The Beginner's Guide to Digital Art with Procreate for iPad! | Kurt Michael Russell | Skillshare

The Beginner's Guide to Digital Art with Procreate for iPad!

Kurt Michael Russell, pro colorist & instructor

The Beginner's Guide to Digital Art with Procreate for iPad!

Kurt Michael Russell, pro colorist & instructor

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26 Lessons (3h 23m)
    • 1. Welcome!

      2:05
    • 2. Introduction

      5:27
    • 3. Using the gallery

      9:23
    • 4. Filetypes

      4:25
    • 5. Using color

      5:38
    • 6. Using layers

      9:33
    • 7. Using the smudge and eraser tool

      2:53
    • 8. Using the brush tool

      7:14
    • 9. Using gestures

      3:53
    • 10. Using the transform & selection tool

      8:06
    • 11. Setting the pressure curve

      3:20
    • 12. How to import brushes

      1:00
    • 13. Creating your rough sketch

      10:44
    • 14. Tighten up the sketch

      10:52
    • 15. Inking your sketch

      10:46
    • 16. Flatting your colors

      11:54
    • 17. Flatting part 2

      12:16
    • 18. Flatting part 3

      5:08
    • 19. Creating shadows

      13:03
    • 20. Using light modes

      12:07
    • 21. Cut & grad rendering style

      9:21
    • 22. Changing the color of lines

      8:05
    • 23. Creating special effects

      13:08
    • 24. Using adjustments

      9:09
    • 25. Using actions

      11:25
    • 26. Outro

      1:37
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About This Class

This in-depth, step-by-step course will show you all the basics of working with Procreate on the iPad. Procreate is a powerful application that rivals and, in some cases, outperforms the much pricier competition. I even use it in my professional work for comic book publishers like Image Comics and Top Cow. 

You'll learn how to use...

  • ...Procreate tools to create line art or colored illustrations - all in real-time! No time-lapses here! 

  • ...Skills that can carryover into almost any type of art - from comic books to manga to cartoons or web-comics. 

  • ...Procreate to get you up to speed quickly with easy to follow lessons from a professional.

Whether you are looking to draw or color just for fun or for work, this course will save you a tremendous amount of time by teaching you what it takes to make art with Procreate and have some fun while you're doing it!

In additions to the hours of video lessons, the course also includes:

  • a copy of the actual Procreate file used throughout the course, so you can dissect and learn about it from the inside! (You can even watch, rewind, or fast-forward the time-lapse included with the file!)

  • Custom, specialized brushes to import into Procreate on your iPad.

  • Tons of tips, tricks, and shortcuts!

More bullet points!

  • Work at your own pace. There's no need to rush, since there's no time limits. 

  • Learn simple, but effective techniques for making art with Procreate on the iPad.

  • If digital art has been intimidating or if you just couldn't figure out where to start, this is a great place for you!

  • The workflow I teach is designed to be simple and efficient - something anyone looking to work in production art will appreciate!

I've created multiple courses over the last four years and taught thousands of students worldwide. You can expect top notch video & audio quality with views of my iPad screen AND my hands, so you can see exactly how everything is done from multiple perspectives - including Procreate's many useful gestures. 

NOTE: Many, if not most, of the techniques taught in the course work on other drawing and painting applications, such as Photoshop, Clip Studio, Paintstorm, etc. This course will feature Procreate 4 on an iPad Pro.

So join me! I hope to see you there, and I'd love to help you get started down the path to becoming a great digital artist. 

:)

Meet Your Teacher

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Kurt Michael Russell

pro colorist & instructor

Teacher

 

Hi! My name is Kurt Michael Russell. I've been working as a professional comic book colorist since 2011, and I've been teaching coloring & digital art online since 2013.

I've worked on books such as critically acclaimed Image Comics series GLITTERBOMB, Vault Comics' MONEY SHOT, POSTAL #13-25, HACK/SLASH: SON OF SAMHAIN, HACK/SLASH: RESURRECTION, JUDGE DREDD, INFINITE DARK, the Eisner and Harvey-nominated IN THE DARK: A HORROR ANTHOLOGY, and many other independent and small press projects. There's a full list available here. 

