Procreate Essentials: The Ultimate Guide | Leo Mateus | Skillshare

Procreate Essentials: The Ultimate Guide

Leo Mateus, Illustrator | Content Creator | Mentor

Procreate Essentials: The Ultimate Guide

Leo Mateus, Illustrator | Content Creator | Mentor

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26 Lessons (4h 51m)
    • 1. Introduction

    • 2. What You Will Learn

    • 3. Procreate Overview: Sections and Tools

    • 4. Canvas: Staying Organized

    • 5. The New Canvas Section In Procreate 5

    • 6. CMYK Support In Procreate 5

    • 7. Getting Started With Brushes

    • 8. The New Brush Studio: An Overview

    • 9. How To Import Photoshop Brushes In Procreat 5

    • 10. Quick Shape: Your Best Friend

    • 11. Understanding the Power of Grids

    • 12. A Deeper Dive Into Layer Options

    • 13. A Deeper Dive Into Colors

    • 14. The New Color Harmony Tool

    • 15. 1st Assignment: What We Have Learned So Far

    • 16. Move Tool & Selection Menu: Learning to Work Faster

    • 17. Adjustment Menu: A Step-by-step Guide

    • 18. UI Changes In Procreate 5

    • 19. The New Clone Tool In Procreate 5

    • 20. Adding Text in Procreate

    • 21. Pro Tip: How to Make Gradients in Procreate

    • 22. Using Procreate Like a Pro: Gestures & Shortcuts

    • 23. 2nd Assignment: Calendar Design

    • 24. Bonus Lesson: Animating in Procreate! How to Make Gifs That Work

    • 25. 3rd Assignment: References For Your Animation

    • 26. Conclusion (Graduation Day!)

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About This Class

Start your illustration journey with Procreate! Join the new wave of amazing nomad Illustrators & artists who are able to take their art anywhere they go - and learn essential knowledge, process and tips & tricks to help you create with the best drawing and illustration app on the iPad. Make sure to go through all the lessons and we can't wait to see what you can create!

Love digital illustration? Learn how to use Procreate, the best drawing & digital illustration app for the iPad, with this special class from from artist and illustrator Ghostpaper!

Master Procreate and learn the ins & outs of digital illustration on the iPad in this guided class. With each chapter fully dedicated to a specific section of Procreate, artist and illustrator Ghostpaper will lead you through all of the tools, options and settings on Procreate, so that you can create your future digital illustrations.

Here's a few key things you'll learn:

  • Setting up a custom canvas
  • Using the power of clipping masks, layer masks and reference layers
  • Tweaking gesture controls to get the most out of your productivity
  • Understanding the power of using grids for composition

Plus, Ghostpaper will show you how to make animation in Procreate as well as two assignments to make sure you understand and practice all of the foundation knowlegde you will acquire.

Whether you’re new to digital art or curious about Procreate, you’ll gain an arsenal of tips, tricks and tools you can use to start creating right away. After this class, you'll never be far from your iPad and your favourite creations on Procreate, wherever you happen to be. 

Meet Your Teacher

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Leo Mateus

Illustrator | Content Creator | Mentor


Hi there! My name is Leo and I'm a Designer, Illustrator & content creator at Ghostpaper - a space dedicated to all kinds of Art and Digital Illustration. My goal is to help and guide you to create your best illustration work while using the iPad and other graphic tablets as a medium. I also offer guidance in the fundamentals of design, creativity self-help, tutorials and much more. I look forward to optmize your skills and time spent while learning, so you can focus on what's important - developing your art and crafting your style. Please feel free to also check my Youtube channel and other social media links for more content, and welcome to this learning community of artists!

