reason they don't show the history. And that is new to procreate. Five. And I don't know a lot about why some ipads don't show that. Maybe it's just a screen space thing. They don't want this to take up too much space. The classic color picker. You can make your sliding adjustments here for hue, saturation and brightness. You can add to your palate by selecting a color and then just tapping on an empty spot in your palate. You can delete by tapping and holding, and a late you can also move these around. I find it a little bit cumbersome to do that. They kind of get out of order easily. Harmony is you have options up here for what type of color combos you want Teoh have here. But you go based on the color your choosing. Here. I'm on complementary. I can go darker. But the other dot is showing the complementary color to the color that I have selected on this side. And then you can add those to your palate, tap on that and add it to your palate. And now I know that those air complementary colors right there And then, of course, you have all these other options analogous and try attic. I keep it on complementary value. This is just another way to select colors. I don't find this handy, but I've never used photo shop and things like that. So I don't need to select colors and this method. But I have used this Hexi decimal code before because I've had some spoonful or design challenges that are very specific to certain colors for the challenge. So you would enter them here, and then whatever color code it was, you could just add it to your palate and then your list of pallets, and you can move these around, delete them, share them. Moving them around is, uh, oops, grabbing them and slide them around like that when the imported palate it's going to come in at the very bottom when you import a brush set is going to come in at the very top for the if you wanna have some sort of create a pallet based on a photo you love, or just another color palette that you find that you absolutely love, you can search online and, um, just find a beautiful picture and you can pull it in to procreate, and you can select colors from it. So the way to do that I've already saved some into my camera roll. If you use unspool ash dot com or picks obey dot com, those air free use photos, and you can do whatever you want with, um, so and that's what I did, and I'm going to go to my actions tool and tap. Add Insert a photo recent and bring in this really awesome succulent with a little raindrop on it. It's going to add a layer above whatever whatever layer you were on. So if I had been on this layer, it would have added it under that red dots and just be aware of that. I should have checked that. First, I'm gonna go ahead and turn my rainbow off. So I love these colors. I can either hold my finger down and slide this around. The little cross hair in the middle is the color that it's choosing. It's also showing it on this upper curve. The lower curve is showing the last color that I was on. So then I can add Let me go back to my disk air. I can add the's colors. Sometimes white really isn't white. So add as many as you like the other way to do it. Because I have my modify buttons set to do this. And I think it is the default. I can tap my modify button. Not when my palate is open. So tap the screen to close the palate, tap my modify button, which doesn't appear to be working right now. Maybe I turned that off. Let me see here. Press gesture controls? Yeah, I don't recall turning that off, but I do have I want the tapping the modify button. Oh, I know what happened. So I'm going to turn this on toe tapping that little square button is going to invoke my eye dropper now. But when I was in the quick menu, I first selected that to be my way to turn to invoke the quick menu. And then I changed my mind. If you go back to the the other video where I talk about this, I changed my mind and did I'm gonna have this version beyond where I touch the screen to invoke the quick menu. So it must have it must have turned this one off, cause that modify button can only be used for one thing. So because I, um, toggled this on it turned it off in the eyedropper setting. So now I've just turned it back on. OK, so now when I tap the modify button, my eyedropper tool comes up so I can just do it with my pencil like this and keep adding as many colors as I want. Oops, I have to drag it over here so I usually use my finger. That's a pretty blue. So that's another way to make a palate. You can do that with any photo, and then you can delete that photo and you still have your palate and you have those beautiful colors. It's kind of hard to look at a photo and try to figure out what color each thing is. But that's something that you can train your eye to do. You can drag from this dot hopes you need to be on a layer that's open and active. You can drag and drop color. So there was nothing on that screen, so it just filled the whole screen. I'm gonna undo with my two finger tap. If I had a shape on that and I want to change the shape of the color of that shape, I can drag and drop right to that shape. If I have a selection on that shape, I can go to a new layer ups. My selection went away. I can go to a new layer, go in new color. Phil, in that selection that I drew is now on a new layer. That original object is still in the other, so you can you can feel that way. I could have done it by dragging and dropping, but I also can do fill layer right here and it'll fill went Whatever is on that layer or whatever is selected. All right, that's about it for color palettes if I missed something, if you have a question, you can add it to the discussions of this class. But again go back to the Onley Handbook for more information on all of this stuff. One of the other things that you need to know about the palette. When you are in this disc mode, you can double tap. I'm on the background color here, Hold on. You can double tap in this white area to get toe white and double tap in the black area Ticket to black. Now, every once in a while, this ends up not going all the way. Toe white and I go to the classic color picker and I make sure that thes saturation is all the way down and the brightness is all the way up. And make sure this this little color dot is all the way up in the corner. And then I know it's on true white. I don't seem to have that same issue with black. I can usually get to solid black one more thing about the color picker that I forgot to tell you about is, as of a few months ago, when procreate five came out, you can grab the little grey bar here and take your whole color picker and move it around on this screen. You can still get to these options. The palate does look a little bit different still. Um oh, this is actually the palate list, so it's just kind of condensed, and so it's a different shape. You can still pinch zoom out tons and back in on the disk, and I think sometimes that's nice to have just a have it handy and so you don't have to open. Oh, and to close that you just tap the X, and it's just so you don't have to open that each time I'm in the habit of just keeping it over here, so I haven't really found, um, the need to see if I like that function yet, but I know a lot of people do because they're used to it from other programs 14. Reference Layer: So I want to show you a little bit about the reference layer. Let's see. I'm gonna draw, um, a circle and let it snap to the ellipse and then put my finger down to get it to be a perfect circle. I can edit that shape right there or ikan. Just, uh, go back to my brush, do another circle and it the shape. And this time I'm gonna move the shape a little bit. All right? Now, I want this to be my reference layer, and I need a layer. Balu it. I'm pretty sure this only works for layers below the reference layer, so I'll had two layers below it. Now some people do a lot of work where they have a lot of outlines. I don't tend to do that, but this is really handy for outline work. It keeps your outlines on a separate layer. Now I use the model a brush, which has nice, crisp edges, and having a high texture brush is it's going to be a little bit trickier to make a nice, clean fill using a reference layer. But let me show you just how to use the reference layer so choose a color and I'm wanted select. I want this part of my circle to be that color. So all I need to do is make sure I am on a new layer and have that set to my reference layer. And I drag and drop to where I want that color to fill. Now I'm gonna choose a different color and drag and drop. Oops, I'm on the same layer. So I'm gonna take that yellow off, goto a new layer and drag and drop. So why is that handy? Well, first of all, I can decide to remove my outline altogether and have this entirely different look to my work. Or maybe I went to Alfa. Lock this layer and change the color of it. Actually need to turn that back on. So that black outline is now Alfa locked and I can play around with colors of the outline. I can fill it entirely to a nice, solid color. Um, I can also adjust these two things without messing with my outline. If this were all on the same layer, you wouldn't be able to do that so I can else a lock this orange layer and I can change the color of that. Let's say want it to be green instead, I can Alfa lock. Remember Aiken Two fingers wiped l flock that yellow layer and thats they want that to be blue instead. And now my pink outline layer looks way too crazy bright. So I'm gonna choose a dark teal and change that. So it offers you a lot of flexibility with your work and is a nice tool to know how to use . So that reference layer can be used on multiple layers if you have multiple sections to drag and drop your fill too. One of the nice things about removing your outline is now I can change my background color and I can see the background color where the outline is missing. So that is reference layer. In a nutshell. Have fun. 15. Clipping Masks: All right, we're going to talk about clipping masks. My favorite. Add a layer tap on the layer tap clipping mask. It might be hard to see, because there we go. That might be easier to see. Now that the layer isn't selected, you can see the little arrow. Um, that arrow means it's clipped to this layer. You can have multiple clipping masks. They'll all be clipped to the one base layer underneath all of them. They're not clip to each other. They're clipped to the base layer so you can create multiple clipping masks by doing the same thing at a layer. Tap the layer TEPCO be mask, or if you are under a different clipping mask. When you add a layer, it automatically turns that layer into a clipping mask so you can add multiple clipping masks. Very simply like that. I use a letter clipping masks so I do that a lot. But that's something that is just my workflow. So if you don't need a lot of clipping mess, you don't necessarily need to do that. All right now I like texture. So I have this beautiful teal circle here, and I once, um, texture on that. So I am going Teoh, Pick who? I love this soft Cran, actually. And I'm gonna just go a little darker on my colors here, and I'm gonna at a little texture around here. So I have this clipping mask, and now I want to add some highlights on I used a different clipping mask because you know what? I'm not sure if I like how strong that ISS. So I'm gonna turn the opacity down on that layer. Or maybe I don't like the location. Sure, I could erase that, but I just want to move it a little bit. So I'm going to move that layer so you can see that it offers some more flexibility. And let's say we have a nice, streaky brush. Oh, I didn't include a streaky brush with your brush set. I'm gonna choose a nice, streaky brush. Oh, I