I launched my first course in May 2014, and since then thousands of students all over the world have enrolled. Who knew there were so many people interested in ... See full profile

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Transcripts

1. Welcome!: Hey there. Welcome to the Beginner's Guide to Digital Art, where we'll be using an application called Procreate to create your own works of art. My name is Kurt, and I'll be leading you through the course. I've been working in the comics industry since 2011 or so. For publishers such as Image Comics, I, D. W and Top Cow on books like Judge Dredd include a Bomb and Hack Slash. I started creating art tutorials on YouTube in 2013 and since then I've recorded well over 100 hours of tutorials and taught thousands of students all over the world about digital work. I designed this course for anyone looking to start drawing are coloring digitally. But into this course, you'll be able to use procreate to take your own ideas from thumbnail sketch all the way through the finished product. I'll be teaching a proven method working that professionals have used for years when creating digital art. Can we use in many different ways to create Web comics, manga, graphic novels or even just drawing for fun? In some cases, I'll show you a few different ways to get things done because there's really no correct process and art. You can choose techniques that suit your own personal style, and you don't have to just sit there, watch my talking head. I'll be working to an illustration in real time throughout the course, so you can follow along step by step. Or just use the techniques to create your own unique piece. You'll see my IPAD screen and high definition and the shot in my hands while working so you can see the gestures I'm using as well. And we'll cover all the basics from thumb nailing rough sketches to penciling Teoh, inking digitally color and even some special effects. At the end, all you'll need is an iPad, the newer the better, the procreate app and a stylus. To get the best results, I'd recommend the apple pencil, but any pressure sensitive stylus will work, and almost all of these techniques will carry over into other applications as well. So whether you're a traditional pencil on paper, artists just looking toe test the water with digital or you already familiar with procreate and just want to learn some new tips and tricks. This course was designed for you, so check out all the details in the description below and hope to see you inside 2. Introduction: Hello there. My name is Kay Michael Russell. I'm a combo colorist and digital artist and youtuber and online art instructor. And welcome to the course. So I want to do a quick intro video just to tell you guys a little bit about how it's gonna be laid out and a little bit about me. So, you know, you're you're talking with you so you won't see much of this angle. Uh, we're gonna be doing here, is I think we're gonna go with this. I'm experimenting because my first course in on iPad I'm been doing Photoshopped tutorials for 45 years now. And I realize on the iPad, you need to see my hands at time. So this is the set up so below main, you could even see my reflection in the pipette. Um, we're gonna have the my hands here. So any gestures that happened, you guys can see those and that'll that should be useful. And you'll see my screen, uh, the iPad itself. Over here. This way, it's often sitting on this side and you guys be able to see that And what you need to know going into this or what do you need. Really? First off, you need an iPad. You need a in the procreate app. Obviously, um, now, different versions of procreate have different limits as far as layers and different things . Depending on what I patted. You have, uh, Now I'm working on a second generation iPad Pro. This is 2017 model. I don't think the storage is only other thing. That's different. I think all knows it doesn't really matter that much. Um, so that, um, an iPad a nap? IPad, pencil an apple pencil. Now, show you guys this mind you might notice. I've minds a dressed up a little bit here. So this orange grip is made by a company called Ergo. I think it's not required. This was just to me. It was more comfortable. I've got some issues sometimes with some grip issues with neck issues. And it's a letter. Think Anyway, that's what you're seeing here is just a grip. Definitely not necessary. And you don't have to have that. But I liked it. And I also have this little orange thing that holds onto the little cover cause I'm gonna lose that. If I don't have something, hold onto it. So that's what you're seeing there. I got both those off Amazon. I will try toe link those somewhere so you guys can see those in action. I also have this angle, which is just my hands. So if we do something like, we're gonna talk about the gallery in a second, it's very gesture heavy, so we'll use this angle for that. But what's the time? We're probably going to be here now. It's my understanding. There are other stylists is that will work on the IPAD pro. I don't have any experience with them, to be honest. And I do know that procreate was optimized for the apple pencil. So if you if you have a different stylist and you're not seeing the same results that that you're that you're seeing on my screen, I don't know much about the other brands or how they work s so keep that in mind. This isn't an official apple pencil, and I can't really speak to any of the other styluses. Um, I will say