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1. Introduction: Hello, everyone. My name is Leo and welcome to Procreate Essentials. The ultimate guide. This is a special class where I would like to guide you through the process off learning how to master procreate so that you can save time and effort in becoming a better digital illustrator. And the best part is that all of that is possible with three simple ingredients. Observation, repetition and practice with dedicated lessons for each section off procreate, visual examples, assignments and bone steps and tricks. We will together cover all of the possible topics so you can improve your knowledge and your skills. Whether you are hard for freelancer or someone just starting to have some fun, this glass is a must have for anyone who's looking to learn everything on appropriate but at their own pace. I highly encourage you to take your time in practice all of the lessons as you go, as we will also tweak the settings off appropriate on your bed. We will show you some shortcuts in new techniques that you definitely don't want to miss. So at this point, I believe you have two choices. You can spend countless hours trying to learn, procreate on your own. Or you can spend a few hours within the last is in this glass and learn all of the ins and outs of procreate while having some fun. So let's start learning procreate together and we'll see you a lesson one. 2. What You Will Learn: Welcome to Procreate Essentials. The Ultimate Guide video. Siri's. I am really excited to be able to show you everything that this amazing program known as procreate has to offer for all off digital illustrators, designers and hobbyists that actually want to start doing some digital illustration on the iPad. This course has been updated to the latest version off Procreate five. So you will see all of the new features off Procreate five as well. Within these lessons, the base of this course was actually built on procreate for so in some of these lessons he would see concepts and features that were done in procreate for. But if make sure to include as well, all of the features from Procreate five so you will get the best of both worlds when you watch a lesson that has the dark blue cover, you know that that lesson was actually created on procreate for, and when you see a lesson that has the light blue cover, that lesson was completely created in Procreate five. Now, in terms of what you will learn in, the scores were going to take a complete look at the gallery section of procreate or the canvas section here. We're going to take a look at all of these options on the top, right? How to select your canvases, import new illustrations and procreate files. How to import photos and start working on them. And also the new and redesigned canvas section here on Procreate five. We're also going to be looking at all options once you enter any illustration. All of the U. Y. That exists on the left side of procreate, which contains the action menu, the Adjustments Menu Selection menu and the move dual as well as the options and menu that exists on the right side, such as Deep Brush Library, this much duel D A Razor, which also connects with the brush library, the layers panel and finally, the colors. The Colors panel, which will include as in the Procreate five version, a lesson about color harmony we're also going to be doing on overview off the powerful new brush studio that exists in Procreate five as well as the also very, very powerful animation assist the new animation tool in procreate. So just one more thing that I wanted to mention is that there will be sections in this class throw this glass that you will see little moments that still are from procreate for, and I'll try to actually label the moments where you'll see content from four. And then on a further lesson, you'll see what has been changed on appropriate five. So you made the site for yourself to actually go through. Every single lesson, which is my recommendation is that you actually go through every single lesson taking notes , taking your time, doing all of the assignments to try to maximize the improvement of your skills while using procreate. But you may also decide to just skip those repetitive areas. For example, the new canvas creation on four is different from the canvas creation on five, but within the concepts on four, we go through all of the options. For example, editing and the leading are presets here, whereas on the video that we talk about the campus section on five, we go straight to the point on what's new and improved and updated on five. So what I'm trying to say is that I actually highly recommend you to go through all of the lessons and get all of the knowledge from four and five because on the appropriate, five lessons were really diving in what's new and improved from 4 to 5. So it's it's more of a targeted kind of lesson where you're really learning what has been changed on procreate five. So it's totally up to you if you want to skip those parts and go straight up to the appropriate five lesson, or if you want to take your time and learn all, or if you want to take your time and go through all of the videos, which I still recommend. 3. Procreate Overview: Sections and Tools: in this video, I want to give you a general idea on how procreate stores each section off the application . The 1st 1 is the campus action, and within that there is a few auctions you can select multiple illustrations and stacks. You can preview them, duplicate or even delete illustrations. You can import illustrations from your cloud. You can add photos from your photo library and then being able Teoh. Start new illustrations with that photo is your base layer, and you can also create new campuses and even store them for the future. Once inside any of your illustrations, there are two more sections on procreate. The left side has your preferences and also some helpers, such as drawing guides, the ability to add adjustments to your layers and also color correction. You have powerful selection tools for each layer off your illustration, with a few off the Southern options here, which will also go through in later videos. We also have the move tool and the ability to scale and tweak your layers. And on the right side of the menu, you have everything necessary for the creation off your illustration. You have the brushes library with the ability to save your favorite brushes into a separate set. You can use thes much duel. There's the eraser tool, which also follows thes same brush library. And then you have your layers panel in the Layers panel. You're able to do several things, including masking layers and changing blend boats. And finally, the color menu, which allows you to tweet collars based on many different ways and techniques, and also the ability to savor callers into your favorite pallets. Finally, on the right side off the menu, you have controls for your brush size and a passage E as well as the undo and redo buttons just about here at the bottom. This section is related to your preferences into right hand or left hand interface. In my case, because of left handed, I do use de right hand interface so that my drawing hand doesn't stay on top of these options. Finally, you're also able to reposition this menu right here. If you basically just drag with your pencil out and then you can move upwards or downwards 4. Canvas: Staying Organized: in this lesson. Let's take a look at all of the features from the canvas section and how we can stay organized and procreate. So as we can see, we got all of the thumbnails here on my canvas section and those air composed by two kinds of elements. The 1st 1 is the illustrations. Those are single illustration files there are just scattered around my canvas, the second group or the second type of item you confined. Here on the campus section are the stacks and stacks can be two or more illustrations put together into groups, that is so that you can organized by project client or even interest you may have. So first, let's take a look at the first option on the campus section, which is the select button. The very first option that we have our is deep stack option. It is so then that we can stack two or more illustrations together for these stack option. I'm just gonna first create quick example here, Studio pin, maximum size and maximum capacity. Just gonna name this one illustration. A gonna create new illustration. Name it be just so it's very clear invisible for you to understand the stacking process. We're gonna click back on, select and then you see that right away you have the circles which are checked once you click on the thumbnails. And although we have two or more option selected, you see that stack becomes available. As I was just saying, Stack only works when you have two or more illustrations selected. So now you can just click on stack and those two illustrations have bean stacked. You can then rename that stack by just clicking on the little name that is just underneath deep thumbnail. It's going to need this stack one. Now I want to show you a more dynamic in a different way off stacking illustrations together. For that, I first need Teoh on group thes two illustrations. I need to take a ticket out off the stack emote. So we're gonna go into the stack. We're gonna click on a select and leave it selected. Don't take the pan out of your canvas over onto the title stack You see flashes and you drop outside. Any of thes stacks can be here can be here, Come here. And he just repositions itself has single illustrations. Now the same process applies it again. If we want to stack them back together, I can just click and select. We go into hover mode. I go and I leave it on, be a flashes and is backed to being stacked. So that is a more dynamic approach in terms, off stacking illustrations together. Another thing that you could do is to stack two or more groups together. However they all become one group procreate at the moment doesn't really support sub stacking or a stack within stack. So for me to show how that works, I'm just gonna click and over the stack, and then I'm gonna go on to this other stack. And upon dropping the illustrations, as you can see, they've been broken apart. And now they are part off this same off this one stack right here. So, as I was just saying appropriate. Unfortunately, it's not able to do sub level stacking. I can't actually drag a inside be inside a stack. That is just something to be mindful off again. However, on stack multiple illustrations at the same time, I'm going to select a and B click and hover go hovering to the title and drag it back out onto the campus. So let's take a look at what other things we can do on the select menu. We also have the ability to preview our illustrations into 14 multiple illustrations. So if I click on this group here in a press preview, I am now going through all of the illustrations off that group. If I want to go out off this preview mode, I can just pinch out to go back into my stack. I'm going to do it again with another folder, so I'm gonna select this stack click preview. Once again, I'm going through all of the illustrations, and they fill up the area off the iPad so that you can show to clients, friends, family wherever you need to show your illustration. Studio. One thing to keep in mind is that once you're previewing your stack, some of the options such as pinching zoom they don't actually work with the current version off this procreate police. If you just tap once onto the canvas, you then see the U Y arrows, which allow you to go back and forth on that previous stack. However, now I want to show you the dynamic way of previewing your illustrations. We don't having to go into the illustrations with all the layers and the edit ability that you can procreate. So let's just say they were looking at your stack. And you just want to preview this pirate. You can use the pinching control and pinch in tow. Actually, expand that image now that you're here, you're not necessarily inside this illustration in terms of being able to add it, but you're able to zoom in and show different parts off that illustration. If you do want to go in and make any changes, just double tap the illustration, and now you are at it. And once again, just pressing gallery will take you back into the canvas section. Next up. One select. We can also share or illustrations, and they're far, many different file formats of sharing in different ways off sharing as well. Let's go through a few examples so I can show you the power off the sharing sub menu. You can share your illustrations as procreate files, and with that option, for example, you can choose to send to friends or other users by using I messaging or email applications such a slack. You can also send it to your cloud. So using, for example, your iCloud drive. You can actually create a backup off your illustration so that if anything happens, you're never gonna lose the illustration you've just created. You can also share your illustrations as Photoshopped files pdf C J. Paige's PNG's tiffs, and you can also make animated GIFs animated PNG's and even an MP four for the top. The 1st 5 Extensions Here, which goes from PSD two tiffs. These are all still images, so they're not enemy unimaginable in any way and four gift spin. Jeez, and and before these are the animated files it can create appropriate. And the premise off these animated animated files is actually quite simple. What it does, I'm just gonna go in into one of my illustrations. It assumes that every frame is a layer in your illustration. So, basically, as you can see here in my layers panel, I have lights. I have some shadows, some base layers. So if I were to go select, click on this illustration share into an animated GIF. The effect that you see right here this is basically just showing it's going through each layer at a time, and here you have the option off frames per second, which can be slower or faster. And so the more frames per second, the more the faster you will see your layers switching. You can also make your gifts as Web ready, which means that there will be probably lighter in terms of size and resolution. Or you can keep them at full resolution and original size. If you decide to share them as MP force, you have the same amount of controls. If you're sharing your illustrations as PNG's, for example, your then greeted with the top options, which are deep programs or avenues you want to share your illustration. You can be again an I message or message. You can send it as an email. You can save it to shared albums and sandy to other applications. You can save it to your Kim a rule or to your photos. You can copy print safety, your files in your iPad storage and a few other options now continuing with these select menu. The next option that we have available is the public eight option, and that is a really powerful tool, at least in my when I'm creating illustrations because it allows me to create a duplicate off whatever I have and create an old version. And that could be changes in design that could be changes in collar. And I don't have to necessarily modify anything with my previous version. Just be mindful that the title the titles are not out of renamed and procreate in terms that it doesn't really right. For example, copy or Ault version. So make sure to just click on the title off the new copy and rename to something that you will remember now. Once they go into this illustration, for example, I can click on the base layer, going to my adjustments menu, going to you, Paula balance and start to make some changes. So let's just say that I'm looking for a different color for this fear it wants. I'm happy with this. I'm just gonna go back into my gallery, and now I can compare both illustrations. I can't even now so that both and hit preview and go through each one of them and then finally decide which one is best for whatever I'm creating the last option on the select. Some menu is the elite, and that is when you want to the leave one or more illustrations. Auto canvas Just be mindful day. If you don't have any backups on your iCloud, you aren't leading these once and for all, So this basically covers de select menu. Now let's take a look at the import menu, which allows you to import your saved illustrations from appropriate saved onto your iCloud drive. It could be illustrations saved locally on your iPad and recently deleted only works if the deleted items are stored by your storage provider. So keep in mind that the iPad doesn't seem to really store items that are recently deleted by devote. Next, you can create illustrations based on a photo. So let's go here into my camera, roll and select one of my previous illustrations. Procreate, then grabs that illustration and sets up the canvas to the resolution off the original image. As you can see here, it is done at 2048 pixels by 2040 pixels, which is the resolution off that J pack. What I really find this stool, the powerful side of the stole in my opinion is to be able to make notes. You can make markups, so just change the color of this dog change. The color of this raincoat, and those notes can be for yourself. Or if you're working with the team off designers and or illustrators, then you can go back into gallery, and you can select that image and share it as a PNG file and send it over as an email on slack and many other applications. Finally, we have the plus I can right here, which allows you to create canvas. Is the canvas creation menu here on procreate? And the way that this many works is that it automatically saves your lest created chemise is even though you haven't named them or you just used them once is really saving them as recent, as well as providing you with a few pre created canvases. There are four K, for example, campuses, four by six inch photo. A four, which is a European for mint printing size. You have the iPad, screen size and even the clipboard, a few copy images you can maybe grab them for on the Internet, for example. On safari, you can hit copy and that goes into the clipboard and ask for clipboard. You can select images that you may find on safari, for example, and as hitting as you hit copy and you go back here onto the creation. You can just hit clipboard and procreate is actually creating an illustration with setting the canvases, and the base image is something you've copied from another application. Finally, there is an option at the very bottom, which is to create your own custom canvas. And that is a great tool, especially if you're doing multiple illustrations. Set up the same science. For example, if you're posting a lot of your illustrations to Instagram and you're making a lot of art that is done in a square based format, you can set your illustrations. You can sell your canvas to always start at 2048. By 2040 pixels, you can set the dots per inch 300. If you also think about printing your illustrations, you can set your color mode to S RGB or the P three white color, and finally, you can give it a name. So let's just call it ghost paper Instagram Square. Now, when I hit OK not only creates that new illustration on the new canvas for me, but also when they hit plus again to create a new canvas, I can see the ghost paper. Instagram Square is just created here at the bottom. I can also click and hold and reposition that created canvas to be the top option off my campus selection so that next time I would find it much easier. Finally, a quick note here about staying organized and procreate is that I find it really useful to work with stacks. So whenever you find that your canvas section is looking like there is a lot of illustrations separated and it could be marched into groups, make sure it's selector illustrations flicked back on stacks and keep things from size and clean. This can really help you out once you need to find a specific illustration within a project or a time frame 5. The New Canvas Section In Procreate 5: in this lesson. Let's take a look at the new canvas section here on procreate five. Upon first glance, a lot has not changed when it comes to the campus action here on procreate. So once again, although a lot of things here haven't really changed from procreate 4 to 5, the creation of canvases here on procreate has changed quite a bit. So first, the Holy Y is with a white kind of team color, and that really has a really great contrast from the campus action. So here on the new canvas action, you're able Teoh create canvases. There's a few presets that procreate always gives us, such as thes screen size of your iPad, a few print formats, and then it also kind of stores your your latest created canvases, as you can see a lot of the canvases that have created. I didn't really give it a name because I was just creating on the fly for a specific purpose. Maybe four specific illustration. But you can slide them to the left and you can hit at it, and I can give it a proper name. But just clicking on the name title here at the top I can change their properties. So, for example, here it can just sprite or say, ghost paper HD. And now I see that Is that 19? Actually, this is a HD vertical because it's an 10 80 by 1920. So I can just say that if I want to as well, vertical and now it can just leave it at 72 dp I because this is definitely for a screen that this is not really going for print and I'm gonna hit safe. And now ghost paper Vertical is here renamed properly. I could also slide this created canvas, and I can hit delete if I want to clear it out from a new chemise is and you can't a section. So now let's take a look at creating a new campus here on Procreate five and is this little I can hear this little folder Aiken with a plus sign and clicking on it. We go back into the custom canvas You Why? And this is a much better redesign version for the custom campus section, compared to procreate for its full screen, and it's got some new options as well. So first, you know, indeed, Dimension section. As I've mentioned before, you can rename the campus. You can also changed its width and height. There's also D D P I, which is now set to 72. And if you wanted to make something for print purposes, you can set this to 300 FBI or even 600 dp I for even mawr quality for C. And just keep your mind that the more that you increased the width and height off certain canvas, you will decrease the number off maximum layers. So again, No, really, this doesn't really change for the dp I. But the bigger thes numbers are here. The bigger your canvas is in procreate. Ah, generally for because of memory purposes, you will decrease the number off maximum layers. It's basically a ram limitation for the iPad. The next we have the color profile, which will be looking in the next lesson. Then moving on. We have tea time lapse settings. Right now, I have my time. Let's settings to 10. 80 p, which stands for in 1920 but 10 80. I can set it to two gay. If I want a little bit more resolution and I can't even set to four K time lapse, which is really detailed. You can definitely import this to an editing software, and you can punch in on areas. If you say if you actually done an illustration. For some reason, you didn't really zoom much into the illustration to do a lot of detail work by recording and four K, you'll be able to zoom in digitally once you are in some kind of an editing process and you want to show you want to play back that video. So just keep in mind that that also will probably take a little bit more space on your iPad if you're storing your time lapse in four K, compared Thio 1920 by 10 80 and last. We also have low quality, good quality studio quality and even lossless, which is un compressed. These will all probably add on to your file size as well. For now, I do leave it at good quality. I'm not really looking to show Ah, and some sort of a making off our process show like the best best quality because I usually put the final result first as it's still which is something that you can export once your illustration is done. It's got nothing to do with the time lapse settings, but showing the process can always be a little bit more forgiving. That's what I'm trying to say here, but it really depends on what you're going for if you are. Actually, if you do want to show more quality, definitely go for higher resolution and definitely set the at least two studio quality. But just keep in mind that sometimes making off and behind the scenes can be a little bit more forgiving. And finally, at the bottom, there's the H E V C check mark here, and basically this is a new video compression, a method which is It's basically the age to 65 If you're familiar with H 264 which is the famous MP four kind of video compression method, apparently D H 265 is a new and improved compression method for videos, which keeps at the same quality for basically half nearly twice as efficient as its predecessor. So half of the file size, but also just keep in mind here that this format, the H 265 may not be as friendly compatible as the H 264 which is really widely compatible with many players Windows Media Player's and Mac players. A quick time and, uh, I haven't really tested this one yet, but I will definitely give it a go. And I'll see if this is compatible with Windows Media Player, for example. And finally we have the canvas properties, which basically you can choose to have a background color right from the get go. You don't have to start with a white background just to give you an example. Ah, lot of illustrators for realistic kind of paintings. They do like to start with gray because that does help. You know when you're choosing colors, if you start with a really bright background but bright white background, Usually we tend to go for more saturated colors, whereas if you start with a medium grey, it does help to balance colors and finally gonna also choose. Do you have no background just to have a hidden background when you start a new appropriate file, and now what you're seeing here, probably the camera. It's not able to capture it, but it's just a very faint grid over the canvas. 6. CMYK Support In Procreate 5: Now, let's just take a quick look here at the differences off RGB and seem like a which has just been added to procreate. Five. So now you're able to also create files that will be print ready files straight up from procreate, which is a great additions, a great feature to have. So, in order to create the same weight gay or RGB file that is actually also set in the new canvas section where, when you're creating a new canvas, so we're gonna go back into the custom canvas section right here, looking at you, why we're going to click on color profile. And this is where you can set your newest file your new canvas. Here, you can set it to RGB or seem way Kate. So let's first talk about are to be so First. Let's the fine RGB and also the fine seem like a So are you be as a color. Space is an additive color model in which red, green and blue are colors. Edit as light, and they are added together in various ways to reproduce abroad. A rate off colors. The name of this color model comes from the initials off these three colors is three primary colors red, green and blue. Now the same white que color space or seem like a color model, is a subtracted color model based on the C M Y color model used in color printing and is a color printing. It's part of color printing process. It's also used to describe the printing process itself seem work. A refers to the Four Inc plates used in some color printing, which are the science color magenta, yellow and black, The main difference that you can certainly see by looking just that designs with the RGB color space and the seem like a color space. It's a bit of ah difference in brightness and in saturation, and that is because RGB is an additive color mode where the colors come from the lumens kind of emitted from the screen. So it's it's additional color space where it's using some additive mood to display callers where a same way case trying its best to represent in a digital way what colors will look once they are transferred into ink. So I think that the best way that I can describe the difference between C RGB and see what gay is with this picture here on the screen which just shows the range off colors that difference off range of color between RGB and see my K. So back here on procreate. If you are creating on RGB color space file, I would recommend you actually used the P three color color space. And that is because the P three color model has even a bit more range than the S RGB color space. And you can also see here with a picture that is on the screen right now. B three is a technology that's widely used on apple displays. So the iPad has that the iPhone has that not a lot of the computer monitors actually support the three. But you don't really have to worry that bunch. Just make sure that that will be a little bit of color compression. So maybe your greens one bs vivid, because the P three color workspace works really well with ah, with a green range. But within that difference is not gonna be as visible as going from, aren't you? Be to seem like a so if you can leave it at p three or if you just wanna work with a more standard color space for it to be, You should definitely go with the S RGB. And you will know that your colors will look as good us as on Apple IOS devices, as on many monitors there that you can see that only support are to be and not the P three color workspace. Now, when it comes to seem like a I would there is a few presets here. I would definitely use d generic seemed like a color profile. And now if you just want to make a seem like a caller workspace file, you just hit, OK, And now you are actually working with e seem like a collars. So now I just want to open the color wheel here so that you can take a look and see the differences between a seem like a color workspace in an RGB call award space file. As you can definitely see, the colors here in the color wheel are much more muted in terms of brightness and saturation. And that is the main difference. Visually between seem like a file in an RGB file. What, you're looking at them on a computer or on the tablet, such as the iPad. So once you were working on your illustration and you're working on an illustration for a print purpose, just make sure to refer back, compare and talk to your print shop in order to achieve the best results. Leslie, if you are unsure here if your file you're working file is an RGB p three or seem like a, all we have to do is just go into the actions menu, go into campus and then go into canvas information. And then when you click on caller profile here, you definitely see this file has been set up with the generic seem like a color profile. 