Procreate Fundamentals: Everything You Didn't Realize You Wanted to Know | Peggy Dean | Skillshare

Procreate Fundamentals: Everything You Didn't Realize You Wanted to Know

Peggy Dean, Top Teacher | The Pigeon Letters

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
13 Lessons (2h 1m)
    • 1. Introduction

      1:54
    • 2. Items Needed for this Class

      7:55
    • 3. What is Procreate + File Types

      2:29
    • 4. Opening Procreate: The Gallery

      5:34
    • 5. Setting Up Your Canvas: Size Matters!

      4:05
    • 6. Working in Layers: USE THEM

      10:19
    • 7. Color Interface: Overview, Color Codes and Palettes

      8:58
    • 8. Brushes: What, How, Create and Customize

      20:43
    • 9. Tips, Tricks, Gestures & Controls 

      27:34
    • 10. Blending Modes, Masks, Locking Layers

      21:36
    • 11. BONUS VIDEO: Multitask While You Work

      3:12
    • 12. BONUS VIDEO: Animate Your Work

      6:22
    • 13. Project Time!

      0:24
142 students are watching this class

About This Class

Are you an iPad user? Do you dabble in Procreate? Do you think about all that Procreate can do but feel overwhelmed as to where to start or how to discover all of its tricks? I gotchu.

As with any sophisticated software for artists, Procreate leaves much to be discovered. We use and will continue to use software for years without ever realizing it's full potential, not to mention all the shortcuts we discover much later and wish we'd known. It's my absolute pleasure to bring you a FULL class on everything Procreate that you didn't even realize you wanted to know! This is a lengthier class, intended to provide you with the tools you need to know within the program so you can create a better workflow, optimize your potential within the program, and most of all, enjoy the discovery. 

You'll learn the following:

  • Tools and Software
  • File Types
  • Importing and Exporting
  • How to organize within the software
  • Canvas sizes and DPI
  • Color Interface
  • Creating custom brushes
  • Working in Layers
  • Selection Modes
  • Overlays
  • Alphalock and Masking
  • Blend Modes
  • Gestures and Controls (quick tips and tricks)
  • Distorting and Warping
  • Symmetry - mirroring and radial
  • Special Effects
  • Multitasking
  • BONUS - Animations

I can't wait to dive in with you and get you geared up for your adventures in illustrating on the go!

351cabc9

Additional resources can be found in Class Resources (under Your Project tab - must be on a computer to access).