I'm very happy with the apple pencil if you haven't bought one yet, so I'll give you guys a little bit of background me in case you're interested. I don't know if you are or not, but just in case you are, um, And if you don't look this up for yourself if you go to a comic color dot com, I'm primary primarily a countable colors, but I've been drawing since I was very young and I was actually. But if you got a common color dot com and click on credits, you can see all of my credits here going back several years. But, um, the reason I wanted to make this is you know, I like drawing on paper and like the feel of drawing on paper and one of the things that I like about procreate over, like photo Shop and some of the other more technical programs is it feels more like drawing on paper and drawing on natural media, traditional media than any other app that I've ever used. And I have been ah, Photoshopped fan and in a walk, um, tablet user for a long, long time since 2000 and three. I think so. I've been using those sort of tablets for 14 almost 15 years, and I immediately saw that there was a massive difference in the the accuracy and this the feel of procreate with an apple pencil and iPad pro like. That's the combination that I just instantly kind of fell in love with it. And so I want to get you guys going as fast as possible. Like I don't want to rush through this, obviously, but I want to get you guys going quickly on all the different aspects of procreate and so that you're not, you know, slogging around for days and days, trying to figure out what everything does. So we can kind of run through all the tools they don't get. In all the specifics about what my workflow looks like, a Sfar as going from a sketch to an ink drawing to color and all this sort of things Now, this isn't really a drawing course like a They're probably others those for coming at some point. But we'll touch on some of the basics on that. It's really more about how to use procreate as a tool to create your own, you know, awesome digital art here, Basically. So, um, I think that about does it for the intro, so let's go ahead and jump right in 3. Using the gallery: right. So this first lesson, we're gonna talk about the gallery. Now, I realize that doesn't sound particularly exciting, but there are some things that it does that aren't obvious. I just want to make sure we cover all those basics. So if I do any of this while we're working on the course, you guys don't go. What was that? What is that thing he just did? So start off with, um this is what you're gonna see is well, you won't see your art, but you'll see your own art. And I'm actually, we're going to take a look at Let's look at this version of this since this is a very gesture, heavy part of procreate. So to start off with to create new artwork. If you go to the top right up here, you'll see little plus sign. I was gonna click that it's going to give you a bunch of options now, some of these air here by default. Some of these I've you can create your own custom as well. Um, but that's just how you go about creating a new campus. And it's really simple, like if you want, like, I've got an eight by 10 that I saved here you just hit eight by 10 and it opens up that eight by 10 you know, canvas there. So if you want to create your own, there's a create custom size down here at the very bottom of list. And if you click that you've got the with the haIf, the DP eye color space and then the name, and there's actually some really important stuff that you need to keep in mind here. So that black image doesn't show very well with light on civil suites to this one. So first off, you know an American, we tend to think in inches, or if you're anywhere else in the world, you can use centimeters or millimeters. But I going to get do inches and we'll just say eight by and delicious a by 12. The important thing about creating a new campus is your resolution and that your dots per inch is what that DP I stands for. And if you ever have any intentions of printing what you plan on drawing, it should be at least 300 dp I now you might want to work larger than that if you're gonna be doing like posters or something. It's really, really big. But for just standard, you know, size books and comics. That's where things generally between three and 400 d. P. I. The larger you want a printed, the larger that number needs to be, but three or 400 pretty good for most stuff. If you set it too low, then you really don't have any way of ever increasing it after you started. So I never recommend starting any lower than 300. Now you will see on the Internet that, oh, you know this browsers only show things that a 72 d P I 150 DPR whatever. That's all great. You can always downsize your image. That's easy to do, but you can't ADM or information. You can't make it larger, so why not start at, you know, a minimum that's printable like 300 for example. The size is you know that's up to you, that I'm gonna include a couple of the you know, the custom comment, book size and the things in the course as well as you guys have that if you want it. But there's really no hard and fast rule for digital art when it comes to that, so you can do your own. But like I said, don't forget about the 300 c p I color space lead That on s RGB is what I would recommend. This is P three wide color is a newer color gamut with more colors, but we're talking millions versus more millions. Ah, and not every device can even display uh, a P three wide color