like that. But I think I'm with him to go horizontally, so I'm going to select that layer. I know him on that layer still, and I want to rotate it. Oh, so I can't reach my rotate option here because it's off the screen. So I need to if I tried to pinch and zoom out. It will just decrease the size of my selection here. So if I tap and hold that arrow, then I can pinch and zoom out on my screen here and now I have the little option for rotating Magnetics is on so you can see it snapping into very specific increments. So we don't want that. I'm gonna turn Magnetics off and I'm just gonna eyeball approximate horizontal here and look what I can do with my club. The mask. I can adjust where those stripes are because it's on a separate layer and in another video will talk about how you can also have a lot of fun with blend modes if you use clipping masks and have everything on separate layers. Now I think I want some additional texture on this green, so I'm going to go to my green layer. I had a clipping mask above it, and I'm going to select this green now. It's in my color picker here, and I can goto a slightly darker green and go back to my soft cran. Actually, I'm gonna go to make damp, brash, just to be a little bit different Hopefully, you can see that I'm gonna darken it quite a bit here so you can see it more. And now that is on its own layer on top of that green. Now what exactly is the clipping mask doing? It is showing up Onley, where there's pixels of color on the layer. It's clipped to it doesn't matter. This this layer is actually Alfa locked, but it has nothing to do with that. This could be, um, a no no. Alva lot could be turned on on those layers, and the masked the clipping mask layer is on Lee going to show up where there is ink on the layer. It's clip to. So if I select that clipping mask, there is a lot of income at page. But it's not showing up, so you can see that there's in way over here. But if once I push it over here, it doesn't show up because it's on Lee showing up where that green shape is. If I turn off clipping mask, you can see where all that grain that I added is, But it's not showing up when it's a clipping, mask says, kind of like an easy way to color in the lines. So with quippy masks, you do end up all of these countess layers. So you do end up using more layers, and that is not always ideal. But here's one of the great things about clipping masks. If I wanted to change the shape of the base layer that things air clipped to the clipping mask is still above that area. So, for example, I'm gonna turn. That could be mask on. And she's this color here and just choose model a brush for a second. All right, So if I decide I don't want this shape, I want maybe some scalloped edges around the edge I can is my brush here, and I'm changing in the shape of this base layer and the clipping mask that dark green on top. It was still up there. It was still I couldn't see it because the layer was, you know, it ended there. This base layer ended right here, so I couldn't see the clipping mask was there. But if I select that clipping mask, I can see that it is still there. It expands out from the edges of what I can see on that base layer so I can make changes to that base layer and the could be masks gonna kind of still show up above it. So if you spend a whole bunch of time making some nice tints and shades and shadowing and doing all sorts of things on clipping masks above it, you can still change the base layer and you still have all of those. All of that work isn't ruined. So if you did all of this with Alfa Lock all on when Layer, it would not work the same way. And I'll show you that in the Alfa Lock video. And then the other thing that is nice with could be masks is that you can change the blend mode and that I'll show you in the blend mode video. 16. Alpha Lock: before I show you what Alfa lock is like to use. I want to just tell you really quickly what it is. So when you have a layer that's Alfa locked. That means that the Onley thing that can be drawn on on that layer are where the pixels already are on the page. So, for example, this little circle here is Alfa locked. You can see the check Mark, I don't know if you can see the little checkerboard behind there. Let me turn this green layer off and if I draw right on that layer, we'll use a nice black I can't draw over here. I can only draw on the item that's already on the page on that layer Should say so. I want to show you how I get. I can get a similar look here just using Alfa Luck. So I'm going to essentially duplicate what I've done here with clipping masks over here using Alfa Luck. And I'm gonna choose the dark green that I used over here and I use the damp brush and I'm on the green layer and it's gonna go ahead and add some of that damp brush right to that green at a very similar look as I did over here. Now let's go up here to the blue layer and hopefully we've got those colors still appear. I think this one and soft cran and then the super light one that I did on a separate clipping mask and then the orange, which I used my Grinch streak brush. Okay, so I essentially have the same thing going on on both of these. But I only have two layers here. And over here I have 123456 You can see how if you had fewer layers toe work with this would be a very handy method to illustrate. You need to just make sure that you understand what it means. If you're going to do it on the's Alfa locked layers, you just don't have as much flexibility. So, in the clipping mask video, I showed you a little bit of flexibility where I, um, scalloped edge of this green and that dark green clipping mask was still above it. So it still showed up, and I'll show you how that can't be done when you have something on Alfa Lock. So over here well for the blue layer. One of the things that we did over here was we changed the opacity of the really light color that I added and just made it a little softer over here. I didn't have that ability to do that, but I could have turned the opacity down on the brush itself before I colored with it. The other thing I can't do over here without falafel layers is I can't play around with blend modes. So on this one, for example, I can change the blend mode of any of those clipping masks and get a totally different look . Or maybe I decide I don't want this orange. Maybe I want that orange to be something different. I can Alfa lock that orange layer and choose Haptik and Phil Layer, and now it's happy. So that offers some flexibility that this doesn't. But it doesn't mean this is a bad way to go. And so over here, if I want to adjust this, let's say I want to do that Scalloped edge. I need to turn Alfa lock off. I need to go back to the base green and basically what I'm gonna have to Dio is start over . So I'm gonna need to change my shape to whatever I want my shape to be. Alfa lock. Oops. Fill the layer and now start over. It's not the end of the world. Okay, So it is definitely something that you can, um, get used to doing. And there's other really great reasons for using Alfa Lakas. Well, but this is a nice way to save on layers. It just means you need to understand that it's not as flexible. I hope that helps explain the difference between Alfa lock and clipping masks a little bit . I can show somewhere examples. Actually, you know, a lot of my sculpture classes use clipping masks quite a bit, and I try to explain why I'm doing it when I'm doing it. Eso watch the more of my classes. They are all geared towards beginner and some intermediate, uh, procreate users. So if you have some familiarity with the app, which you should after watching this video, then you can really take off with all of my other classes. All right, so that is Alfa Lock 17. Layer Masks: Let's say I want to get that scallop off. But I'm not sure if I really wanted to go away because I haven't quite made up my mind. I don't want to erase it. I did a lot of work to get it to look like that. I don't want to erase it so I can tap this and tap mask. Now what mask is going to do is wherever I draw with black. It's going toe look like I'm erasing. So I'm using the brush tool. I'm not using the eraser tool and it's already on black, and I'm making sure I am on the layer mask. It's the darker blue and anywhere I draw with Black on here, it's going to look like I'm erasing it now. I know I'm not being very precise about making that a perfect little arc there, but on a now I can think now I can move forward with my work and maybe later I decide. You know what? I want those scallops back, so now I can go toe white, make sure I have selected the layer mask and color with white. You're basically filling back in the white on that layer mask and its re exposing the layer that you hid when you drew on that layer mask with black. So it's a nice way to sort of erase without really erasing. I want to show you an example of when I used a layer mask recently, and that is in my mid century class. And this is because I wanted all of the clothing to be on one layer, even though she is in between the clothing in the back and the clothing in the front. So what? I did well, I used a lot of layer masks on this one, so I have her dress in. It's a group because it's several layers. Her dress is underneath her, um, little chest and neck area, which is right here. So if I didn't have the mask on, so I plumped her head and neck and chest right on top of it, and I shaded it and all of that. And then I used the layer mask to erase this part, to expose the clothing that I wanted to be seen from the top here. Now, in order to do that and be able to see what I'm drawing exactly where the edge of that needed to be. I just turned the opacity down on the skin. Here. Hopefully you can see this. So I've turned the opacity down on this. And then when I used my layer mask, I could erase well, erase in quotes all way up to the edge of that orange, part of the on close there. And don't forget to turn the opacity back up. So then turned that layer mask back on. Now, the reason I used a layer mask instead of just erasing is I wasn't quite sure that I wanted to keep this outfit in this exact position. So maybe I decide to have it a little less revealing and have a cropped neck or have it more open and have a scooped neck. I have options, and I have her chest there already shaded and colored, just like the rest. And I can change the clothing and then redo the layer mask to fit the new outfit. 