Transcripts

1. Introduction: Hey guys, I'm Peggy Dean. I am the founder of Pigeon Letters and I'm an author and educator; my favorite of all. I am so excited to bring you a class that is chock-full of information all about Procreate. Which is an app that can be used on the iPad to create all of your artistic desires. Seriously, this app has been a game changer for me as a designer. This class we'll cover the iPad hardware, the stylist, the cases, and then we'll get deep, deep, deep into Procreate. What it is? Who it's for? We will tour the entire interface and really get familiar with the software. You'll learn some gestures and controls and easy ways to make sure that your workflow is the best that it can be for you. Will learn all about layers, of working in layers, the isolated power this will give you. Brushes. We will talk about all the brushes. Not only will we talk about the brushes, but we will also talk about how to create your own custom brushes. Which is going to be easier than you ever imagined. But there is a lot to know about that so we're going to dive in. We're going to learn about the color interface and all the different things that you can do there. We're also going to get into blending modes because that is something that I get asked all the time. What are all of these blend modes? Don't let it confuse you. I got you. All of this is easier than you think. It's just a matter getting familiar with the platform and that's what I am here for. There are also two bonus videos in this class: multitasking and animating. So you can animate your illustrations when you are finished with everything and creating your masterpieces. If you want to get your hands dirty and really get to know the software, then let's dive in and I can't wait to explore with you. 2. Items Needed for this Class: There's not many things that you need for this class, but I will go over the things that you do need. Cat tail. She never comes in here and less of something like this that's happening. You do need an iPad you can use the iPad or the iPad Pro. The newer iPads do have pressure sensitivity, so the old ones don't. We'll get into what that means later. Procreate, however, will work on both versions. The iPad Pro versus the iPad, this is a question that comes up a lot. Which one should I get? Now, that pressure sensitivity is available on the new iPads, it makes it a lot easier. It's a lot more accessible and a lot more affordable now to access the iPad for everything that you might want to use it for in Procreate specifically. So we'll get into Procreate, but as far as I've had goes, you're looking at the size. I'm using a 12.9 iPad Pro. This is the largest that they come in. This works for me the most because it gives me more surface space that I can manipulate and do what I need to do to create what I'm creating. As a full-time designer, this made sense for me. If you were doing this as a hobby, there's no reason that you shouldn't get just the regular iPad. You're going to find the regular iPad and a 9.7. This is still a very generous size. The iPad Pro comes in 10.5, which is almost an inch larger, or the 12.9, which is what you'll see me using. You'll notice that there are some color choices here. You'll also be looking at storage size. The regular iPad comes in 32 gig and 128 gig. Whereas the iPad Pro, you'll find 64 gig, 256 gig, and then 512 gig, which is pretty big. Unless you never plan on moving your files anywhere, but having them on the iPad, I don't see a reason that you need to opt for a size that is that big. However, if you're not sure or you just don't ever want them run into storage problem, at least you know that they offer that if that's something that you want to opt for. I will say that my first two books that I wrote were created on iPad on the lowest gigabyte. Once I got toward the end of my second book, the iPad started to disagree with me and it didn't want to work anymore. It was actually also impossible to get the files off because it kept freezing, so something to keep in mind. But also know that those were large layered files and it was like 400 artwork-ish, so plus whatever it was, whatever their projects where I was working on, which was probably another 100 or so. The minimal, if you don't plan on having a ton of artwork just to give you a perspective, seems there. 256, I think is more than enough. So that helps a little bit, just depends on what you need it for. Look into that more on their website and then just go into the Apple Store, get a feel for what they actually feel like in your hand. Then think about your workflow and what's going to be most beneficial for you. The other part that's really important is your stylist. I use an Apple Pencil, and I use an Apple Pencil for a very specific reason. Apple Pencil was made to use for the iPad. It was made to use seamlessly so it doesn't matter what program I'm using, it doesn't matter where I'm navigating. It doesn't matter how I'm trying to use the pencil. It will work because it was made for the iPad. Other stylists, you'll run into problems like lag, you're not going to run into that with the Apple Pencil. Although you might notice a little bit of lag when your battery is running low, which I will get to in just a second because you're going to learn a pretty fun fact. Maybe you didn't know already, but yeah, so other stylists, I think that it's worth splurging because some of these stylists are like $60-70. So an extra 30 bucks, you're going to get something that's guaranteed to work across the board, across the entire interface of the iPad. It has advanced pressure until technology, which means that as you're using it, you can program brushes and whatnot, which we'll also get in Procreate to where you're holding it down, but every emotion that you make with the pencil, whether it'll be tilt and shade, whether it be pressure, everything is going to be responsive. Whereas other stylists may not have that built into their system. This has seamless palm rejection. A lot of stylists will run into problems where you might be trying to make something work within your palm, where it's not matching up how it should and then your stroke, or line, or a letter, or whatever you're making interferes, and that is maddening when you're trying to have a seamless workflow. When really super fun. What I was going to get to about charging is when you take the end cap off, this is your charger, you can plug this in to the chord that it comes with or you can hook it up directly to the iPad and you just plug it in to the bottom port, exactly where you would plug it in to charge. Then the nifty part of this is not just that you can plug it directly into the device. It is that 15 seconds of charge will get you 30 minutes of use. That's amazing. When you're stuck in the middle of a project because your Apple Pencil dies, plug it in and grab a cup of coffee and you're good for another hour. As far as the pencil tips, these actually unscrew. They sell these separately. Or Apple Pencil actually come with one replacement and then you can buy a 4-pack after that. I went over a year before I replaced my first tip. You'll notice the wear and you'll start to feel it. If it interferes, replace it, if it doesn't, you're good. They're pretty resilient and I'm a very deliberate writer so I mean business when I apply pressure. This particular case is by iP Pro, I love it because you can snap the pencil in, it's made for it, it closes like this. It's super, it protects it really well. Mine's beat up but I [inaudible] for a while. You can also prop it up by flapping that over so you have your prop up or lay down like this to prop it up. It's just overall really versatile, so I recommend it. This is listed in the class resources. For those of you who want to grab one of these, I highly recommend them. The last thing that you're going to need is the app Procreate. So you're going to find this in the app store. You'll open this up, you'll click "Search," and you will type in Procreate, which doesn't tell me the current price. I believe that it is 999. Back in the day it was 699, I would personally spend $500 on this app, I'm not even kidding you. It's Photoshop that you can touch. If it's cool that it's showing you everything just in this preview. But yeah, so you're going to open that up, you're going to grab it. I promise you, if you get an iPad, don't even think twice. There's no reason that you shouldn't have this app on your iPad. It's worth the investment times 500. So grab Procreate, grab your iPad, grab your stylist, Apple Pencil, and we will dive into the software. 3. What is Procreate + File Types: What is Procreate? It really is like Photoshop that you can touch. This is great for artists, for illustrators, sketchers, painters. It has some really great brushes that you can customize, or you can import things that really look very close to organic painting. That said, of course nothing is going to take away the value of paint and paper, but basically what I'm trying to say is that Procreate is for everybody. What can be made with it? First of all, just like Photoshop, you can create layered files that you can then push over to Photoshop, if you like, to make final touches on Illustrator or Photoshop, or something like that. You can keep the integrity of each and every layer. You can make illustrations, hand lettered pieces. You can make logos, invitations, cards, books. You guys, I made books from the iPad. You can make things, anything that you can design, create, surface design, you name it. We're going to head into all of that, and I'm going to show you the tricks and tips and things that I have learned in my workflow that got me along the way, that helped me today and the shortcuts that have helped me. There are lots of file types that Procreate supports that you can import and export, including a Procreate layered file, a PSD file, which it works seamlessly with Photoshop, a JPEG image file, a PNG image file, which means that it gives you the ability to remove backgrounds and have transparent background images, TIF files, which is great when I have a larger file, and then PDFs, which is super helpful. I can't tell you how much paperwork that I have just imported into Procreate inside electronically and then sent off as a PDF. It makes things really easy, and I can avoid printing and scanning. It has a lot of support there. It does not support vector files at this time, and I say at this time because I'm very hopeful that one day they will incorporate that. I'm sure that there is a lot to it, so I don't blame them for not having that. It's not a deal breaker at all for me because I can just send it over to my computer and vectorize from there. If you're not sure what a vector is, don't worry about it too much. Unless you're making a billboard, it's not really going to matter for this class. We're going to move into the interface now. 4. Opening Procreate: The Gallery: When you open Procreate, you're going to get into your gallery. Your gallery shows you all of the artwork that you have. Similarly, if you're used to Adobe products, so it's going to have all of your artworks here. You can go directly into them or you can create new Canvases. There are some really easy shortcuts that you can do from the gallery, such as importing files. They have an import button right here. You can import from your drive, you can import from other external sources like Dropbox, what maybe on your iPad that you sent over to yourself or downloaded things like that. You can also import photos, which they have a quick button for so you don't have to go to import photo, you just click "Photo" and then you can choose anything from your camera roll. That's how you import photos. Note that when you import a photo into your iPad from the gallery, it's going to open a Canvas that is the size of the file of that photo. If you want to have, say, a larger Canvas or a smaller Canvas or something, basically not the size of the photo, you're going to want to create a Canvas first and then import the photo which I will show you how to do once we create a Canvas. Also from the gallery, you can share your artwork. You can either swipe to the left and say "Share." Then it will give you the option to share in the file types that I mentioned earlier. You can also share multiple files at once by pressing "Select", and then you can just tap the ones that you want to share and then say "Share." Then it'll give you the options of the version that you might want to share that in. You can also duplicate a Canvas from here. Let's say you want to make some edits or you want to add onto an illustration, but you don't want to hurt the original illustration. You want to have options. All you have to do is swipe to the left and press a "Duplicate". Then you will have two versions here. I recommend renaming those the way you rename, which I will show you next. The other way that you can duplicate your work is by pressing "Select" and then you select it and then you can say, "Duplicate." It'll do the exact same thing. Just like Photoshop, I'm going to keep mentioning that. But just like it. There are several ways to do different tasks to accomplish the same end result on Procreate, just as with Photoshop that's going to be helpful for your particular workflow, which I think is really convenient. Now, I'm going to delete these. I can either swipe to the left and press "Delete", or I can press "Select" and then tap the two or however many I want to delete, and then right up here, just press "Delete". It's going to ask me if I'm sure, delete it, it's gone. Another thing that you can do in your gallery is to stack artwork. Basically you're creating a folder. They call it a stack. Let's say you're working on a collection of some kind or you have a category that you want to stick things into to help with organization. If you are somebody who likes to keep organized, you can have stacks like this where you open it up and then all of the same project is within that folder or stack. When you don't name them, it might be a little confusing because the artwork might not be reflective of what you want it to be. A couple of things here. One, you can drag and drop things, you can hold down and drag it, and it will rearrange everything super convenient, but that's also going to change the cover of your stack. You can do that with any of your artwork. If I want this to come to the front, I can drag and drop it there. The other thing that's really helpful is naming your actual artwork or especially in your stacks. If I didn't want to worry about dragging and dropping and all that, or one piece of artwork might not reflect what the whole folder is, I'm just going to click where it says "Stack", and then it's going to bring up this area here where I can type in whatever I want it to say. I'm going to say, "Procreate ink brushes because that is what these are." Here's my cat. This is not helpful, Eddy. Once that's in, I'm going to press "Done", and then that stack is renamed. Now to create stacks, you might be wondering how we even did that. To create stacks, It's also a really easy. You can either drag and drop. I can take this piece of art, hold it down, drag it into another one, and then it's creating a stack. I open that up and they're both there. To remove a piece of art from your stack, you're going to do the same thing, hold it down, drag it to the arrow, and then release. You have to make sure that you hover over that and then it will bring you back to the regular screen. You can also press "Select", click the ones that you want to put in together. There's a bunch of them and you want to merge them all without having to drag and drop each and every line. You can select them and then just say, "Stack", and then they're there, and then you exit out of there, and then I'll rename this to what it is. That is the interface for the gallery when you first open it. We will get in to now to start your artwork creation. 