game. It's so the easiest thing to do there. Just leave it on s rgb and in the name you can name it, you know, whatever you want. So I will call this a whoops. Eight by 12. Done. So you all right? Something to go back to once once the pages open, if you go back to the gallery button at the top left up here. Yeah, I see that Here, Uh, that will take you back to the gallery. It's over here in the top left. Okay. What else do you have there? Um, let's go back to customer size. I don't think we missed anything. The other thing that you'll notice here is depending on the size, so I just put in a size here, you'll notice that the maximum number of layers changes. Okay, so now in this course, we're not going tol me even in my professional work, like very I've never hit the maximum leader limit. I just don't work on the tunnel layers, but even if you do, you can always we'll talk about, you know, merging layers and that sort of thing to make this a bit easier to deal with. But that maximum layer number is something that you would might have to keep in mind if you're working on super super large canvases. But it's not something that I've run run into, so I don't think would be a major issue. But you can kind of play around with, like, if I go in here and set this toe 24 by 36 it's too big, says to our can't even do that. So let's go down to 10 by 10 and what's lost it. But 10 by 10 let's see, like it's 55 layers. That's that's a lot of layers. And if I change the DP, I, if I change that to say, 400 then you'll see those maximum layers actually goes down. So all of that is a factor for beginners. Like I said, it doesn't really gonna factor in that much. But I didn't want to make you guys aware that it is something you have to keep in mind on really large sizes. So the other thing on the gallery that's wasn't really obvious to me is the left swipe options. So, for example, I've got these eight by 12 and eight by 10. No blank canvases here we just created. Let's say I won't want to leave those. You can put your finger on the do this, put your finger on the right side of it and swipe to the left, okay? And you get more other options here. Now you can delete it. You can duplicate it, you can share it. They don't really make that obvious. But that left why? It gives you a lot of options there, so we'll just delete those. Do it here as well. The other options there you that you can use is, uh the duplicate or share share just opens up all the different formats, and we'll talk about that in a second and then duplicate just duplicates the image. So the only reason that I have used this in the past is let's say that I had a We'll see that I had a image with a tunnel layers in it, and I was coming up against the the layer limit. Let's say that happens. Well, there might be some layers I could merge down, but I don't want to lose all that information. So what you can do is go in here, duplicate it and then on the duplicated version. Then you can merge all those layers together and keep working that well. You're not losing your information because you can always copy and paste things back and forth Also. Now you'll notice that some of these images there's actually multiple images like, for example, this section over here at the top left. There's a couple of different pages in here, so what you can do is you create what's called stacks, which are basically just folders of art, and there's a couple ways to do this. But I'll show you two different ways. So all of these images down here on the bottom, the these bottom seven images are all from one comic that I worked on. So let's say when a group those together the fastest way, it's probably too. Just hit the select button, appear the top and it's gonna but this little blue bar across the top of the screen and I can just click on all of those items, okay, and up at the top here, I've got options and I've got one that says Stack. Okay, someone hits stack. Now you can see they've all been put into that one stack there. Okay? The other thing you can do, Let's go into the stack. So I clicked on the stack. Let's they want to move one of these images out. I can grab the page. Just drag it up to the top where it says Stack in this case and just pull it out. So you're just you can either hold it in like this. Pull it in or you can hold it, pull it up to the left corner, tough left and pull it back out. That's a neatness and, you know, breaking away to organize things if you want to. The rest of the options here are fairly straightforward. You've got import What? Just let's you import images so I can click Import. It will open up the file manager for the iPad and you could go click on any number of these things to pull that into the gallery. Ah, in the same thing with the photo you'd hit photo. It opens up the photos that are on your iPad. So let's say that you wanted to delete more than just the one thing. So with one image, you can just like I said, left swipe to bring up the delete. You can also hit the select button and choose a stack, and there's a delete option here as well appear on the top right now. I'm gonna be very careful not to click that, cause I don't want to delete it. So I think that covers all the main functions in the gallery. So let's move on to the next one 4. Filetypes: All right. So I wanted to do a quick lesson on file types. This would be really short and sweet, but it's something that you'll need to know, right? The beginnings. I figure we'll go ahead and talk about that. So