7. Getting Started With Brushes: no For this lesson, let's take a look at the brushes Semenya human pro grade, and I'll show you how to actually select brushes, how to tweak brushes and how to export and even import brushes into procreate. So the brushes Semenya is located on the right side of the UAE of pro grade and is this first icon right here with a brush and the way that is divided. We have the brush library divided into each theme. So, for example, sketching, thinking, calligraphy, painting brushes and then here on the right side we have the brushes themselves that are contained within each section. So, for example, let's go into sketching, and I can choose any of these brushes and start sketching them on my canvas and just notice how procreate really respects angle and also pressure and a pass ITI and these are options there are contained within each brush so we can tweet. Those options actually Keeter them to exactly the need that we have so first going back here into the themes and brushes themselves. As I was just saying, we can choose any of thes themes and then choose the brushes themselves. I'm going to choose, for example, B flat brush. And one thing that won't show you is that it can slide this brush right here, and it can make a duplicate of that brush in case of wanted change, or make any tweaks to an existing version procreate. But I don't want to. I don't want to actually change the original brush, which is actually a smart thing to do. You can also click and select these brushes and drop into any off the other categories in in a way to actually organize these brushes appropriate. For example, I have now just duplicated this brush that I've made from the painting section and if put in into my own personal library, off brushes. And now that I have this one, I can click on the brush and make any changes, and that's not gonna change the original brush Satti. So another thing that I can do is again drag this to the left and I can click on share. And now let's export this brush. I'm going to export to my Dropbox, and now it's gonna take me to my Dropbox, and I'm just going to select my sub folder. Appropriate brushes. I'm going, Teoh, choose. And now save that brush. So, um, back into appropriate Now I can bring the menu and it can bring on files. And although we're here on files, I'm gonna go into brushes so little that I have my file here on my dropbox. I'm just gonna click and select this brush, and it can drop it into my brush library into the section that have created for my own brush is gonna have one more copy off the flat brush one. So I'm just gonna slide to the left and click delete as this is actually now multiple copies of that same brush. I'm just gonna go here and close my files. Let's continue with this tutorial. Another thing that we can do here is that it can click on the flat brush and I can draw on this little preview window so I can see what's actually happening here with that specific brush. So I'm not gonna go super deep into Theo The multiple options that we have here because that will require an actual whole tutorial for the advanced burst techniques. But I will definitely show you a couple things here which are the most important things that you could tweak on the brush. So the very first thing that we can do is that we can increase the spacing, spacing. And as you can see, it kind of breaks the brush experience. So every brush has. It's like almost like it's perfect settings for it to be as convincing as possible. In the case of this flat brush, actually, having last spacing is better. It's more convincing, then, having just this really like, lose kind of spacing things that they now look like. Thatcher's, they actually know, look kind of like bricks. But if I go back into deeper settings, bring the spacing really tight. Now I have more of a brush. Continue stroke so we can also increase the streamline. And for that, I'm actually gonna go into my studio pan. And that's one of the best ways to show what streamline actually does. So right here I don't have any spacing because, as you can see again bringing up the spacing, they makes this into like, a dotted line, so I'm just gonna bring it back to zero. But I'm going to leave streamline at 30% for now. What's green line is going to do for us. I'm just gonna increase the size here. It's going to correct any sort of do Turness that we can have on the line. So if I bring this to all the way to 100% to Max as a making a circle, you see that it's the line is actually correcting itself. And if I make a curvy line, you see that again. It's trying to correct itself to the maximum amount that can do in order to give me a very smooth line. So if I bring this now to 0% and if I start drawing, you see that is picking up any imperfections that I do on my stroke. So sometimes you know, artists like to use this streamline, I would say about halfway through, so that it corrects some of the imperfections. But you still have some control off what you actually want to do with your stroke, or you can leave it around 30% for example. So it only does about 1/3 of its corrections or you could just leave it at zero. And in case that you really want to have a line perfect as you're really drawing that line . So what other options do we have here? We have gender and gender is going to, you know, make the source off your brush Kind of like offset its position so that you have something that looks more like this like, uh, like a cloudy brush. And we also have the fall off and follow really is just like a capacity that dies off Aziz . You as you paint it's almost like a see if you had rial Inc with a brush and you start with , like, lots of ink in your brush and he keeps dying down as you paint or draw. So if I bring this to zero, you really see this effect off fade? This could be really cool if you're drawing some reflection, for example, into an ocean. If you're just throwing the white reflection lines on top of the notion layer and things like that, or like a people are shooting stars in the sky. So let's bring fall off down. And what other options do we have here? We have some tapering options here. Procreate. So now Teoh, try to show you what they do. I'm actually going to show you that you know you have t t bring amounts. It is C year. They can be linked or not. And you also have these size that you want to you for your tapering. And I'm with the bottom. We have pressure. So you see that it increases the tapering because it also adds the pressure that I was putting on with my pen. See, like, really, really nice effect here. It's really tapered at the very beginning and finally you have tip which can be blunt or very sharp. Other options that I would say they're very important for your brush. Are these options here on the shapes of menu and those air the shape filtering options. So if you have this option set to none, you're probably gonna get something that looks at a very a liest. So it's not really a smooth kind of outline on the edges, and you can also do the classic option. But I would actually encourage you to use the improved if you actually want something that looks a little bit more anti alias to for your outline. So that's probably gonna look like less crispy, but it's gonna give you that better look for your outlines? No. For the rest of these options, such a screen dynamics pencil. I encourage you to actually go back into the layers panel and try some of the text during options or the abstract or less. You see some of these, like calligraphy options such as deep watching and try some of these options here because you're really going to see, you know, changes to the grain. That's just like scale zoom and even some rotation that you can see here on your catcher as well as some of the dynamics glazed. For example, As you paint, I'm just gonna choose, like a white color right here. As you keep doing these brushes over and over and over, you see that they're actually getting stronger and stronger. I'm actually gonna undo this and just make it into a new layer. And I'm actually going to choose a brightest color that I could get. And now if I think this again, you see that it's adding over and over and over. I can even try to bring down the opacity and you see that glazed as a paint. I actually get that caller just over and over and over it, like in terms of capacity. You know, if I changed the normal, for example, as soon as I paint, I already have it set to 100% capacity. So glaze is a really cool option. If you actually want to start to you, bring in that brush. But you don't want to really start with the 100% opacity like full on off that brush. And finally you have wet mixed, which will look like more what you would have with, let's say, for example, ah, watercolor setting with a riel brush. So that's why I really encourage you to actually go through all of these options and test him out and try to find the best settings for your brushes for your own art stuff. And finally, if you want to create a new brush set, you just have to go back to first Library and do a little scroll down here on your brush library list, and you see this blessed sign upon clicking on the plus sign. You have, uh, the option to create and you set, and I'm just gonna call a new set, and there you go you have a new blank kind of container where you can save your own brushes , duplicate the brushes and kind of keep it, keep it as organized as possible. Maybe this is your favorite where you know you contest off the brushes that procreate has, and you can save your favorites to this top set so that they have quick access whenever you're creating your own illustrations. And finally we can click on sets and we can rename them. You can share a set with your own brushes again through multiple channels such as dropbox, for example, or we can also click on sets and delete them, so this is a really nice way to keep your brushes as organized as possible. 8. The New Brush Studio: An Overview: in this lesson, I'm going to give you an overview off the new brush studio in Procreate Five. So basically, we're gonna going to cover all of the most important features and options on the birth studio, and we're also going to create our custom brush here. In this lesson. If you follow all of the's stops, we're going to create this really cool and colorful brush. But we're not necessarily going to go on to every single detail off the breast studio because that will mean a very, very long video lesson and probably something that will be quite hard to digest in one single video lesson. So let's just go through an overview and create our custom brush together in this video lesson. So the very first thing that we need to do is going to the actions. Manu, just before we even go into the the new brush studio, we're gonna go into preferences and we're going to click on edit Pressure curve and just make sure that your pressure curve looks like this. So if it doesn't all have to do, just hit reset right here and your pressure curve will look like this line right here. And that's just important because that really affect the way that the custom brush looks on this video, that what I'm about to create with you will be affected by your pressure curve. If you have anything differently, my actually yield some different results. So now, in order for us to go into the brush studio, we have to go into the brush library panel. And then we see this little plus year, and that's how we get into deeper studio, where there's actually two ways. This is when we create a new brush. I'm just gonna hit, cancel or we can also add it. Any current brush the procreate has in any off deep at tabs here, sketching, thinking we can go into artistic, for example, this one called Wild Light. I could just click on it, and I'm able Teoh change any off the Saudis over here. But we're not gonna going to do that necessarily. We're actually going to great our custom brush, so I'm just going to hit the plus sign, and this is the new Burst Studio four Procreate five and it's really, really cool how they've made this full screen, and it's now divided into two sections. Ah, in the left on on right side. There are two different things. So basically on the left side we have all of the sliders and things that we can tweak on our brush. And then on the right side we have a live preview off whatever options were choosing here on the left. So it's really cool, intuitive and real time and those air great things that are now happening on procreate five cousin procreate, for we really only had on the same brush library panel. We had the brush editing capabilities and that was really small. And, you know, this is much better use of space and it's a really dedicated for customizing brushes. So now that we know that, you know, left side, we change features Right side. We have our preview. Let's just go a little bit here on the right side for so I can show what are the options here? So, basically, on the right side, we can draw strokes because this is almost like the testing stage here on the right, so you can draw any sorts of strokes. And if this gets a little bit too busy, you can always go click on a drawing pad and select clear drawing pat. You can also click the drawing pad and change the callers from the brush that you're actually creating again Select Blue, for example, and continue to test out. But for this lesson, we're just going to select White, and I'm going to select clear drawing pad. I'm just going to do that same kind of similar shape as when we started deeper studio. And once we enter with the new brush here on the burst to your own procreate five, this is D. Look for this is the default brush that procreate gives us. It's just simple circle shape source with no grain source and a few of these options this probably no tapering and so on so forth. So we're gonna go through all of these options one by one, and I can explain what these actually do. But in a nutshell, the one thing that I really want to see about how does brushes actually working procreate is actually quite simple, so I hope you can understand holiday actually work. It is basically a combination off a shape, so selecting a shape source in this case we have a circle with a grain source in the Grain Act acts as a mask, so it will actually create some imperfections to your brush if you choose anything differently than this full own white once again, White reveals things, and black obscures things in your brush. So to give you an example, I'm just going to hit at it. I'm going to import a different brain source, and you have three options. Here. You can import your own photos, so that means that if you take any photos and you can, you can also treat them in other programs. For example, you can treat them first here on procreate, even and crushed them. Make the black and white, and then you can import them as photos. You can import files and you can choose from the source library that comes with procreate. And when I was saying when I was mentioning about treating your photos, making them black and white and really crushed in terms off levels, in contrast, I mean, if you look at the library from procreate, all of the green sources and the shape sources are all black and white, with some really a nice contrast, and that's that's what Probably that's what he does to yield the best results. So back at what I wanted to show you, for example, if we went with a fine hair as the grain source and then I'm just gonna click done now we see that our brush has completely changed from a full on stroke, like a full on a pat iPhone opaque stroke to something that almost looks like painting the universe or painting some star field. And that is because our shape, which is a full on circle, is being affected by a grain source, which is a masking feature. And that is the recipe off a brush in procreate. So once again, a brush and procreate is composed off a shape source that takes some masking from a green source, plus a few other options, such as tapering some a passively random ization, some random ization off the positioning off the shapes and other things. So I really just wanted to show you here as simple as possible. What is the recipe of a shape? What is the recipe off a brush? Excuse me on procreate, So Ah, we're just going to go back. I'm going to go into the ring editor source library, and I'm going to go back into the full white because for the purposes off this video, I just want to go back to all the way to the top and go a stage by stage and creator custom brush. So we're going to start on the stroke path in the first set of options that we have your spacing, streamline, jitter and follow spacing. If I increase basing, I start to reveal that magic you know, the behind the magic that was talking about what is a brush on appropriate? Basically, the shape the shape source, which is a circle, starts to be revealed on every stroke because we are actually increasing the spacing. So the last basing that we have, the shapes, the circles air getting so close together that it looks like a perfect stroke. So maybe if this is your intended result, if you wanted to create a brush that almost looked like billboard lights or a billboard billboard marquee lights, you could just create this one. But for the purposes off our brush, we're going to leave it at around 16%. So a very nice, opaque stroke. Then we have streamlined and streamline all of that. It does. If you look close of the year, the curves, they're all getting compressed. But what it is is that streamline really helps you. I'm just gonna clear the drawing pad really helps you when drawing your curves so that they are as perfect as possible. So if we reduce streamline 20 and once again just cleared the drawing pad, he picks up any movements from my hand gestures that is d streamline at zero. But if I once again just put this at 100% you just see that it eliminates most off the jittering it the jittery motion, all of the you know it tries to optimize. It basically tries to optimize your stroke to be as moved as possible. So for our brush, we're going to leave it at about 30%. We confined the number by slight by, you know, just finding this number here, but choosing on the slider. Or we can also just tap on the number here and we can just happen the numbers 30% and click away. So if I want a 60% I just tapped on the number 60. But we're going to go with 34 now and then jitter. It's basically some random ization off the shape position. So as you can see with jitter and none, all of the shapes are following the path from my drawing stroke. So again, I'm just gonna make that default kind of shape. But if I add some jitter, the shapes are expanding, and that really creates some really nice trails. So maybe this is like a little glitter trail they're creating on some sort of element. Maybe it's like, for example, a butterfly flying, and you're just making some little glitter that's falling the path of the butterfly. So for now, we're going to leave jitter at zero, and finally fall off is an in fact, is an effect off, almost like running out off. Think so in riel in the real world. And if you were to actually use a paintbrush and get some paint and start painting the canvas, just going to increase the fall of here, you will probably get on effect like this because basically you're pink brush. Once you start painting on, the campus starts running out of ink. If you're painting, for example, with, um, very low amounts of oil paint, for example, eso This may be in effect that you want if once again, you're creating an oil brush on oil painting brush. So for now, we're just gonna leave, fall off at none. And once again, I'm gonna clear drawing pad and create our default stroke here. So moving on taper is a very important feature as well, because you can actually add a little bit of tapering to both the beginning and end of your stroke and those air really great. If you're making calligraphy brushes, if you're making more, you know, brushes where you really want to show the new ones off pen pressure. If you want to show those little details, it's really cool to use the pressure taper. There are two types of tapering on the birth studio. These are pressure taper to your apple pencil and then you have a different setting for touch taper, which is drawing with your finger. So let me show you how this works. We can, you know, choose different types of tapering to the beginning and at the end of your stroke, or we can just hit this option here. Any links, the tip sizes. So if I choose just this little amount here at the beginning of the Taper, that's what happens at the end. And if I put it all the way to the max, he copies whatever we're moving. So whatever is lighter, removing it's mirrored. So we're just going to leave it like that and size. Now we're going to increase, and that's when you start seeing the difference in tapering. I can add some a pass iti to our taper. You can play with the pressure. And finally, what does the tip looks like. So was a very sharp, sharp tip. And you see, um, you know, just a like a cone shape or with a blunt kind of tip where you don't really see a lot of difference. And finally, tip animation really relates to you how you start every stroke or you can just turn that off. So it's just going to be the same result every single time. So one thing that I really want to show you is I'm actually going to turn off tapering. We're not gonna be using tapering for this custom breast we're creating. But I'm gonna leave this at, um, zero here, but for the touch paper, I'm actually going to leave this on increase sizing capacity. We don't really need to touch. And I'm gonna choose classic classic taper. So now if I draw my shape with my apple pencil, you see that we still have this very nice kind of a solid line. But now, if I use my finger, I now have the ability of tapering with my finger, and that is the option that it was just talking about. We have a separate option for painting with your finger and painting with their apple pencil. This may come in handy if once again, you're creating some sort of a different brush and you wanna great two different effects when creating an illustration. Say, for example, it's oil paint self a forest, and you wanna just also be able to create some finer details. Either with your apple pencil or finger. You can have two different types of tapering with the brush studio. Once again, let's clears a drawing pad and creator default shape. So now, going into shape. It's something that we kind of talked about at the beginning of this video on what the actual recipe or the magic behind brushes and procreate, but just to give you on example, we at the same how we can also change the grain source. We can also change the shape source so we can just click on add it, and import is about the same types of options for the grain source. So here, for shape source, you can import photos. You can take photos up different shapes that you actually want to use. Another good example. You can buy some markers, some paint markers. You can buy paints, and you can take photos off those paints. Treat them to become very black and white and also crush the contrast. And then you're able to actually import these foot thes photos and create your own brushes . But for the purposes off this video lesson, we're just going to use the brush out this source library. So I'm going to click on the Source library, and these are already great examples here. That procreate gives us from the shape brush library, and I'm going to use. I'm just going to scroll the way up and let's just go for nowt with the flat marker. So I'm going to hit, done. And as you can see, our shape changes to this more of a wispy kind of effect because this is what the shape looks like. So now, as options we have scattered and scatter really changes, the rotation randomize is the rotation off each shape. We have more controls off the rotation, off the shapes with the scattered. We also have count and count is how many passes. It's almost like how many quotes Off Inc with every stroke. So if we have run out four, there are four times the shape goes around four times with every stroke, and that just becomes a more of on no Paige kind of line. And if I just keep it at one, is just one pass. And finally, Count Utor is just a random ization off the council half, if we have seven right now with a counter, 60% is trying to make some variations, but unfortunately think this brush is just very rich. So the county it is not really showing that much for the purposes. Off this last, we're gonna leave it a 10 come Jeter and Finally, there are some options for the rent immunization off shape here at the bottom as well. Weaken definitely have randomized. And that is not a bad option to have, because that actually gives a bit more of a convincing effect. If you're shapes are a little bit more scattered with the randomizer. And finally these air a few off the flipping options you can flip on the X, you can flip. Why, and there's even the azimuth as well. Then finally, here the bottom. You can have a shape that is a full circle or just like Photoshopped, you can have from a shape that is this a circle or this. Now this little more complex shape here, you can almost like squish, squish this shape and in fact, I'm actually going to go into edit Import source library. We're going to go back to our hard shape because I just want to be able to show you what this does. So it's actually and I'm going to actually. Sorry. Just get rid off scatter. So, as you can see as a squish, the shape source, it creates almost this like calligraphy marker kind of effect where if you were to draw with a flat marker, you would get thes like flat areas, and then the turning points will be a little bit more thin. And that is the effect that actually happens. If you're using a flat marker on paper. For now, we're just gonna leave. Is this as a full circle? And finally, there's pressure around this and tilt around this at the very bottom here. These are rendering kind of effects you can have to the shape filter, so the bottom one called improved filtering is a new filtering technique that is on procreate five. And that is all about the anti A leasing off the edges off your stroke if you're doing something realistic. If you're doing something for print, or if you want to just add some high quality to your artwork, make sure to keep it on. Improved filtering glasses fit. Classic filtering is something that comes from from previous versions appropriate, and that is only if you are actually, you know, have been using appropriate for quite a while. Your brushes are being imported from previous versions of procreate, maybe wanna have that option then selected, and finally, no filtering just removes any kind of anti alias ing, and that is only good. If you're saying, for example, say you're making a brush for pixel art and you really need to see every every pixel really opaque. And you really need to see off the pixels who definitely don't wanna have any anti alias sing apply to the strokes. So then you would use no filtering. For now, we're just gonna leave it at improved filtering, moving on to the grain source something that we also kind of talked about in this video. Green sources the masking off her brush. So just for the purposes off explaining the section a little bit were going to go into a source library again. And we're going to choose, for example, um, square dots. And then I'm gonna hit, done. And now our shape has changed with the masking. So it still is when we look at the result, it does look totally different, but it still is made out of circles. It's just that the grain is affecting the visibility of the stroke and is making a look like once again, a bit of a star field. But one thing that a real on the show is like, You can definitely see some lines, some black lines running through our strokes. And that is the, um is the tiling off her grain sources, Actually, not very good at the moment. So if you ever come across something like this, you just have to go into at it. And you can use this option on the grain source called out a repeat. And that is something that procreate has added in order to try to help you when creating a more of a convincing effect with your green so you can choose, for example, the grain scale. So we're just gonna raise this a little bit? You have some overlap with the border. So at the moment, I think leaving a max creases really blurred the fact that we're just gonna lower lower this to about 32. You can also rotate your grain. Sometimes that really helps. In this case here, I think leaving as your the grease actually helping the most and then the mask hardness is something that also with a very grainy kind of, you know, a fine grain. You would see this a little bit better, but anything here, um You know, we just have to play around with the sliders and try to achieve the best effects. So I'm probably going to turn off pyramid blending A Z can see. It's also helping to remove some of the blurred dots that we see here. And I think grain skill. I'm just gonna play with this a little bit more, and I think I'm going to leave somewhere around here. I just wanna make sure this is good. So, yeah, just gonna leave that somewhere around here and I'm gonna click done and not procreate is actually creating the texture. And as you can see, the result is already much, much better. Finally, you can play with the scale, so maybe you want to lower the scale just a little bit, and we'll have this really nice kind of ah star field. And you could also have mawr scale if you play with the zoom factor. But we're just gonna leave it at follow size. Then you have a bit of a rotation to your grain and depth, so that basically brings it back to almost like 100% opaque. We're just going to leave it on Max and you have to values for depth, the minimum, and did that. Geter. Then you go also offset the Jeter. You can play with blend modes in your jitter effect, play with brightness contrast. And finally, as the shape has the filtering, the grain also has filtering, which can be improved as very nice. Anti a leasing, applying to it, classic filtering coming from previous versions of appropriate and no filtering once again , really good for only when you have things that look more like pixel art. Then there's a whole tap dedicated for rendering. These are several options in several rendering modes for the brush itself. I think you know here you can definitely play around with all of the's effects here and see which one looks best for your brush. For the purposes of this video work, going to use intense glaze and then you have some options here at the bottom for blending. You can just, you know, it's almost like a capacity once again, these air great. If you're doing something like water watercolor brushes because you have flow what edges and burned edges, two things to features that we definitely see on watercolor brushes as well as some of the blend modes for the burnt edges and the blend modes, and you still have luminous blending. So this section here is really dedicated for watercolor as well as the next section section , which is the wet mix. You have the evolution charge, attack, pull, grade and wetness. Jeter, if I play with these values, is not gonna make a huge difference here. Once again, if I was making this on hold tutorial but watercolor brushes, you would have to be dedicated for that. We're just making a very cool, colorful brush here. And so the section that we're really going to focus on is color dynamics. So let me show you what color dynamics actually does. So the first section about stamp college ITER actually colors every single circle that we have on our brush. So if I raised the hue, you don't really see any changes. And that is because the hue here is dependable on the settings off piece off the slider shirt at the bottom. So for us to have variation in hue with no saturation, nothing happens because we're still hanging on no color. So we definitely need to raise saturation and Now you see that every single dot here has a bit of a different color and they don't have a few more options here, such as darkness, lightness and using these secondary collar on your color palette. Teoh bring more colors into this brush, so I believe that I have probably black. So that's why second, their collars not really adding too much at this point for the purposes on for brush. We're actually not going to use stem college ITER. We're just gonna leave it at zero. Ah, and we're actually going to use stroke, collar deter and color pressure. So stroke color deter. We're going to leave it at 88. Then saturation put it all the way to the max and some lightness darkness Probably not in some secondary color. And now, finally, four color pressure were definitely gonna raise this once again and saturation quite a bit as well. So what is actually going to do is going to create a stroke that as we keep drawing, he keeps changing color, changing the hue, and that's something really, really cool. So for us to act up for me to be able to show you what it does best. I actually have to go back into a grain and we're going to go back into the green editor. I'm going to import from source library and just go back into a blank grain for this one now hitting. Okay, you. Now you see how cool the brush looks like. It looks this really nice neon kind of brush collar. And as I was just saying, as we keep drawing, he keeps changing colors. So it goes through a lot of the hues of colors. And if we go back into color dynamics and just crank the hue to the max as well as the color pressure now he really goes into all of the Hughes in the appropriate color wheel. And every time you draw a stroke starts with a different color. It's something super super cool. It's gonna clear drawing pad and draw our brush once again. So finally we have size. And that really creates a nice effect in terms off tapering. You may actually want to use a little bit of ah size based on the speed that you're drawing strokes as well. Osama, pass it e. You can add this really nice effect almost like I wispy kind of new online. Just gonna leave it a zero, and I'm gonna zero sizes Well for No. And finally add some jitter as well to the shape source as well as some capacity. Geter. So, um, then finally, we have some pressure options, thes air, some apple pencil options. We have some pressure right here. Some capacity. We have the flow off your brush. So this actually effects the beginning of two stroke and the end of the stroke. Just gonna leave it a zero. Then we have the bleed smoothie, the response. And finally, the tilt, Which is like the angle from where you started drawing this brush to see the lines actually moving a little bit. And that is the tilt based on the position of your the tip of your apple pencil onto the canvas. Finally, we have capacity, gradation, lead, and a little bit of a size size, actually, really nice, but ah, where we're actually really gonna talk about. Size is on the next pain, which is right here on the brush behavior. So on brush behavior. This is something that's really, really important. So when we see here, maximum size at 100% and minimum size zero. So these options were here are related to the size of the brush that we see right here on the Y. So when we actually tweak this from from 1% to 100% is using the numbers that we sat in the brush which are now sat from 100 to 0. It's it uses the range that we sat in the brush to you. So the best example that I can give you is if you look here, I think it was drawing at about 90% of the birth size here. If I just keep it a 94 No, somewhere around it. And now we're gonna go into a brush studio once again. At it are brush and out for maximum size. If I put 500 and then minimum size, I could just put 50 not for hit done. And I not gonna change the size of her breasts year, But I'm just gonna drawing you stroke. Just look at the difference between the size of this stroke compared toa our previous stroke. This is many, many times bigger, and we haven't really changed the size of the stroke, The brush. We haven't really changed here on the main ey, so basically, because we change those numbers toe 500 for maximum. When we put here at 100% size, we actually have a brush at 500% size. When we use this, when we put this to 1% size, we actually are using her brush to 50% on deeper studio because these these are the values that we set right here. So I'm just gonna leave this at 100. And this 20 last thing is that, of course, your minimum size can ever be bigger than your maximum size. Progress are not even going to allow that. And finally, once we go into about this brush, we can just click on the name here and can call this neon brush. And you can even upload a picture and you can sign this brush. And Leslie, you can create a new reset point. So basically, if you created create this brush, you can save a reset point. So, in order, In any case, if you change by mistake, if you change, and if the settings and if you need to roll back. You can just click here and it rolls back to your reset point. So now we're gonna hit, Done. And now I'm just gonna keep this probably Ah, something smaller. So we can really test it out, making you layer. And here's our created brush looks super, super cool like a super colorful kind of stroke. So I believe this is the end of this lesson. And I just want to show you that with this brush here have actually created a whole set off brushes which I've used to create the illustrations that you see on the screen right now. So this is definitely a super super cool brush. And I had a lot of fun playing with this set of brushes. 