5. Setting Up Your Canvas: Size Matters!: When you're ready to start your own Canvas, you're going to press this Plus sign here. So it's basically you're adding a Canvas. You will not have all these things that you see, but you will have some basics like screen size, square, 4K, A4. I have all of my own Canvas' created here. Anytime that you create a custom Canvas, it will save it in here. So naming it is helpful. If it's something you're going to use one time, it'll come up as untitled Canvas. Let's say you don't want it to stay in here. All you want to do is swipe to the left and then you can delete it. You can also edit them this way. But to create a custom size, you're going to go to Create Custom Size at the bottom of that menu. Then you will see the width in pixels. It's automatically in pixels. Height in pixels, and then your DPI, which is going to be the quality pixels per inch, the color form. Some designs might demand that they are in a different color form. I just keep it standard because usually you can edit that another time later in production, but I've never had any problems with just keeping that as is. Then where it says untitled, that is where you are going to rename it. Let's say I want to create a Canvas that is 11 by 14. You can see here I have inches, centimeters, millimeters as well. I'm going to select inches. The width in inches, I'm going to say 11, the height, I'm going to say 14. The DPI is at 300, make sure that the DPI is always at 300. It will help you in the long run. You don't want it to be lower than that, especially if you're going to print or something like that, because otherwise it's going to be a lot more grainy. Then for your Canvas name, this can be anything that you want. I always do the size, so 11 by 14, and then I do a comma because I always want to add 300 DPI. Two reasons, this helps me know for one, it also helps me in my mind to double, triple check that my DPI is at a high setting. Then I say done. That automatically will open my Canvas. I'm going to go back to gallery by pressing Gallery. You'll see now when I say New Canvas, it's going to be right here. It also tells you to the very right, that it's 11 inches by 14 inches. Some of these you'll see millimeter, some of them you'll see pixels, that's another way to tell. Then you can drag and drop Canvases. I'm going to hold this down, drag it up just underneath 8 by 5. This is just my own organization. I'm going to go back into that Canvas just by selecting it. Then once you're in here, you can take two fingers and then rotate it so it's horizontal or keep it so it's portrait vertical. When you do this, you might find that you may get too small or you're trying to make it larger and it's not really doing, going exactly where we want it. If you do a quick pinch, just real fast. It'll go the full size of the Canvas again. I like to work just a little bit smaller. Being able to see all of the edges. I know that I can see them, but for some reason when I actually see them, it's like working on paper and it helps me a little bit. When you just quickly move about, it's not going to tilt. It's pretty steady once you get to a certain point, you can see that works its way back. So it's nice and straight. I find often in my workflow, rather than turning my iPad, I end up turning the paper. It's not paper. It's your Canvas, but you get it. It's all up to you how you want to do that. But pinch, zoom is really easy. You just do it like this. There's going to be times that you might want to get really detailed or times that you want to see what it looks like from far away and what not. That's how to do that. That is how you set up your Canvas. 6. Working in Layers: USE THEM: You are ready to start working on your canvas. So you're going to select the plus sign for new canvas and then I'm just going to select the 11 by 14, which is what I created. You can pinch to make this horizontal, pinch back to make it vertical. Click "Pinch Out" to get it to go the full size of the screen again. If you are left-handed, these controls here can actually flip to the right side. This is going to be your brush size and this is going to be the opacity of the brush to show how transparent it is. There's not a lot going on here, but you will use these a lot. To change that, you just go to your little wrench tool icon and then you'll go to Preferences and you can say "Right-hand Interface", which flips it right over to the right side. I'm flipping it back over to the left side. That's just an option if you want it over on this side. You can also flip the orientation of the iPad. Just make sure that you actually hold it up so that the interface changes and then you can move the canvas according to what you want to work on, but I often use it this way. I don't know what it is and it's really frustrating because I'll have to blow something up to try to imagine it the other way but for the sake of the class, I know that it's easier to use it in horizontal even from my own experience I just happen to use the other way but yes, you can go vertical or horizontal and either is good. The first thing that I want to cover, I'm going to work backwards here, but it's something that you're going to continue to visit over and over and over. That's the layers panel. You can see these two boxes right here, one on top of the other. This is where your layers live. If I select that, you'll see I have a background color, which is one layer. I have another layer and it's titled layer 1. I can add new layers by pressing the plus sign right here. The reason why layers are super beneficial is because you'll be able to isolate artwork on one layer and the next. Just as a very quick example, if I was going to write something like hi, and then a new layer there. That runs into itself, and then I don't want that to happen so then I can just select the layer I just created and move it independently of the other, super helpful. Illustrations you name it, you can change properties, change colors, and then they will only isolate to that particular layer. Think of it if you are a Photoshop user, it's the same idea you are working in layers. Another thing that you might want to do if you're working in different types of lighting situations, you can go in to your wrench tool, the settings, and change it to light interface. That's going to change everything to make it much lighter gray than the dark charcoal color. I have always liked the darker charcoal color or just really isolates my canvas, but if you're working on like black and you're having trouble seeing the borders then light interface might be also a really good idea. I'm opening up this unfinished piece that I know has a lot of layers in it, and I'm doing this particular one because it's going to show you a plethora of the examples that I want to share. The first is when I open up my layers, you can see that I have all of these isolated layers. Now, none of them are named which might make it a little bit confusing for me especially if there are a ton. Renaming layers is really easy, all that you do is tap it and then you can say Rename. So this is going to be pink building and that's it. Now that's named, I can do this to the rest of the layers and it'll be a lot more organized. Then what you can do if you're trying to view your work with or without, you might be adding an element or taking an element away, let's say I'm not so sure about this roof gate, I can go into that layer and turn it off and then come look at it. So the visibility is something that I can really play with to see like, do I like it or not like it. Perhaps you do like it and you want to make some edits, but you don't want to make so many edits and not be able to return to what you had been using, you can duplicate a layer and just turn one of them off. To duplicate a layer, I'm just going to swipe to the left and say Duplicate. There's another way to do this, so I'm going to swipe to the left and say Delete. That's how you'll delete a layer. Because I'm only on this one layer, which is layer 2, which should not be renamed to layer 2, that organization. The other way to duplicate is to press the arrow, just that layer is selected and then I take three fingers, I'm going to swipe down and then I can say Copy, Paste. That copies and pastes that on a different layer. Two different ways to duplicate there, so whichever is easier for you. You can see that if I toggle off the first layer that I had, you're not noticing any difference. If I toggle this went off, they both go away, so both of them are the same and then I can edit one without losing the original idea that I had separately. If I turn this back on and get rid of the one that I duplicated by swiping left and then pressing "Delete". I might want to add on to this layer, but I'm not sure that I want it to be on the layer itself, so I'm going to add a new layer right on top of it. If my layer is selected, when I press "New Layer", it's going to create a layer directly on top of the selected layer, just like this. It's not the worst thing if you're up here and then you realize it should have been done here because you can hold it down and then drag and drop and change where its location lies in the layers panel. I'm going to take this and let's say I just want to add some black lines, I'm going to come in here, select the brush that I want, will go over brushes shortly, and let's say I just want to add some more depth to these little balls at the top and I don't really want to do anything else, and then let's say I love that. For me, it's not worth having those little balls on a separate layer because I know that I like it, so that's when I will merge layers. You can merge as many layers as you want or as little as you want. There's also numerous ways to do this. I can take two fingers and then pinch these together like that or I have another way. To undo what you did, you're going to use two fingers and just tap like this, and then if you want to redo it, three fingers. I'll show you this again when we get into illustrating. It'll actually show up better when there is something to really see rather than just merging layers. I've got those together. I have these layers isolated again here and here, so I'm going to tap this once and then you can see Merge Down and if I press "Merge Down", that will merge the layer on top into the layer below. I find that that's easier when you're just merging two layers because pinching in that small section is more difficult. If you want to merge, let's say, my layer 7, the cactus with the pink building and then everything in between, I can take those, pinch them together and they create their own layer, and it takes all of that now. I'm going to undo that. They're all on their separate layers again, keep them nice and safe. You can also group layers. To group layers, you're not going to pinch, you're actually going to select them. You can see that when I tap on one, they are selected. However, I want to select more than one I can't tap and then expect them to all highlight. I'm just going to highlight the building parts because I've got some all over the map that don't really make sense where my plants are here and here, but then I have building pieces in between so I'm just going to take my building pieces and I'm going to group those together. This is like a window area, to select another layer, I'm going to take my finger and swipe right and see how I highlighted that one swipe right, and it's going to highlight all the ones that you do that too. That's it. Then to group it, there are three lines right here on the right side next to layers, I am going to tap that. Then you can see new group right here. It then move them all into one section, and I can rename that by tapping "Rename building," return, and then I have that there. You can also collapse grouped layers, so if I press this little arrow, it's going to collapse all that so then suddenly my layers panels a lot cleaner because I've got a group and then I have got individual layers. You can have lots of groups only with individuals inside of that. Whatever makes sense for your organization is what I recommend doing. Then you can apply actions to the group itself. This is limited depending, but you'll see as you get more into Procreate what you can do with that and what you can't, but I'll go through my regular workflow once we get a little more into the class. The last thing I want to show you about layers is that you can toggle the background color on and off just by clicking the box next to background color. That is very helpful and will help you when you're exporting PNGs. Within layers, there are a lot of options and this little N right here is going to give you options for opacity, masks, and on the left you can see Alpha lock and things like that. We are about to embark on more of that information shortly. That summarizes layers in a light way and we will dive in deeper momentarily. 