18. Blend Modes: I'm gonna go ahead and group these together lips and turn them off and bring back this land to this center. This topic is blend modes, and I absolutely love blend Moz, so you can do a lot with one modes. But you really have to just experiment. And what I'm going to show you right now are just some basic ways I experiment. So an example of one thing you can do with a blend mode is, um, let's go ahead, and I'm gonna use this orange layer because it's nice and obvious. It's a nice, bold color. So you tap on the N here, and that exposes this long list of blend modes. The description of these blend modes is very lengthy, and it's in the handbook, so go ahead and try to understand them if you would like. But I just play with them so you can. I'm just gonna cycle through, and you can see how this layer is changing based on the blend mode that selected Now, that look is going to be totally different, depending on what color is actually on that layer. So it's just endless opportunities. The cool part about blend modes is the layer is interacting with the colors underneath. And this is a good example right here. So I have just this solid orange layer, but because I have some darker areas of teal under here and lighter areas of teal under here, my orange on this blend mode is behaving very differently over here than it is over here. Same with this. And if you play around with blend modes enough, what you're gonna find is you're gonna have a few favorites. You're gonna have some go to blend modes that you prefer for me. Multiply color, burn, linear burn are my go to modes for darkening something. Um, overlay is a beautiful blend mode, um, for darkening stuff. If you're using black on the layer and and then, of course, I have a couple more favorites down here like soft light. So it is something you really need to experiment with. And you can you can experiment with multiple blend modes on all these different clipping masks so you can do it to all of them. I'm gonna show you turning off. Um, I'm just I just have this wen clipping mask turned on right now. It is a slightly darker teal than the base color underneath it. And if I really wanted to be a nice rich teal, I can come a pinto, linear, burn, color, burn, multiply. And, of course, because it's its own layer, you can also adjust the layer opacity on each of those blend modes. So now I want to show you one of the things that I do to test out blend modes. Let's go ahead to a nice teal again, and I'm just gonna have a big circle here. That was weird. What's really weird? I have no idea why that's doing that. Okay, so that's not right. Something is wrong. Oh, it's because I have the reference layer on. So I'm gonna turn their reference layer off and try this again with the snap. Put a finger down, move that aside, and I'm just going to duplicate that and drag it over here. All right, so now go ahead, merge those two layers and make a clipping mask above it. I'm going to get an ace textured brush here, the soft cran and I'm gonna go with some white, some light gray, some darker grey and some black over here I'm gonna go with just maybe some very light tan , darker tan, darker tan and basically dark brown. All right, those are all on the same layer. And now I'm just gonna play around with blend modes, and I'm gonna watch what each color does Now. What's gonna happen is completely a result of what color I have on this clipping mask and the color that I have below. So if I had a completely different color underneath than all of what you're going to see here is would be totally different if I had, um, pinks over here instead of Brown's, Then you're blend boats are gonna look totally different. But this is just a fun way to experiment. Let's go to the top. Multiply darkened color burn linear burn, darker color. Back to normal. Lighten scream, color dodge. That's kind of fun. Ad lighter color. Overly. I love overlay a soft light and also live hard light. I like that, but I usually turn the opacity down. Vivid light, linear light pin light, hard mix difference. Exclusion said tracked Divide sounds like math, Hugh saturation color and luminosity. So even though I'm not teaching you what each one of those means. I just wanted to show you a way. Teoh experiment with these colors and or with the blend modes and just have a lot of fun. I'm gonna change these over to kind of a weird yellow here and just cycle through these again so you can get some really great textures. And then if I decide who I really like this blend mode, um, let's see, That's overlay. So now my oh is showing here for overlay instead of an end. What I like the most is a combination of these two, and I know that this is the dark gray in the black. So if I forget what colors I have on this top layer, I can just bring, um, bring the blend mode back to normal. And then I can remind myself what color I could even select the color by holding my finger down. Then bring that blend mode back to overlay. Maybe I'll Coulier that layer now and have fun with that overlay blend mode. Black is a nice color to use on. Overlay gets some nice shadowing. All right, so there's blend modes In a nutshell. Have fun. I know sometimes it's hard to watch videos like this and really understand When would I need to use something like this tool? So I wanted to give you another example of, um, using blend modes and clipping masks. So this is a class. It's called something like wax resist and batik in the silk painting. I assemble a really long name that I have in its Superfund and what I've done here to get these really awesome bright stripes here is I've done them in a grey here. But then I did a blend mode called linear light. So if you see the normal color, it's just gray. I did two shades of gray lips. You can see I did this darker and this lighter. It's all on one layer, all of that gray. And then when you change the blend mode, you can go through and play around with them, just like we showed you. Um, then it changed. Obviously, it changed. The color changed it to brighter, but what's really cool? Instead of trying to just figure out how I can make that color that gray because of that blend Motive selected that gray is showing up a little green over here. A little red over here and so on it. So it's it's really interacting with what color is underneath Over here. I had all of these dots there, another bright blend mode like that. And then I selected them just like we did on the raindrop. I selected them. Oh, if you haven't seen the raindrop when that is in the selection tool tutorial. So I selected the dots and then I tapped invert so that I wouldn't draw on the dots at all . And then I went on a layer under the dots and colored a little bit around those dots, and it just kind of makes them pop a little bit more. There's a lot of a blend mode and clipping mask usage in this class and Alfa look, so that might be a fun one to kind of really get to know those three things really well 19. Drawing Guide & Symmetry: drawing guides and drawing assist you can access from this range tool actions. I come and go into drawing guide by turning it on right there and edit drawing guide. So from this screen, there's a lot you can do. You can adjust the color of the guide by this lighter. Up here, you can adjust the opacity and the thickness of the guide. I tend to have it nice and obvious during my tutorials so that the guide can be seen on camera. But when I'm not recording, I have it as faint as I can get it, so I can barely see it. This is adjusting the grid size. You can also enter a specific number, so that's just the two D grid. I usually use this for just kind of getting some lines on the screen if I'm drawing some letters and I want straight lines, but if you have drawing assist turned on, then it's going to make your lines be straight, horizontal or vertical. On. This drawing guide for isometric is going to make your lines. Follow those directions and you can also play around with all of these different adjustments here and get them to go back to the center by tapping the node and tapping reset perspective you need to tap and hopefully you can see him. Make those lines nice and dark so you can see the perspective lines going to where I want that to be. You can add multiple points, and I don't use this a lot. So you might need Teoh research that some more. I use symmetry, uh, all the time. So on symmetry, let's get my guide thick again. Keeps defaulting back. It's going to default to this, um, vertical symmetry. And if you tap this options button, then you can switch it to horizontal quadrant and radio. You can also turn on rotational symmetry, which is going to make things, um, go symmetrical, but in the same direction. I guess so. You'll need to experiment with all of these to figure out how you prefer using all of them . Let's go back to Vertical, and I'll just show you a couple of things really quick. You can adjust where your vertical line is. Um, in my fireworks class, you end up moving the radial over to get a firework appear on your screen, and then you move it over here to get if I work over here on your screen. So if you move it and you change your mind again, just tap the node. Tap reset. You can also rotate it once you have it set to where you want it. And I always make sure drying assistance on or assisted drawing. But there's another way to turn that on and off, and I'll show you that in a second. So once you have it to where you want, it just tapped on. And now your guide is showing. But you don't have to keep it showing like this. You can actually turn the guide off and you're symmetry is still going to happen on the layer. You can see it says assisted, because when we set it up, we had that drawing assist toggled on. But you can turn it off and back on Choose a fun color for yet, and I'm gonna go ahead and turn the drawing guide back on. So I know exactly where the center is, and now you can dio that you know a butterfly is good to do. I started too low on the page. Now if I want to move this. And I wanted to stay lined up with the guide. I need to have Magnetics turned on and then I can slide this up and you can see that blue line. I need to make sure it stays vertical here, slide it up, and then I know that I'm still right in the center, and then I can finish my butterfly. Okay, so, uh, there's a countless ways for using the symmetry, and it's super fun. So, um, once you have your you know, let's say you want to add another layer and you want to keep going with symmetry, you can just keep turning it back on. If you want Teoh, add something to this later. That's not symmetrical. Go ahead and turn it off on a butterfly. You probably don't have a need for that because it's so symmetrical. But in other activities you might have a need to turn symmetry off and on throughout your work. Now, one of the other things to know about symmetry is I can come back in and edit and changed. Let's say toe horizontal and maybe I want I don't even know what would I want to do in horizontal symmetry. It's a bad example if I can't even think of something. Um, how about let's kind of get a weird leaf going back here? Um, this is going to be weird, because it is. You know, the I can still see the, um uh, through the better flight cause the butterfly isn't colored in Esso. So anyway, so you can kind of understand how there might be some reasons for doing something with a different symmetry option. Now that symmetry is what is turned on. Right now, the horizontal symmetry is turned on. Right now, this orange butterfly layer says assisted and we used the vertical symmetry for creating it . But it is no longer set to vertical symmetry. It doesn't remember that it was vertical symmetry when we did that layer, so that layer is still set to whatever is currently on. So if I want to come back to the better fly and add more, I need to just come back and turn it back to vertical. And now I can add more to my better five. So any any time you change it for a different layer for a use on a different layer. You need to just make sure you change it back when you need to come back to a different symmetry form. I hope that makes sense, all right, so I'm going to do one more thing with had it drawing guide and come back to the two D grid and make sure drawing a sisters on and to show you how. This is a really nice way to make straight lines. No matter where you are, you are going to have the grid helping you. It's the drawing assist. So that is an awesome way to make super simple straight lines in. And of course, the isometric ISS making lines that followed those marks and that perspective is making lines that follow those marks. So let's delete this and delete that. Reset it so you can see all of those air automatically going into that vanishing point. I don't use this so I don't have a lot Teoh recommend for ideas for how to use it. But the symmetry is super fun, and if you draw cityscapes and stuff, that perspective is is very handy. Now. I have drawing assist