9. How To Import Photoshop Brushes In Procreat 5: so procreate five now allows us to import Photoshopped brushes into procreate. So in this lesson here, I just want to show you a quick way to import. And the best way that I believe it is to import. Photoshopped rushes in to procreate. So if you're familiar with importing procreate brushes into this application, you probably know there are several ways to import these brushes. One of the most common ways is to actually go into deep brush, a section, the burst library. And then we have the little plus I can hear on the top right section. By clicking on this icon, we arrive at the brush studio and then we have the button import. Once we click on import, you can import your brushes from several locations. I'm just gonna go back here so I can show you. We can import brushes from your iCloud drive from a location on your iPad and from Dropbox for the purposes off this lesson, I'm just going to show you how to import from your Dropbox. So let me just go back to the folder that I had here. And this is a brush that I created myself and as you can see once you're here in the screen , you see that the thumbnails fully illuminated, meaning that we can import this brush. So if I just tap on it procreate, imports this brush and puts it in always places at the top. Most location off your brush library list. Now, let me show you what happens when we try to import a photo shop brush with the same method . If I go here on two D plus sign and then click on import. And now I just have to go to the location where I've placed a photo shop brush. You can see that the thumbnail is actually great out. Meaning I cannot import this photo shop rush this way. So what is the best math that when importing Photoshopped rushes into procreate? Well, that's what I'm going to show you right now. I'm just gonna rest my Bensel here onto the table, and I want to show you that if you are tap and then you just slide the iPad. Alas, bar. I'm just gonna please click on Dropbox and place it on the right side of the screen right here. And I'm going to give it about 1/3 of the screen size. Now you can see that the photo shop brush on the same folder that I had on the import section is just sitting right here on the right side. And I'm going to click on the three dots on this file. And now we're going to tap on export now, tapping on export. I have a list off APS that I can send this file to, and there's this option copy to Procreate. So I'm just gonna select this option. And as you can see, we saw the import being done here on procreate. And now if I go into the brush library, I have my new brush right here. So now this is the brush from photo shop imported into procreate. So in conclusion, just remember that when importing Photoshopped rushes into procreate. Instead of going through the method off importing through the brush studio, remember to open a parallel application on the right side here off your ipad os, and then just export the file into procreate. That being your dropbox app or your your files on your iPad, remember to go through this route because the breasted away not doesn't really seem to work when importing Photoshopped brushes 10. Quick Shape: Your Best Friend: So now that we've talked a little bit about brushes, let's talk about quick shape, your best friend. When it comes to drawing straight lines and shapes as we've seen them procreate, you can really go about drawing on the canvass. All sorts of strokes into very, very natural lines, however, say that you actually want to draw a straight line or even draw shape such a circle square or a triangle. You could go onto the tools at turn on drawing guide and trying to use the drawing guides to try to achieve a straight line as straight as possible. But that still isn't a very, very street lying like a vector line. So appropriate, even though, is an application, a pixel based application. It allows us to draw very straight lines and shapes, so to get that going on we have to do is to draw your line. And then, once you're at the end of the line, keep holding the tip of your pan onto the canvas and procreate snaps that stroke into a straight line that you're able then to reposition anywhere you want on your canvas. And if you hold one finger onto the canvas, you, then turn on the ability to draw that line or to reposition the line at 15 degrees angle. Then another thing you can do once you let go off the tip of your pan onto the campus is that you see an option here, the very talk that says at it shape. Unless you click on it, you now see to better controls, which allow you to further at it. That line, and you can click on the busier, is to reposition that line. Or you can click anywhere on the screen that it's not on top of the line, and you can rip position that line around the campus as well. So once again, you can move the busy er's, or you can click outside and reposition the line. Once you click away. You then convert this vector shape per se line into back into a pixel based line. So right now there's no way to further at it that line once you step out of the E quick shape controls. Now let's create a new layer and let's make some shapes. The 1st 1 we can do is a circle. You just go around in a circular motion. Make sure to end at the point where you started and you can regulate the size of the shape you want and you just let go, as you can see. Of course, this looks like an ellipse and not as a circle. But once you click at its shape, you can keep further editing the lips in case that is the actual shape you want. And now, as we know, we have four busier controls where you can just click circle and the shape snaps back into a circle shape. Then, of course, you're still able to reposition anywhere you want on the canvas. The only thing here to bear in mind is that the ability to snap is a circle, circle or lips Pro great really respects the radius where you sat that shape in the first place. So what I'm trying to say here is that let's just say that you want now to convert this into a really, really big circle, and you were just tweaking all of the busier points, even though they're looking like in the lips so that you can click circle and make this a really big circle to our canvas. Was to do that. As you can see procreate Onley got that information about the size of the circle in the first place in the first moment that you drew, so it snaps back into its original size. That's just one thing to keep in mind off. And then, finally, using options such as color drag, you can fill in that shape and become filled circle. So what other kind of shapes can we make in procreate? We can make squares once again and letting go, and you have a few options. Actually, once you draw square shaped, it can be quite three lateral shape, which is basically respecting the boundaries off a quadrilateral shape. You can be a rectangle now, allowing you to scale on the X axis and Y axes. You can be a square. So you see, once they really drag on the X axis, it already turns off the square and it becomes a quadrilateral shape again. Or it could be a Pauline and Poli line really doesn't respect any sort off. Um, you know, parallel lines, like all of a sudden this could be angular. He can be an open shape. It can be a close shape. So I'm just gonna go back into square. No. One thing that I do want to show you is that while it was rolling that square shape, I actually couldn't fully close the shape perfectly. As you can see, there's a little gap here and the top left corner, which is where I started drawing my square. So once you're doing the same trick and say that you want to fill this, uh, square with the color pro grade isn't able to understand the boundaries to compute the boundaries where that square is and to fill that color Onley inside square. So, in fact, it's filling in the hole canvas. But procreate has included a caller drop threshold, which allows us to tell procreate to look for open space shapes that you actually want to fill in with color. So let's try that. So I'm gonna drag the color onto the campus and you see once again he paints the whole campus. But at the very top. If you keep holding the tip off the pan onto the campus, you'll see a color drop threshold that is now sat at 54%. If I keep now scrubbing the pen onto the campus without letting it go to seed them. Now, by dropping to about 42% it's able to find the boundaries of the square, therefore feeling in the square. Finally, the other ship we can do is a triangle, and the triangle has some similar options on added shape, such as the square in terms that you can have a full on triangle. With its boundary limitations, it could be a quadrilateral shape, and then all of a sudden you get a few more busier points. You can be a polar line, which then allows you to fully open the triangle or close it and back to its original triangle shape again. Very mind that the first boundaries that you drew for that triangle will be then respected whenever you're snapping any of these options for your shape. So I can't make a bigger triangle and expect that once I hit and of these options is going to respect that expansion. Finally, I do have one quick pro tip for you guys, which actually goes back into the ability to not be able. Teoh undo actions on quick shape to let's just say that you drew this straight line here and then clicking on added shape, you can move it around and let's just say you said it about here and then you click on the arrow. But that's not really where you want it to be. And now, unfortunately, you've already clicked away and you don't have the option to add it that shape anymore. However, I'm going to show you how we can achieve on undue free undo action for that shape. In my case, if I just press this little square here between the breast size and the opacity, I now have the added shaped back again. And if I click on it, I am back into being. Ableto added that line. And if I click away and if I do that again, click on the little square you see the added shape is back on. So how can we achieve that? You just have to go into tools, go into preferences, gesture controls and then head into quick shape. And here a quick shape. You can choose the activation map that that works for your best. In my case, I'm using the 1st 1 which is stopping. The little square will make a shape from your last stroke and thats why this undo option is then available. If I didn't have that on, I would not be able to go back into my quick shape menu. You may also prefer to use any of thes other options. But in the further class here in the scores, I'm gonna talk about gesture controls and how to set up what I believe is to be the best gesture controls library. So, in fact, we're gonna be using this, like tap on the little square. We're gonna be using the two finger tap, the three finger swipe and many others. So that about covers quick shape and procreate. For the next lesson, let's dive into the power off grids. 11. Understanding the Power of Grids: So now let's take a deeper look at grids and what it can do for our illustrations. So here we have a new file, have an empty canvas and for us to access the grids after clicking tools clique throwing guide and then select at it. Drawing guide Procreate offers us four modes off drawing guides, and we're gonna look at the mall, starting with the 1st 1 The treaty grid. The Trudy Grid, as the name says, offers you, uh, square grid, which you can change the color of the grid lines here at the very top. And that is very helpful, depending on what colors you're using on your illustration. Then you have the thickness off the lines that could be less or more apparent capacity. You have the option of having the first layer as soon as we had done. The current later is going to be an assistant layer, meaning that you will already be working under the influence of these lines. And finally, that thirsty grid size. You can go with a very small grid or more spaced out grid. I personally like to go with somewhere around 1 90 for an image that's about 2000 pixels kind of gives me the right amount of cells within the grid. I'm gonna hit, done, go back into my layers. And because I've been working with this a few times, I think that the drawing assist option didn't really uh, turned on on the layer that I want. But if that happens, and if you don't see the, uh the grids actually snapping to the lines or your stroke snapping to the lines, make sure to select the layer and make sure that it this option is turned on drawing assist , it will say assisted right here at the bottom of the later. Now we know that this layer is under the influence off the grid. So now just drawing with a very hot, bright green Here you can see that the lines the strokes that I'm creating are really following the lines on the grid. I can also go back here into tools, turn off drawing guides, and if I keep making lines, it is still obeying the grid. And that is because clicking here on the layer, the leader still says assisted. Now let's go back into drawing guide and edit. Drawing died and There's one more option on the two D grid that I need to show you. Basically, there's there's too busy rece controls here, and those are for you to move your grid. You can also click on the green one, and that is the rotation of your grid. So it starts to act out like a ruler and you can reposition your grid hit done, and I'm going back here into the layer. Making shorts has assisted. Your new lines or strokes are going to actually follow this new configuration, so it really works of the ruler, and this is definitely great if you need to be making drawings. They're based with a lot of straight lines, and you don't want to be making quick shape within your strokes every single time. If you have something that really has a lot of these straight lines might be easier to actually work with the grid. Let's make another earlier here and Jack the next option for drawing guides we're gonna back into at a drawing guide. And if you ever need to reset your TV grid, if you've been rotating quite a bit, you can just click on the busier and he has a little reset. That was You click resets your grid. The next option is on isometric grit. I'm gonna hit assisted drawing and see if that actually effects my layer in all my layer is assisted right from the get go. I'm gonna leave it at the bottom for now. And this is also another really, really useful grid. If you do need to make anything that is as a metric, such as a three d cube with no perspective, he's gonna turn off us. Is it drawing just so you can see the results. So this one is pretty self explanatory, but let's take a look at the next one. I'm gonna delete, make another layer go back into growing guide at a drawing guide. And the next one is the perspective grid. I'm just going to recreate my vanishing points. So you see really how it works. So here in the perspective grid, I can choose my vanishing points, and it can be from one mention point up to three vanishing points. So these are my side vanishing points. My horizon line is the picture here in the middle. And I got my 3rd 1 which is. I'm just gonna set it more or less over here. I'm gonna hit a sister drawing done went back into my layers. I always make sure that that assisted drawing is written here. Only layer and we'll zoom out. And this option here is really, really good for any kind of architectural drawings that you may need to to make. As you can see, this is a really, really powerful tool that you can use to meet your drawings. Leslie, we're going to take a look at the also very powerful symmetry tool. So going back into drawing guide and edit drawing guide, we're gonna go into symmetry. And once again, on symmetry appropriate gives us four modes of symmetry. The 1st 1 is a vertical symmetry line. As you can see here, you can reposition anywhere you want on your campus. I was gonna reset, so it's in the middle. I'm gonna make sure that assisted drawing is on. I'm gonna hit. I'm gonna get done. Now I make sure that my layers assisted and I'm just gonna turn on these layers here. My text layers, which are gonna help me, uh, cable show you what this does So once I draw on top of this text layer, as you can see, the mirror effect is working in a vertical way, and it's completely mirroring. Whatever I'm drawing onto that layer, just gonna hide my text layer is concede. This happens, whoever another thing I want to show going, creating new layers said at the bottom and going back to tools and had a drawing guide on symmetry tool. There's an option here called rotational symmetry, and what that does is that for each symmetry section rotates 90 degrees. So how does that work back in our vertical symmetry? So once I draw again the same word vertical, you see them now that only has been mirrored horizontally is also being mirrored vertically . Next up, we're just gonna go into the horizontal line and let's leave for additional symmetry on so I can really show that effect we're gonna make another layer said at the bottom. Turn on horizontal click on her layer. Make sure, he says, drawing assist, unless just write this word. And, as you can see, turning off the type not only its mirroring like the reflection in the water, but it's also mirroring horizontally as well because we have a rotational symmetry. Also selected. Let's make another one. Let's turn on quadrant and go here into our added drawing guide and select quadrant with rotational symmetry. So now if I draw this word, you really see what's starting to happen here. It's gonna hide her text layer. And now not only is nearing the image when each quadrant, but it's also retaining 90 degrees. So what that does in the powerful, uh, tool that starts to happen with symmetry. Gonna select drawing assistant. I'm just gonna bring it down a brush here. All of a sudden you can make these really, really cool. Um, mandalas are like drawings, and it starts to look really, really interesting. And the combinations are like endless. So I'm gonna create, uh, another earlier and going to edit drawing guide and go into radio with traditional symmetry on. So now it really makes interesting, interesting flower arrangements, as you can see right here, and the options are actually what amazing. You can make new layers. Make sure drawing assistance turned on, and you can continue making your arrangements with different colors, different stroke widths, and make something that looks really, really complex. It will take you a lot of time to create these, whether you're making them in photo shop or illustrator. So that pretty much covers grids and the powerful tools that exist within grids such as theme symmetry, tool. Next up, let's take a look in layers and all the options that we confined within that section. 12. A Deeper Dive Into Layer Options: in this lesson, we're going to take a look at the layer section, and all of the options there are encompassed in the layers panel. So if prepare a file for you with three layers and layer one is just an empty layer. Layer two is our blue circle in Later, three has some online artwork, which will leave. We'll talk about at the end of this lesson. So now let's just focus on layer to layered. You has our blue circle artwork and the name. As you can see, it's here on the left side and on the right side. There are a few controls you can hide or show this specific layer, and you can also click on this little icon right here, which takes you into more options such as opacity and blending modes, which procreate has divided into five categories. For example, Photoshopped stacks them all together into one single list, and it makes it a little bit harder for you to understand what those conduce. The fact that procreate has named them into these five categories helps you to at least understand what heart their their premises. For instance, this these 1st 5 right here they're going to create darkened modes into whatever you are blending in your artwork. So to best explain that we actually have to create a new layer in order to create a blending mode. So we're just gonna choose a dark color going to my noise brush, And I'm just gonna make a quick selection so I can paint some shadows into this circle, and on another later, I'm going to choose a brighter collar. And with the brush that's a little smaller, I'm gonna paint some highlights. So, no, not that I have my two layers here. I can click on this little white one again and bring the blending modes for my hand weights . I'm going to go into the lightning section as a want to brighten things up. There are many options such as Lytton Scream, mood Add mood color dodge Later color. I'm probably gonna go with at which it's used by a lot of illustrators and designers, which basically, you are mixing with full additive mode, Uh, whatever color, whatever blending mode between layer five and the layers underneath. So because we painted this layer with almost a pure white, it's really creating that richness off brightness into into the artwork. So I'm just gonna bring my opacity down quite a bit. They probably don't want to create this like, really harsh effect. And for my shadows, we have the darkened section here on blend modes. And again, we have multiplying leaner burn, color burn darkened in darker color. I highly encourage you to actually try to search allying for the technicality aspect off blending modes here. I'm not gonna go through the technical aspect off what blending modes can do, but rather the effects off what they can achieve. So looking at the dark in section one that's really common to be used, its multiply. And that is adding that this this color onto the layers underneath with its, uh, whatever the violent values off black multiplied to the bottom layers. So what I usually do I used I use multiplying, and I also take down the opacity just a little bit. So we get more of ah, cohesive effect here, more of a cohesive look. So let's go back here into blend modes just so I can show what the other category skin do Still, on our shadow layer, we can choose overly for example, and overly, as you can see, really burns with the, uh, value off, that blue circle really puts the layer, my shadow layer burning with the same color tone as my base layer. And then we have hard light, which creates something similar. A soft light, as the name says, already creates a softer look for my shadows. Then we have vivid light, linear light penlight in heart mix. Then we have the difference plenty mode, and that one is really used when you have two pictures, and there they look quite similar. They could be frames out off the same video clip, for example, and you're just trying to see if they are the same frame or if they are different frames and the best way to show what difference layer could do. I'll show you right here in this file. I'm going to duplicate our blue circle. Now we have to blue circles one on top of another, and I'm just gonna choose the difference layer blend mode. As you can see, it is full black, and that is because the pixels are matching 1 to 1 perfectly. But now, if I use my move tool and I move my top blue circle just a little bit out of the way. You see, because we're using a difference layer pop blending mode that the true circles there now revealing thes two edges of color and that is telling you that the blue circles aren't matching. They aren't aligned perfectly on top of each other. So that's something that Ah lot of animation studios used. A lot of designers and animators use whenever they're trying to see if two pictures air matching or not just continue with blend modes at least a quick overview of what they can do. Then we have thes section of color, and in these section of color, I'm just gonna go back to my shuttle. You're here. We have Hugh saturation and saturation. For example, we painted our shadows with a very dark blue or very dark purple. And what this is basically telling with this blend mode is telling the blue circle at the base that our shadows, whatever this saturation value in this collar, which will show you what I mean if I go here picker purple and going to the values you see that are saturation, value is about 60 to 63%. So it's telling that the blue circle at this section right here should have about 63% of saturation from this base Blue Valley. So it's a little complex to understand this all in one go, and it really encourage you guys to actually search a little bit more about blend modes. But I just again, I just wanted to give you a quick overview off what blend modes can do in procreate, since we're talking about the Layers panel section for this lesson. So let's go back into darkened and multiply for shadows. Go back to about 55% and let's keep going with the layers, the layers panel options So clicking on our full circle, the first option we have here is the ability to rename, and we're gonna just think this blue circle the next option is select. Select is something that I use quite a bit when I'm doing my own personal illustrations, my own illustrations on YouTube and which allows me to create a mask off whatever this base layer is. So now that I have a mask of the blue circle, I can create a new layer and I can't continue to paint more shadows onto my circle, creating that sense off a sphere. I can also use d a razor brush because I still have my selection available and you can see by seeing this crosshatch section around whatever the base layer I chose to select. And now I'm just going to soft in that effect once more. And I could do the same thing for my highlights or any other color. I can create a new layer here. And as you can see, all these layers are still looking for this mask that we created as our selection for me to do anything with them so I can now choose a yellow color. Unless you see I wanna go back to the studio pan, it's gonna bring it down, and I'm going to create some other designs here. So, as you can see, even if I start drawing from outside of my circle, it is understanding the boundaries off my mask. And if I draw a caller onto the sections, it is also understanding the boundaries off the mask. Another option we can do here with the Layers panel is to click and drag layers up or down . And if I drag them down underneath the layers with blending mode, as you can see now, the, uh the yellow elements that I just drew are now picking up the shadow and highlights that I drew onto my circle. So let's continue here with the options, and the next one is copy and copy is an interesting one here and procreate because once you copy something, there's really not an option here for pasty. So the way that we can do that, I'm just gonna create a new layer at the top of everything, and we're gonna go into tools and we actually have to go into bed. And then here Skopje but also finally received paste. And now we can paste the blue circle that we've just copied from our layers panel. I'm gonna delete this layer and continue with our options. The next one is feel layer and feel later can work in two ways. So again, we're going to create a new layer here at the top. I'm gonna choose another caller just to make this easier to see. If I click on this layer and select feel layer, it's going to completely fill our layer with this big collar. So again I could move this layer down to greater background color, or you can leave it at the top. I'm just going Teoh, click on the layer and show you another option, which is clear, and let me show you the second way, which we can use Phil, which is really, really handy. We can for, for example, I can click on my blue circle and hit select, and now, on this top layer, I can click Feel layer because we had a mask off my base layer. It really respected that mask and filled just those areas. I can do the same on creating a new layer, for example, picking up and you color going back into my layers panel on those yellow elements that I just drew hit select again. Click on my new layer, click on the options and click feel later, and now we've made almost a second option of color, a second color option just using select and fill. So this comes quite handy. For example, when you want Teoh make variations of your artwork. Sometimes you're not sure if these details should be yellow or purple so you can also use select and feel layer. So let's continue here with the options. The next one is clear, which is one that I kind of discovered when it was showing you the failure option. The next option is awful lock. And now we're gonna get into the many ways we can paint here on our kill astray. Shin's one way, which I just showed you was thesis elect option. So select option allows you to create a mask off one of the elements in your illustration and then within new layers, you continue to pink inside that selection. So now what out Flock does is, as you can see, now that I've clicked out flock and it is checked, you see that there is a little checker pattern behind our element underneath our element and that is telling us that we've out flocked to that layer. So now if I choose another color just gonna pick this green and go back to my noise brush like, you know, with my blue circle start painting, I'm just gonna increase the capacity and size I cannot start painting and it it's again respecting the boundaries off our circle. However, as you can see here in my layers panel, I'm painting on top of the blue, and I have actually raised the blue collar because I'm not painting on a separate layer. So although all flock is really interesting, really, it's a really destructive process when you're actually doing using this option on your illustrations. By doing select by using, select or creating layers, you are really creating what we call the known destructive process of illustrating. Because, for example, I can turn off my highlights. I can turn off some of my shadow layers, and I am revealing what's underneath the image without actually affecting it to a point that is perpetual Percy. So it is. It is much, much more interesting to actually work with separate layers, in my opinion, than to just do something using the Alfa lock option. So I just wanted you to show you what all flock can do, but it really recommend you to use select clipping masks, layer masks and things that I'm going to show you. Uh, even in this lesson still, so let's keep looking at the options that we have for the layers panel, and the next one is Meskhi. So mask is one of the examples, as it was just saying off known destructive process onto your artwork. So as you can see, clicking on mask creates this layer here connected to our base layer connected to the layer where we've tournament mask and this layer now acts as a mask. And how does it works best? So I'm gonna go back into my brushes, select the studio pan so I can show you this best and Lear mask works best when we're painting with full black or full white. Full black is for covering or obscuring areas from the layer. As you can see here, I'm fully It looks like I'm using the razor brush. And I guess the best way I can show you is by actually putting a background color once again. As you can see, what I have here in my blue circle is that I'm obscuring areas and why am I seeing obscuring is because if you look at my layer mask, you see there there is some brushes here and if I turn them off, you see my blue circle. It is still complete. So layer mask is amazing because it allows you. Now, for example, I can click on my layer mask and go back into my collars and going to full white in a king paint back the information that I have on my base circle my base layer. And I'm just go about just about here. So contrary. Something else. So why was I talking about full white or full black values while the thing is is that you can use any color value actually with layer masks. So I'm just gonna set somewhere around this great color here. And as you can see, even when I push any color, it kind of snaps back into the great value because layer mask really only uses a grayscale values. And now, if I go back into my brushes and I start painting was actually happening here is that I'm painting by value off a pass ity, so I'm slowly bringing the green value back into the picture. So let me just let me just bring this a little bit toe a brighter gray. You know, if I keep painting as you can see the greys air coming back slowly if I go into you even a brighter color you see more green is coming back. And if I look at my layers panel, you see all these shades of gray are right here, depicted on my layer mask so you can actually, for instance, is great to paint. Mountains there are fading onto a horizon, fading onto a sky. You can really use layer, mask and slowly work those areas with great values. It's kind of creating that transition that that off the mountains into into the background you can create many other cool things, such as you can draw character that's really like under lit, and it's in the shadows. You could really use a layer mask and keep painting those those gray valleys into the shadow layers to create that effect. So it's a really, really powerful tool to actually use layer mask rather than Alfa Lock or things that are really destructing your image. So let's just click delete here and let's just keep going with the layer options, and the next one is also one of my favorites and his clipping mask. Actually, in order for me to show clipping mask, I have to create a new layer, and in this new layer, I'm gonna choose clipping mask. So why have I done just that? Well, as you can see, when I click the clipping mask option, you see, there's little arrow actually pointing down to my blue circle. So remember the beginning of this glass, how I was painting shadow and highlights into this art. Well, basically, it's a very similar process. So instead of using, select So here with the first set off shadows and highlights, I've actually used de select option. But now with clipping mask, I can go go back here, choose a darker color going to my brushes and used a nice brush. And now, just by choosing the clipping mask option, I could just go here and start repainting the shadows onto this circle. And it's already respecting the Al Faw from a circle. So now you may say, Well, it's really not affecting the yellow elements, and all we have to do is click on the yellow layer, which is later seven. I'm gonna bring in between. And as you can see, it is now already with this little arrow pointing down into my blue circle, and I can now go back into my blend modes. She was multiplying as he was before. I'm gonna put about 50%. And now one this other layer here. I can also play around with blend modes. I can go, for example, overlay. And I'm kind of I can recreate what I just had before by using clipping masks. And let me just show you another really powerful thing about clipping mask. I'm gonna choose another color, go back to my studio brush and on this yellow element right here, I'm just gonna create a layer on top, and I'm gonna use the red brush, and I'm gonna create some other secondary elements right here. And this time I'm actually is, Can see I'm still drawing really outside. I'm actually gonna really draw outside a blue circle here so I can show you what that is. All right. And now I'm gonna fill these elements just like what we did with our yellow. Your player groups like this one. He forgot to close it. So you just paint. Okay, so now that we have this layer here, I want to show you the difference that he makes by having clipping mask or not. So I can click on my layer here and if I uncheck clipping mask. As you can see, I was actually drawing outside off my base layer, which was the green layer. And now that I've clicked off clipping mask, it also clicked off because of my shadow earlier, because it's a chain reaction. So if I have my linger nine as clipping mask, then now my layer nine is respecting the base off layer 10 which was, which is my the pink elements that click on the pink elements and go clipping mask. It is now going back into the chain all the way down to the first layer that doesn't have the clipping mask option turned on. So, basically appropriate is telling these three layers to obey the boundaries off my base layer, which is our green circle. So very go clipping mask. It's a really, really powerful toe as well, in order to draw and illustrate inside the boundaries off whatever. Basically, er you have in your illustration. All right, let's keep going here with the options on the layers panel, and the next one is drawing assist and drawing assist is something that we already covered on the grids lesson, and I'm Scott go back to canvas. Look on my drawing guides. I'm actually gonna edit my drawing. Guys, make sure that the really visible on the camera and now basically having the blue circle assisted means that any lines that I draw are going to be respecting our grid. So it is a really powerful toe and as well, if you actually we need to draw things that need to have all these, like, perfect angles, and you can also use as we've seen on the lessons off grids, you can change the direction of our grid to your 45 to be angle on isometric and even using powerful tools such as thes symmetry toe So any layers that you make a snu layers that you want them to actually follow the grid. You always have to make sure that you have the drawing assist option turned on. So