7. Color Interface: Overview, Color Codes and Palettes: The next thing I want to talk about is the color interface. There is a lot of fun to be had in the color spectrum on Procreate. Right next to the Layers tab, you will see this little circle. I'm going to change the color real quick. This is the little circle, and yours might be black or white. Whatever color is currently selected is going to be the one that shows up right here. If I were to take the brush that I'm using and draw a line, I'm going to see the color that's selected. Let's get into this. If I tap this, you'll see this disk here. The color disk is probably the most used. It's super convenient. The color that you are in the middle of selecting will show up on the right side of this little rectangle, while the other color will remain as the color you previously used, which is the one I'm using right now. As I'm selecting a new color, you'll see it show up right here. You can move this all over to determine shade. Let's say you want a red, but you're not really sure where on the red spectrum, you can drag that around to see exactly where you want to go with it. You can also use two fingers to zoom in and make that larger so that you can really concentrate on the red that you're trying to get to. Pinch in, and it'll zoom right back out. If you want to go for white and you want pure white, just double-tap in the white area and it will snap to white. Same with black, if you double-tap, it'll snap there. If you want that primary red, snap, it'll get to the red. If you want just right in the middle, that neutral color, just double-tap and that'll change depending on where you have it on the color wheel. Another way that you can color select is a classic way, which is like the disk only it is more of a square. You probably seen this more on computer programs. You can adjust the hue right here, you can adjust the saturation, and then you can adjust the lightness and darkness. Then one of my favorite ways to play with color is to go to the value and actually use the hex code. If you haven't heard of the hex code, it is a six character code that determines a color. As an example, I'll look one up. I'm just going to go onto my Internet and then look up pantone green. Then I'm going to open one up. This has an RGB value; 0, 171, 132. If you love this color, you can use the RGB and plug it in right here. I've got 0, 171, and 132, and then I've got that green. Then I come over here and I've got that exact green that I fell in love with. If you want to use the hex code, which is what I was just talking about, you'll see that it's right here. I'm going to choose a different color for that because I'm already on that color green. A yellow. This hex code is easy FEDD00. I go to my hex code right here. I'm going to delete this, FEDD00, done. See that yellow just came up. Pretty nifty. It's great when there is a color that you love and you don't want to go to your disk and try to find that perfect pink that you were looking for, and you're going all over the place like, "Where's this pink, why can't I find it?" Just look at the hex code for it, which makes it super-easy. Another thing that you can do, let's say you're on a site and you see the perfect blush pink, that's not a dress. But let's say this color you fell in love with. You can screenshot this and then go over to Procreate and then come over to this wrench icon, and then it's under Image. You're going to say "Insert a photo". Then you'll see all of this come up, where you can insert from anywhere on your Photos, so any album. Then I'm going to select the one I just grabbed. Now I'm going to use the color selector. I'm actually going to move this so it's not confusing me, to the top. I'm going to use my color selector to grab this color. You're just going to tap this and then find the color you want and release. Then you can see that it has grabbed the color. I'm going to get rid of that layer, and then I have it here. Now, let's say you were using that pink and you loved it so much, but you changed the color without saving it somewhere on a palette. Now I'm in red and I'm doing all my things. But then I'm like, "Oh my gosh, I totally forgot to save that pink that I had." There's two things you can do. One, color select exactly where you were, and then you've got it again. I'm on red again. All you need to do to go back to a previous color now if it's the color just before the one you are using is go to your Color icon and just hold it down. Then it changes to previous color. Super easy. Now let's talk about palettes. Right now I have this palette up. This was not the piece that I was working on. A lot of times I'll work on a piece without ever using a designated palette. But a lot of times I will use a designated palette and so will you, at least you'll want to. Procreate has a lot of these built-in already, but they're pretty standard. I have some examples of it. If I go to Palettes right here, you'll see that I have some palettes. These are the ones that Procreate came with. They're pretty full. Then mine are all over. This one I have they're Cool Tone Brights. I use that for things that looks more like what you see as an image here that I'm working on. Then I got like Cool Tone greens and what not. My brand colors, there's not a whole lot going on there because they are just my go to brand colors. Then we've got a warm pinks and things like that. To play around with palettes is similar to layers and similar to stacks. In your gallery, you can rename them, you can drag and drop them. If I take one and then I can move wherever I want it. Let's say I want these ones to come up higher because I'm going to use them more, so I want them to be easier to access. Same with this one. Basically, however you want to organize that. Then you can rename them, just as you can with the other layers. You're just going to tap it and then you can put that in. I have some that are not, like this one. I'm going to say Tropical because to me it seems Tropical, but if you have a particular project, you can name it by project. You can see that one says default. This is actually what you see on the main color interface here with the disk, so the Autumn Retro. If I go to my palettes and I want a different one to show up. Let's say I want this Cool Tone Brights, I'm just going to say "Set Default". When I go to my disk, now I have that readily available. If I want to make a new palette, I'm going to select the plus sign and then it automatically will make that your default. If I go to my disk, I've got this untitled palette ready to go. The pink that I pulled in, let's say I love for my new project, I'm just going to click on one of these squares and then it saves the color for me. That's all I have to do. You will, from time to time, accidentally click the same color in without even realizing it. Then you're like, "Why do I have all these colors? How do I get rid of them?" Just hold it down, and then you can delete. Hold it the down, "Delete", hold it down, "Delete". But that's how you're going to save a palette, is just to add these colors in as you work. It makes it pretty simple. You can name it, change it, do whatever you want to do with it. Palettes are easy. You might hate the palette that you just created, or it might just be for that particular project, and let's say you're done with the project, you can just swipe to the left and then delete it. I don't know if you'll also notice, but let's say you want to share this palette, you can AirDrop it to yourself, you can e-mail it. If you're working on a project with somebody else if you want someone to color match exactly what you're doing, you can send the pallets to them. I'm just going to swipe left and say share. Then I can choose where to share it, which makes that super convenient. That sums up this color interface, what you're going to find right here in that icon. 8. Brushes: What, How, Create and Customize: Let's get into brushes, this is my brush icon, if I click on this then I am going to see a plethora of Russia's. You can drag and drop this just as you can with most other things in procreate and this is going to be beneficial to what you use most, if I use painting, what's in the painting category more than I can drag that and drop it where I want it. I have my own ink pens here that I use, I created these so you can create your custom brushes, these are all of my custom brushes as well and then I've got my inking category, this is the ink brush set that comes with procreate. It comes with an airbrushing set, it comes with painting, sketching, these are like pencils, calligraphy, it's got some really good ones since the newest update, more artistic ones with more natural textures, actual textures, abstract, some charcoals which are like darker versions of a shading for pencil, charcoal, drawing. Elements, as its got like water or snow, clouds, spray pain affects touch-up, it's got like basically some noise, more texture you can put in. Retro shapes, luminance, these are like those light bursts, some industrial like grunge type of brushes, organic brushes, water, and then your imported brushes. These are where you can download brushes and import them and onto procreate, this is a set. This is my favorite, and it's by Jamie Bartlett, I'm going to link to her brushes because I swear they're amazing. The texture that comes out of these, look at this boom, really good, she has got some really good ones and stamps and rollers that are just like texture haven't. Then you can also drag and drop these other places, if I want that to be a Jamie Bartlett folder, I could easily do that by, I'm just going to drag this down see now, if I drag it down this little plus symbol, I can say plus, and I can say Jamie Bartlett, Russia's whatever, I return. I'm going to drag that down close to my imported brushes and then I'm going to go here, and then I can drag this over to Jamie's little, I guess it's a folder and then it'll go in here, makes things easy. I can select a bunch at the same time by swiping to the right, like I showed you before, I think that's all, I'm going to drag those over to Jamie's little folder here, perfect. Now I've got these in there and I know that that's where I want to go to find them in my imported brushes are just miscellaneous, basically, you can organize these how you want to. Importing brushes is so easy. All that you need to do is send it to yourself and it should just be in procreate. If that's not the case, I know you're watching a video, but if that's not the case, I'm going to show you a quick video of what you can do. I'm going to show you how to import a downloaded brush into procreate, I have a couple on my website under freebies and I'm going to use those same examples, I'm going to go here. I've got two, I've got my brush pen, I already have that installed on my iPad, so it's not. I'm not going to show you that one, I'm going to show you the monoline brush, if I press, "download" it's a Dropbox file, so it'll open like this. You have the option of these three dots at the top, you can either save to your own Dropbox, which if it's from my computer or something like that, that would make more sense, but you can also export. If I press export, you'll see open in, it might even come up just like this screen, but copy to procreate, that's what I'm going to do. Procreate opens, if I open a new file and then I'll go to my brushes, you'll see the imported file or imported folder, and then your newest imported brush will be right here at the top, it's selected for me ellipse, then I can just go in and start using it and that is it, wasn't that fun? Thanks for humoring me. Now, let's say you want to tweak some controls on some existing brushes, let's say I want to change something in the artistic tab. Couple of things to think about here, let's say you downloaded a brush and you totally love it, but you don't love when you press down it changes the opacity. You can adjust this but because it's an imported brush, you're not going to be able to ever reset it back to what it originally was, you want to make sure you duplicate it first. However, if it's a procreate brush and you make all the adjustments in the world, you can reset it and you're safe, but by rule of thumb, just in case so you don't have to think, is this an original procreate crashes is something I imported, Am I going to be able to go back to the original settings? It's just a good idea to duplicate it first and then do the edits on the new version. I'm going to go to go wash and so first I'm just going to select it and see. You can see how opacity is affected by pressure, if I press down and then lift up a little bit and then press down-lift up, it's affected by pressure, which is great. But just for the sake of showing you this, let's just say you don't want that, I'm going to go to the brushes, I'm going to swipe to the left and I'm going to duplicate this, you can see that there is a little symbol, the procreate symbol right here. This is telling me that it's my new version, pause, go to my set here, I have a gloss brush that I created, you can see here on the side that these all have the same symbol, it doesn't mean they're duplicates. It means that they're add-ons, it means that it's not something that procreates originally created, which is nice. It helps in knowing but still just duplicate it, just do it to be safe, I'm going to duplicate my gloss brush and you can see there's no difference. That's why I like to rename them, if it's something I'm working on I already know, this is the pigeon letters gloss brush. I'm just going to add [inaudible] there you go. I'm just going to add two, I know it's the second line and then I can edit that as I please and be safe, because I know which one is which. I'm going to delete this because I don't actually want to do any edits on it, I'm deleting the brush. If I go back to the artistic and I have this duplicate here, yes, I know that that's symbols there, but just because I wanted to be safe, I'm going add the number two, I know it's the one I'm working on. You don't have to add the number two, you can add whatever you want, you can say, edits or change it to what you wanted to say but let's talk about tweaking the brushes themselves to make them exactly what you want them to be, the stroke is going to be the stroke. It's going to control your stroke, you're going to look at spacing. Before I go on to all the spacing and all that, the spacing is spacing of what? You might be asking, we're going to go to the source, which is the very last thing. On the source, you're going to see the grain source and the shape source, imagine this like a pen or a paintbrush, the shape source is going to be the tip of whatever it is that you're using. In this case, procreates it's called brushes, the shape source is the tip of the brush that you're using, this