turned on on some of these layers. I don't want my drawing guide showing anymore. I can still use drawing assist on any layer that I where I turn it on. But I don't need to look at the line now. The only way I can edit drawing guide is if I turned the line back on, then it could go into edit drawing guide. Here's an example of using symmetry. I used the radial symmetry, and I also used quadrant symmetry because I wanted to fill the corners evenly and radial symmetry wouldn't have done that. So you can go back and forth and it looks like I had rotational symmetry on and that can be seen in a few places. So if you look at this vine, they're all going this way. So they're all curving around. If you look at how about this black piece right here? It's curving this way, curving this way, curving this way. If I didn't have rotational symmetry on, then they would be curving towards each other along one of the symmetrical lines. So it's fun to kind of get used to when you might want to use both of those. And then I have taken that design and played with blend modes and made kind of a text Cherie background and added a blend mode to this black layer. So it kind of goes lighter and darker in different areas, depending on what the background color is. And I've got it all here in one file, which is handy. So having a white background on some of them you do all sorts of things blend modes, could be masks, rotational symmetry. It's super fun. 20. Quick Shapes: Alright, it's time to learn about quick shapes. So, um, there's several shapes, circles, squares, triangles. I'm not sure how how many shapes there are that where this works, but you can draw a really rough circle. If you're really bad at drawing circles, that's okay. Hold the pencil still and it will snap to a shape. Now. This isn't a perfect circle, but once I put one finger down, watch what happens. It snapped to a perfect circle. I can tap at its shape, but if I do edit that shape, it's going to make it not a perfect circle anymore. So if I want to increase the size of that, I can selected and increase the size of it. So that is just a really brief lesson on quick shapes. There you go. The other thing that is sort of a quick shape is a snap line so you can draw sort of Oh, let's say you can't draw very straight line. Hold it and it'll snap to a straight line and you could drag it around. You could drag it shorter or longer, and if you want it to go perfectly horizontal, put your finger down and then it's gonna snap into increments so you can go vertical or horizontal. And then it looks like probably 15 degree increments there. All right, that's it. 21. Text Features: all right, I want to show you the text features. So if you go to the actions menu and go to add, you can add text. It's automatically the color that was already highlighted here already selected here. And it always says text, So you can change whatever you want it to say. Sometimes you might need to select all and, you know, change that. Maybe go delete that. So there's all these ways to edit. Now I want to edit the color so and when it selected again and shoes the color that I want . So I tapped on it again. Now I wanna edit the style that's gonna bring me to the fonts so you can go through and choose the font that you want. Some of some funds have various styles, and you can bump up the size. Now the size the height of the box is gonna go ahead and increase with your size, but the width of the box. You need to do yourself turning and tracking. Just play around with us. If you have multiple lines of text, you can adjust the space between them and the space between letters and all that kind of stuff. And then, of course, all of your typical placement options here and then just go to a brush. Get out of that section. All right, now in the layer menu, you're going to see this A. And that means that you have an edit herbal text that you can go in and change. So to do that, you just tap on it and hap edit text. Now you can change the color. Change the font whatever you want to dio and change what it says. Change anything about it once you have it exactly how you want it and you might want to. For example, use a clipping mask on top of it and make some fun color changes. You need to rast arise at first, so tap on the layer and hap rast arise. And what that does is it turns it almost just like almost like you just wrote it by hand. It's just an image right now. It's just some pixels on the screen so you can treat it just like anything else that you've created down here. But what you can't do now is edit that text. You can't go in and change what it says you can't go in and change the Funt eso sometimes what I dio before I rast arise, I actually duplicate Turn one layer off and then rast arised the other one. That way, if I change my mind later, I still have this one here. I can go change it. But what's nice about having it rast arised is I can now use a Colombian mask above it and have some fun with the clipping masks. So hopefully you can see that my damp brush is very worry. So So then you can do all sorts of things to the text itself. You can Alfa lock the layer and change the color, so color changing is still totally possible. So let's say I want to do you a nice bright pink. I can change the color if I want to change the size, I'm gonna go ahead and select my main layer and my clipping mask ends tap select, and I'm gonna go ahead in play around with this size a little bit and that adjust both of them at the same time. Now, once it's rast arised, you really can't do a huge amount of size adjustments you really shouldn't go bigger with anything you do, but you can go smaller and you can be the judge of how small you can go and still maintain a good quality image. And to check that you can zoom in. I can see it's not pixelated. It's not fuzzy. So even though it started out much bigger, I can go much smaller as well. So you still have some options. And the other thing that you can do now that it's rast arised I'm gonna go ahead and merge . Those layers is you can adjust, you can warp it so you can dio and we're gonna talk about working in another video. So But you can't do that. If it's not rest arrest, and right now, appropriate doesn't have a way to do a curved text. So you kind of use the work tool. Thio, Thio, Curve it yourself. All right. Now I want to show you how to import funds. I usually just type free fonts, and, um, I think this 1001 funds is the one I always go to. I'm sure there's a 1,000,000 out there now You can select from the categories up here, but just for a quick little lesson here. I wanted to show you what I dio. I look here free for personal use. I'm not going to take that. I'm never going to remember which fonts were only for personal use and which fonts are okay for commercial use. So free I would use, um when our Sara way I can I can ever remember if there's a way to sort so that only commercially used fonts appear. Mm. Anyway, so there's probably some better sites where you can sort in that way. So I'm looking over here. I'm not even looking because I don't want to fall in love with an awesome fund. That's only for free and personal use. I don't take demo funds scrolling, scrolling, scrolling, olive, these air saying free for personal use. If you take a fund that says free for personal use, then you can't create something that you want to sell. So I highly recommend avoiding that. Oh, here we go. I did not see that last time so I can choose public domain and free and then update. So now we have free, free, free, free, free, free. Just out of curiosity, gonna take free off and just have public to me. All right, So says public domain. GPL ofl. All right, so I am just going to go ahead and take this. I don't know how to pronounce that and say download. Tell it so what it did I'm in safari, so it's gonna be different dependent on your browser. But this little arrow went being and it kind of bounced and it downloaded really quick. Now I can tap on that There it iss, they can tap on it again. And I need to remember the name of it because the files in the Delmont section puts it in alphabetical order. So if you're not familiar with files, it's the file app right here, so you can get to it right there and then go to downloads. Now it's a zip file, and I need to tap on that to get it toe open. So now I have this. That zip file can have moved down, and now I have this folder here. You can go ahead and look in it. There's going to be the terms of use. Sometimes there won't be there at all. And that dot TTF file is one of the font files that it's pretty common and the appropriate accepts, so you'll have toe teach yourself which types of files procreate accepts. I think they added more file types recently, so I'm not quite sure. I usually just do TTF. So from here you can tap on it and then tap this little up arrow and go right to procreate . Or before I do that, when I shave another way, go in to procreate, go ahead and go into your text, and then you can import from right here and then so you can see how the Zip file would not be something that you can select from procreate. So that's why it's important to open that zip file. And we're really lucky that I was 13 when it came out. I was able to deal with the ZIP files before it was not able to. We'd have to get a separate, um, app to deal with Zip files. So now it should be in your list thirties and remember the name of it. And there it is. So that's how you import funds. Now let's say you import a font and you decide it's horrible like this kind of bothers me this extra space between the tea and the E. Um, there's ways to create fonts and you can make adjustments toe all these little issues that are like this. So the person who made this Funt didn't quite pay enough attention to the spacing there. And it's kind of a lot of space, so but there's other reasons there's that's kind of a picky reason. If there's a font you don't like, that is an imported Funt. You can't delete it from here. You just go back in and delete it from here. So, um, I don't know. You might be able to delete it directly from your downloads, but where you're going to find them is on my iPad Inappropriate folder funds. So these are all of my downloaded funds, and I can select and tap on that one. Where is it? Right there and I can delete, and that deletes it right from procreate. All right, so that's how you import funds and play with text features. Have fun 22. Animation: I'm not going to talk a lot about animation that I have a whole class on it. So if you want to play around with animation, you go to the wrench tool, go to canvas and turn on animation assist. And once you do that, this will be popped up here and you can play around with all of the settings. So a little bit more about animation, your frames down here coincide with your layers up here. So if you have, um, it goes so the bottom one is the 1st 1 and then the very last framed on here is the highest one up here. Now you can see here I have groups. Any group two layers are going to show up. It's one frame. The background is just the background color and this black. Hopefully you can see I've got a little hill and some people watching the fireworks and the little dots in the sky. That is the very, very first frame, and if you tap on it, you have an option to turn it on as a background that's different than the blue background color in procreate. It is something you can draw and then turn it on and that stays there for every single frame that stays the same. And that saves you from having to redraw on all of the other frames. So then you have the settings frames per second. The onion skin is the amount of layers you can see in your animation, so you can see how much you're progressing each time and the opacity of those onion skins. That's just all personal preference. I don't know what these are. The one shot is just gonna play your animation one time and stop loop is going to keep going from the beginning to the end back to the beginning. And Ping Pong is gonna go back and forth beginning to end and then reverse back to the beginning. So those are kind of obvious with what, uh, what they mean. And then you need to decide frames per second just based on your own personal preference. And how how many? How much space did you advance each frame? Um, you know, it's gonna make a difference for how fast you're gonna wanna set it. So I'm just gonna tap play so you can see. But this is a class called fireworks animation. You get some free brushes to do these sparkly things here that I made, and they're really fun. Awesome brushes. So I also made one that said, Happy Fourth of July, wear a mask because as of this recording, we're at the other No, middle of July. I think we are. And in the middle of a pandemic, the Corona virus in the United States were not doing so well, keeping it at bay. So we need to wear masks. So that is a little bit of animation. There are other types of animation, and this is just one class on one type of animation that I've done for you. I've only done this one class. There's other classes from other people. 