let's get going with our options. The next one is invert and invert as names has. It's basically just inverting the colors. Next, I want to show you how you can select one or multiple layers. You can select one layer or multiple layers by quickly swiping to the right, and now we have a selection off layers and then it gives me two options here at the top, off the layers panel, I can delete the layers, and if I click, it's going to give me a prompt asking me if I was really delete this layers, I'm gonna just hit, cancel and also gives me the option to group them. And once a group, these layers I can close, we're open the tap off the group. I can click on the group and go rename, and I'm just gonna call this circle. And once I'm here in the options, I can also flatten this whole group of layers into one artwork. And that is sometimes necessary because procreate does have a limitation off the number of layers it can create, depending on the resolution off your campus. So always make sure that you're not heating the maximum amount of layers. And if not, you don't have to merge them. But if necessary, you may have to you master emerging a couple layers so that you can continue your artwork. So I'm just going to undo these for now. Um, and as well I can turn off that group. I'm also going to turn off for drawing guides so it can continue this lesson. And now we're going to finally talk about our little hero right here, a little character with the very powerful tool, which is the reference layer. So what is the reference layer and what it can do for us on appropriate? So basically, the best example I can give you four reference layer is whenever you have something that looks like this, it's an outline illustration. It is transparent on the insides. So think about a comic book illustration or even manage illustration, and you have an illustration, which all of the outlines are merged into one layer. And the best uses for reference layer is when you want to add colors to this illustration, when you have all of the outlines within one layer. So one way you could go about it, you could create a new layer. And, of course, we want to put our color earlier underneath the outlines so that we can see the outlines. I'm going to choose a brush or student pan just gonna take down the size a little bit here , and let's just say I want to paint with this color and I could go about and start painting our little robot. However, this will be and can be a very tedious process off just going in painting all of thes sections. And even if I used the region color, which is still like paint the outlines like this and then going and dropping color, I would still have to go back here and then use my brush tool. Just make sure that I'm actually not painting over the outline. So as you can see, very tedious process off just going about all of the areas that I want to paint with collar and you know, very labour's process, as you can see right here. So let me just actually even delete This is gonna be faster No. One or new. Later, as we can see our outlined layer, I've already clicked the option reference. So what that's going to do for us is that any layers I create underneath or on top of a reference layer are going to respect the boundaries off our outline. So basically procreate is telling the layers to look for the boundaries of her outlined layer, our reference layer in order to fill them with color so I can just call a drag pink onto my robot, and it's automatically finding the edges where we exactly want a paint. So that is really an amazing tool, if not one of the most powerful tools in procreate for you to actually make your illustrations. So now we're going to create another layer, and I'm gonna choose another color. And I'm just going toe color, drag the arms. And for this last one, what I really want to show you is that if you're using the brush tool and if you're painting procreate does not understand the reference layer option. It really only works with the color drag option is just something to keep in mind. So now we're going to create a new layer, and I'm gonna choose another color. And this color will be the eyes and finally a new layer. She's another caller. And now we're gonna paint this little stand just by using the color drag option Almost there. Okay, so now what I also really want to show you is that on our own, our outlined layer if I turn it off, as you can see now I have masks for each one off my layers, which is something incredibly powerful. I can click on a new layer for my podium and then select clipping mask and I virtues back to our darker color going to noise brush. I can spink the shadows off my podium. I'm just gonna use like, a, uh, smaller brush. So let's just paint some shadows here. Gonna use three razor as well. About much. I can go into my shadow layer, hit the blending modes and go multiply and take down the a pass ity. Now let's just say I want to go into my robot. I can. Another way of doing things is that that I could hit, select, make a masculine robot to just e pink parts and hit another layer and paint shadows onto a robot and then, once again hit the blend modes go multiply, bring the capacity down just a bit. And these were just two different ways of actually painting shadows into our illustration. The bottom one they did here with the select option and the top one I did with clipping mask. You can also click on the arms and go mask with a layer mask, and this is really interesting because I already had a selection off the robot. Now the head of the robot, It already pre made a layer mask for me. But I'm actually going to delete and hit the arrow keys. So I go outside The selection I have created previously I'm going to click again in the arms go mask. And now, using the black color in my studio pan, I can now paint parts off the lengths out just to give you a quick reminder off the things we've seen in this lesson. So again really, really powerful tool toe work with the reference layer. Just one last thing is that you can actually, uh, I'm just gonna select all of the's layers again in the lead them hit, delete. We're back in a reference layer. So I could also dropped the collars onto my reference lier itself. And the reason I didn't do this in the very first place is that with this option, I don't have Theo option to actually have my separated layers anymore. As you can see, I really prefer to actually always break down my callers into separate layers or like the pieces off my illustration. So that it can create masks down the road in order to to paint highlights and shadows. So I hope this becomes very clear for you on the reasons why you can have a reference layer and you can create new layers and then dropped the collars with the color drag. And then once you turn off your outline lier, you still have a mask for that for any part off your illustration. Finally, I'm actually gonna bring back our robot here. I want to show you thelancet set of options in the layers panel and the next one is merged down and merge down is just going to look for the layer right underneath and merge the two layers. You can also use gesture control such as the pinch, too much layers. I just merged the had, actually the podium in the eyes. Now, if I want emerge the arms, the eyes and the podium I just did it over here by just merging How many layers wants from the first to the end of your pinch. So I'm just going to undo that. And I think that the last option that we have is called combined Down combined down basically takes T whatever layer is underneath your selection and creates a new group. It is very handy, especially if you if you don't want to use gesture, controls and all. The last thing that I want to show you is that procreate does allow sub stacking off groups . So here I'm just going to rename two Group one. Dessert can see clearly. You know, with this less set off layers, I'm going Teoh, select them all in group, you know, here. I'm gonna rename too Group two and I'm just gonna select her group two and click and drag into Group One and I think open my group. You see, that group too, is inside group one. So procreate does allow us multi stacking off groups. And that is also very handy, Especially to organize your layers in your illustration. So I believe that about covers all of the options in the layer section. So now let's take a deeper look into the colors menu 13. A Deeper Dive Into Colors: in this lesson, Let's take a deeper look at the color section of procreate and how we can choose an organized or colors. So if prepared, a file here for you. With three circles just centered around campus and in the color section, your procreate procreate has divided into four sub categories. 1st 1 is the disc color selection. The 2nd 1 is the classic color selection, something that we find when we work in photo shopped, for example, the 3rd 1 is the value color selection, and the 4th 1 is the palate or the palate section, where we can store and create new pallets. So let's go back into your disc, and the first thing that we can see here is that we have two. We have a ring, and a circle in the ring stands for our color hues. We can choose her collar Hughes by just swinging around this circle and or this disc, and the circle right here has thesis ach oration to the least, saturate the values kind of working on the diagonal as well as the brightness, working on an opposite diagonal right here in the circle. So say we choose this very lime green. We have the most saturated value at the top right off the circle Lee saturated value or pre much dark or black at the bottom left. The brightest color would be at the top left and darkest color at the bottom. Right. So by choosing your colors here, as you can see, we have a before and after Swatch right here on the top. Right? So say that you're not actually really happy with this collar that you just chosen. You can always roll back to your pink by just clicking on the before. And now, as you can see, the before and after color are pretty much the same. However, what I do want to show you is that let me just go back to you our lime green, if you are. If you are indeed happy with the screen, if you click right here thinking that you're going to select the new caller, in fact, you actually roll back to your previous color. So whenever you're happy with your new collar, you actually have to click on the top right to close the color selection. And once you do that, then you lose the ability to go back to your previous caller. So the previous collar you actually have, let's just say like a one chance to you Go back to that color. So now let's choose like a very a brighter orange so we can see the difference between those two collars. If I do want to roll back to my lime green, I just click on the before color click away so that we can work with this color. But if I am happy with my new collar, then just click on the top right off the menu to close the color selection. So moving on, as you can see here at the bottom off my disk, subcategory, we have my default palette And how can I actually put my color palette right here? Well, we're gonna get to this point, but for now, I just want to show you a couple of things before I can show you how we can set our default color palette toe always be here at the bottom. So let's just say that we're really happy with this orange and effect. We want to add it to our current color palette. So the space that you see here at the bottom of her color palette are actually empty, uh, stacks, and we can just click on procreate allows us to just click on these squares, and we can add any colors that we want to our current color palette. So that's something really, really handy appropriate that allows us to create new to a new collar store palette by just clicking on the empty boxes. So if we wanted to reorganize colors, we can just slide them. Just slide the squares, and we can also just click and hold in order to the elite colors. So now let's keep moving to the second subcategory. And that is the classic and classic is a color picker mold that's much, much more common in programmes such as Photo Shop and here. As we can see in the color picker, we have the most saturated, brightest color at the top, right, and here the saturation in this color mode works in a horizontal way, so as can see here, if I move horizontally, my saturation bar is moving the most, and you see that my brightness bars only moving a little bit. That is because it's really hard to keep it a very straight straight line, but you can do it if you actually want on its act caller value and just move with the saturation. You can actually tweak from thes from these color Salaita's right here. And as you can see, if we wanna work with just the bride with the bright value off that color, we can work with the bottom line and that will make it Ah, brighter or darker. The same again goes if we do. When I add this color to color palette, we just click here at the bottom and procreate understands that we want to add this caller to our color palette. I'm gonna delete this to keep things organized and moving on to the next subcategory. We now have the color of values, and this one is less of a visual color picker and more into the actual numbers and color precision. If you actually do do want to work this way, so here we have the values off you saturation and brightness, as well as the famous RGB or Red, green and blue values. So if you actually have a different system, or if you're working with a different system, where you're actually store your colors by numbers or even the hacks color code, which is really famous. Or its more common to see those valleys in Web design or in Web formats where you actually pick colors with the X Code. You can actually use this system as well to choose your colors, and the same goes again. If you choose a caller here, you can add it to your palate at the at the bottom. And finally, let's take a look at the pallets subsection here on the color section of procreate. And this is a few of my collar pallets that have been using lately on my illustrations. But let's go through all of the options that we have right here. So the 1st 1 that we can do is clicking on this little plus here on the top right? We can create a new color palette, and by creating a new color palette, it's automatically set to default, which means that it will be here on every subcategory as you can see, he says. Entitled palette with no collar selected or colors right here stored because we haven't picked any colors yet to this new palette, the first thing that we can do, we can click here on the name. Let's just name it Color palette one in with this color palette. If we just swipe to the left, there is a share button so you can share this color palette with, you know, we can put it on Dropbox, or you can set this color palette Teoh. Even with many other exporting ways, you consented to slack as a as a text message a zone email. We can copy saving files. You can send it to your personal drive, but, um, we can also delete the color palette, which we're not gonna do right now. But let's just do you know our color selection and choose a few callers to insert into our color palette. So let's just start with our lime green. We're just gonna put that color over here, you know, Let's get yellow color, a blue color, a bit lighter one and finally pink. So as you can see, it's really, really fast in order to add callers to our color palette, and now they are always here at the bottom, very handy for us very quickly for us to actually select the scholars. I can just click on the little squares, and as you can see, the numbers adapt to that color right away. And finally, we can apply the scholars onto our illustration also very, very easily. So that's why it's really, really important, and by powerful to actually work with color palettes and store those valleys so that you don't have to go back to you, um, the eyedropper, Percy and start to color pick each caller they work on your illustration that you don't have saved as a color palette. 14. The New Color Harmony Tool: So now let's talk about the new color picker as well. Asti Color, Harmony Tool here on procreate five. So the first section of this video, we're going to be talking about the color picker. And then on the second section, we're going to be talking about the color harmony tool as well as an example on how to best use decode harmony. So first talking about the color picker, we can see that the in terms of you why procreate has actually increased the rial state for the color picker. It's a little bit bigger compared to the version in procreate for so you can you can see the colors a little better here around the disk. We still have these the same four modes, so we have the color disk. We have the classic mode very similar to the color picker and photo shopped, for example. Then we have the value mode, which is a very important mode, especially if you have some very precise scholars they need to use. Maybe you're getting some brand guidelines from a client in order to make an illustration as some freelance work, and you definitely want to use either the hue saturation brightness value or the RGB callers or even the accessible. If you're making some some designs, they're gonna go on a Web page, for example, on. And then finally, we still have access to our color palettes. Nothing has really changed from procreate 4 to 5, but with some really nice editions. The 1st 1 just going back here into the color disk is that now we have a color history. So these air the collars. They're not necessarily your color palette, but sometimes they are testing college. You don't really want to save them in your color palette, but you want to keep them for a little bit more for a little while so that you can test it out. See if this caller actually really applies to your work. And let's just say you actually really like this shade of blue. So you know you could be using that into your designs and say they really, really like the stone. You can just go back here into the color panel and having that blue selected you just added to your color palette. So now it's saved into your color palette, and the second really great addition is the fact that now we have a floating color picker, so that really makes the whole productivity much faster now because this floating color picker is always on top, you can always move it around to whatever place actually works best for you. And you can still access between all of the four modes, including being able to access your color palette. So this is all really, really great. Uh, and now we have one more edition, which is the second part of this video, which is the color harmony. It's a new mode off color selection on procreate five. So how those color harmony works and water some of the examples on how we can use it best. So basically, color harmony has a few modes. In fact, we have about five different modes here that comes with procreate. Five. The 1st 1 is complementary and his premise is quite simple. By choosing a primary color which is this big disk that you see right here we are, Ah, show that there is a second disc, a little smaller, which shows you did direct opposite off that color meeting. What is the complimentary color to your chosen color? So This is really, really useful because we can actually establish our color palette with just two colors and then vary the tones off that same color. And that's where we're going to see in the little in a little bit. So the next modes, just like so I can show you what are the other color modes that we have here for color harmony? We have the split complementary. So by choosing one main color, we have two opposite collars equidistant to the main color. The next one is analogous colors, and with this one you actually can get some really nice and powerful monochromatic tones for your illustration. For example, choosing this more of a red orange color, you get to analogous colors which are in the same in the similar range as your may color. So once again, you can create some really nice illustrations where you're going to have a similar range off colors, almost like a monochromatic look. The next one is the triad IQ, and with this one you get three colors. By choosing the 1st 1 you get three callers who are which are equidistant from each other, and finally to tragic collars, which Now you get four colors who are equidistant from each other, almost like a square formacion. So now the question is how to use best the color harmony, tool. And that's what I want to show you in this lesson. So I want I do want to keep it simple. I want to keep it in the way. That is actually very easy to digest. So for this one, we're actually going to use the complementary color scheme. So let's just say the four this illustration I actually want to choose a color that's more on the salmon side. So I'm going to choose. My primary color is going to be this one right here. I'm just gonna bring it a little bit more into the blues. Maybe here and I can see my complementary color right there. So what we're going to do, I'm going to create a new layer. Make sure I have a studio pin is gonna reduce this a little bit more, and I'm gonna make a circle. I'm gonna drop the color into the circle, and here's her first circle. Now I'm going to create a copy of this off this layer. Make sure have magnetic selected. So it is snapping on the same horizontal axis. And now I have my second layer, and I'm going to choose my complementary color and just drop it here. So know that I have those two colors and in two separate layers, I'm just gonna pinch and merge those into one layer. I just want to have those both callers into one layer. So basically what I'm going to create here just so you guys understand is that I'm going to great create our color palette with a complimentary color mode in mind. So now we're going to go into the selection menu, and we're going to change it to a rectangle. And we're going to make a selection about 1/3 here at the bottom, off the rectangle at the bottom, off the two circles. And now we're going to click on the adjustments and we're going to choose hue, saturation and brightness. So here I'm going to make it a little bit more saturated, about 65% and a little less bright, about 35%. And I'm just gonna click on the arrow just to confirm that I want this stone once again. We're going to go into the selection mode rectangle. And now we're going to select the top third off our two circles, and we're going to go into adjustments, hue, saturation, brightness. And now we're going to increase brightness to about 55% and saturation about 55% as well, actually make it 60 just to be a little bit more obvious, I'm gonna hit the arrow to confirm this. And here's what we've done here, guys, we've actually we've actually got two colors and then created a range from the same color. And then we have a small colored palette that will be complementary to each other with three options for each color. So three different tones off the same color. So right now we can even close my color. Uh, picker, if I can actually being a little bit buggy. So I'm just gonna Here we go disclosed that, and now I can go back into my illustration. I'm gonna make a new layer. And first I'm just gonna use the eyedropper and choose Maybe, uh, the darker color here, and that's gonna be probably our background. So first I'm going to just delete this color that we just had. In fact, I'm gonna go and choose this collar, and I'm going to click on our line of work and make sure it's a reference layer because I want to start dropping some collars just to make it easier. So this is going to be the color off the pince. And now we're going to make a new layer, use the color, the eyedropper, and picked this color, for example. And that will be the color of the shirt. Also, I'm just going to select our color pallet over here. I'm just gonna put it at the top and just going to scale this down just a bit, so it's a little bit easier to access, and you can see the illustration. So now I'm going to use the eyedropper once again, and I'm going to choose. Actually, I'm going to choose this brighter color here, making you layer, and that's going to be the color of the skin off our character. Just dropping it all in here. Okay, All right. And now I'm just going to choose the darkest blue, and I'm going to make a new layer. Make sure it's at the bottom. That's gonna be the color off the background. Zoom out just a bit. You know, I'm going to choose once again something in the range of for first color tone here. And that's gonna be the color off these letters. Even I'll actually go with the, um let's see what happens with the darkest one. Probably I'll go with the medium. This is just like a you know, it's important to test all the tones. Make sure that you like that, Tony you're actually using for your artwork. Also, I just noticed they need a little bit more of the blue just in this little section here. Oops. And we're gonna put every here, as you can see with quickly established do collars and created tones within those two collars and quickly created a collar palette that has some harmony between the valleys. So this is a very quick way to actually opt. Create illustrations with a minimal color palette if you used the complementary mode and just great variations off the two collars that you select. So I just wanted to show you this example. Just, you know, it's more on the quick side here, but it's easier to digest and understand some of the best ways to actually use the caller harmony tool in procreate five. So now you can take this technique and apply to your own illustrations. 15. 1st Assignment: What We Have Learned So Far: all right. It is time for us to do our first assignment here in this court's. By now, you should have a really good sense off a few of these sections here on procreate. We have covered the canvas action on procreate. We have covered some of the sections and tools around the U. Y. We've also taken a look at working with brushes as well as working with quick shape. We've taken a look at the power off grids and also look at the layer options and diving into colors a little bit as well. So now that we have that understanding, what we like to do for this assignment is to ask you to draw three main solids here on your canvas. So we're going to make a cube. We're going to make a cone and a sphere. How you want to display how we want to compose these elements. I'm going to leave it up to you, but in this lesson, I'm going to be showing you how I've done it. So the only rules that I have for this lesson is that you try to create these three solids and you also use the following features one of the solids. We're going to be using the reference layer, the other solid. We're going to be using the clipping mask features and the last one we're going to be using layer mask features. So however you want to color them, however you want to texture these elements, it's totally up to you and Leslie. We're going to be using grids in order to make this composition. So the first thing here to do is to create a new file. So we're going to create a new screen size file. Whatever iPad resolution you have on your end here, we're going to create a resolution to the iPad Pro. And by creating this new file, the first thing we're going to do it still had into the actions menu and some menu off campus, and we're going to turn on drawing guide. But now we're going to click on Edit Drawing Guide as we actually want to start with a perspective grid so you probably have a two D grid right off the bat here on the perspective grid. We're going to set up two points, one of the left, one on the right, and we're going to space them out. As so, we're also going to leave the horizon line pretty much at the center of the vertical center off the screen. So we're going to click done, and now we're going to start drawing our solids. What I like to do here in any illustration that actually create, I first start with a sketch layer. So in this catchall you're here. As can see, I'm creating each solid with a different color, and that is so is visually easier for me to understand which line belongs to each solid, so know that I have that layer. It is time to start creating the rial objects. So in my first layer I'm actually going to use black outlines to make my cube. And once they have that, I'm going to click here on the layer, and I'm going to select reference layer. With that, I'm going to drop a few colors onto new layers. So that's why I'm painting this cube with blue. Different blue tones on each facet is because we're using the power off reference layer for that one in one of the layers. I'm going to actually use it as two pinks of shadows on the Cube and with another layer, also has a clipping mask. I'm going to paint some textures, such as this stripe pattern for the cone element. I'm actually going to use some later masking and do some experiments with that. And finally, for the circle, I'm going to also use a combination off, select and fill with clipping masks as well in order to give a little bit of shady. So with the Phil, I'm going to change the color of this fear as well as with the clipping mask. I'm going to add a little bit of light and shadows. So once again, however you want to draw these elements, it's totally up to you. The only rules here is to actually use the grids in this case, the perspective grid used. These features suggest clipping masks, layer masks and reference layers and create a composition. This may be your first illustration if you actually never used appropriate, but this is just an exercise in order for you to use all of the tools that so far in this course were studied. So take your time now to actually complete this assignment, and now just have some fun creating this illustration, and I'll see you on the next lesson. 16. Move Tool & Selection Menu: Learning to Work Faster: for this lesson. Let's take a look at the move tool in selection, tool and procreate. So for this lesson right here, have prepared a file with three layers on each layer. I have one of thes circles where each circle has a semi circle with the different collar, and that is so I can show you the different options we can achieve using the move and the selection toe. So let's actually start with layer one. So once they select my move tool, you see the procreate creates a bounding box. That bounding box is basically telling us what what's pertaining to our layer one. So whenever it click on with the move, tool it automatics automatically select everything pertaining to that layer. So what I mean by that is that I can make a copy off the circle and just drag it around, although here, for example, merge that your layers. And now, when I click on the move tool, my bounding box has now expanded to encompass these two pink circles or semi pink circles. So pro creates just telling us whenever we click on the move tool when each layer what's actually pertaining to that layer and you can also see a little thumbnail preview off the contents of each layer here in the layers panel. So let me just go back before the merge back into our original state. You know, let's go back into the move to so again, whatever. I hit the little error here in the top, right? We see this little box and procreate. Give us some options here as well at the bottom. So the very 1st 1 is thief, reform tool and usually I do believe the Magnetics is turned on. So what's the freeform tool? Well, basically, the free form allows you to scale up and transform your earlier without really respecting the dimensions, the locked proportions off your shape. In this case, since he was a circle, we really don't have the circle anymore. Now it looks like an ellipse. So one thing to keep in mind is that if you're trying to scale up or skill down your object using the freeform tool, But with Magnetics on, you will actually get proportional scaling. And that is because procreate is actually snapping to the guides that Magnetics actually offers you. And those guides are basically diagonal guide a vertical guide and a horizontal guide, and then all of the 15 degrees increments off these, uh, off these angles. So just very mind that if you actually want to have the freedom to fully transform your shape, just turn off Magnetics. And now you'll be able to really skill up your element, not really respecting the proportional scaling that you had in the first place. So let's go back here and look at the other options. Still, in the freeform toe, we can flip layers horizontally. We can also flip them vertically. We can rotate a layer or an element 45 degrees, and we can also hold onto this green busier right here, and we can rotate it freely because we don't have Magnetics on at the moment. But if I turn it on, it will rotate with 15 degree angle, as you can see. So sometimes you may actually want to have a 15 degree angle to just rotate on elements just a little bit. But if you're looking to rotate about 45 degrees, you can also hit this little button right here. Let's go back to you straight up, and you can also ask for this element to be skilled up to the size of the canvas. So all we have to do is click canvas, fit to campus, and procreate will try its best to scale up this pixel art into, ah, the size of the campus that the reason why I'm saying looks pixelated art. It's because procreate really doesn't work with as a vector based program, even even though he does have quick shape. And it does look like your for a little while you're working with a vector program, the end result of procreate. It's always up pixel pixels really onto a canvas. So whenever you're skilling up your objects, you're always going to get alias, seeing by having to scale up your objects that much. So even though procreate also gives you a few options here, these are the three options off scaling. You can scale your your pixels by near nearest neighbor by linear or by cubic. None of them, to be completely honest, will give you a perfect, perfect sharp result. I actually do prefer to keep it on yours, neighbor, and we don't getting too much into it. You can also research these methods and find the one that works best for for you. Um, just continuing here. You can also just make any modifications and then hit Reset, and it will reset your shape to the previous position just before you've started to make changes. So that about covers for free form. And then let's take a look at uniforms. So uniform scaling, as the name says, is really keeping the proportions off your shape so independently off what busier you're actually clicking. It's always respecting the proportional, scaling off your original shape. And then here at the bottom, you pretty much have the same options as free for moving on this stort. This store is one where then you have the ability to move these busier lines more freely so you can create skews and angles almost in a way you're trying to put that shape into now some kind of a perspective. Or you can try to fake perspective here by using still, and you can also turn off Magnetics. And as you can see now, you're not really even trying to snap thes busy. Er's onto the guidelines and you conferred er distort your circle. And