can be if it's the pencil section or the inking section, it's the tip of the brush. The grain source is the feel, if it's really big, then you're going to see some of that grain wherever you take that from. Now you can change these, but we're not there right now, know that the stroke is basically like the beginning and the end of your movements, that's the stroke. The pencil is going to control the reaction of the iPad to the tip and what's happening here, with pressure, you can see that opacity is turned all the way up, that means that if I'm not pressing very hard, there's not much going on, if I press really hard, we're going black, full saturation, that's about it. If I turn this down to 0 percent, then no matter what I do, I'm going just as light or full pressure, nothing is going to change, let's say I want to do the opposite. If I'm pressing really lightly, I've got that black, if I'm pressing hard, it's a lot lighter, I don't know anyone that's ever done that, but it's there, it's an option. That's how to change and tweak just little things, let's say that's all I wanted to do and now I'm the second gloss pen and said, I'm never going to have to worry about pressure and opacity, you guys, it's really fun to have the opacity, this just an example. Let's play with other factors in here now that you have that as an example, if I go to stroke, it's going to control your spacing, my stroke is from beginning to end. You can see some grain in her, if I make this a lot larger, see this grain? It looks really, really similar to the grain that I showed you because it is. Now, I have this all the way up, I press this once, see this shape, that's my shape source. Now, you might notice a little bit of variation that's in the controls. In the controls you can have it so that each time that you press down it's the exact same shape or you can make it a lot more organic where I might tap this twice and then things rotate. For example, this one has this little broken up area, whereas this one has a little nudge here and it just randomizes it a little bit what I just did by the way, and if you want to clear an entire palette, you take three fingers, press down and then just erase. This shape right here is what the spacing is going to be. I space this all the way out, I can basically make this repeating, see what I mean. It's just repeating and repeating because it's part of my stroke rather than being a direct stamp, it's just going to repeat. That's what spacing is. If you keep this really low, then you might see just a little different variation in the stroke itself, than it being all the way solid, it's not going to make a huge difference, but it might, and it might make just as big a difference as you're looking for in your finished product. It's up to you streamline. What this is is I'm going to turn this down. If I'm doing an illustration of sorts, I'm going to do exactly what I'm doing right now again with streamline higher, see how there's these jaggedy edges that I created. I'm going to turn streamline all the way up and I'm going to do the same thing. See how as I move it is a magnet to the tip. It's making a lot smoother line. I'm not a huge fan of streamline because I just think I love imperfections. I do use stream line a little bit especially when I'm trying to do something a little cleaner, but I usually set it right around the 30 percentage area because that way it's going to smooth things out, but it's still going to allow my imperfections to show up to make it characteristic to my style. Again, personal preference. I'll leave that there, and jitters if I put that all the way up, you can see in the preview right here what it's doing instead of spacing it out long ways, it's spacing it out sideways, horizontally. If I'm doing a stroke here, you can see that there are a ton of those little tiny shaped sources. But if I turn this down to about right here, I'm going to make this larger so you can see it. My stroke will now be rougher around the edges. This is great if you want more of an organic look, especially when you're doing inking or something, pushing jitter a little bit we'll give you more of a rough edge that's what that means. Now your fall off this, think of it like you're dipping an ink pen in something. I'm going to turn this up. I never lifted this up but it fell off. That would be like you'd read it and then come back in. That's the idea there. You can control how long it takes before it has its fall off. In this case here it's getting lighter and lighter and lighter. Or you can have it happen right away where it's like you can basically only do so much before it falls off. See what I mean, so just creates a little bit of a blur. That's what fall off is. Now, that's your stroke property and general, but the stroke taper is from the beginning to the end. What's going to happen when you first began your stroke? What's going to happen when you end your stroke? What stroke taper means is in the start of it, rather than being that thick blob, you might want to taper it so that it is a little bit skinnier or even skinnier. This can really make a difference depending on what type of brush that you're using. It'll also apply to the end of your stroke and opacity. When you start the taper, it's a little bit lighter. This is the same pressure throughout. It's just a little bit lighter in the beginning. Then size, size will be see how it's like super tapered now. That's what all that means. I'm not going to get into all of these, I'm just going to get into enough to where I feel like you have a place to go with customization and tweaking, but shape behavior, you can go into scatter. It's going to give you a similar effect as jitter only it's not pushing things out. It's actually just scattering the shape throughout your stroke. Rotation. I love rotation. If you turn that on, it's going to basically spin the shape as you are in the stroke. It's not all going to be perfect. Randomized. That's what you want on for when you are making those marks that we were talking about. I'm just going to keep going here. Grain, the movement that's going to affect the grain. Your fill you can scale it so it's a lot larger. See how it's increasing the size of that grain or make it a lot smaller, and then you can same thing with Zoom, Zoom in and out on it. Rotation, get that going. Dynamics. I don't really play a lot with this. The pencil itself. I play with this a lot. That's what I showed you at first and then size with the pressure. If I go all the way up depending on the pressure. It's got opacity on, but let's say opacity was not on. All the way and then sizes on all the way. When I press lightly and then full pressure, you're going to see a really light line and then a really heavy line. Now, this is dependent on how much pressure I put on the tip. This is really useful for calligraphy brushes and whatnot. I'm going to turn that back down, turn my opacity backup. Softness, and then Apple Pencil tilt, that's the side of your pencil, can tweak those settings a bit more. It's essentially going to give you more control over sketching. If I go to a 6B pencil on the side, it's a lot different than the tip. The side is basically like I'm actually shading it, which is awesome. It knows this because the Apple pencil is tilted. Then if I tilt it back up and then back down, it works as if it's a real pencil which is amazing. Then the general size limits is something you probably want to pay attention to because you might want to toggle this all the way down, but then not have it disappear. If this was set to zero, and then I toggled this all the way down as I'm using it, it's going to be like nothing shows up. But if I toggle this on just a little more or if I move the minimum up, my smallest will still be visible when I go all the way down, I don't have to worry about it here because it's set in the settings. Then max, if I go all the way up, this is as big as that's getting. But if I come down, then I'm all the way up here. This is big as that's getting. Because you're not going to be in here using controlled all the time. You're going to be on the left side here using opacity and the size speaking out since I just mentioned that. This is your opacity slider. I'm just going to use full pressure on both of these. But let's say I want to fill something over a lot and I just want it to be lighter. Your opacity can control that. I'm going to do purple so you can see that and drawing over the black, but you can see through it. That's the opacity. You'll also see that in general you have your brush name, you have stamped preview, you can toggle on see the stamp preview of just the stamp versus the stroke. Then you can change the size of the preview. You made that vigorous. See what's going on. You can change the blend mode size limits, like we just said. That's the deal with brushes. To create your own, you would just go to the folder that you like, I'm going to delete this squash one that I just played with. Delete. I'm just going to go into pigeon. It's my personal folder that I make my own brushes. Let's say I want to make a new one. Instead of going down and pressing and new folder, I'm going to press plus for a new brush. It's going to take me immediately to shape source and green source, which is the first thing that I showed you. I can insert a photo and I'll show you one that I created before that somewhere. This is a shape source right here. The other part of this is that I can use something from the procreate library, so they already have this. The trick is you want your grain source to fill the entire square or it's not going to show up the way you want it to. It's got to be something that fills up entirely versus being something like this, which would be like your shape source. I can use the charcoal 6B and then see what comes of this. There's a brush, and then from there I can go into all those other settings that I just showed you and tweak them to where I love the brush that I created. You can create shape sources super easily. Let's say you want this to be your shape. Then you would just export it to your images. I hope that's not too much information. I actually didn't plan on going into that much as there's a lot to play with with brushes. But my point is that I want you to have enough to go away with and tweak and make your own because this is your artistic journey. If you have questions about that, I'm more than happy to answer, but we're going to keep moving on. 9. Tips, Tricks, Gestures & Controls : At this point, you have heard me mention workflow a couple of times and the reason that I have mentioned workflow a lot is because the nice thing about Procreate is you have so much flexibility when it comes to controls, you work as smoothly as possible. I'm just going to get into some quick gestures and controls that are going to help you along the way. The first thing I'm going to show you is just a simple straight line and how to achieve doing that. All you want to do is draw your line and see how it's wobbly. All you need to do is just drag and hold and then you have a perfect line that you can move wherever you want to. Now, let's say you want this to be perfectly horizontal or vertical. You're going to drag that line and then see how you don't really have the control. But if you put one finger down, it's going to snap it perfectly horizontal or in 15-degree increments. You can have that go straight up and down, sideways or anywhere in between. Now I'm going to show you a little bit more about moving certain objects. It is easy to select an area on Procreate. All you need to do is there's a little S or a ribbon-looking icon, you just select that and then you have the option to say freehand, which is going to let you select exactly how you would as if you're drawing around it or automatic. When you press "Automatic", if you tap on something, it's going to select that whole thing. Then you can actually gauge how much of that selection will pick up. That's really convenient if you have more of a solid shape, something that's a little bit easier. If you have a lot of blended colors, it might be a little more difficult, but this is a good thing to know. Going back to free hand, which is what I use most often when I'm doing a selection, it's the default. You're going to press the little ribbon, S icon and I don't want these black dots in here, so let's say I want to get rid of those. Yes, you can erase them and there's the eraser tool here, which is near the brush or I can select it. I'm going to take this and select it. I can either drag it around and select the next part or I can press "Add to Selection" down here and then circle that also. Then press my arrow key and that's going to close my selection and you can see that it's only these two. I can either drag that off my Canvas and then press the arrow, or when it's selected, I can take three fingers, pull down, say Cut. This will also allow you to cut and paste or copy and paste. I'm going to cut those out. The next thing that I want to do is the cut and paste. The reason why is because all of this is on one layer right now. If I want to move these flowers independently, then I will have to select them each and every time. But let's say I want them to layer over each other, but I'm not sure if I want that to stay there. Having those on two separate layers is going to be super helpful. I'm going to move on to a separate layer by doing a selection around it. Then as you select also the free hand, just an FYI. When you tap you're going to get straight lines, which will be helpful a lot of times let's say, you just want to grab a selection. Tap and then you're good. I say that because when I get down here, sometimes I don't want to sit there and try to maneuver, so I just tap it. I don't know, just makes it easier for me. Once I have that selected, I'm going to three-finger pull and then cut and paste. Now you'll see that these are on separate layers. When I select it, it is on its own. Quick selection. Remember, if you press the arrow, it's going to select everything on that layer. Now that I have that done, I also want to separate these fuchsia almost red, little blobs of flowers. I'm going to go back to that first layer. I'm going to select those, Add to Selection and also subtract from selection, Remove from Selection so that right here you can Invert Selection. You can just say Duplicate Contents if you're just duplicating and then look, see now you have that. But since we're cutting and pasting, we want those on a separate layer so we're not duplicating. But if you wanted to copy