I'm going to, Right, Swipe, I'm sorry we left swipe on this image down here in the bottom left. You guys can see it pulls up the share duplicate lead. I'm just gonna hit share and you've got different image formats here. Now they all got their pros and cons. I don't talk about each one. The procreate final type is interesting. There's a fly has decided to land on my leave me alone Go away So it's share Sorry. And ah, the procreate file type is obviously the default format that the program uses. And so you get all of the layers and all the different effects and everything that you do within that final is copied into that prick Great file. So you could share that with someone else that has procreate just like I'm doing in the course. You guys will have some of those files of my own. But the other thing that it does that I find very, very interesting is that it also includes the time lapse video. Okay, so you could create a peace, you know, and procreate and then share that with someone else who they can not only get your file with all of your layers, but they can also see the time lapse video. So I think that's pretty interesting and have actually used that video in the past as kind of an instructional tool because you can pause it and stop it. Rewind all these things within the at which I think is really cool. So if you want to get everything in your file to someone else, all the layers and everything, that's the way to get procreate now. Ah, PSD file. That's the Photoshopped format. And I actually used this export quite a bit because if I want to well, they want to import an image into Photoshopped to do something different with it. Then I can use PSD, and that's going to capture all of my layers and masking all these things and all the different parts of the pro grade file that are, you know, pretty standard. There is part of the Photoshopped file format. Now you won't get the video time lapse with that, obviously, but that is a It's a very, ah, well known format that a lot of applications will import, you know. So if you're using affinity photo or clip studio or any other number of act, there's a lot of those acts that will import PSD files. And so that's usually the best one to choose. If you're wanting to, you know, move that information into a different application to do something else with it. You know, pdf SAR. I don't think I've ever used the PDF export because it I believe it's just single layered, and it's used more for things like, you know, text documents. That's not I have seen some printers that prefer PdF's but not really going to using those in the course that I know of on then J. Peg is just your standard kind of Web image format. There's no layers. It's just the image, whatever it ISS. So if you want to send over a quick email to someone with a copy of your file in it, you don't want to send a per create file or a PSD file probably would be too big, so I use a J peg for that. P and G files are also single layer files. I believe you're allowed transparency in PNG files, and that's the main difference. So let's say that may see if I've got an example here, like So let's say that I wanted to look at this guy. I made this drawing and let's say that it was I wanted the image to be transparent because I was gonna put something behind it. I was gonna lay it on top of something else in photo shop, then a PNG file allow you to do that so and what else we got a tiff File Tiff is a very common file. It's used by printers, and it's just it's a high res format. You're not really losing very much as's faras compression. You know, when you when you send in J peg to someone, it's much, much smaller. And so you. Usually you losing some type of resolution or clarity or sharpness or something with a J peg, but with tiff files, they're pretty high res to, and so that's the option there. So that's what all those formats mean, and we'll be talking about all these things throughout the course, but we're going to the next one 5. Using color: All right. So let's actually get into the application and start Morning. Some stuff. So the procreate course exercise. I've provided us far the course you guys and download that and imported. Hopefully you've imported it by now. But if you haven't, I'll wait. You can pause it. Are you done yet? Okay, so I'm gonna click on procreate course exercise, and we'll get into actually how I went about creating this a lesson here in a little bit. But I want to go over the tools first and sort of get into some of the the things you'll be working with with procreate. So I'm gonna start over here on the right side, and we're gonna start with the color picker. So there are different modes of the color picker you can choose from Now. I've got mine set to classic, which sets it up the way you're seeing now. But there's also there's a disc if you want a color wheel, which is very handy if you're familiar with the color wheel on how that works. There's also with just the value sliders. I do know people that work just by choosing colors with the sliders. I never got in the habit of doing it, so it feels very foreign to me, like I need to be able to, like see my colors in relation to each other in the box like that helps me to know this is more saturated. This is less saturated and two for meat. For beginners, I would say even intermediates, and I would say that's probably the best thing to do. But if you prefer the color wheel or if you prefer something else and by all means, you know, have at it, um, results. So