finally, the warp option here for the move tool allows you to actually control all the points that you see in this mash right here. So here we have about 16 points. I believe we have four on each side, and then we have another four points here inside of this square. And you have, like, a lot of freedom here to actually distort your object and create very unexpected results that you can then hit the arrow key once again and see the your new created shape. And this option right here is something that a lot of illustrates illustrators use whenever they're making illustrations. There are more like portrait's, for example, and not necessarily realistic. But those exaggerated proportion portray. It's kind of like cartoonish portrait's. It is a great example where you're like expanding the features so you could actually start drawing up portrayed off someone in a more realistic form. And then still, in this sketch mold, you can, like, enhance noses years or like the eyes of character, and you can create some really unexpected results. And that's something that I want to show you on a further lesson, Uh, when we're gonna be talking about the liquefy tool, so I'm gonna mix some of the usage off the liquefy option with the warp option here on the move to. So now that we've seen the move tool, let's talk about the selection tool. So we're still here only or two. I'm just gonna click the selection mood and the 1st 1 from the get go that we got is the free hand selection. So free hand selection basic basically allows you to draw any shape that you wish to buy just throwing on your canvas. And as you can see, it's automatically on an ad mood, meaning that any time you keep drawing onto your canvas, you're adding more and more selections to your first original one. And just keep in mind that even though I've made all these selections here on the left side because we're still on Lee selected with layer to hear once I hit the move tool all these selections on the left side. The only part that really touched the image only or to was this little section here on our dark blue part of the circle. So you really have to know which layer you're actually working with. And if those selections are actually going to affect your layer. So let's go back into the freehand mode. And as you can see, I can draw any kind of selection. And keep in mind that whatever drawn new selection, it always starts from your beginning and end point, which is then displayed by this little great dot right here. So let me just restart our selection again. I'm just gonna make a selection right here. And once you make a selection here appropriate, you're also greeted with a few options here at the bottom. The 1st 1 is that we can click, add, and that basically confirms that selection. And now we have our first mask or area that we want to affect either by transforming moving around, copying, cutting into a new layer, and is also letting us know here with this striped texture that this is not the area that we will effect or want to effect in layer to so again if it quickly moved toe. You see that I'm only affecting from the mast mask that I drew on lee this section off the dark blue circle. So let's reset. Once again, I'm just gonna draw a mask. I'm gonna click add. But now we have the option. Invert and inverts, basically inverting the mask, telling us that we do not want to affect this area, but rather all the areas that are outside of our initial selection and that pertaining to layer to fight. Click the move tool. It's going to affect everything that was basically to the left. I'm sorry to the right off our selection. So again, I'm just going Teoh, reset or mask. I'm gonna click, add. And now, if I click duplicate, it basically took our selection that we just made and copy that selection into a new layer . Once again, let's make another FREEHAND selection hit. Add if a click feather it's not going to give me a slider. And with that slider I'm able to create a feathered selection and what that means. Actually, a feather selection is a selection that around the edges off that selection once you click feather, it really generate some kind of a radiant from pure capacity to, um, zero opacity or full transparency. And as you can see here as I'm dragging, it started to feather in my selection from about this point all the way there and to the right. And when I look at my layers this feather selection initially it doesn't really create a new layer, but rather just works within your original layer. And as I've dragged away this element that I had just selected, you see that he pushed these pixels out and you see, the little grey didn't happening here on the right side, in on our original circle. It actually removed these pixels from the last side of our original circle. So basically, I'm dragging away, uh, pixels with a feathered selection and finally just making a new selection here whenever it could click clear, it really just clears my selection. So now let's take a look at other modes that he select. Dual has. We have the automatic selection, which basically means that if I click on a certain color, it makes a selection off that collar. And it's also additive, just like the free hand selection, meaning that if I click on automatic and I just select the blue here and it move away, he tries to make the best selection as possible. That's what procreate tries to make. But as you can see, most of the time, leaves a few artefacts behind. And if I have my selection here, automatic and click on the blue and then click on the yellow color, it's, uh, kind of uses as visual. Cue the invert mode, telling you that you've select thes two sides and 1/2 a click move. It's trying to move both sides of the circle and is leaving the little artifact behind because pro creates really trying to calculate as best as possible. Uh, what you wanted to moved based on pixel approximation or like color approximation. So let's go back into selection and basically all of the features that I've just said, which we can invert we can duplicate into a new layer weaken do basically the same things as the free hand selection We can also do in an automatic selection. Then finally, as a couple of different modes we can use to select things, we can use the famous rectangle, which does help, especially if you're trying. Teoh, you know, enclose a certain area and you don't really use. I need to use the free hand mode, and you can also have the lips mode off selection. So that about covers our move tool and R selection tool in procreate. So, for the next lesson, let's take a look at the adjustments menu 17. Adjustment Menu: A Step-by-step Guide: in this lesson, we're going to take a look at the adjustments, Manu and all of the options that are included in this section. So for it, this lesson I've actually opened. One of my illustrations that I've done for my YouTube channel goes paper, and I've broken down and simplified to some key layers. And the reason for that is that it can show best what the adjustment adjustment menu can do for us. So the very first option in the adjustments menu is capacity. So let's just click on the sun layer here, go back to our adjustments menu, click capacity, and now we see a slider here at the top, which, basically controlling the slider, makes the sun more transparent or, uh, last respiratory moral peak. So basically, it's the capacity off the layer, and the same can be done if you just click with you fingers onto a layer for any layer, and you can also adjust the capacity. So we're going to take a look at these shortcuts and gestures in a further lesson where we're gonna be talking about how to become a pro procreate. So there are multiple ways to achieve whatever you need to do and procreate, and you can do it with gestures, which we will see. Take a look at that on the further lesson in this class, and you can also find these options just by navigating the menus. The second option still here in the sun layer is gosh a blur. And gosh, humbler also gives you a slider, which by adjusting the slider you see the sun becomes more and more blurred, and you see the amount of blur here at the very, very top. As you apply this blur as you're still inside the stool, you see, there is a way to cancel the emotive blur to undo, redo and reset. If I just hit and do, it will probably take me back to zero. Clicking Redo puts me back to the value that, if placed, which he believed was 30% a blur reset, just reverts the layer back into its original position or state, and then cancel just cancels. De cancels the operation, some continuing here with the adjustments later. Next, we have motion blur in motion. Blur, I believe, is just based on the direction based. Basically, as you can see, I'm just directing where I want the motion blur to go in terms off factor and it's all done with your pencil. And also the amount is controlled by how much you're dragging that away from the original position off that the layer has been see them or I drag this. You see, the motion blur is increasing in a percentage. It is also creating more of a streak visual. And the last that I dragged. My pan is creating less oven amount of blur, and the object is a little bit more visible or less blurred, and the same can be said here at the bottom. You still have the same options as undue. You can redo, reset the object and cancel this operation. So let's keep going. The next one we have it here is perspective, blur and perspective. Blur is a very interesting effect. What? Which gives you right off the bat. You gives you the circle here which are able to move around. Borrow Valley right now is at 0% so I'm just gonna increase that. I'm just gonna go all the way to 100 now you can see that it's almost like I'm setting the focus with this little circle right here. So if I move the circle upwards, you see the blur. It's at the bottom. And if I do move the circle to the bottom off the sun, you see the Blur is now at the top. Let's actually go hit. Cancel. Let's right. There's a fact onto the layer woman. And let's see, going into adjustments go into perspective, blur. And I'll set this at the bottom increase of blur to be more extreme. And I believe you can really see this effect as I'm traveling around the little circle busier here. As you can see, the amount of blur is really increased at the top or at the bottom. And if I change the directional, you see that our you want here expense to the circle expense so that you get the blur still happening in a similar manner as positional. But you also get this arrow they're able to travel. So basically, you're saying I want my blur to start top down, but also go to the bottom right direction. So it's a more of a, um, you know, we have more options here on directional than just using the positional blur, and again the same can be said here at the bottom, you have to undo, reset and redo and cancel operations. So moving on with the emanuel of adjustments, the next one is sharp. It I personally don't use sharpen that much because I tryto already create my graphics to the scale that they need to be. So, for example, if you're scaling up your canvas, if you started your illustration really small in your canvas, and if you're scaling up, you might get the Ailey seen problems such as the JAG died edges, and that will be a reason why you would like to or one to sharpen your image. But then again, it's just a slider here at the top, and the more that you drag, you'll see that the ad you if you're layer where the pixels are, will become sharper and sharper. But also Teoh the cost off them looking a little bit strange. So, as you can see here, sharpen is that 100%. I'm just going to try to zoom in this as much as it can, and you start to see some really strange edging effect happening here on the, uh, on this layer. You see this like white outline almost happening. And that's the exaggeration off sharpening those at ages to be a script as possible. And the same can also be set to you my shading to the shading effects of this layer. All of a sudden, they're becoming so crisp that's actually creating a bit of a more in effect. And if I go and I decrease the slider, you see that the harshness that was applied with the sharp in effect is actually decreasing to the point that my edges are now actually back to what I wanted them to be like not to have this white ah, harsh outline. So the reason why um, you know, as I said before, I'm drawing when I'm making my illustrations, I'm tryingto always make them to the size that actually want my campus to be planning my illustrations from the very beginning so sharp it is a tool that I personally don't use as much. But maybe let's just say that you wanted to style eyes something that you've created so as you saw, like how the that speckle effect was a little bit more intense, Maybe you were playing with something that looks kind of a printed, the fact or kind of half dome in effect, And I would see then sharpen as a good solution in terms of effect to enhance that visual. But in any case, I just wanted to show you what this stool does and moving on. Then we have noise noise. Once again, slider here the top and just applies a color noise to your image. There are usually two types of noise. When you're dealing with digital illustration in digital, you know, softer. It's just that suggest photo shop. Uh, you are given the option to use monochromatic and Carlo full. In the case of procreate, it's only giving us the colorful way off adding noise, and it is a very straightforward effect here. As you see, there's cancel, undo reset, just as the other operations also had. So I'm just gonna cancel in. Let's move on with the list. But just so I explain something noise, the reason why noise is mostly used, it's basically whenever you're making Grady INTs, unless you say you're creating something that has a great Asian, uh, want to you like a really big area off a canvas, and you're going less safe from green to blue. Sometimes you see bars within the radiant, and it's almost like a stepping effect of bars. And it's unintentional cause you are actually what you want. It's create a very smooth us, a blur that goes from green to blue. So the reason why people at noise and artists and noise is so that this noise it goes in into the great Asian off that radiant and it helps it to gives the sense that that radiant is actually smooth. So it's away. It's a trick to actually make radiance smooth. Next up we have a liquefied and liquefy we're going to skip on and leave it for last year on this lesson. And that is because I believe that liquefy is great for a certain specific thing here on procreate, which which I will show you at the end of this lesson. Eso Let's continue with the other options here for adjustments I'm going to use this time. I'm going to click on mountains and looking at the list here. Now we have the collar grading options here on the adjustments later in the 1st 1 is hue, saturation and brightness. So again, one thing to say here just before we get into these four options is that for these color correction options, I personally use them at the end off whatever making on appropriate at the end of my illustrations. And the reason for that is again based on planning. I usually I usually select a color palette from the beginning, and I work with these collars. I test them. I make you know I first make a sketch later. Then I make a color blocking off, just like selecting these scholars. And then finally, I get into, you know, the final illustration with sharp details and everything as best as it can be. And, um, so at the end of it all say, I'm not really happy with the results or like how the called combination isn't is working, you know, Then I can actually go here and use thes facts and see what else they can get as 2nd 3rd or even fourth options. So, for example, in the huge situation here on the later of mountains, I could see if I actually wanted to swing the mountains to be a little bit more pink and it is actually quite nice. And you can also play with saturation if you wanted to make them a little bit more subdued . And now, in this case, we're starting to really put the attention mawr on the character and the background and not so much on the mid ground, which be the mountains. And finally, you can also play with the darkness or brightness off that layer. So it really creates some interesting effects and results that I highly recommend to you. If you are tweaking these layers to make copies, make backups because even though here we have the preview button which allows you to just toggle on and off between the before and after states, we have the undue reset button. The thing is, is that once they apply this correction, I was gonna click here the arrow and apply it. Now I'm still with my only copy off this layer mountains. And if I wanted to roll back, I can just undo this operation. But if you keep moving forward, you won't have the copy of the mountains. How they how they were looking before, So always make sure to keep a copy of whatever you're doing it. If especially, you're working with the color grading options on your illustrations. So moving on, we also have color, balance and color. Balance is something that I use quite a bit, and again I use it at a later stage in my illustrations. In fact, color balance. We're going to go to this layer, which I've made here, which basically is a merge off everything. It's all my illustration in all the layers of my illustration in one layer, and reason for that is, once we get into color balance, it's almost the fine. Tune off our illustration of the fine tune off the look off our illustration. So here you see that you get three bars in these bars. There's a balance as name off. The effect says this first balances between science and red. The 2nd 1 is between magenta and green and the third ones between yellow and blue. Then here, on the right side, you have three types off channels or where you're going to affect the image. You have the highlights of the image, which means there those are the brighter colors, so you were probably effect. So once you're here on highlights. For example, you would affect once you tweet these levels or these bars, you would be affecting mawr, the sky that pants on the character and this part of the mountain right here, read it rather than the sun or the mountains, or the darker tones or even the shirt or the hair color of character. Then, when we get into the mid Don's, as the name says, it will be a little bit of both. It would be a little bit of the brighter and darker colors and finally, shadows. You're probably effect. Once they tweak thes bars in the sliders, it would affect more the hair, the shirt other than the very bright areas off our illustration. So let me just show you what this does, starting with shadows. So let's just say I want to tweak the slider a little bit more into the red tones, since this image already has a little bit this, like red nice red richness going around, as you can see as they tracked the slider, it's really affecting the darker tones off our illustration, mostly the hair and the shirt off character. If I dragged all the way to the science. It creates that, um, opposite off colors effect, which can also be really nice is you see, I'm just gonna zoom in a little bit more where we were before and drawing into science. There's more of a separation between background and the hair off off character. But again, I'm just gonna leave here on red thesis. Kind of like a motive, dramatic illustration and moving here, Still in shadows. I could go to the magenta levels or it could bring it to the green levels. And green probably makes this a little bit more like old or it like timed illustration on. That's just on effect that you can find in many filters and Photoshopped Mr. Grant Instagram filters. But it's a matter of preference, and I'm just gonna actually leave. Um, I'm actually gonna leave a little bit more here on the magenta. Finally here on yellow and blue. A bit of a trick. Ah, here. That you can do in the sign is that on the shadows of level, if you do drag it into blue usually makes this really interesting. Cool hint to your illustration. So I personally kind of always traveled towards the blue here on the shows. It does give this like, nice look to your illustrations, which is something that you can almost compared to you photography. When you're revealing pictures when you're using old school photography. Having that kind of a bluish tone year on the shadows is something that does look quite nice to moving on to. Mitt does. Let's see what that that can do once we drag the sliders. So in this case, mid tones can do a lot of changes or can actually not do a lot of changes that you cannot see like that much change here. Just dragging the first lighter. I'm actually only seeing a little bit of change on the bottom at the bottom of these mountains right here and now when they switch between magenta and green, I'm starting to see a little bit more of a change. And as you can see, the change really is happening. Mawr within the shadows off this overall frame and also deep back of her character, you see that the shadow isn't really changing to a pinkish stone. I'm again gonna bring it a little bit more into think and finally yellow. It's not really doing a lot to the picture between yellow and blue. And that is because these collars air really affecting mawr. The midterms in the calculation I think I'm actually for this. I'm just I'm I just leave somewhere around here finally, highlights if I drag days as this picture has a lot of highlights, it's also really affecting it. Um, I might just leave Teoh about the center. Actually, I'm not gonna move highlights so much because it's really tweaking the image. I might just do this and not if a quick preview. You see the difference between before and after Leslie here on the color grading options, we have curves, which I do also use quite a bit, especially at the end. Once I have a merge off all of my layers weaken Dio curves with the whole picture. And that's why there is a Composite channel right here. You can do curves on just the red levels on a picture. And as you can see, the red levels here are really increasing almost amount almost blowing up as I drag these curves super high right here, or I can decrease the readiness levels on my picture just gonna bring it back into the middle. I could do the same with Green and finally the same with blue. But again, just as a little trick that I like to do on my illustrations. Just gonna bring this a little bit better here So you can see it's the famous curve, the S curve, which you just put 11 new busier here when one busy right here and one in the middle. And now if you drag up the brightness just a bit, not too much and drag this bottom just a little bit down and the middle. It's kind of like up to you. Sometimes I do like to bring it just a little bit above thes center, or you can do the opposite and breathe up. But the effect, more or less off the curves, will look something like this. And it's a very like a subtle ask curve right here. Now again, heating preview. You see a little bit of a difference on before and after. You can also undo and reset. And then again, it's not that I always use this option. Sometimes it doesn't really work with my illustration. In this case, For example, I don't even think that is working as well as what I had before deciding preview here. I think actually had more information, especially in the shadows that were there are happening here on the right side of my illustration. So I'm just gonna hit, reset in, click away with the tools and not actually applying any curves. But sometimes curves really helped to pop your illustrations, especially the collars of your illustrations. And finally we have recall er and recall er is a really interesting effect. Which, um what is trying to do Here is where I'm pointing with a cursor right here. You see this little cross here? I couldn't it procreate is trying to apply my collar, which right now is a very dark kind of dark, bluish, kind of like a grayish color. It's trying to apply this caller onto the area that I'm pointing with my cursor. However, because my flood there's a flood slider here that set 200. It's a it's This is a threshold level and is really trying to acquire as much as possible from the image. So if I bring this down is going to start Teoh, not it is going to start to clear up from a few sections off this illustration more more until we get to a point where I would say this is really close, but they're still like some artifacts is it can see here. Maybe my illustration itself is not as others, a few like bits and pieces here that are left out from some shadow layers. But now if I drag my cursor around, you see that I'm recall Oring Onley the parts that it was the appropriate can really grab onto my illustration as some containers so I could just paint, for instance, this section of the mountain. I could try to paint the pence off her character, the shirt, the hair, and so on, so forth. So the more that you tweak this flood levels here you can try to achieve. You can try to gather the section that you actually want in your illustration and change it to another color. So now if we choose another color, you see the procreate is able to replace basically the color that we have you on our swatch Teoh, the color that we had before in our illustration. So it is a powerful tool. But I would say this is more of a preview, where you can see for color, will look nicer or batter. And then I would actually advise you to hit, cancel and then going to the proper layer and apply the color that you actually want just to keep things clean because procreate, it's not really able to grab the edges off your illustration as best as possible, so we'll probably leave some some artifact. So just quickly showing you here if I were to just repaint the sky. But if I wore to zoom in and look at the sun, you see that there is that edge that very similar to the sharp in effect at maximum, which is a which is a weird effect. It's something that you actually don't want to have your illustrations, especially if you're going to print them or if they're illustrations. They're going to be printed into bigger areas that just like outdoors, and people can actually notice these little details. So let's just hit cancel here, and finally, I just want to show you guys d liquefy effect and what it can do. So this is just a quick very, very quick sketch that I've made here from a photo, and the reason why I liquefy I just left it towards the end is because look of liquefies one of the most powerful tools and procreate, if not the most powerful tool. So here on this file here we only have one layer, which is this sketch layer. And I think I was talking about liquefy on a previous lesson. And what is the best way of using it? And what is the best use case and how to use liquefy? So, in my opinion, liquefies really best used. Once you're you're drawing portrait, it's And within these portrays or character designs, you actually want to exaggerate features once you have a first rough sketch. So here the bottom there. There are many, many options that you can use with liquefy, the 1st 1 just being pushed. You have the size of your brush. You have the distortion amount, the pressure on your pen or your apple pencil, and you also have the momentum, and the momentum is related to your drag and the velocity of your draft. For example, let's just keep things here more or less at the middle of everything. And let's just say that I want Teoh increase the nose off this character or start even to distort this into more of a cartoonish form so I could actually drag his face a little bit more. Bring this mouth a little bit in just a bit. I'm gonna bring this more maybe bring down here and, uh actually, let's bring this in. And I'm just gonna do a couple examples here so you can see bring the neck in. So now all of a sudden, if I If I click here reset, you'll see that the difference off what we had and what we were just tweaking it was a really big difference. Another one that I, uh I would like to show you is the pinch. So same thing again. I'm just gonna go into the nose and I want to pinch this to be really, really tiny. Uh, I also want Teoh use expand, really? Increase the mouth. You see here the this little ease off the effect almost the animation. That is the momentum. If I bring this zero, you see, there's no sliding. It's almost like a sliding thing that happens after a click. I'm just gonna bring this up again. And then when I do see, it's like sliding and slow slowly coming to a stop. Uh, that is the mo mentum slider. So, in fact, I highly encourage you to actually play with these sliders and see what each one of each one of these sliders does to the dual. So now just increasing things a bit here, and all of a sudden we have a completely different version off this character. And Leslie just want to show you this reconstruct and reconstruct is a brush that you can paint and, as the name says brings things, brings things back into its original form, and it can also click reset right here. So what other modes that we have your liquefied weaken twirled things to the right? It's almost like a little, uh, her native weaken twirled to the left. We can pinch as I was just showing you. We can expend shapes. We can turn things into a crystal, and this one is pretty crazy. Um, you can see here it's really creating these wiggly lines. Crazy lines. We can also, uh, go edge it really The forms but it's kind of pushing things in. And finally there is an adjustment. A bar here which also bring brings things back to its original state by the amount off distortion. So thinking that whatever we just did here is 100% if we go back to 50% that is only half of the influence off all of these brushes onto our illustration. So again, liquor flying is a really, really powerful to because it allows illustrators and artists to create very different results from an initial rough sketch. And you can make me those who could make cartoon illustrations. You can even completely change something that you had as a character designing to a completely new character by just using liquefy. 