paste, that's a way to do it. You can also three-finger drag, copy paste that's going to put an additional selection on another layer, but cut and paste moves it completely. Now I have all those elements on three different layers. I'm doing them as to arrange it a little bit differently. I'm going to move my leaves to the center, see how now they move independently of the other objects. I'm going to move my flowers here and then I'm going to move these pops of colors here. Then I have more of a bouquet, which makes it pretty fun and easy, this nice to form elements together on layers. The thing that I want to warn you about is unlike Photoshop, when you use procreate and blow something up and say, I want to drag part of this off to see what it looks like when it's hanging off the edge, it will cut off if you move it back. What I recommend doing if you're going to play with that is to duplicate it first. You're going to swipe to the left. If it's this layer I want to try, so duplicate and then I have an extra just in case I'm going to turn one of those layers visibility off so that I'm only working on the new layer. Then let's say I want to try and see what these leaves look like, a little bit larger and then I undo that. Now it's going off the page. I'm just going to move these over, let's say I'm going to play with those in a bit. But what's going to happen now if I don't like this and I want to bring it back, if I don't press Undo a bunch of times, let's say I'd played with these and I like where they went, but I just want to adjust the leaves, you're not going to be able to say that by selecting them and bringing them back because they have been chopped off. That's one of those things you just have to be really careful of. I always duplicate things if I know that I'm going to play in a corner somewhere toward an edge because that way I can get rid of that and turn this back on and I have not damaged anything about that object. Let's say you want to move all of these together, you can either group it like we talked about, or you can just select all of the layers and move them around. You can do this or you can enlarge just one piece. Something to note when you're enlarging, you can pinch and zoom or pinch in enlarge but something to notice is that it's not super easy. If you're working with words or something, see how I pinched out, but it's at a slight angle, so it's not perfectly in line with that shape. To enlarge making sure that it stays in its proportions and it's nice and straight. If you press "Magnetics" down here after you select it and take one of the corners, it's not going to let you go off of that axis line. It's just going to magnetize to exactly what you're doing and then if you try to move it, see how it's blocking in. It's just taking those angles in account and then undo magnetics and then when you try to move it, you can work better, transform it, get it shorter and fatter, get it longer, skinnier, wider, you name it. Another thing that you can do if it's selected, there's a flip horizontally. You can flip it horizontally. You can flip it vertically, so it goes upside down. You can rotate it 45 degrees. I can just press this and I can see it in a whole bunch of different angles. I can also fit to Canvas and then you can reset. Another thing that you can do with the selection tool is select the layer that you want or layers, and I can distort it. There's a couple of different ways that you can distort. You can either take your Apple pencil, hold it down, and then it's going to snap and then you can drag it back and forth like this. You can also do that on the side. It just changes, you can also do it in the corners. That's great perspective. If you wanted and I'm just going to draw this as an example. Let's say you have a wall that It's closer to you right here, it gets further away and you want this to look realistic as if it's on that wall. You can distort it by doing this and you're just basically lining it up and then it looks like it's more in perspective so you can distort it like that. You can also take your selection tool and press distort right here and then it just automatically is set up to do that. I personally just hold and wait till it snaps because it doesn't take very long but the other cool thing that is in the selection tool now, and this is new as of currently October 2018. This is where these updates that happen so often that there's so much to learn over and over. As of right now this is new and it's exciting. There's a little warp button here and you can see that you now have a grid. You can take any of these areas here and warp it which is really fine because there are so many things you can do with objects to create different effects and create different warps. If it was on an object or if you just wanted to have fun. That is something that is fun that you can do with the selection tool. I may have mentioned this or we'll mention it again, I like to say this a lot, but be careful when you exit to your gallery and come back into your artwork because if you exit your gallery, see how I can undo the different things that I have done or redo and then it will redo everything. If I press "Gallery" and go back to my home base for Procreate and then go back into that artwork. I can't redo or undo anything because is taking it in where I left off but without any of the steps. If you need to leave the Canvas in the gallery, makes sure that it's in a place that you are okay coming back to and not wanting to make any of those undo, redo edits. Another newish feature to Procreate is the drawing guide. You can turn on your drawing guide at anytime. You just go to your wrench tool and then go to Canvas and then right there it says Drawing Guide. You just toggle that on and you can see that I now have a grid. It is it's not going to show up in my final piece. This is just for my reference. Now I can edit this, I go to Edit Drawing Guide right underneath there and then I can make these larger, can make them thicker. The grid size I can change, so let's say that's all I wanted. It's going to help if you do any lettering or something like that, you can use that as a good reference point to make sure that you are on your baseline or in this case returning to it right here. Then there also, in the drawing guides, are different versions, select perspective, you can tap to create a vanishing point. This is really cool, so if you're drawing a street scene or urban sketching or something, let's say, you're going to get a lot of the foreground and then you want the background to be more further away, you're going to focus less on that, but more in the foreground. You can set a prospective to like right here, and then you know this is your horizon line, and then everything in front of you is going to be sucked into that horizon line or prospective point, so you can move this around. I'm going to press "Done", now I have this imaginary vanishing point and horizon line, so I am going to go to an ink pen, I've got my in fact classic ink. Say I want to go right here and size. This is going to be your slider, the quick slide and the size and the opacity. Let's say this is my vanishing point, if I'm drawing a road, then I know that I can go along and these don't have to be perfect, but these are just reference points. I'm just going to quickly show you. If I'm going to have a building, because my vanishing point is here, it's giving me this blue line here and then I'll know that my buildings will not only be slanted down, but they'll be slanted upward along that line going toward my vanishing point. It basically is just showing me, so now I'm creating, see how that would be buildings getting further, further away. You could do this with trees, so I have my trees, they're along the same, but see how they're really staying the same height overall. It's because they're following this line, like these lines right here, this line, this line, they are all there working for you on your benefit, so it's a great little cheat and then your road lines, but those would get longer as they get closer to you. But just to give you a general idea, perspective is an awesome tool to use. Now I'm going to clear this layer. It also has a symmetry guide, and using this will allow you to create things that are mirrored. If I do a heart, it's perfectly mirrored on each side. The nice thing about this too is that I can color fill this end and it's going to take everything because it's connected there, so that makes things really easy. Also, if you're into any folk art, bold line work, this is a really fine tool to use because you can do some really neat flourishes off of that or whatever you may be into. Then another fun part about the drawing guide is when you're in cemetery, you got the horizontal option, the vertical option, the quadrant option, which the quadrant option is going to draw in all four squares. The fun one that everyone's really excited about is the radial, so I'm going to click so I'm on my drying guide symmetry radial. Then you have these Pi shapes basically, and you can draw, write anything, and you're basically able to create a [inaudible] out of it. If you like to draw, everything that you do is going to be repeated in each of those chunks, and it really makes you want to just start drawing, so I'm not going to do that. It's really mesmerizing and relaxing to see what comes up from doing just a little illustration inside of one of those points, so I really encourage playing with that just because it's fun. I'm going to go back to my 2D and then turn my drawing guide off, good. Now I'm going to talk more about the eraser. I know that I skipped over that and brushes, but it'll come in handy to know that the eraser tool can do anything the brush tool can, so if you click on eraser, it's pulling up all of your brushes, so you're going to see everything that you see in your brushes panel. The same goes for smudge. The only difference is the action that each of these is taking. Your brushes are obvious, you what they do, they create things on the canvas. This smudge tool is going to smudge things. For example, I have my assisted drawing, there we go, if you have drawing guide on or assisted drawing, if you ever notice that it's not doing what you want, just double-check because that could be the problem. Now I'll turn that off. Let's say you've got this going on and you've got this going on but you want those to blend better. This is a horrible example, but just to show you what smudges do. So you got to smudge, you can pick any brush that you want. I have soft air brush, I can change the size right here, I can change the opacity. But then if zoom in on this, I'm going to turn the opacity up, I can smudge this together by just blending it. See how that's working, like even the white, I can push in and smudge it, and you can do this with any brush and it's going to create a different effect. Same goes for eraser, so I can use anything. Let's say I want to put a texture and I wanted just to be like white, then I can go in and apply a texture. This is actually just my eraser tool, so now if I look at this layer, it's just missing pixels there now. Or I can always go to my other brushes to fine tune and erase. Let's say I want to smooth things out, it just makes things really handy. Another part of this is, it's actually really convenient. Let's say your eraser, you don't know what it's on. It's probably on some texture that you are playing with, and you're using a regular drawing tool like an ink. Type of brush. But you have an oh,oh, and you want to get rid of it, and it would just be great if your eraser was exactly what you're using to make it easy. All you need to do is go to your eraser, pull it down. It says erase with current brush. Now it's changed my eraser to exactly the brush that I'm using. Now they're both the same. Just a little tip, trick that makes things super easy. Let's say that you're working on something and have for a while, and you have an area selected. So I have just this window selected, but it's really, really big and I want to size it. I'm looking at something in particular that's really small that I need to focus on, but I don't know what's going to happen over here, and I want to move it to see if I do that, then I'm not going to be able to follow. If I hold down my arrow, I'm able to pan around without messing up that selection. Easy, quick trick to know about that will be helpful. Let's say you have an object that you've drawn, but you didn't have the symmetry on to create both sides, but you are not near an object, you're not going to be able to draw it exactly how you want to. Just as we talked about, I'm just going to do a little loop de, loop de front here. Okay. So just as we talked about with the selection tool and then flipping horizontally, you're going to do that after you duplicate this layer. I'm going to go to my "Layers Panel", "Duplicate", and then now I'm on the new layer, I go to "Selection", "Flip Horizontally", and now I can just drag this over to this side. If you want to keep it on the same level, hit "Magnetics", and then you can pull it to make sure it's still on that line, nice, and clean, and smooth. Now let's say that I like this, I'm going to merge those layers together. So I'm going to click the "Layer", press "Merge Down", move this to the center, and then I will undo magnetics. Now, let's pretend I don't like this color, and I want it to be red. I can go to my red and then I can take this color circle here, press down and drag it out and hover it over where I want it, and then it is going to completely fill the object that I just laid it down on. The cool thing about this is that I'm going to say undo. You have a color threshold here. So if I drag this and hold it down, there's a color threshold of 97.6. If I drag the full way 100, it's going to grab everything on that layer. If you have more complex layers or there's a lot going on, it might grab some but not all. So that you have a lot of control over that color threshold. Another way to recolor is to go to the tool recolor. The reason this is helpful is because, let's say you're not really sure what color that you want to do, and you keep going and keep dragging and dropping and it's just you miss or it's just taking too long and you want to see the color change live. Go to recolor, and to do that, go to your magic wand tool at the bottom, recolor. It's going to whatever this little plus kind of a criss cross icon, whatever that's sitting on top of, it's going to fill that with the color you have selected. So I'm going to