23. Selection Menu: So the little ribbon tool here is the selection tool, and it pops up this menu here and automatic freehand rectangle. Any lips I usually use FREEHAND. And what that means is you can draw whatever shapes you want and select that area and then go to the layer and top Phil. And it only fills those areas. So that's one easy way to use the selection tool. Um, when you're doing that same exact thing, you can also tap feather, and then it feathers the edges so they aren't so, uh, harsh. Take that. You can save and load a shape. I don't know how to use that feature, so you might need to look into that that you can invert a selection copy and paste a selection. So there's a lot of fun things you can do down here with selection. So if I wanted to make a raindrop, let's say I have a nice green leaf, very basic coloring here, and I want a raindrop on top of it. I'm gonna go ahead and she was black in a pretty small size and a little circle. I'm just gonna go ahead and let it be an Ellipse I'm not gonna worry about it being a perfect circle and I'm gonna fill that circle. Now I'm going to turn it off, but I'm going to tap on that layer and tap Select. Make sure it's on free hand and hopefully you can see the mask over here. All the stripes. I'm going to turn them, ask visibility up, so it's more obvious. Now I have this circle selected, even though this circle is invisible right now and I have no plans on turning that circle back on, I'm gonna go ahead and go to airbrush And she's the soft brush and I'm gonna use a nice gray and I'm on a new layer Gonna add a new layer again and go toe white Got a teeny tiny that small I think I'm also gonna go to a new layer under all of those layers and go to a slightly darker green. So I'm going to turn my selection off and zoom out and see how that looks So far it kind of looks domed, but it still doesn't quite look like a water drop. So I can go back to that black layer and tap select and I can keep editing on those other layers or any of the layers. Really? Maybe I'm going to turn my gray to a different blend mode. I like linear burn. I like that. All right, so I'm just gonna leave that for now. I know it's not perfect, but I want to show you another thing. If you tap this black layer again and tap, select and then Oops. Sorry. Top select in the down here, tap, invert the selection switches to the shape itself. And now I'm gonna go on a layer under these raindrop players that she's a gray again. I'm already on my airbrush, and now I can color outside of the shape and I can add a shadow. And that shadow is not going to show up inside my raindrop. Now that gray is way too light, I'm going to go ahead and just change the blame blend mode instead of changing the color itself. Although I'm not getting a good color with my blend modes. So I am going to Alfa lock back, change it to a darker color and fill that layer. Now when I feel the layer, it got rid of my selection and that's okay. So my shadow isn't perfect here. I can see it kind of is making my raindrop look like it's floating. But I just wanted to give you an example of a couple of ways that you can use this selection and I do have some really awesome raindrop lessons in my spring classes. Um, on school share, I also went into a, um picks a Bayer and splash and got a couple of nice reference photos for rain drops as well. So I am including those in the class and thes air. Nice, because you can see exactly where the highlight should be on this one. It's just right here. But look how big this shadow is. And the other thing toe look at most rain drops, depending on the light, won't just have the shadow outside of the raindrop. It'll also have a bright spot where the light is kind of bean condensed and focused on, um, the area outside of the raindrop. And that makes a huge difference when you're driving rain drops, so sometimes it saves to use selection to actually draw. So let me go ahead and do a sketch for the quick. My brain works better with a sketch, even that simple of a sketch. All right, so now I'm on a fresh layer. I'm not on my sketch layer. I've tapped the selection and I'm on Freehand. And I am just going to because ad is on, I can just keep adding I'm gonna turn my mask visibility down because I can't see my sketch very well. Now I can go directly to coloring this. So, for example, I'm not going to use the damp brush. If you go, you'll find jagged brush is just absolutely amazing. Let's see, it's in painting. Oh, Salamanca's nice to. So if you want to just start directly painting while your selection is made, you can do that. But whence your selection is de selected you You can't really do any more editing directly to that selection. So one of the things I like to do is turn that off really quick. I like to just choose white and fill a layer. Um, and you can see here it's a white on white background, so it's hard to tell gonna go ahead and turn the background down a little bit to a different color. So you can. I filled that layer with white. Now I could do the same thing I just did with the raindrop. I can turn that layer off and select it and then continue to add more layers of deeper and deeper colors or whatever I want for the the flower. And I I I don't really risk losing that selection because I have it right here. So now I have fat, and I want another layer under that Someone to do the same process. No. Now I'm going to turn that layer off, but select it. Go to a new layer, maybe some even deeper colors, because they're gonna be shadowed underneath the other pedals and start adding some color to those pedals. Now, I want to make sure that I still the entire pedal and you can choose at the end. You can choose to have the white layer turned on or not. I'm in my valentine class. I actually show more examples of why that would be important. But I go ahead and turn the Sketchley her off. Now. Now I'm gonna go ahead and group. So I grouped this lower set of leaves and this upper set of leaves when it collapsed. Those groups that kind of keeps that organ heist. And on top of all of that, I will go ahead and I actually go ahead and make a selection. T do just whatever shape and I can drag a drop or I can tap Phil on the layer. I didn't do white this time. Could do another clipping mask or I could just do Alfa Lock. I'm not going to do Jagged, Brash, but I do want a nice texture on their Geico rule has nice texture. So I am doing those all on the same clipping mask. But I'm just kind of doing a quick example here. I'm gonna turn my background back toe white, and one of the things that you're going to notice without the white flour layers turned on is if I change the background color that is going to be seen through because jacket brushes somewhat transparent. So she an example. So I can't see through this month because I filled that layer with Brown and I still have it. That layer turned on, but I but I didn't have the white layers turned on, and now you can see this black through those layers. Now that's a cool look. And that might be a look you want. Um, that's your option. But if you turn those white layers back on, then your flower is just a bright as if you had a white background on the whole canvas. So I really like, um, illustrating in this way. Let me show you an example when I've done recently. So this one had lots of teeny tiny pedals, but basically the same idea. And then I did some texture on that centerpiece. But then I added a layer that was not a clipping mask so I could go out of the lines. And it added all those little dots. When some of them overlap the pedals a little bit, the stem is does same, just them on a layer underneath. Everything I believe I have the white layers turned on on this, so that's just a little bit about selection tool on some uses for it. There's plenty more uses. Um, let's say I don't like this little centerpiece right here. I can just maybe, Well, you know what? Maybe I don't like the outside of it. And instead of just erasing I am going to select that middle and then invert, and then I'm going to clear the layer and it's going to clear the outside area. Well, I like that better. So I selected a section, but then when I inverted, it actually selected the opposite and then cleared that an arrest. Arise this text here and show you some of the selection tools with this text. So the automatic is, uh, is used like if you have a little space to fill, for example, the little inner parts of the letters here you can just tap and it'll fill Now you need to learn about threshold when you do stuff like that, and what the threshold is is the edges where the two colors meat. When you go to the selection, goto automatic and you tap and you see that you have that pixels that aren't getting selected, so the blue should be selecting all of the white pixels. You can put your stylist down on the blue and swipe, and as I swipe up, you can see those white pixels. They're going away. This election is kind of increasing and grabbing and kind of overlapping onto the purple and that's what we want. Okay, so now you can start to see some green. And that's where this blue is overlapping with this purple and I'm gonna keep increasing. I don't know if you can see this, but I have some faded purple pixels still showing, and I'm wondering how far I can go. Okay, so I went too far. Now I know it's selected. All of it. Some Could it come back down and I can see him at 99.2 for the threshold. So now that I have that taking care of, I can go ahead and tap some more spaces and that threshold is going to be the same. And now I'm just gonna go ahead and drag and drop. I should have gone to a new layer. In fact, let me go to a new layer. I go to a new layer, then I can tap this and fill layer. All right, now, if we zoom in, you can see that there's no background pixels showing. So if you go a little too far, which I may have, then it gets quite pixelated like this. But, um, in general, that's just how you use threshold, and that's why he's. The automatic selection is tapping different closed spaces. They have to be completely closed for a free hand. Like I have shown you already. You can grab just a particular part, and you can do something with it that comes in handy for various things. Rectangle and a lips are just making the selection in a particular shape. So now I have a selection