18. UI Changes In Procreate 5: Now let's take a quick look at some of the U White changes here and procreate five as well as some of the white changes on the adjustments. Manu. So let's just keep using this illustration here from the previous lesson as the example for this lesson. And we're gonna go into the adjustments menu, and I just want to go quickly through these adjustments and show you guys what actually has changed in terms of you. Why so in terms of like capacity, not a lot has changed. We still have the top bar here. Have a few options at the bottom, such as cancel this operation, undo, redo and reset. So the adjustments theodorus mint off opacity can still be done by just scrubbing your finger here. And you still have the options here. The bottom. So in terms of what really has changed to give you one of the best examples is actually at the four last options here, the hue saturation. We also have the color balance. We have the curves and recall er, so using the hue, saturation and brightness as the one of the examples we see, the procreate has now a much smaller U Y for this section for the hue, saturation and brightness compared to procreate for So I'm gonna put here on the screen what actually used to look like on procreate for if you if you really can't remember anymore. But it was like this. I think it was about two or three lines height and he had the all the options on screen, such as preview reset to be able to start from scratch, undo and and etcetera. So, for example, let's just go and do some corrections here. Something really simple. I'm not gonna be really you know, I'm not gonna be trying to achieve, like, any results here, But let's just say that we want to color or do some hue saturation to something a little bit more purple. Now, the first option that we used to have was an option called preview and preview was a way to see what you know, how he was before and how it's looking at the moment and be able to see if that's actually what you want. So that button that actually disappeared is now just a tap on the screen. So if you tap and hold, you see that we actually go back Teoh to how he was before. So it's tricky because these buttons and those functionalities the buttons air gone. But the functionality still exists so that that's me. Just show you how you can still achieve that functionality. The other button that we used to have, which was reset, which is also gone now, is just a tap on the screen. So if we tap anywhere on your illustration, we see the button reset. And by clicking on that, just go back to how the picture was before we started applying some of the adjustments. So I believe what Pro creates trying to do here. It's to save some real state around the display, to be able to have more of your off your illustration on screen and still give you the all the controls that so that you can keep exploring your creativity your illustration by using some adjustments. So it's just important to know that these things there are not completely removed, but it's just a different way to access these options. So another option right here called balance really, you know, is just done. Now, in the same kind of premise where we have just a one liner here for you. Why in all those sections shadows, mid tones and brightness. Now they're just here at the at the right side. So it's just a click. And the mid Don's air represented by this little Aiken, the highlights or the shadows. So if I moved to highlights and I change some of these settings so we are affecting just the highlights and then shadows we can do the same here. Just gonna just moving sliders here just so you guys can't see. And now, once again, tap and hold does the preview on If you just happen here we go back into reset. Now the last thing that I want to show you that has changed for the U. Y. Or how procreate actually used to work in terms off the bland modes. So each layer has its own blend mode, since you know the many versions appropriate, but at least on the version. For once we clicked on the blend mode, we would have some categories, so each section off blend modes. I would say about 45 filters or 45 different blend modes was categorized by certain sections, so we had darkened modes. We had brightened moods. We had, I think, I think, maybe caller modes. And these now have going back into some sort of a list and at the very at the top most US option or blend mode, we always have multiply, and then, basically normal is doing a bit of a divider, so it's dividing what the dark and modes are. So anything that's on top of normal is considered a darkened mode in everything that's, ah, below normal. He goes into the brighter modes, and then we'd still go into other modes such a skull arise and finally there some luminosity and situation, and it's sad. So and now we just became more of a list, and that's just something for you to be aware. Every blend mode has now a new Aiken that tries to represent what what that is, and I believe that the more that you actually use procreate and procreate. Five. You'll be able to recognize thes Aikens a little better. But once again, the blend modes air not going there just now, categorized and displayed in a different way here on appropriate five 19. The New Clone Tool In Procreate 5: So, no, let's talk about one of the latest additions to the Adjustments menu here in Procreate five , which is the clone toe. So the clone tool is at the bottom here, off the adjustments menu in the adjustments list. UH, minus, of course, the caller correction section. So it's it's It's in here just at the bottom off the adjustments menu in terms off capacity , Gulshan Blower, Motion blur and etcetera. So what is the clone to? So the clone tool is something that is widely used in other software, such as Photo Shopped, for example, where photographers digital artists need to do a lot off touch ups. Basically, it's an idea on how you can actually take a photo, for example, and you can modify it by copying pixels from one location to another location where you actually want to paint. So it's a much more convincing way off actually patching and modifying a photo by using the photos existing pixels rather than trying to pick collars and painting on top of that photo . So if this sounded a little complicated, don't worry, because I'm going to show you with two examples here in this lesson. How how do we actually use the clone tool? The first example is going to be using a photo with photography, and the 2nd 1 is going to be using one of my own illustrations. And both were going to be using the clone tool. And I'll give you the best use case scenarios and why we're actually using the clone to. So first, I'm just going to for the first example, we're going to be using photography. I'm going to turn on this layer. That's just one of the photos I took. Um, and, uh, this is, let's just say the location of the park. We have an old table here, what we actually want to do. Let's just say that we want to paint some some of the things here on the stable. We want to be able to clean it up a little bit. So what do we have to do here? First, we need to go into the adjustments venue, and then we go into clone. And the way the procreate actually created the clone tool here. It's a very simplified version, much more in a way compared to photo shop, it is way, way simpler. So basically we have a certain brush that we can choose. We can actually go and select any off the brushes from from Procreate five while using the clone tool. I certainly highly recommend some of the brushes that even I I think I believe the control already starts with which is in the air burst section and is basically wanted. These soft brushes right here. And I will explain also why we're actually using the soft brushes. Next, we can set the birth, size and the strength meaning that at maximums maximum strength were actually copping 100% off pixels from other. Another area of the photo onto the target, this nation. And if we slide this down, it's almost like a capacity level. But in terms of strength, like how much we're actually copying from a section to the target location. Now, if you ask me like, is this actually really good? Because basically, if we want a patch something, wouldn't it make sense to just always be painting and Max and is a bit of a yes and no answer because, yes, painting a max off course, you're going to be finishing sooner per se because you're copying pixels at 100% capacity to the target destination. But sometimes doing that with just one past may look a little rough or by rough I mean a little bit known, realistic or like not really convincing. But sometimes when you paint multiple times at 50% strength, you actually achieve a better job than if you just painted. Once it's almost like painting the interior wall off a house when we actually painted twice or even three times rather than this, then just using a lot of ink and or a lot of paint and just doing one coat. So usually doing the job Ah few times with last strength or less paint will yield a better result, if that makes sense. So in order to use the clone tool, we don't have to actually worry about selecting brushes from this section. Or it's much dual or the race till. The only thing we need to do is to make sure I'm just gonna click on the layers panel here , so we'll probably cancel the clone tool. But we have to be on the select selected layer that we actually want to use the clone toe, which then again is a little bit different than Photoshopped, because photo shop, you're able to create a new layer and then use the clone tool on the new layer. So, in fact, you don't have to merge or flatten your artwork. And if you don't want, don't want that clone tool anymore, you can just turn on and off the visibility off that newly. But because we don't really have that option here, appropriate procreate once again is a very synthesized virgin off the clone tool. We do have to be with our selected layer, meaning that whatever changes we do with the clone Tal, those will be final. So because of that, my first tip is to actually always duplicate whatever you're about to dio to use with the clone tool. Because if once we use the clone tool it is final, you're going to modify that image. There's no turning back unless you actually undo the steps, and that is even before you close. If you're close to go back to gallery, those steps will be forever saved into this canvas into this illustration. So we're just gonna make a copy off the the image that we want. Teoh change and I'm just gonna turn off the visibility visibility off the the one that the bottom. I could even rename it as backup, for example. So now that we have only your selected, we're gonna go into the adjustments, Manu here and we're gonna go into clone. So now that we've talked a little bit about the brush that we want to use, definitely want to use Thea a medium brush. In this case, I'm even going to change it to a soft brush, meaning that the address will be even soft, more soft. And, ah, we'll probably get a better result on the outer edges for the birth size. I'm just going for now test from 17 to around 10 20% size and strength. I'm actually gonna do it with a max for now and show you like the differences. So then we get this, like, little ring here, and what this ring is actually doing, or what it can do for us, is to place into a location where we want to source the pixels from. So let's just say that we want to paint this little, um, a piece of metal right here on the table. We want to be able to get rid of it. So in fact I'm actually going to zoom in a little bit so I can source better pixels from it . And there are multiple ways we can actually use the clone tool. One major rule when I want to see actually, multiple ways is like there are multiple ways off sourcing the pixel. So I could do horizontal kind of job over here by sourcing from the side and making sure that I'm painting following the veins in the wood or we can do like a vertical clone. I mean that I will probably paint up and down, which, in fact, I think that that's probably what I'm going to try, because I think it's going to be easier. It's basically whatever becomes easier for you to mask or to make something as convincing as possible, and I will probably lower my birth size to about 10% since I've actually zoom zoomed in so much. And now I'm just going Teoh start painting. So as you can see here, I just painted that section. I'm gonna move this a little bit here cause I just want to see Alright. Ah, that that bit was like feeling a little bit darker. Oh, are too bright, actually. So I'm just gonna move this around a little bit more, maybe Can even put it over there. And I'm going to just go 50% to do half a quote here in a couple more times and just noticed that now that I'm at 50% I'm just getting more of a convincing effect. So now we fit. If we zoom in all the way and I'm just gonna click away, we have actually patched that little metal. Um, kind of, um you know, screw that was on the table. So let's just do it. No one more so it can keep showing you how we can actually achieve this. So once again, back into the adjustments, Manu Glowing tool. We're going to zoom in quite a bit. I'm going to stay right about here. So now, instead of starting at 100% strength, we're just gonna go with 50. So now, with 50 as you can see, I can paint twice, and we still see quite a bit of thes screws. So that means that, like, it takes more actions to actually get something completed, but you may actually yield better results. So what I like to do to be completely honest, I usually paint at 50 or actually at 100% 1st and I see what what's actually happening. And then I go down a little bit on the Strand and then I have to source from other places. So when I source from other areas since I've already started painting, that's really when I actually take down the strength. So I'm going to do this one more time and I'll go over the steps once again. So I'm gonna go about here just trying to get de best. The fact that's possible, he will increase it. Okay. And went too far there. Hey, All right, let's just do a zoom out here. So it's also important for you to see that once we're really zoomed in, this may not look super perfect, But once we actually zoom out Teoh pretty much another percent of this picture or, like snap to the actual size. We see that actually, this wasn't Ah, this looks actually very, very convincing. So let me just do one last time and I'm gonna go through what I actually do. Usually when I'm actually trying to clone something once again Adjustments, Menu clone. And, ah, we're gonna set it about here. I usually start really strong, at least on the first pass, or I would say, from about 80% to 95. So let's just go this route first. A couple times here and all that I start seeing there was like a little bit of Ah, you know, there's a little bit of a difference in caller tone. Denna. Go to another darker section and I reduce the strength. And I use that as my away to blend a little better. So we're painting this sectional paint this section as well, and finally think I'm gonna go all the way to Max and try to grab. Let's see for grab here. What happens? Um, it's getting a little brighter, actually, Soy. I'm actually gonna zoom this quite a bit. See if you can get rid of this and then a little bit of finishing touches. And now let's zoom out and see the results so overall, really not too bad. Procreate five is actually amazing because it's starting to offer a chance for, you know, having the ability to do general touch ups on images and also illustrations, which is what we're going to see next. All right, so now let's take a look at this example, which is the illustration example. Let's just say that this background right here is going to eventually become a greeting card. Maybe we'll say Happy Birthday, maybe will say anything that we want. But what we actually want at this point is to multiply the number off fall leaves here around this card. Let's just say that we've created this or, um, we haven't are a piece of artwork that has a few leaves, but we want to be able to multiply this a little bit a little bit, Maura, around the canvas. And not only that, we actually only want to replicate or multiply the read the small red leaf right here. So once again, we have to make sure that we're actually selected on the layer that we want to multiply things. There's really no ability to do that on a new layer, but we can, and we should actually duplicate whatever layers that we're going to effect with clone, because once again, once we affect those layers and get out of the tool, those changes are final. So we're gonna go into the adjustments, Manu going to clone. And now, as I was just saying, we can move this around. So the first thing that I'm going to do, because again, we want to clone this little leaf right here, it's gonna set it about here. I'm gonna increase my brush size and just keep it a max because it's a very flat piece of artwork. We don't really have a lot of shading or a lot of different pixels of variation over tonality of pixels, so we can just use 100% strength in this case. Now, let's just say, ah, this is selected and I want to start painting some of these red Leafs. So here's one. And now I'm going Teoh paint another one here, and I just want to show you something. I just painted this like they're freely. And as you can see, every time that I was actually centering the red leaf and just paint in this round, I'm actually painting a little bit of the yellow leave that is just sitting right next to the rad one. So a bit of a problem that's happening here is that our our yellow leaf, it's actually very close to these source that we want to multiply over this illustration and because I'm just going to undo this because that's definitely not what we want. And I'm just going to step out of the two here for a second because we actually paint in on procreate five. We actually do clone with the same layer. There's really everything, meaning that everything is merged. It's going to be quite a bit of work for me to actually select this yellow leaf. I could move it further out from the red leaf, but that that's just taking more, more work from what actually just want to achieve. So here's a little tip that we can actually use on the clone tool. So back here in the clone tool, I'm going to source my red leaf. But now I'm just going to click and hold. I actually do have to do with ah, hand gesture, sort, so you cannot just do with your apple pencil. So if you saw what just happened here, I'm just gonna move it once again. just place it where we want Teoh use as a source that I'm just going Teoh, tap and hold. And that little animation. The little expansion off the circle means that our clung to is now locked to the red leaf. So now when I paint the red leaf, you see that the red circle it's not really moving is just really locked onto that position . And because it's locked onto that position, we have to worry way less about actually painting or getting a little bit of that yellow leaf leaking on every copy that we make with the red leaf. So it's a super cool feature to actually be able to lock the source off your off our clone tool and then be able to multiply that over the illustration. 20. Adding Text in Procreate: in this lesson. Let's take a look on how toe add text into your own illustrations Appropriate. And on the second part of this video, I'm going to show you how to import fonts and to procreate as well, so that you can use third party funds into your own illustrations. So first, let's take a look on how to read text and the text button is actually located on the tools menu right here on the left side, off the interface of procreate. And then we have to click on the add Semenya and there's the button right here at text and then procreate gives you D default tax box right here with the keyboard so that you can write anything that you want so forth. This lesson I'm just gonna write winter, as I want to add some type into this illustration that I meet here. And now if I want to add it thes style off that won't I can click on this button on D right here on the right side at it. Stop if I want to go back into the keyboard. If by any chance I for gotten something here, I can just click on the keyboard, and once again it could just click on the layer. Let's just say Winter Day, but I'm actually going to delete that and just go right ahead into at it style so them procreate gives us some secondary options here at the Edit style option, we can choose other funds, and these are D default default phones that come with procreate. And there are some really interesting once that we could choose like a typewriter phoned. You go with the Adoni, which is really classy. We can go with Avenir, which is another favorite of mine, and then we can also choose the different styles. And that varies for whatever funt that you are choosing for no, actually really like area rounded, the Let's just keep it with Avenir. No for the styles. As you can see as they clicked with the different styles, I could go with the light typefaces medium can go heavy or even the black option. Let's just go back into I think we're gonna do light for this one seat book. Let's just go with light as this is a very delicate illustration, and I wanna have some typography that actually goes with it. So now on the middle section here, if the options there are a few more things that we can do with their are type options, we can increase the size and just notice that the text box actually doesn't grow to the size only girls kind of vertically as we're increasing the size of the point. And in fact, if increased more than what the box can handle, we're actually going to get cut off text, actually not really cut off, but it's gonna break it into multi lines. The reason? The way to fix this. See those two handles here, we can actually move the text layer around as we're still editing. We can just move, expand the box sideways, and now we see that we have our text layer into one line and also what we can do. We can increase the turning or the spacing between letters. We can increase the tracking, which looks similar to Kerney, but I think it really relates better to multi lines. So when you have multiple lines again, even you can really mess with the tracking. The leading is also something that I think it's better for a multi line text and finally, baseline really moves the baseline off that layer. Without you having to reposition your text layer, it just moves up or down. Finally, we have the capacity, which again is a Knop shin to choose the capacity of the taxslayer, only the text layer without you having to go into the layer options and tweaking the capacity. Finally, I'm just gonna expand the box a little bit more here so you can see the difference. We have the attributes off our type layer right here can choose to be left aligned center alignment, uh, aligned to the right side of the text box and justified when we have olive skin mult multi line text layer. I can also I'm just gonna leave for a center text layer. We can also have an underlying stroke and the outline version off Any of the phones that we choose here on appropriate. Finally, I can also have this text layer as an all caps typeface. I'm gonna turn that off and just noticed that I'm also gonna turn off these two options. Notice that once I turn off the all caps actually brings the whole, uh whatever your text is, it brings it all to lower case. So I'm actually gonna go back here into the editing mold with a keyboard, and I'm gonna type the capital tell you because I want to have it. I won't have this as a title. So now that we have, um, we have changed a few of these options. We can also change the color of our tax layer by just clicking on the color swatch. And we can even choose any caller from our color palette as well as we can go into. For example, we can go into classic here, and we can mess up with the colors with the classic mode. I'm actually gonna leave with this color right here. And now that we're kind of happy with her text layer could just click on the arrow and the weekend, reposition our text, whatever we want. I'm just gonna leave somewhere like this for now. Maybe I can scale it down just a bit and let's just have this kind of sticking out like that. So now that we have our text later, I'm sure a couple things that we can do with the Slayer, for example, Now we have this text layer right here. You see this? You see these like little a Aiken, and that means is a text is a live text layer so I can actually click on rest arise. You know, our text layer is transformed into pixels, which you may want for certain certain options. But in fact, by doing this, we lose the capability off editing the text layer, so I'm just gonna undo the rest. Arise option. So if I click now on the little a icon right here, I can click on edit text, and I'm back into the live editing mode. I could go back into the keyboard and click here and start leading ladders and keep editing so once again, and make sure that if you're rest arising and text layer, make sure you have a backup copy made you have a second layer as the live text version just turned off when its capacity so back into her text layer. Let's see what things that we can do with our work text layer, for example. I can click on the layer and I can choose a mask. And though I have layer mask and I can't for example, it raised these letters right here. Kind of have the word kind of sticking in from the circle. So now let's see what other things we can do here with our text layer. Let's click on the layers panel and I'm gonna select Create a new layer, click on this layer and select clipping mask. And now that we have our text layer with that clipping mask, I'm gonna choose a very bright color like a white color. And I'm just gonna paint with our nice brush. I'm gonna pink this and give our text layer the appearance that there is a little frosting on that text layer so we can do those things that can even create a new layer click again. So I'm flipping mask. Let's choose the color from her palate That's really bright again, like this brighter science and just paint the top again. It's kind of a frosty and cold, and that's just like one more at it. Effect that weaken. Due to our text layer, it's no, it's the lead, this tree layers, and let me show you how we can import funds into appropriate meaning. Let's see how we can change this phoned into a custom front that we can bring it into the appropriate application. So there are actually three ways to import France. Inappropriate 1st 1 and most direct one. Let's just click on our text layer and gonna click edit text just to be back into this interface. And we have to be in the edit at its style kind of section. We see here there's an option called Import Front was a click import phoned. There are There are a few places where we can import funds. We can import phones from our iCloud drive from files stored on our I bed or from 1/3 party service such as Dropbox for the video. I'm actually going to show you how import phones from Dropbox so another where here on my Dropbox have my O. T. F version off this phone for here, which I've acquired from the Internet. I've bought this fund and I'm just going to click on this front and he says, reporting and it's done. And once procreate brings in that typeface, it is organized in an alphabetical order list. So this font is right here at the bottom. I'm just gonna find it and there it is. It's kind of like a hand written on the stuff won't. And I'm just gonna get move things around me will bring the skin. And here's our custom Funt into our illustration. So now let's take a look at what other ways we have to import fonts. It appropriate. The second option is to bring the files menu by just clicking and dragging the files onto the right side right here. You know, you see that I have my Funt once again selected on my dropbox. So all we can do is just click and drag into pro grade and you see the plus sign and it brings the front right here. Third way that we can do is actually just by using the files application for the third option, we can use the multi touch gestures to bring that front in. I'm gonna click and select our phones, and then I'm gonna click on my iPad, click appropriate, and then click funds and out. I can just drop that font inside the phones folder off, procreate and have imported our front. So once you actually go back into pro great, you will find that front in the fonts list. So I'm just gonna go back here into edit text, and you see that our important front is right here. So these are the three way so actually important moments into appropriate. So now, just to recap everything that we've learned in this lesson. First we've learned how to add text into pro grade by just clicking on the tools menu. You add some menu and the option at text. And then we saw how we can add it, the style as well as type anything that we want here on the text layer and most again, just clicking at its style and changing a few options. Such a size, capacity, color and the tracking and Kerney. And on the second part of this lesson, we saw as well on how to import fonts and to procreate and three different ways on how import these fonts. So now, for our next lesson, let's take a look on how to create grade ins and pro grade 21. Pro Tip: How to Make Gradients in Procreate: in this pro lesson, let me show you how you can make creations easily in procreate. At the moment off the recording of this video lesson procreate doesn't really have a greedy int generator. You can only paint use this much tool it raise, make new layers and access layer options and find colors so that you can create your illustrations. Whoever there isn't really a tool where it allows you to select two callers to create greedy INTs. So here's what I can show you on how to make credence and procreate. First, we're gonna pick a layer, and we're going to choose a color. I'm going to start with this very dark purple, and we're just gonna click and drag in order to fill this layer completely. Now, back into the later spaniel, I'm gonna create a new layer, and I'm going to select a new color for that. I'm gonna drop in this very light purple in this first example here, I'm gonna show you how to make ingredient with two colors. Now, using the move tool, I'm gonna drag down this layer until about halfway through. And now we have these two bars of color next we're gonna click on adjustments and we're gonna click on Goshen Blur. And by dragging your finger onto the top of the U Y off pro grade, you're able to sat the amount of Goshen blower that you want for the second layer. I'm just gonna open the panels here so you can see that the gushing blur is only affecting layer to With that, we've actually created ingredient between Jew collar valleys. Now, let me show you how you can make ingredient with multiple collar values. We're gonna go back into the layers panel, delete this layer that we just blurred. We're going to create a new layer and this time once again, dropped the like purple. Now, with a moat move tool, I'm gonna set it about third off the height off this illustration. I'm gonna go back to the layers panel, making you layer choosing you collar. It's gonna be this hot pink, and I'm going to call a drag onto our campus and once again using the move tool. I'm just gonna set it about another section off our illustration. Just one last time I'm going to create a new layer. So, like the new caller this time. Maybe we'll do this like green. And just once again, we're going to use the move tool and maybe said it about warder off our off the height of the this illustration. It's going to reposition so that there's no gaps between each color. Now that we're looking at all these collars right now, they are in separate layers. So the trick that I just showed you about blurring layers won't really work unless all these collars are blended together. Otherwise, I could just show you what happens here. If I'm going to Goshen blur and blurring the green layer. We're only getting the green blurred, and that's not actually what we really want. So I'm gonna go back here into the layers panel and using the pinch, I'm going Teoh blend. I'm going to merge all of these layers into one layer. I can even pinch everything. So even the dark purple is now in one layer. No, back into our adjustments. Goshen Blur. If I know drag the bar long, I get a blend off all of the colors, and that makes it even, uh, disappear. Some of the colors, in this case, the greens actually being killed because the blend is at 100%. But if I slide it back just a bit around, maybe 60 or 55% we still see a little bit of each collar. And if I click here on the tools to kind of get out of these out of the box and apply the percentage of the Goshen blur, here's our radiant with multiple values. So that about covers how we can create radiance with two collars and multiple colors. But I do want to show you just one more thing. The one of the use cases of making radiance is being able to create new layers. But this time let's go hear back into the tools and add some text. It's gonna type hello and expend this boxes, which is we can, because we're going to add its style and make this text as big as we can. Now I'm just going to reposition this text a little bit more at the center of the image and now back into the layers. I'm just gonna pick or text layer and set it at the bottom off ingredient. And now, on the great Aunt Layer, click here to bring the options, and I'm going to select clipping mask. So now, right here we have the Grady int Onley affecting the inside of these letters. And if I were to select our text layer in the move duel, I can now find all their places and other values off that radiant. And you can definitely find some really interesting combinations right here. So I believe this is how we can achieve radiance off two collars in multiple colors. And this is also a great example on how we can use Grady ants in your illustrations that can be painted inside shapes that can be a background like a sky in your illustrations and many other things. And I really hope that you could start using radiance into York illustrations. 22. Using Procreate Like a Pro: Gestures & Shortcuts: now that we've learned quite a bit here on procreate, in terms of features, I really want to dedicate this lesson to gesture and shark. It's so for this lesson. I really want to show you as many as shortcuts that that I know off and also the gesture controls that I use and then work to set them in the preferences. So let's just start by making a few circles here off different colors in size is just so I can set these examples. Okay, so the very first shortcut that I use is the undue and that is the two finger tap on the screen. And as you can see every time that you tap, you see that I've undo my transformation and I'm going to start to undo the circle that being circled that I drew and because I've used great shape the very first time that I didn't do it goes back to the original shake that I've drawn, and then he totally disappears. However, if I want to redo the steps, I've just backtracked. I just used the three finger tap, and now, as I start doing that, you can read what seeing at the top of your iPad, you would start naming the operations back again. So basically two finger to undo three finger tap to redo the next one is simple. It's just a three finger swipe across the screen, and that just clears whatever you had on that whole layer again, I'm gonna undid it out with the truth finger tap. The next one that I use a lot is the three finger swipe down. And that is when I want Teoh copy and paste the contents off that layer. Or I even want to cut it out off that layer and paste it on to a new layer. So by using cut as you can see now, I've pasted all the contents into a new layer and procreate calls new, earlier inserted image as he went into the clipboard and then back into a new layer. But if I undo this operation, um, let me just do a couple more times here. Here we go. Now, if I go three finger swipe and copy and paste. As you can see, I still have my original layer original contents on the original Layer one and my copy as being served at Image because once again, and went into the clipboard and then back into the appropriate callous. You can also do the same three finger swipe if you want to Just select using the selection to you Just wanted, for example, copied his blue circle right here. You can do the three finger swipe and then copy and paste want to new layer. And now you have that isolated element wanted, you layer. The next one is actually a quick tip about the selection tool and zoo me. Sometimes you're tweaking a certain an object, and you're just, you know, position repositioning around campus, you're scaling it, but you actually want to get a little bit closer, but watch what happens when you actually want to zoom in. So as we know, pinching is available in procreate, and that is a way for us to zoom in and out of our campus. However, under the selection tool, whenever we have the selection tool here activated any time we use the pinching mode and it actually goes into the scale off that object and that's not really what we want here. We want to keep the object at its scale, but we want to zoom in and take a look closer on that object. Maybe he's got some ads that you want to fix. You just want to get closer to it. And there are many, many times where this actually made coming handy. So all you have to do is to actually hold with your left hand onto the icon off the selection tool and then here with your right hand. Now you can zoom in and even Pan, and you're not actually changing the scale off your object. It's a really useful trick here that I'm showing you guys. How does UMI and into a new object that's already being selected? And now you can continue to scale further scaling and reposition that object. And then, of course, once again we can use the pinch tool to zoom out out of her canvas and zoom in. And if you do the pinch really quickly, he kind of snaps back to campus back into the 100% you mode or fit to screen view mode. Moving on. Another thing that I like to do is for a passage of layers. For example, I'm just gonna turn back Oliver elements here as we know as I showed you on the layers lesson we can click on the little Aiken here that stands for the blend mode off that layer . That brings this menu off the current blame most that we can choose and also the capacity, which is a slider here at the top, right. However, there is a shortcut for that that we can choose our a passive layers without having to click on the icon right here. And that is the two finger tap one to a layer itself as conceit e. Now you have t, uh, opacity adjustments off that layer just by clicking, or just by tapping with your fingers on to that layer. Next up is the forefinger tap onto the canvas and that hide sti holy wine. You may find that helpful, especially if you're finishing an illustration and you just want to show to friends and family or even took client. And there are some other times to where you just want to hide your why and take a look at the whole composition. You might be making some finishing an illustration off something really dark for really light, and you actually want to take a look at the whole screen. Next up, another tool that I use quite a lot here whenever making my illustrations is my quick menu . And for that I am activating it with the one finger press, such a screen. And right here I have a few options that have also set up Teoh. My best productivity. So we have new layer, the very top. Have my paint in the rays on the left. I have emerged down, which something that I do use quite a bit to. Whenever I want Teoh consolidate how some of my layers. Then I have flipped horizontally and the eyedropper flip horizontally. It's also really helpful, especially for drawing faces if you're drawing poor traits and if there are more in the realistic side flipping horizontal makes sure that you are actually drawing things that are proportional. They have symmetry because the brain really gets used as you're drawing, or our eyes and brain