some pallets that it comes with and there's one that I think I've created earlier. It's really not that important for now. But, um, we'll start with this one. We might switch over that color will in a bit. So the first thing terminology. So there's some terms need to get out of way. Eso that were kind of speaking the same language. So in the in the color picker, what you're seeing here is there's really three things happening here with these colors. You've got hue, saturation and luminosity or value brightness, whatever you wanna call it. So what will work from left to right nothing down in each way, and this would kind of make more sense. So first off, you've got value. Now the brightest values are at the top. OK, or luminosity is these are the brightest colors, and as you go down the window, these colors are getting darker and they're getting, uh, you know, they're low value colors at this point. So as the value goes up, you're going up the color wheel. And as the colors get darker going down, that one's pretty obvious. Okay, now you also have saturation. Now, saturation is measured left to right here. OK, so all the way to the to the left side of the window, which is grey. Basically, um, there is there's no saturation, it's just great. And then, as you add color, you're adding saturation, so the most saturated you can get would be, You know, we've come this far right side. So if you're me talking about saturation, that's what I'm talking about, you know? Then you've got your hue. Now Hugh is on the slider bore here, okay? And actually, these three bars here kind of illustrate the different you saturation and then value. Okay, so that's really is the easiest way to think about it is think about those bars. Okay, So Hugh is when? When? When I say that the sky is blue, you know, that's what most people consider to be a huge, you know, is what what color the color is, if that makes sense. So you know, the hue of the grass is green. Probably. You know, it's cold dead right now, but usually green. So that's important to know hue saturation. You'll hear me say value a lot, but I think, yeah, procreate actually calls it brightness eso. I'll try to remember to call it brightness with their kind of interchangeable, for the most part now, the other thing that you can do in the color picker is you can save colors. Now, I have saved a few here, but if, like there's a particular color you like to use for certain things, you can just you know, once you've got it selected, just hold down there in the palate section. There it set and it'll save that color, for you can always go back and grab that color. I did this for, um, I think with some shadow colors that I was using on a project. And so I just said I saved him here so I could reuse the same colors, you know, from in my case, it was a comic, so it was like, page to Page. So help me be consistent. You know, the other thing that happens here with the color wheel or the color picker is a feature Procreate calls color drop. Now we're just gonna touch on the basics of color drop. But it does some pretty cool stuff. And if you just grab your color and drag it onto your image, that will fill with whatever that color is. Or if you had a something selected, then it would just feel that selection. Okay, and we'll talk about selections in a little bit. But color drops a pretty neat tool. We'll get into all the different ways you can use that in a little bit, but it But it's the fastest way to just fill a section with color, so I don't get to in depth in color. We could you could take a college course on color, so I don't want to bog us down too much. And all of that let's move on to the next one 6. Using layers: All right. So the next thing we're gonna talk about his layers now, layers are awesome. When I was a kid, I used to have to have to draw my sketch on paper and then try to find paper that I could see through but was still good enough paper you could draw on it, right? Put on the light board to see under it. And it was all you always had a hard time tracing things exactly. And layers get rid of all of that stuff going digital. It's one of things I would love the most is you can really do all that stuff so easily, but having to worry about buying a light box or getting the right tracing paper or whatever . I'm dating myself a little bit here, I'm sure. But it's right to the left of the, uh Can you guys see this yet? Right to the left of the color I caught up there in the top. Right? Right next to it are the layers Now in this image there are others with only two layers are three if you want to count this background color so procreate lets you set your background color as whatever you want it to be. Now, I usually leave that toe white, but depending on the image, you want to do something different, but we'll leave it white. Now I've got layer one and layer to here. Now, these checked boxes are what? Let's you hide and show those layers. So we first opened up this image to sketch underneath. It wasn't checked, which means that it's hidden. Okay, And then the one that was checked, we we can see it. And if I flip those now, you're seeing the sketch underneath now. I actually had moved this whore and a little bit after I drew it, but, uh, we'll get into moving things later. You can always move it back. So, uh, but layers allow you to do things in sections. And a lot of artists like to use them as almost like stages, especially a lot of digital painters that I watch. So let's say, for