selected. I have something selected, and I have these options. So with Magnetics on, that means you can move it around and it is going to snap into place, so it's easy to keep it along the centre line. If you want, you can flip things rotate, make them fit to screen. That just fit the top in the bottom two screen. Now, this says, by cubic of you tap it. There's thes other options and by cubic is the best option for dealing with pixel work. So it is going to when you re size and move things, it's going to do the most work to get a more most accurate, um, a change once you say shrink something, so make sure that stays on by cubic unless you really know what you're doing with changing that for other reasons. Freeform when you have a selection means you can change it without it keeping its original dimensions. Whereas uniform, you can't if you try to change, it is going to change the whole thing in that same dimensions that you originally had. It distort lets you play around with the nodes in various ways, and then warp also lets you play around with nodes that hopefully you can see the grid. Here, you can get an even more detailed grid by tapping. This is just keep advanced off and have warp on. And I take my pencil and I drag the the the lines themselves. Sometimes my pencil doesn't work and I have to use a finger. Here we go. Sometimes that's a little bit fussy, so you you can see how you can make all sorts of adjustments. This almost looks like it's flipping up, curled up like that. All right, so there's some more info about selection 24. Adjustment Menu: so the Adjustments menu may make sure of selected. I have my rainbow circles flattened down to one layer here, and this adjustments menu has a couple things that I don't use. So you'll have to look those up because I don't claim to know everything about this app by any means. On opacity is something we've done a lot, so that will just change the opacity of the whole layer. Russian blur is really funny Slide and the whole thing blurs. It comes in handy for various things. You can see this percentage up there so you can kind of watch both both your image and the percentage motion blur and perspective blur and sharpen our some things. You'll have to look into noise, just kind of almost pixel eight so it can kind of give a bit of a vintage look clone I actually have never used. So I'm not gonna try to show you how to use cologne, but I've heard it's great and then liquefy liquefies. Very fun. Push, change the size. You can change pressure, distortion momentum and play around. Just play around with those to see how those affect your shape. When you're pushing things around twirl to the right. Now, if I have distortion high, it's going to do quite a few. Five little spots of twirling actual twirled to the left is the same pinch. Pinch just pulls everything into the center, or wherever you have your pencil expand is the opposite. That's gonna change, depend on depending on your settings. Crystals. I show you a little bit about fat at the end and edges Nice. If you may give you an example of, let's say, Oops, I didn't select right brush. Yes, I did. Let's say you have a little point, but you want that to be pointier. You can go to liquefy and go toe edge, and you can run your stylists along the edges of your work and really bring it to a crisp point. Now I have distorted it in other ways, too. But I can probably change my dimensions or my studies down here to get it to be a little bit more precise and then reconstruct its funds. So if I if I push this around, we don't have a very big studying on there now. This is probably the one I use the most by select reconstruct I can. I can go through and I can start changing certain areas back to the original. That's kind of fun. All right, hue, saturation and brightness is something I use a lot. So let's say you're not so happy with the hue of this pink. I'm gonna go ahead and tap on just one of them. Somebody turn that back one off. I can go to hue, saturation and brightness and change it, so that's changing the hue. So if it was, it's all always at 50% to start with some going down to 48% in it. What it did is it made it a little bit more pink. Now I can change the saturation if I want it more vibrant or more dull. And then the brightness. If you aren't super happy with any of those changes, you can tap anywhere on the screen and tap reset. So that's hue, saturation brightness, and I don't use color balance curves or re color, so you might want to check the handbook for those. But, um, he saturation brightness. I use a ton, so that is most of your adjustments menu. All right, when more quick reminder how to get to the handbook in case you don't have the link handy. Someday I'm including the link with this class and the about section or the project and research section. But go to procreate dot art and go to support, and it will bring you right to the handbook, tap view chapters. And then you have all of that. So, for example, that adjustments I didn't know too much about cologne. I don't know anything about clone, so you can go right to the information right here for clone. And then you can keep going to look at other color adjustments. Um, noise sharpen, blur. So this is gonna be super handy if I didn't give you enough details on something in this class. Please, please refer to this. 25. Actions Menu: for the actions menu. We have talked about a few things, but I'm just gonna go through a little bit more. You can insert a file. I've never done that. I've never had a need. Actually, you know what? I think I have inserted a file from my files app that waas a glittery page from somebody but often times I'm usually just inserting a photo so you can tap that it goes to your camera roll and you can insert a photo it inserted above the layer I was currently on. So it's under this brown layer. Go ahead and slide it to the top so you can do what everyone you can trace. If it's a free use image, you can trace your image. Tracing is just fine. If you want Teoh practice, you'll your kind of training your brain. I would add a layer above it and trace on that layer and then delete the other layer or turn it off. Take a photo, add text we already talked about. These are just some copy and paste options. All right, so crop and resize you can see this grid here. You can enter in dimensions here or you can just watch the number here is your adjusting. Obviously, that's much trickier if you're trying to go for an exact size and if you notice up here, your number of layers is also adjusting because that is affected by your canvas size. So if you're going in smaller, you're gonna get more layers. If you're going bigger, you're gonna get fewer layers. So I don't know a ton about re sampling the canvas, but what I'm pretty sure it does. And I've done it multiple times when usually when I'm animating, I create the canvas a little too big, and then I need more layers and they want everything to be smaller. Um, and I want everything that's on all those layers toe all adjust accordingly, so it's going to do that. So if I just type a six here, it bumped down that one as well. And when I tap done is re sizing the whole entire canvas. If I go into canvas information, I can see it's it's now in pixels instead of inches, but I can see that it is decreased the size, so that's not something that you'll typically dio, but it is good to know Because doing that just the regular cropping, it will crop all of the things that you have on your layers. So doing the re sampling will shrink everything. You can flip your whole campus, you can look up canvas information. And this isn't where you can adjust any information, but you can look up. Oh, what color profile was that? And any information, how what were the dimensions? And so on share is the way you export your file and then the time lapse video. You can export it and go right to your camera roll. You can just watch it. So this is gonna be everything that we've been doing. Um, press. We talked about these things that project canvases for when you want to connect your ipad to ah, monitor or something. I don't know. I haven't done that. We did talk about editing the pressure curve, gesture controls. We talked about those. And then there's a help section 26. My Workflow: So I've had some questions. What is your workflow? And I think it depends on what I'm doing. But I'm going to show a sort of typical workflow for me, so I just, you know, create my canvas hopes. I just selected the vintage one that we created earlier. That's okay, so I have a nice, creamy colored background. Um, I usually split my screen so I can swipe up from here's and times. It's a little tricky I have in my dock here. I always have certain things that I usually try to use, um, often so I can take my photos, grab it and drag. I split the screen. I don't let it just rest on the app. I split it all the way over, and then I decrease the size of that so I have more work space over here, and then I can select a photo that I have saved in my camera rule. And that's just how I use my reference photo now from me. I also usually have Netflix playing up in the corner. Soas faras workflow goes I, assuming that people want to know what my drawing and workflow is not my Netflix so I just go ahead and sketch whatever. I want a sketch, and I usually leave my photo up for a while and I add a bunch of layers to start with. I know this bugs a couple people that watch my classes, but it's just how I do it. So it's, uh it works for me. Now, if I had something like, um, this succulent, I would spend a whole bunch of time sketching So I would sit her and I would look back and forth and I mean, OK, this little pedal here and now this. So pedal here on this one over here and this big one right here. And I would spend a whole bunch of time get in my sketch as close to the photo as I could, depending on what I'm drawing. Then that has a little raindrop here. Little raindrop here. So, um, soas faras my workflow goes. That is one of the things that I spend the most time on. Then I would get it into place and turn the opacity down, and then I would come down. I always come down. I never tried to not ever start drawing on this bottom layer. And the reason is because if I want to add a layer under my work, I can tap on that layer and add a layer I can't tap on the background layer and add a layer . It doesn't let you do that. So if it's not the end of the world, if I did drawn this layer and I needed to add a layer underneath it, I just need to drag an M d layer underneath it. But for some reason, that really bothers me. So I start here. Then I'm able to easily add layers, and then I'm also able to easily come down and add shadows. Um, if you took my delicious fruit class, you would see I have a lot of shadows on that very bottom layer. And so anyways, I come up two layers and I just start color blocking. I do a lot of color blocking, looking at colors over here. Oh, actually, you know what? We used this photo for the palate earlier, so I'll choose this kind of medium dark one here, and then we'll decide. Do I want to have textured edges or just a nice solid monoline? Straight edged brush our look to my to my work. So the other thing I ask myself is if I want the whole surface to be textured because if I choose this wide brush, I have a nice texture, and any clipping masks I use above that are going to maintain that texture. If I use this model a brash, it's a very solid color. But then I can add texture with the clipping masks. So, um, it just depends on whatever the illustration is. I just kind of go based on field and then for me. I try to use fewer layers, and that's just something I've been practicing, um, more recently. And