really gets used to whatever we're doing and perceives it as normal. But it's always good to actually flip things horizontally and see it once again like was that really good in terms of proportion, rule of thirds and all those things. Eso It's always good Teoh, at least for myself, to flip things horizontally as I'm drawing. And Leslie, I do have my eye dropper because it's really handy to just have a quick, a quick option to get the color that I want without me having to go all the way over here and selecting collars. So the way that I've set up my quick menu, as I've said before, it's my press and hold. But in order to customize each of these options, you have to click and hold again. When one of these options here and he brings you a man, you to what you actually will like it to have. As, for example, this stop option right here. And you can just scroll to your desired option for this week menu, and that's how you set it up to work best for you. Another gesture that I use quite a bit here, especially when I'm making illustrations on procreate, is the finger swipe across the screen, and what that does is a way for procreate to tell me which layer my objects belong to, And I'm also able to then select that earlier and be able to add it. Look, that layer. We don't need having to click a little ears panel at all. So it's really, really powerful, especially if you have an illustration with many layers. So, as you can see, have broken down this illustration in three layers Now, just so I can show you this in a more simplistic way and you see that the aren't circle belongs to later to purple circle belongs later. One and big circle belongs to layer three Somali frejus scrub around the campus. You see that? I I see these numbers and the layer names are actually displayed and if I just kind of over onto it, it will select earlier for meat. So now if I go into my layers panel, I am only your one and against electing collar, and I'm just gonna select brush here. And, uh, this line that I just drew does belong to layer one. Now if I just do the same here and I go to, let's say later three, I go back to my layers panel. I am on layer three. If I draw any lines and if I turned them on and off, you see that they do belong to layer three and also just a couple more things here. Let's say, for example, I have my painting brush set to this noise brush almost maximum size and maximum capacity. But, Mike, razor brush in this case is set to a studio pan almost halfway and maximum capacity. And right now what I'm trying to do is to pink some shadows into this peak layer. So I'm just gonna click on the pink layer, select making new layer and now, using my painting brush, which I know is already set to annoys brush in the darker caller. I'm just going to start making some shadows. So let's just say I'm drawing shadows here and I went to high up or I want to soft in that feel, and basically I'd probably want to use my razor brush. So watch what happens when I'm using my razor brush, which is set to the Supan. As I've shown you before. Even if I were here to increase the size and decrease the opacity and keep trying to work some magic here, it's just not gonna look good and that the reason for that that is because we're using two different brushes to work on the same effect which was shading on this element. So the tip that I want to show you guys here is how to actually copy the settings from your painting brush onto your razor brush because that technique we're trying to achieve here, his Sogang used the same brush for painting onto raising. So, as you see here, have my noise brush. All that we have to do is click and hold on to the razor brush, and he says that he copied these settings from the painting brush so that but the only thing here to note is that unfortunately, this technique doesn't copy the size or capacity, so always make sure to you could try to eyeball it. Or you can even you know you can work with different capacities, especially if you're turning to raise things. But just make sure to go ask which between them. If you can see here, there's just a little bit difference in size, but that shouldn't be a big problem. But now that I click on my razor brush, I am using the same brush, the noise one. And as you can see, the result is just gonna be much better. So I'm just gonna soft in those shadows and there you go. So again, the trick here is suggests breast and hold, and you're going to be using the same brush whether you're copying from your razor brush, want to the painting or vice person. And the next thing that I want to show you is that sometimes you may be working with a reduced color palette, but for a moment you're working with two collars. Maybe we're working with this darker shade here, and you're also working with pink. You could go back into your layers panel and select those two colors if those two callers air saved him to your palate. But even better than that, another trick that I want to show you is that you can just click and hold press and hold on to the color swatch, and it will swap between your last selected two collars. In this case is actually selecting this green that I was using for something else. But it's still switching between this dark blue that I'm using for the shadows and my previous selected caller. So, um, once again it could just selected this dark color and use my eye dropper so like no, the pink. You know, if I click and hold you see, it's switching between pink and the dark shadow color. So that's really effective in order for you to not have to click on the color swatch here and go through your color palette or even worse than that, if you don't have your color saved, you have to go back again into the color wheel or even used the eyedropper, which is still something that will take you a little bit of time. Probably slower than it's going here and quickly swapping colors. And now I'd like to show you how you can activate owl thes options and those air contained into the Tools menu. And we have to go into preferences and then gesture controls. And here on Jessica Controls is a sub menu that I highly recommend you to go all the way. Like in all of the options here, we have to take a look at all of these options and what they allow us to do. So basically, you can set up gesture controls, toe work best for you, depending on the kind of work that you do, for example, because the the illustrations that I make in the content that I make, it's not really much geared towards the realistic side. For example, I don't use a lot of the smudge tool and what this much stool does like. It really helps. You know people who are drawing more realistic paintings, and they want to really blend and make like, skin tones and go from a lighter skin tone to a darker skin tone. And they can use thes much dual and just paint the collars, uh, kind of in a similar way as the oil painting technique, where you just go with the more like the solid colors and you start to make a blend with collars either on your color mixer or onto the campus itself. So that's kind of like with this much stool does. So as you can see here, I don't have so much dual activated in any of my gestures because once again, it's not something that I use. I point a bit for the Rays stool. As you can see here, it's really into my quick menu. So the reason why this is called a quick manual is it can just, uh, very quickly select paint. I can select raise here. I can select a new layer I can merge down just like that. So I do use it. Why? Dynamically and fast, as fast as possible whenever I'm creating my continent in my illustrations. So the reason why I don't have a gesture control for the razor, a brush itself. It's because it's already set up in my productivity or on my workflow. It set up on my quick menu, so let's just go back to Justin Controls and assisted drawing. I also don't have that selected on Teoh any gesture because those are specific cases where I do use a sister drawing, for example, whenever we're doing things with symmetry, as I've shown you before or with the grits, Finally I drop her. I do have that on Teoh. Ah, few gestures. So in fact, I should just have it 11 that's something else. So that's quite important for you to understand that if you have one gesture, for example, the eyedropper and if you select all of these options, you may have a very versatile way to activate this option. But you might be limiting your ability to have those gestures for other options and other features that you may also want to use whenever you're creating York illustrations. So now let's go back into gesture controls and let me show you the gestures that I really, really use whenever I'm creating stuff here appropriate. So 1st 1 that I really use is the quick shape, because I'm always making straight lines or, you know, the solid such circles, triangles and squares and use quick shape with the draw and hold technique, and have also decreased the timer off the drawn hold to about 1/3 of a second. And that is so. I can, you know, just make lines. But I can still make some more abstract and lose lines. But if I really want to have them turn into a line, I just have to hold the panel to the campus for about 1/3 of second. I could increase that timer, but that's gonna make my productivity, as you probably imagine, slower because, you know, the more time that it takes for me to get a straight line, the more time that would take me to finish the drawing So let's just just go back here into gesture controls and keep looking at the other options. So the next one is the quick menu and the quick menu. I am doing the touch and hold with the one finger, and I've said it to a very low value about your 10.15 of a second. And again it's for productivity and so that I work as fast as they can. Full screen mode. As I've shown at the beginning of this lesson, I'm leaving for the forefinger top clear layer, as I also shown you before I'm leaving for the scrub. It's just basically scrubbing back and forth with three fingers, layers that layer copy and paste. I am using the three finger swipe because I find that they're useful to just be able to do this motion and be able to use cut or copy. And for layer Select is the touch, as have also shown you in this lesson. So once again, one thing that I highly recommend you to do is to go through all of these options and make sure to set up those gesture controls. Toe work best for you. What I've gone through here and in this lesson is basically the list that works best for me , and they still highly recommend you to at least follow this list for at the beginning if you're just starting to his procreate. But as you get more comfortable, you may find better ways here or different ways that you can work with gesture controls that actually work best for your own art style. You know, for the next lesson, let's take a look at the second assignment. 23. 2nd Assignment: Calendar Design: all right. It is time now for our second assignment here in this course. And for this one, we have now seen pretty much all of the features that procreate can offer for us. We all know where every tool lives within the application. We know how to use brushes, how to use layers, how to use layer options such as clipping masks, layer masks, how to make radiance, how to use the grids such as the Judy grid perspective grid in the symmetry grid. And we also know how to stay organized within our layers and our files. So for this assignment were actually going to do a calendar page within a calendar. So the canvass for this one is going to actually be a vertical campus. So I'm rotating. My iPad went to a vertical layout here just so I can display my canvas a little better. We're going to set up a new file that's going to be the screen size of your iPad end for the grid section. I'm actually using each cell with somewhere around 198 191 pixels. So after you create this file, these air the Onley rules for the top side of your calendar. You can do whatever illustration comes to mind whatever style you want to do. Your illustration. If you want to do a character piece, or if you want to do something like a landscape, it is totally up to you the number of colors as well. You can just express yourself freely with the top side of that the side of the campus. And for that I'm actually commenting somewhere around six squares, and then I'm drawing horizontal line, and that's where the top part off the page will be dedicated for that illustration. On the bottom side of the page, we're going to write your favorite month and in this case is my favorite month. This August. That is my birthday month, and we're then going to write the days off the month and I've actually just researched on Google. What are the days for 2019 so that it lines up correctly? Mind starts on Thursday, Thursday, the first of August, and I'm just choosing also my favorite typeface for this section. So just try to think of like in terms off, lay out what actually typeface that comes with procreate. I'm not actually even importing any new phones. You can do that as well, if you would like to, but I'm actually using one of the phone step were provided by procreate itself and just try to choose a form that actually goes with your design for the design that I've chosen here. For my example, I'm using one of the illustrations that I've done on my YouTube channel goes paper, and I'm just going to place that at the top off my layout. So again, try to have some fun with this one. Try to actually use everything that you've learned here in the scores. If you want to create something that does have a Grady int in the background, that's totally fine. If you want to use geometric elements, that's also fine. If you want to go a little bit more abstract, try to express in your own art style. And finally, just be mindful off the spacing Here in this example, I've used the grid once again in order to separate my the days of the month and the days of the week a little better so that everything feels a little bit more. Even so, make sure to duplicate layers, and I didn't merge any layers until I was satisfied with my layout for the numbers and letters. So make sure that you keep earlier is life and try to have some fun with this assignment, and I will see you on the next lesson. 24. Bonus Lesson: Animating in Procreate! How to Make Gifs That Work: all right for this lesson here, I'm going to be showing you a few things. I'm going to be showing you how to actually animate in procreate. And what are the new features that have now being included with the amazing animation assist that Procreate five is now offering? So in order for me to explain how to animate, I'm gonna take it through a series of files here and increase the challenge and what's actually happening on screen little by little and step by step. So on this very first file here, I have three layers and I've just put these ladders a B and C one on each layer, so it's easy to understand. So the first question is, how do we actually turn on animation? Assist in procreate? Well, we have to head up into the actions menu and then here on the sub folder on the some menu canvas, we're going to turn on animation assist, and all of a sudden you see that the letters are blending. That is due to some sad things that we're going to cover in a little bit. But now what we see here at the bottom section of the UAE of procreate five. We see this little plate timeline with the play button set settings and the ad frame button . So if I hit play, we see that our animation is now playing on our time line, and the timeline is indicating which frame we are on as we go through the all of the frames . So in this case, right here, procreate is understanding or procreate. Understands that each frame or each layer equals a frame. So it's it's It's an important concept that the more that you actually practice your on procreating will understand this better and better. But basically each layer equals one frame. So now if I click settings here, we can see some of the standings. Then I'll come with the animation assist Weaken set the offerings for second off her file right here with the slider, and he goes from one frame per second all the way to 60 frames per second. If I were to play the animation, of course that 60 frames 60 frames per second, it would be quite fast and if I play at let's just say two frames per second, it would be quite slow next. The fact that these letters are actually a bit transparent is due to the fact that we have onion skin frames actually turned on, and in fact, when I was turned on for only two frames and there is a little bit of onion skin opacity. So this is a feature that we're going to see on ah file that we're going to open in a little bit in this lesson. But the more that we increase the owning skin frames, the more they were going to see. The frames there are happening before and after the current frame. And then we also have the onion skin opacity, which dictate dictates how much of these frames before and after the current frame you actually want to see in terms of capacity as they blend with a current frame. This is really helpful when you're doing walk cycles, run cycles and animations that you really need to see where your character was, where you're actually drawing, and then where you actually want the character or the object to be in the next frame. Finally, there is his option blend, primary frame and color secondary frames, so the first option blend primary frame is you can see adds transparency to the current frame is an option that you may find actually quite helpful as you animate objects. Characters moving on In this case here, it doesn't really make a lot of difference, but is basically a matter off if you want. The current frame toe actually also blend with the owners Skin frames in color. Second airframes basically colors in a way that all the frames after the current frame are tinted green and all the frames before the current frame are tinted red. And this is also something we're going to see and check on the next file. So I'm just gonna close settings for now. You can also add frames if you want to. If you want to continue your animation as it was just saying, Procreate understands every layer as a frame. So if you go here to the last layer, you don't have to actually go here into the layers panel and click on the plus icon actually at the frame. But as a as they just do that, you can see that it adds an empty square here. It's gonna delete that, but procreate is trying to make it in a way to actually make it easier for animators. If the ad frame capability is just here as well as clicking on the slide, I can duplicate Hold this rain. I can set it as a foreground layer, which will also see in a little bit, but it can also delete it. So just to keep things simple in this file here we can play through the time line at the bottom. We have three Layers, A, B and C, and we saw some of the options in terms off settings on what we can do for our to be able to visualize our working animations. So now let's jumping to our second file. So now here on our second file, that's where we start. Teoh add a few things. So I'm just going to turn off onion skin frames because I want to talk about another fundamental here when it comes to any meeting in Procreate five. So remember when I was talking and saying that each layer equals a frame? So what if you actually want to have multiple layers in one frame? For example, what if you had a main character running on a brown plain and behind there was some mountains. These are all elements, different elements that, as we illustrate here on procreate, if you have any experience during appropriate, you probably know that we like to break it down into layers so we don't have to. For example, if you're drawing the character, you need to draw what's behind the character in this case, the mountains. And if everything is in one layer and your any meeting it, it's going to look. And it's going to be quite a bit of hard work in order to paint, repaint the mountain as the character moves to us to say from left to right. So how does procreate actually solves this problem? How can you have multiple elements into one frame? We're while now in this file here we still have the same premise. We have the A, B and C letters, but now we have groups and basically inside groups. As you can see, we have all these separate elements, so when I click play, it's actually playing correctly. We can see the A, B and C letters separated each on its train, and they have multiple elements. Well, that is because basically procreate understands that each group equals afraid. So in a nutshell, each layer equals a frame, and also each group equals a frame That is, in the case that you can have just layers. So it in this case, I'm just gonna make something here between B and C. I'm actually just going to choose. Let's just see this color. I'm gonna use the studio pan at a little thickness. It's so I make like a circle not gonna be too careful about it about it. But now if I play, you see that this animation, now it's going through groups, goes through a single layer and back to a group. So procreate really understands that each layer equals a frame as well. A a swell as that each group equals afraid so this solves some of our problems here, which again is the case of half having multiple layers. So now I'm going to jump onto another file as I want to continue to show some of the fundamentals off animating and procreate. So no playing this file here, you'll see more or less what I was just saying on the previous file scene where we have an object travelling from left to right. We have a floor plane, have some mountains. So if I paused his animation, um and I just opened the layers panel here. The layers panel is really where you can see the contents of each layer. And here on the timeline, it just really helps you in order to add frames, keep drawing and making changes. But really, if you want to get down to looking at the contents off each rain, you do have to open the layers panel. So if I open one of these layers one of these layers here, one of these groups, I can see that we have the background layer. I'm just going to once again story. I'm just going to turn off onion skin. We can see the mountains, we see our floor and ah, were, uh, our hero here that's moving left to right is actually one of the last frame. So maybe I'll just go somewhere in between Over here. I think it's probably gonna be better. So once again have mountains. We have the floor and we have the square. So as you can see in each group, I actually had to duplicate the mountains the floor in the traveling square and that goes for every single group or every single frame. So what's happening here, as we know, is that we we know that procreate has a limitation in terms off number off layers. And that actually varies depending on your iPad, your iPad model in your iPad capacity. So the problem with this technique here is that by having a limited number of layers, because we're actually duplicating the background and the foreground layer. As you know, I was just saying that each group equals a frame. We need to have these elements multiplied if we want to keep having the background on site . If I just turn off the background for less, you see this layer here. And if I were to play the animation you see a pop, you see that the mountains are actually popping. That is because the mountains are not there in just one of the groups. So how that procreate actually solved this problem and pipe problem? What I'm just trying to say is that you're actually spending layers that you could be spending on your on your hero animation. Your spending these layers by actually just having to have the mountain and the floor layer because those are the Constance off your animation. So now we are going to go into another file, which I'll just open here just so you can see. And once again, we're just gonna be going back and forth here in the little in between files so I can show you all of the features. So now if I played this file right here, this is actually the final animation off a bouncing ball that I just worked a couple months ago, testing the capabilities off the animation assistant Procreate five. As against you here Definitely fuel a pop that's happening on the background kind of flashes for a frame. And that is because my very first frame looks like my background, and my very last frame looks like a foreground element. So basically, procreate has allowed us to, in a way that we're constructing our animation, the very first frame, or layer or group. You can actually set it here to be a background. Curiously enough, on the beta version, you could actually click on the layer here, and you could set it to background. Procreate has removed that and I think where they're trying to do is to synthesize things so that these options are mainly on Lee here on the bottom timeline. So now that I've set this us my background when they play the animation, although I have just one layer form for my background, it is what replicated throughout the whole animation, those saving me lots and lots off layers. So now we're seeing another pop, and that is now coming from my foreground layer. So now we're gonna pause again the animation We're gonna go back to the very first layer here to the top, most layer. And once again, as I said, these options air here on Lee on the U Y on the timeline here at the bottom. So we're gonna click on this layer, and we're going to select foreground. So now when I play the animation, I have both my background and foreground throughout the whole animation, which is really, really helpful and just saved me tons and tons of layers. So now let's hop into the beginnings off this animation here, which was the planning stage, the planning stage off our bouncing ball. I've actually done just without lines as it was just trying to get the motion right. So if I go here into settings, there are was again. You have the frames per second. You have the owning skin frames and a few more options. So let's now go through these options as you will be able to visualize them a little bit better. So onion skin frames. I'm gonna leave it about six so you can really see what's happening here. As I've mentioned with onion skin frames, you can see the number of frames before the current frame and a number of frames after the current frame. So right now we're looking at six frames before the current frame. Six frames after the garden frame. You're passively square high, so I'm just gonna turn it down just a little bit. I'm gonna leave it about 75%. And now was again if I set the primary frame. If I If I asked to be blended, you see that it actually also gets colored. So I'm just gonna have this off. So I really understand that my current frame is the black outline, and finally I can ask to caller the secondary frames. I do find this option really helpful, but sometimes it can create some challenges. So I just want to show you the without coloring the secondary frames that before and after . You can really see the six dreams before six frames after Justin Gray scale. Now, if I choose to call a second airframes, you really see that the frames before the current frame are red frames after the current frame are set to green. What I was just saying that it can create a bit of a challenge is that if your animation actually at this stage, if you aren't if you our animation actually uses green or uses red, it actually can get a bit confusing. For example, if I select our current frame and I'm just going to select the outline here, let's just say that I'm actually going to pick a green collar and I'm just gonna hit Phil. So if you look at the animation right now, even though I do not have the option to blend primary frames, my current frame is set to green, so he makes it a little bit complicated to understand which frame is actually the current frame. So in a nutshell, when you're planning our animation, I would actually recommend you to not use red or use green. If you do want to use this option off coloring these secondary frames, just keep your outlines. Just keep playing your animation with black outlines or white outlines on a black background, but try not to use red or green. So I'm just gonna do that and keep the outline black. And finally, one thing that you can also do on this timeline. He's gonna go back here. There are three modes to actually play your animation. One mode is just the one shot, and that is really good if you have really long timelines, so you don't really need to see that at that time line playing over and over. Then we have the loop animation, which is really good if you are planning to actually make looping GIFs making looping, short, looping animations for your instagram and other social media. And we also have pink phone, which goes from first frame Teoh last frame and then bounces back from last frame to first rain. It is also very interesting way off watching the animation because watching it backwards may give you also some ideas on what are the things that you could do a little bit better? And finally, one less thing. I just want to go back into you, our master file or final file in the bouncing ball. You can also within these options. Let's just say as you're playing this animation, you want this rain here. I'm just going to the elite. This frame seems to be an empty frame. Now, on this frame, I can click on it and I can duplicate the frame which will create more layers. But I think even smarter I can hold a frame for whatever frame duration that I want to select. You say eight frames. So now when I played animation, the final frame is being held by eight frames with in a way that actually saves some memory from procreate, the appropriate file size as well, and just one less thing as well. You can get any like many layer, for example, this one right here I can raise it from the timeline and it gonna slide it, and I can place it anywhere you want by just dropping it. In this off course, be careful as this takes the animation out off place per se, but procreate allows you to use using multiple gestures. It allows you to actually reorganize the frames. Now for your next lesson. Let's take a look in your project assignment and as well as what other ways and shortcuts we can use to make some really interesting animations in pro create five. 25. 3rd Assignment: References For Your Animation: now for your project assignment. I'd like you to take all of the knowledge that you've acquired from Procreate Five and actually think often animation that you will like to create. We're going to go through here a few examples, and I just want to show you a few other ways and shortcuts you can use to create some very different animation ideas. For example, on this one right here that you see on the screen. This is an animation that is actually done with layer masks. It's a simple cycle of the moon, and the weight that have actually broken down these into layers. Just so I can show you is by using the group's technique in a way that on every frame, if I just go to a frame right here, I have a layer mask that is actually obscuring the moon. So by using this technique, I actually just duplicated the moon. It's the same asset. I'm just gonna put this to the site so I can see a little better, and it's on Lee. Using a masking later in this game is just a simple circle to actually create all of all of the different phases off the moon and then finally have a foreground. Later, it's gonna zoom out a little bit more so you can see I just have a foreground layer. That's only here to give some visual interest and as well as its checked here as foreground , and I have a background layer, so I'm just gonna turn it off so you can see what it looks like. And I actually also have to turn off my foreground. So my background layer is just a plain blue background. It's gonna set it back as a back room here in the stars are actually inside each layer because also, as you can see, they are twinkling and, um, any meeting on and off. So this is one of the ideas that you can actually use as as a shortcut. You can use layer masks in order to create your animation. You may also decide to actually make your animation with just a moving object on the screen . In the six simple right here, I have a moving circle that's using the concept off anticipation, meaning there's a few frames at the beginning and at the end off this animation, which are being grouped which gives the feeling that there is a bit of a breaking point of the very end and a bit of are ramping up at the beginning of this animation. And now if I open the later stages off this animation just to show you what's happening. And then as the animation evolved, I've started to draw some trails. It's a really interesting, colorful trails. So then finally, at the last stage of this animation, I did a little bit of floor a background, and I made sure that the background was a bit darker so that the trails would jump out in terms of colors. You may want to create a bouncing ball animation by just having a ball bouncing at the center of the screen. It doesn't really have to travel from left to right. And finally, you may want to create something really, really splashy, like this one, this animation that I was just working for the release of procreate five. I just wanted to some fan art animation where I've actually created this in three D, and it was rotoscoping, every frame with a different art direction. So with that, I've actually created some really nice really cool frames. And once you play because the elements are the same is just the art art direction that change is it actually creates this really striking effect. So in the natural, there are many, many ways to actually animate things and procreate. And I would love to see what you can come up with. I can't wait to see what you can create with the animation of Sistol in Procreate five. 26. Conclusion (Graduation Day!): hi there. And welcome to Graduation Day here on Procreate Essentials, the ultimate guide. I hope that you have enjoyed the scores and that by now you have a good understanding off every single tool procreate has to offer, as well as all off the necessary steps in order to create your own illustrations while having some fun with your iPad. Just to recap, we have covered all of the different sections in U Y off procreate, going from the canvas section to the tools the layers panel the brushes, hand gestures and preferences to even a couple bonus lessons, such as create ingredients and working with animation as well. You can start to explore your own artistic side, knowing everything that procreate has to offer, and I also encourage you to poster results so that we can all share as a community, as we are all learning and improving together. For more information about procreate, such as tutorials, reviews and other speed painting videos, you can head up to ghost paper on YouTube for more news and more content. And this is also the place where I'll be able to tell you about any upcoming classes, so make sure to stay tuned so you don't miss anything. Thank you so much for watching this glass once again. Congratulations on your achievement and I'll see you on their next class job.