move this over to my line work because that's what I'm recoloring. You'll see down here it says flood. When I choose a new color here, see how it only does that color. I can change the flood just like I can change the color threshold. I'm going to move the flood so it gets everything, and now I can go around and really see in a live time about this color and see exactly what's going to happen and exactly what that's going to look like. Then when I totally fall in love with the color and guess it is perfect, then I can select my wand tool and be done. Now let's play with color a little bit more. Instead of recoloring, let's play with the hue. If I go to the layer where my flowers are, which is right here, make sure that layer is selected. Then I go to my magic wand tool, I'm going to see hue, saturation, and brightness. Then I am going to select that and then I have this color bar, and that's going to let me drag this along and see how I might really like this coral color with my background. So you can just play and see if you like something a little bit more. You can also adjust the saturation so you might not want this to be so bright, you could pull that down. You can also have it be super vivid by pulling it up, or you can adjust the brightness. Also from the adjustments tab, you can sharpen it up a little bit. So if something looks a little bit grainy, I can say sharpen and then just slide to pull it up. You're not going to really notice much on what I'm doing, but you might in your work. I can liquefy which is going to be where I push just one area to see how that is moving. I can change the size so it's a lot bigger, but see how it's only affecting the layer that I'm on, which is just the blue. I can create a blur, so it's going to blur out. I can do a perspective blur, which doesn't make a whole lot of sense for what I'm doing here, but it might be having a different type of illustration. I can also play with the noise and create some noise on that layer. There's also a motion blur similar, just different types. So the motion is going to make it look like there's movement happening, which is fun if you want to isolate one character or an object and have the rest be moving in the background. Color balance, so you can be more blue, more of the red, more of the cyan versus red. So this is more of a warm, it's more of a cool. Things you can play with now those were just shadows. You can adjust that on the midtones and on the highlights. So your midtones are like that main base color, and then your highlights are the super light wider parts. So you can play with all that, all those colors in the adjustments tab. You can also play with curves. If you're familiar with curves, this is helpful. Let's say you have something that's supposed to be higher contrast. I like to bump up the right side, and then pull the lower part down. Then you have this nice contrasted piece. You can see this makes it a slight S, something that I want. A nice white background and then still some deep dark lines helps with that. But you already know about recolor. Those are some things that you'll want to visit. Opacity is one that I visit a lot. You can click "Opacity" here and drag it down. You can also click "Opacity" on the layers tab itself. So I'm going to say N, and then you can see opacity is just right here. So you can slide that up and down for that layer as well. Then as we move forward, I'm going to talk about all of the different blending modes because there are all so many and they don't need to be confusing. I know that they seem confusing, but they don't need to be. A lot of them do something very similar. So it's really just something to play with with illustrations. So let's get into the act. 10. Blending Modes, Masks, Locking Layers: The question is, what the heck is with the blending modes and lead to they all mean. What is a mask? We might be familiar with alpha lock, but that's the first thing that I'm going to start with because it's the easiest to understand and everything else adopts the same idea as far as something that we are applying to a particular layer only. So will start easy. I am going to adjust, let's say that I want to add some texture to just my truck side, because I don't have any hard lines there and I might want to play around with it. I might want to change the color. I might want to change the texture. I might want to draw on it without having to worry about, like getting close to the edge and then falling off the edge, so this is what I'm going to do. I'm going to go to my layers. I'm going to make sure that is selected, and I'm going to use two fingers and I'm just going to tap down, slide it to the right and then release. You may not see it on my screen, but there are super teeny tiny checkers to indicate that this is an alpha lock layer. What does alpha lock mean? Well let me show you. I'm going to select my airbrush. I'm on orange so this is going to be super obvious. See how nothing showing up, but if I come over to the truck bed, I can go anywhere and it's only going to affect the pixels that are on that layer. So you're not going to see anything show up anywhere else. I'm going to get rid of that. Let's say I want to add some texture instead. This can be any style and it can really totally change the vibe of what you're doing I'm going to try the oil paint. Now, I can start dragging that along and it looks like oil paints, so it's changing the mood completely. You may not want orange, you may want like a darker green. I'm going to select this color, and then I'm just going to drag it a little bit darker. Now I am creating more depth. See how that's working? The thing to know about alpha lock though, is that no matter what, when I use alpha lock, it's applying everything that I'm doing directly onto that layer. If I hate it, I'm going to have to sit there tapping undo. I'm not going to have the option to toggle it on and off to see if I want to add something here, change something, it's just automatically going to apply to that layer, period. You might instead want to create a layer mask. What I can do here is create a layer right on top of the layer that I just was at and I can do all of my texture drawing and it's all over the place and it's falling off going outside the lines, and I'm not super concerned about it because I can go back down to that first layer and this is kind of cheating. It's not technically masking, but you'll see what I'm going to do. Instead of pressing overall select, I'm going to press my select button, say automatic. Then see how it's just grabbing the truck layer. Now because that's selected, I can go to my layers Tab C, it stays selected, and then I'm going to go to my layer 18. Now it's only selecting that truck bed. I am going to three finger swipe, cut and paste and get rid of that initial crazy one layer that I had right on top of it and now it's only applying to the truck then. It's a cheating way to go about it, but it's also kind of brilliant, so you should do it. Then you can toggle that on and off, which is very convenient. I'm going to apply a mask using a texture to create an effect to this truck that might look really neat. Now, masks are a different story. Masks are great for texture. They're great for changing things to the layer without actually damaging the illustration itself or making versions of edits that you can't undo, preventing that. If I were to create a mask right on top of this layer, you'll notice that if I am using black, the mask is going to remove that, if I'm using white, it pays attention and refills. Then when you have a mask, you can select the mask or the layer, and it's automatically going to select both things because this mask is only connected to the layer that you're on. If I try to just select one, it's not going to let me because it is together, but I'm going to delete that mask. I'm going to grab an a textured image in my photo gallery to overlay first, and it's going to go right above the layer that is selected. So I'm just going to select my tools, my little wrench, go to image, go to insert a photo, go to my camera roll and grab the photo I want. I have a bunch of these textures and you can see I have some things that are in the foreground and it's just the layer placement. If this grungy texture was on the top of my layers lists, then it would cover all of this up but it's not doing that because it's only on top of the truck bed. I just want to make sure it's completely covering it. We are going to go back to the truck layer and we're going to use the selection tool. Go to automatic, select the truck. Remember, you can drag to make sure that it is wherever you need it to be. That's selected now, so I'm not going to go back up to that grunge layer, the texture. Tap the same mask, and then it's masking it just to where that truck selection was and then, that's what it looks like. Now, after that's done, you can move even further into blending modes. The blending modes are exactly what they sound like. They're going to create a blend out of the layer on top with the layer that you already had. I want to bring that green back in, but I want to keep the texture. So let's play around with different ways to do that, and I will explain what all these mean. The first one that I'm going to do is the Linear Burn. I'm saving multiply because it's just so good for shadows that I want to show you that with shadows. I'm going to my layers panel and going to the layer, the image, I'm going to say n. This is where my blending modes live. So if I say Linear Burn, see how now it has significantly darkened dip, but then that green shows up again. My overlay has black in it, so it's going to pull that a lot but I can also adjust how that end by the way, met normal. When it's on Linear Burn, it's going to be LB. But if I can actually adjust how much it shows up with the opacity. Linear Burn is a little bit darker and a little less saturated than Color Burn, which is what we are going into next, this one's a lot lighter, also is great for shadows, for blends like this.The Color burn is going to be brighter. So I go to Color Burn and now this is a lot lighter. I personally like this better for what I'm doing and it will depend. That's why there's no quick answer to how to use blending modes or what ones are best to use, because there are also different, but the Color Burn, I can change the opacity and see how I want that to show up. I can also say darken, which will affect the pixels lighter than the blend color. Those are the ones that will be replaced. So that actually looks really cool with this because it gives it more like a vintage a color. Before we get too into this, I do want to note that I have a cheat sheets in the class resources to download that will tell you what all of these do exactly as I'm explaining them to make it easier for you. I'm actually going to delete that texture layer because now I want to show you shadows. For the multiply layer. Multiply is my favorite to create shadows. It's going to blend the colors together so that I'm going to use black and then it's going to make my black just like a real deep color that blends in with the sea foam that I have. I'm going to create a layer on top of the layer that I wanted to blend with. I'm going to select black. You can select a dark green, whatever it is for your illustration, but something that's darker than the color that you're using. Then I'm going to go to the same brush that I used for this track, which was my gouache brush. Then get the size that I want in here. I'm going to place my shadows where I think that there should be shadows. I'm going to come in here a little bit. Come up here, maybe a little bit around this head light. Come down in here a little more. I'm not being real pretty with this, I'm just getting it in there enough. Create my shadows. That seems good to me. Maybe a little smoother in here, now I want to blend this. Actually don't want this one. I'm going to blend this together and create shadows. So all I need to do is go to my layers panel. Go to the shadows that I just created, select that in and change it to multiply. Then I'm going to pull my opacity down a bit, and then you see how it's starting to look. The further down that I pull, the more it's starting to look like actual shadows. Just a really easy way to get that blend in there. Let's go into the lightened blend mode now. I'm going to pull up another canvas and I'm going to do quick lettering. I am going to show you a couple of ways that you can fencefy this by locking in that texture right on top. The thing to note about what I'm doing, it's very similar to the textures that we added to the truck. The difference is this blend mode only applies to when the beneath is darker. Black is going to give you your purest, truest overlay blend. It's a little lighter. It's going to mute the top layer that you're trying to blend in. So I will show you what I mean. The first thing I'll do is create a new layer and then I'm going to color over what I just did. I'm just going to do an airbrush to make this pretty straightforward. I'm going to actually make them bigger. So I'm just going to create some color blobs to show you what I mean. So that's in here. I want to make it so that my word grabs just this color. All I need to do is go to N on the new color layer, go to lighten and then say lighten, and then I have that finished feet. Now let's say that hello, the initial hello that I wrote, I'm going to turn this layer off so you can see, let's say it's not black and it's this green color. When I apply the blend mode, it's going to affect it differently than if that hello was black. So because I'm on the hello layer, let's practice doing the lively recolor and then you can see what I mean. Now it is right here. Technically, because I'm on my hello layer, it's that green color, if I go to black, then it pulls the color that I just created the correct way, but depending on the color that is beneath, see how now it's making it pastel. Now it's changing the hue. All of that will make a huge difference. This might be fun just to experiment with, to see if you like a different version of overlay, but know that the black is the only thing that's going to keep that true. I have no idea what I did there. It's revealing in the caves [inaudible] that's true to the overlay. Suddenly that's going to come in handy and important to know when you are doing this next overlay. I'm going to turn that, actually get rid of it altogether and I'm going to import an image that I want to really stand out in the letters. I have this funky