so I'm gonna go ahead and just block the whole thing in, and now I'm going to go to a layer above it and make it into a clipping mask. I'm gonna go back down to my base layer, and I'm gonna add more layers. Those will then automatically be clipping masks, which we discussed in the clipping mask video of this class. And then I'm just gonna start adding color so I could add the very, very darks. First, I can still see my sketch, so I'm gonna go to the super dark color and I'm gonna use this wide pencil stroke. I can see it's really dark on this one right here. Right. So I'm gonna add some dark here, discover for the succulents that ideo I just really could scribble in Cem some colors here . It's under side of this one. It's really dark. This underside of the swim, it's really dark and so on. So, um, I don't want to do a fully complete illustration here because it makes the class much, much, much longer. But then I'll tap and hold the smudge tool to get that same brush, and I'll do little smudging. Normally, I like to add two or three colors before I smudge. I think it really does help, um, adding multiple colors, but just going to do a quick job here and then Oh, also, I didn't show you one of the benefits to clipping masks. I goofed over here. So guess what? Because it's a clipping mask. I can just come in any race, that clipping mask in those areas. All right, now I'm going to go to another clipping mask and I'm gonna go to some of the lighter colors . Yeah, Mr adding some lights. That seems really light. So I'm just kind of generally showing my work flow here. I'm not doing. Ah, really nice job on this illustration. I'll blend those. This is more of a pastel. Look here and later. If I really want those toe look blended together, I can combine those clipping masks and then blend together. So I'll show you that. Pinch those together. And now I have a little bit more flexibility mixing the lights and the darks on another clipping mask. Above that, I can choose the red, maybe six, be smaller, but on a bigger size Here and get some of the details of the red. I can see where the red is. Right? You have the idea. There. Those look a little blurry. Z you could Goshen blur that layer. Um, and I would just kind of keep going through. Looks a little darker than I have it here. So I might go back to the dark layer and add more dark. Um, what other colors do we have here? We have some that go really light. The background is quite dark. So if if you're gonna keep a dark background. I would start with it dark because it does affect the overall look while you're drawing. If you start with it light and then draw and then change it too dark, it might not quite have the look you want it to have. And then when I feel comfortable turning the sketch off, then that goes off. And then something I learned from Ben Brenda Bucker. I go to my main base layer, and because I've used clipping masks, it'll all work out just fine. Although I didn't use any around the edges yet on this particular illustration, I can go to liquefy and go to crystals, and then I can play around with my adjustments here and because I don't want a super sharp edge on my succulent. I can't go around the edges and hopefully you can see that it's pushing the edges out. And then it's not that super clean, crisp edge now in the past. The way that I would get that look is, um, I would I would start out. I did it with a brighter color. I would either start out with my modeling brush and make my shape and then I would switch Teoh a text Cherie brash text Cherie brush and I would go around the edge. Or I would erase with a textured brush around the edge a ticket. A nice rough edge. It's a slightly different look than the look of doing the crystal liquefy tool around the edge, But, um, that's how I used to do it. And now I'm starting to do it this way more, which is nice. But then you have to go around the entire edge of your work. So that's something to think about ahead of time if you have. If you're able to do that, if it's something super intricate, you're not gonna want to do that. So that's my workflow. I hope that explains that a little bit more. This is obviously not a finished demonstration, uh, that I just kind of keep adding layers up here. And, um, I usually keep my reference photo over here. As long as I need it. I look at texture. Andi, if I have some texture that needs to be added, I find a nice texture, brash, go through and at some texture, great 27. Class Project: I originally had an open ended project for this class and it wasn't working out. There were no projects being posted. So I was doodling this while I was watching a different skill shared class for myself and realised that this is the perfect project for this class because it uses symmetry and it uses the reference layer and Al Salak. So I am going to show you something and it'll probably turn out a little bit different than this. And we'll really kind of get a good grasp of those three topics. So let's get started. Let's go ahead and start with a 12 by 12 canvas so you can either find a 12 by 12 you have already made or go tap that little plus sign. I go two inches, 12 by 12 300 d p I. And that gives me 45 layers way more than I need. All right. And if you are familiar with my work, I like to start with a few layers. So, uh, go to the top and tap the wrench tool canvas. We're gonna turn on our symmetry drawing guide at a drawing guide. Symmetry, options, radio. You can do any symmetry. You went for this and tapped in. You know what? I am going to make my lines a little bit more noticeable. Okay, now that one layer has drawing assist turned on, go to the procreate native brushes and go to inking and studio pen. You can also go to model line. Studio Pen has nice, clean edges, but also has pressure sensitivity. So it's a nice one to use and go to any color, something you can see easily. And you can see. Now you're gonna have this symmetry turned on and start doing. I like to kind of zoom in and just doodling one section. Try to do some thin and thick. When you're going along these lines, you can do 1/2 circle and do little gem shapes like this. So just spend some time. I'm going to fast forward this, and I want you to spend some time just doing and getting a fun design on this one layer. Just stay on one layer for now, - any areas where their large areas like this, it's going to fill with all the same color because it's connecting. So if you want to have separate spaces make sure you close your shapes so you can see all of these little leave. Shapes are all closed. You can't have anything that looks like that with an opening, or you won't be able to drag and drop your color. So if I wanted to separate out some of this so it's not one giant shape here, then I could maybe extend this line down that divides of all those pedals. Spend time making your outline nice and finished. You can either start with a sketch or you can just play all right. I think I'm going to call it good and just keep it really simple, and I'm going to go ahead and turn off the drawing guide. We don't need that anymore. I need to turn the drawing assist on on the layer below. That's going to be one of the layers I fill with color. You can choose to have multiple layers to fill with color. Just make sure you turn on drawing assist on those layers. So let's say you want this center shape to be on its own layer. Anyone? All these green leaves to be the leaves to be on their own layer you just, um, create separate layers. But this top layer where your outline drawing is is going to tap it, and it's gonna be a reference layer. So you tap reference, and now anything you do down here is going to reference the shape you have here. So if there's any changes right now is the time to do it. I am seeing these circles. I want to fix them a little bit. I want to tap and hold my eraser so I have that studio pin and fix this opening a little bit. And then I went to just extend thes circles down, although I'm going to fix that so that my, um, Gap continues down. And the reason I'm doing that is because I don't wanna have to drag and drop to fill teeny tiny little gaps, and that will make sense in just a second. All right, so happy with this, and I am going to go ahead and go to one of the lower layers and pick some fun colors and start dragging and dropping. So what is happening is I'm on a completely empty layer. I'm under the reference layer, though, so anything I do on the layers under this reference layer is going to kind of act like the outline is on my layer. So, um, all of these shapes that you're seeing it's almost as if I was on that actual layer and dragging and dropping to fill those shapes. But if I did it this way, I wouldn't be able to turn my outline layer off without turning off all the color. So by doing it on a separate layer, I can play around with my outline layer and have it completely gone or changed the color of it. So I'm going to undo and keep my outline layer on Lee. The outline. Make it a Neitz deeper gold here. So before I drag to all of my greens, I'm going to go to a new layer. And one of the reasons I'm doing that is because if I decide I don't like the greens so much, I can play around with you saturation and brightness on just the green layer. So let's say I'm not super happy with those greens because they're on their own layer. I can go to the magic wand, hue, saturation and brightness and play around with the color a little bit. In fact, I really like that deal. Sometimes stick with more of a blue teal, maybe decrease the saturation a little bit. It's nice and tropical if you leave it right, so it's really all whatever you want to do. If you're not happy with any changes, you can top that and tap reset. But if you are happy, just go back to the brush tool. All right, so I have these teeny tiny circles in these gaps here. I think I'm gonna make these gaps. The same color is the background, and that will make it look like it's just it actually is gaps. So let's go to a new layer and think about a background color. Maybe I'll go ahead with a light green a little bit brighter. Maybe not. So play around. Have fun with your colors. I think I am just gonna pick a nice, creamy background. Here we go. So now I have the yellows and peach on a layer, the blue leaves on a layer in the background on the layer and the outline on a layer. I am going to color those in by hand, and I'm going to do it on the same layer as my blue here because they're so tiny, you can drag and drop, or you can just go ahead in color. Just don't go outside of the line. It does show it didn't show on that because we're under that layer. But it does show. I'm thinking I went those pieces. That same color? No. Okay, so we're gonna call that done, and then I'm gonna show you a couple things you can do with it. So you can completely turn off your outline layer and have that be your final work. Or maybe you turn off your background later to and have a totally white background. It's gorgeous. I like to turn everything off. Except for the outline. Duplicate the outline. We're gonna go ahead and turn reference off. All right, so I have two of the same image, and I'm going to turn one off. I'm going to go to the one that's on and tap Alfa Lock, and then you're gonna go down to artistic and Goto Plum saw really any brush and have fun. You know what? I'm gonna go ahead and turn these colors back on, so I know kind of what colors might look good with all of this. And I'm gonna have fun on a pretty large size coloring the outline so you can see that it's coloring. Just the outline. I'm gonna turn assisted off. So it's not doing it in a symmetrical way and go to some colors that I don't have already on the design. I'm not liking how that green and red look together, but this is just where you can play around. Maybe the green looks good up here. Maybe you want to go toe black. I can hear my dogs tip tapping around. Okay, I'm gonna make this a little bit quick here. Just so you get an idea. Turn all those off. Hopefully you can see the black blue, bright blue, deep blue, black so you can do whatever you went because it's on Al Pha lock can change just the whole thing by filling. Tap that and fill with whatever color you're on. E don't think purple is gonna look very good with the other colors. Now that really so Pick a fun color palette. Oh, this dark purple is pretty. It's now we have kind of oil slick colors with the blues and the dark teals, purples, blacks. And you can go ahead and go to this gold and peach layer and play with you saturation brightness. Well, that's pretty more peach and pink. So here is what we had to begin with. And I'm just jumping down to 46 45 so you can see the options are limitless. And then you can have the option of having your original solid black or whatever color you chose as your outline or having no outline at all having a background or no background. If you want the background to show instead of the white layer here, you can just go ahead. Let's go ahead and tap this color. Uh, since the reference layer is off, I'm just gonna fill the whole layer and I'm gonna make it a little darker, as you can see better in none of the white shows. So, um, that's just a different way to do it. So this way I'm gonna change it to a darker color so you can see this way has with the white outline and then this method has the background showing where the outline should be so that's a whole nother look you can do. All right, So that's reference. Layer some more fun with l Flock. Symmetry, Of course. Using the color picker dragon drop, I would love to see one of thes. Oh, look, Remember when I colored some of these in my hand? That's what happened. Said that is not a good plan. If that happens, one thing you can do is tap on your outline. Drawing tap, select. Go to the color that that was happening to tough that layer and top Clear. So what that did was it cleared everywhere where you see this outline layer, but it cleared this layer, so I'll turn the outline off and oh, it's on this layer. Okay, so let's do that again. Seven attacks select. My read is on the, uh, the blue layer. Tap the blue layer and top. Clear. Okay, so now it's nice and pretty just like the outline lier shape because when you colored by hand, it didn't just drag and drop in Fill the shape so as you were coloring, it colored outside the lines basically, but you can't see it cause you were underneath that outlined layer so pretty OK, Do this for your class project and he'd have a design. Super simple, Super complicated. Whatever you want. Have fun. Can't wait to see your project. 28. Procreate 5X: New Features!: We have some updates to the App since I created the beginner course, and I wanted to add a little quick endian here to show you some of the procreate 5X features. One of the features is going to the wrench tool canvas. And then right here reference is this little reference window that you can pop up on your screen with your finger. You can grab colors from that image. Right now is showing my canvas. So it's showing it live. You can instead choose an image from your camera roll. And then there's this face option. And that's something you'll just have to play with. And not all iPads have that. So if you wanted an image from your camera roll, it would be something like a reference photo for you to look at while you're drawing. Grab colors from it while you're drawing. You can grab the bottom two corners to change the size. You can tap on it to make the bars on the top and the bottom go away. Tap again to bring it back. You can clear it. You can move it around by grabbing the top here. And you can close it either by tapping the x or going back and turning it off right here. So that's handy. Another feature in the wrench tool, if you go to add, you can swipe to the left on insert file, insert photo, and take a photo and add a private photo. From there. You have a reference photo on your screen that is not going to show up in your timelapse recording. You can see in the menu it says private right here. So you can treat it just like any other layer and turn it on and off, deleted anything you wanna do. And that won't show up in your time-lapse. Here in the little magic wand I call it. There are a lot of new things in here. So hue saturation and brightness is the same. But you have an option to adjust the whole layer, which has how it used to be, or to just make adjustments with your pencil. Let's go to the correct layer. And then you can change the brush. You can see the brush cursor has little stars by it. And that means you're in an adjusting mode here. And it's already got some settings down here, but you can add your pencil strokes and then you can change what you've done after you've already laid it down. I haven't found too much of a use for this yet. But another thing to know is when you used to be able to tap the screen to hit the reset button. And now you have to tap with your finger and you have a whole little menu here including reset. So. The other is preview. And that is kind of toggling back and forth between the original and what you've done for changes. Color balance has the same option for pencil curves. So you can do layer or pencil. Gradient map is brand new. So if you have a black and white image and you go to gradient map, it's the best way to kind of see exactly what it's doing here. So I'm just gonna go to layer. And it just changed those two shades of brown because I'm on this brown one right here. But depending on which when you go to your darks to lights will be different colors. So how is that explained? Well, if you go to, into one of those, you can see on this particular gradient, the darks are going to be made this color. And as you go to the lighter, lightest parts, they're going to be whatever is here you can add. And you can add a new color and really mess with that gradient altogether. So you, I just added that one, but you can also edit a current one. So you can make this scale totally customized. The nice thing about this compared to the changes that you can make in hue saturation and brightness is, you could have an illustration that is all different shades of pink. Well, let's do blues. So let's do something that is, has some dark blue and it has some medium blue, and it has some LightBlue. Now with hue saturation and brightness. Your options are just kinda changing the tone of all three of those to a different hue all at the same time. So now it's dark medium and light purple, right? For gradient map. I can change those into completely different colors. So it's no longer dark medium, and light is three entirely different colors. So that is completely different from hue saturation and brightness. And it's definitely something you can play around with. You can tap the plus sign right here to start your own, starts with black and white and you can tap and add a color, and so on. I'm not sure if there's a limit to how many colors you can add. Can you remove a color? Yes. So I tapped in held and the Delete button popped up. And then I believe you can change the name of it yet right down here. So I tapped on the little tiny And maybe I would name that sunset or something like that. I'm not sure if there's already one called Sunset. Nope, there doesn't appear to be. So that's fun to play around with. Some of these are the same as they were before liquefy got moved down here and you're going to notice some new things to play with here. You're just gonna have to kinda go in and play with them. And I don't really know if I would use these features too much. So I don't I haven't investigated them too much, but those are some fun little glitch, bloom and half tone and chromatic aberration. Those are the new ones right there. Over in the palettes. If you go to pallets right here, when you tap the plus sign, you can create a new palette in many ways now. So you can do it from your camera and take a picture of something with your iPad. And whatever is the colors that the camera sees in that picture, it will create a whole palette with those colors. So you can do it from something in your files or something in your photos. So let's just go ahead and do that pumpkin. So now this pallet was just created on that pumpkin based on that pumpkin photo. So that can come in really handy. Otherwise, this create new palette is just like it used to be. If you go into canvas over on the wrench tool and you go to crop and resize. You have a new option here. You can change the DPI. So you need to be careful that you're not changing something that is small DPI, like 72 DPI, you're not going to all of a sudden change it to 300 dpi and have this high-resolution fantastic image. So make sure you really play around with this a little bit before you. Trust that it's going to make somebody in that. It's hard to explain, does them? It doesn't work. Magic is not going to turn something that's low res into high res. The other super exciting feature is the snap tool. So when you have something selected down here, you have snapping right here now. So magnetics is found down here, and snapping is found down here. So if you had multiple things, I'll go ahead and duplicate a layer and put it over here. If you had multiple things on the page, you went until line up, you can have snapping on. The distance is just kind of how far away from that thing isn't gonna get before it snaps into place. So and the velocity is how quickly or slowly are you moving it before it'll snap into place? So here it snapped in, it's perfectly aligned with this object. You can do other alignments like this would be the middle of this one is aligned with the edge of this one. So you can move it around and you can see where it snaps when it's in the very middle, you'll see these golden lines. So it's on this golden line edge here. That one is on the edge. So now they're both on gold here and gold here, which means the edges of here and here are in the direct center of the canvas. Take my seamless repeat pattern class to learn how to use this feature to make seamless repeat patterns is super exciting. For seamless repeats. We can do them a 100% in procreate with such, with such ease that it's just a game changer. So the other new feature down here is the recolor. So the recolor officially went away and this color fill bucket is now here. So if it's selected like it is right now, and you're on ad and you're on freehand, then whatever color you're on. So let's choose a nice bright color. I can draw a shape. And when I complete that shape by tapping the little dot, it's going to fill that shape. So you can go around and do all sorts of things. While that selection is still then you can change those things to whatever color you want if you want to change those. But once you exit the selection and come back, you're in a whole new set of objects to color. So let's do that. So we exit, we come back, color fill is still on because it was already on before. And the other way you can change colors with color fill is go to automatic and tap. So these are lips. That's interesting. So you have threshold with the color fill too. So you can see I'm trained to adjust my threshold here. So you should be able to go around and tap objects. You can get them to change just by tapping on them. And that's supposed to have replaced the re-color option. And again, you have to adjust your threshold as well. And you can see that happening up there.