ink image that's falling into some liquid or something. It just looks really cool. What I want to do is make sure that this is covering the word completely and I have it coming off the page a little because I wanted to focus more on this area here. Then I'm just going to do the same thing. I'm going to go to that layer, go to lightened down here and then say lightened again. Now it has grabbed to that black. So that makes sense. Where the black color is really going to matter is when you're going to do something like glittery. Let's say I want this to be my overlay and I want it to look like this awesome glittery situation. Boom. If this is not black and let's say it's the screen color, it's not going to pull that true glitter out, the color and overlay that I put in. I think that makes sense to you hopefully, but it's pretty straightforward, pixels that are lighter on the blend layer will be kept. Screen is the next option in the lightened blending mode. I'm going to show this to you on the truck again. Let me go to the shadow layer and how to highlight layer. It's basically the opposite of multiplying. So it's going to be great for adding highlights. Let's say I have some highlights in here, highlights through here. These are really bad ones by the way, but I just want to give you an idea. Those are in there and then I'm going to go to my layers, go to lighten and say screen and then drag that down. It's just good for highlighting certain areas. Add which is following screen is the same, but with a much more intense effect of screen. See how I just brightens it even more. If you want a much more major impact, that's what you would use. Color Dodge is actually brighter than screen, but it actually saturates mid tones more. That might be an option depending on like for this example, it's not doing much of a difference, but as you know, probably by now, it's about experimentation, so you might notice a major difference in some of these, and you might notice not so major difference. Essentially they're categorized because they do similar things. If I go to contrast, I'm going to move this up a bit so you can see the differences, but overlay is a combination of screen and multiply. So if I pull a black, then you can see that it's green actually. Then I can pull this down. I've got a mixture of highlights and shadows. Hard light is the same thing as overlay. It's just much more extreme. I'm going to select that and you can see that it really pulls that depth out. Soft light is overlay, but it's half the strength. So see it really softens it, which is also really good for that dual highlight and shadow in the same situation, but much more muted. They all do the same thing, just different strengths, some whole midtone, simple saturation, etc. Don't let it confuse you. Then going into difference, difference plays a little bit with the photographic negative effect. If I say exclusion, this is actually inverting everything. Notice how my highlights got a lot darker and my low lights or shadows got a little bit lighter. I'll give you a better example and I'll go into an actual photograph. I pulled up a picture of Lucy, my dog, who's precious. She is on her own layer and then I have my background color. If I go to difference and then I select exclusion, it's going to have that negative effect that I was explaining, here it is and all of its glory. Boom, it's truly like a photo negative. If I go to difference, it's going to do the same thing and depending on what is on the page, it can either have a huge effect where it's a lot more intense or it'll be about the same. In this case, it's about the same. Then subtract, what that does is it subtracts the selected layers color from the underlying layer. I'm going to make this normal again and then I'm going to go to create a new layer, and then I'm going to select a green, and then on the new layer I'm going to fill that with green. Then that's what I'm going to blend. I'm going say subtract to see how it removed all of that green. It's subtracted it away, also creating a negative effect. That's what that does. You could play around with it if you wanted to, if it's going to matter, for me in my workflow, it doesn't because I'm not really using a crazy color because I'm using more of multiply and screen for highlights and shadows and just simple things, but this might be perfect for your workflow. I don't know what you'd do. The last thing is color. The color tab on the blend modes is actually really cool. Let's say I change it to, I'm going to put it back to normal and it's just the screen, but if I say hue, it is making it totally changes the mood because you're doing a blend mode that's taking that primary color that you overlaid and applying it as a hue to the image, which is just fun because I could fill this layer with a red and then it's changing the mood here. It's just affecting my mid tones, primarily, a little bit of my shadows, a little bit of my highlights, but mostly my mid tones and grading everything else out to really create more of a subdued effect, which I think is really fun. It's taking this saturation and luminosity of the underlying colors and keeping the hue of the blend color changing that mood. Saturation. Right here will take the luminosity and hue of the underlying layers, but the saturation of the selected layer. If I have a black layer on top, it's going to remove the saturation of the underlying layers, but it's going to keep the hew and the luminosity of the underlying layer. So if it has a color on, it doesn't matter what color, it's going keep the original saturation. It's just affecting whether its color or not, then the color on the color right here. That is going to use the luminosity of the underlying layers, but it's going to use the hue and saturation of the selected layer so it's saturated with the hue, fully saturated. Whereas like hew is going to be more subdued, color is going to be likes. It's going to really focus on the saturation of the color. So if I change this to like a fuchsia, it's like,hey, this photo is very fuchsia. If I go to hue, it just has that underlying color. Luminosity uses the hue and saturation of the underlying layers that sets the luminosity to the color that is on the top. Ask me what that means. I mean, I can't get it, it's a little more tricky for me, but I think the hue is a really fun one to play with. The rest of them I personally don't need, but that's in a nutshell what all that means. I could get way more into it, but hopefully that gives you a breakdown of what the blending modes can help you achieve. 11. BONUS VIDEO: Multitask While You Work: I want to encourage you to multitask. Now this is not necessary, but it comes in super handy if you really want something to do, and you're not in front of a TV or listening to music, and you might be out. Or, it comes in really handy when you need references. I'm going to show you how easy this is to do. Some of you may know how to do this, and a lot of us may not know how to do this. I didn't figure it out for a long time, but I also didn't know how to look for it so this is just an added bonus that gives us a little park to using the iPad and Procreate. I'm just going to assume that I have a Canvas open and I'm working on it. Let's for now say that you need a reference of some kind. I'm just going to double-tap my Home button, and then open my Internet Browser, and then let's say I want to look at a floral bouquet, and to type in floral bouquet. Let's say I fall in love with the bouquet, bobouquet is that what I said? But let's say love this one as a reference. This is open now, if I'm in Procreate, because I have that open, it's going to be on my quick menu right here. It can also be something that's open here with this just makes it easy. I'm in Procreate, I double tap and then I've got my Internet or I've got it here, but I'm going to select it from here. I'm going to hold it, drag it into Procreate, but then have it over to the side here. Now I have both of these open. I have my web browser that is totally fully functional, and then I have Procreate right here that I can use just as I would, otherwise. Another thing that you can do with this is you can actually pull and adjust the size, so Procreate can be smaller. You can do half screen. You've got that here. I don't know how that changed. There. Another thing that you can do if you pull down and let go, it then puts it inside of Procreate. Then you have where it's actually hovering. You can put it on either side, but it's not a true split screen, so you can see that my whole Procreate was still there, and then if you swipe away, it gets rid of it. I like to have a split screen. I'm going to show you another way to do this. Let's say you want to watch Netflix. I am just going to click this because it's here. Then play. Once it's going, make sure this is down. Once it's actually playing, you can exit out of it. Then it's automatically going to be up here, and you can go into Procreate and then you can just move the screen wherever you want it, and you can enlarge it or make it a lot smaller. Yeah, it makes it super simple to do that. Then you can also, when you turn your screen, it will be oriented differently. That is just a fun tip that I am super excited to share, because it makes a little bit of a difference when you are on a long project. 12. BONUS VIDEO: Animate Your Work: I have another bonus video. As much as you would like to think that the bonus is that my cat is right here, I'm going to show you how to animate an illustration or lettering. The first one that I'm going to show you is one that I've already completed, which is going to just give you a visual of how I've broken this down. This is just my cat, she's just here. In my Layers panel, I've got all of these layers that are actually just birds. They're just bird illustrations. I'm going to turn the one that's on, off and then put this one in. This is the initial illustration, the birds that I had drawn first. You can see that I've actually just drawn very closely to the ones that were already there, and I've changed the bend and their flight, then I turn the other one off. Then I do that again, I add another layer. I drew these guys here, and then I turn the previous layer off. I'm going do that again, so I did another layer on top of that. I drew these birds and then I turned the previous layer off. In-between all of these layers, what I've done is I've saved them. Then I had all of these saved images that looked almost identical, but they had different birds in them every single time. You can see, they're like flying away basically, and then it just kept going. I was able to create a GIF, also a video, so I can create a GIF or a video from this, and then I have the birds flying. Seems simple enough. It is, and so we're going to walk through it. I'm going to open Procreate and create a new canvas by going to add, and then I'll just do a square. There should be a square there already, but you can also create one that's a custom size that you want. I'm just going to show you this quickly. I know that this class has been long, and I want you to take advantage of this bonus content. I'm just going to quickly draw a little sunshine, and yellow. I've got it here, fill that in, and then I've got my sun rays. I'm actually going to move this circle a little bit more into the center, so that's done. This is so simple you are going to see. Whether it be adding stuff to the illustration or just changing it to make it be animated, it doesn't matter. All that you do is apply small edits and just save each frame. I'm just going to export this. I go to my tools, I go to "Share", and then I'm just going to do a JPEG, "Save Image". Now, all I'm going to do is rotate this, so I'm going to press my arrow to select it, and then I'm going to say rotate 45 degrees, unselect, and then save it as a JPEG. I'm going to do that again, rotate 45, save it as a JPEG. I'm going to do this until I get the whole way around. I lost track, I don't know if that was as many times as I needed, but that will be fine. I'm going to go to this app called ImgPlay, and you can find this in the App Store. I'll just walk you through this so that we can find it, so I-M-G-P-L-A-Y. Search for that, and then you should be able to find, it says ImgPlay GIF Maker. I'm pretty sure this is a free download and then you have the option to do the purchase. I have the full version which was like three bucks, but that just gets rid of the watermark, because who wants a watermark? But if you just want to play, no need, this is going to be free so you can really see how it works. It's so easy. Once you're in there, it's going to pull up what you just saved. I am going to select all of them and you can see that it's numbered, which is going to select all the frames. I've got nine frames, and then I say "Make". What it's going to do with these nine frames, is animate it. It's going to automatically play, but you have the ability to change the speed. I can make it faster by pulling it to the left. I can also make it much slower, which is going to take forever. But see if I make it super fast, then it's just a bit much, so I'm just going to find a speed that I like. That's an animation that I like, and it makes it super simple, it's happy, it's friendly. Then I'm going to say "Next", and you have the option to export it to all these places. You could go directly to Instagram, you can go to Facebook or you can press Save, and then you have the ability to do a GIF high-quality or a video high-quality. Sometimes GIFs don't play on certain platforms, so that's why you have the option to do video. But if I say "GIF", it'll give you the option to forever repeat, repeat only this many times. I'm going to say "Forever", that means that it's never going to actually stop, and it's just going to constantly animate just like this one. When I go to that in my photos, there we go. That is it, so it's so simple. You have the ability to do this with text or do it with little bursts. You can have something just to accentuate text. Very easy. When I discovered this and how easy it was, it was just like I want to animate everything all the time. Have fun with this because they are too fun. 13. Project Time!: All right guys, that's all this round. I hope that all of that information helped you and that you learned a trick or two or 17 that's going to help you along the way in your workflow. I am eager to see what you create now that you have all these tricks in your back pocket. Please share in the project gallery and I will see you next time.