example, I mean could turn this off. Let's say this is a painting that I'm working on, and I have done all the stuff that I want to do, and then I think I want experiment a little bit. Well, I'll click that plus sign and just going to grab a brush. It doesn't really matter which one. And I'll start doing my thing here with the new color and I'll paint, paint, paint, do my thing and then realize that it's not really what I wanted. Well, instead of having to, like, undo or try to get back to where I was, I could just delete that layer Now. Ah, in procreate if you swipe to the right to the left. Sorry, if you swipe to the left on a layer so you guys can see right here. If I just move over here to the left that you've got some other options that pop up here, you've got delete, which deletes it. Obviously, you've got duplicate duplicates kind of interesting because you can try things out. So let's say that I let's duplicate this layer. When im get two copies of that green, I'm gonna turn off the other one. Okay, so I only got one copy showing. Well, now I can go in and we'll talk about all of these things later, but I can go in and play with the hue or the saturation, and I never have to worry about losing that duplicated layer underneath. So again swipe to the left, you'll get a couple of option there. Let's go ahead and delete that we talked about Duplicate, and then you've got lock and lock is pretty cool, too, because, like on this image, for example, you have already sketched it, and I think it out. And I know this part I'm happy with, and I don't want to accidentally change it. So I will swipe to the left and then hit the lock button. And now procreate will warn me whenever I try to work on it, that this is a lock selection so you can cancel it and you can open your layers window and figure out if you actually want to paint on that or not. So that's really useful when you don't want toe accidentally change something, or especially if you're doing mawr like comic style illustration. When we talk about flat ing later, usually don't want to change those flats or change those selections, and so locking those is the easy way To do that. You have to worry about accidentally doing the wrong thing. Then it becomes a big pain, so lock is awesome. So what else can you do with your layer window? So let's make another layer. And again, I'm just gonna paint something on here. It doesn't really matter what it is for now. And the other options you have here, you have an example for you can move a layer. So let's say that I want to put it under my lines. Okay? So I can just put my finger on it and hold and then drag it down. And now it's below my thanks on this. Okay, I can grab it again, pulling right back up to the top. So you just stick your finger on there and hold it. That gives you those options to move that around. You can also merge layers and emerged. Just means you're gonna put them together. So let's say that I've got a different color here when you pick a different one and gonna paint some more. So now I've got two layers, one with red and one with green. Okay, so let's say for whatever reason, I like the way they look. I want them to merge together so you can either pinch them together, which is kind of hard if you have big fingers. If it's more than two layers, it becomes easier. But But then you can also let's undo that. We'll talk about gestures in a second or you can if you swipe to the right on each layer. You've got these little icons here that show up the one on the left. This little, uh, pull this up on the big screen. Actually, there we go. So you've got this little line right here. If I click that, it's gonna ask if I won't delete. But that those layers, Because when you do this, change this again, when you swipe to the right and let it go like that, Okay, it's It's really selecting both of those layers. So if you click these little three lines, it will create a group, okay? And then you can always open and close your group, right? Let's undo that. By the way, undo The gesture I'm doing here is just to finger tap. There we go had all those layer things you guys weren't saying. So you'll see me used the undue gesture quite a bit. I talking, talking about gestures here a little bit but two fingers on the on the canvas will back up , and then three fingers will go back forward. So that's really, really useful. We use that all the time. Another thing you can use. The layers that's interesting is capacity. So if you two finger tab you can see it brings up this slide to adjust window here. And if you now put your finger on the canvas and go back and forth, you can see the opacity of that red layer is changing. So this is a good, uh, feature. If you've got some effect that you did your like, man, that's really over the top. I wish I could tone that down. Son, like opacity is great for that and again, the way to get to that is to to finger tap on the layer, and I will take you straight to it. That's the fastest way. The other thing you can do is if you just click on the layer, actually click on the little end where it says that end stands for normal. By the way, we're gonna talk about this a little bit, but that also brings up the opacity slider here, and we'll talk about later modes and been, and we talked about grouping as well a little bit earlier. But just to recap on that, let's say that I want a group together, all of my rendering in tow. One group I can just slide right on the layers that I want toe do that on. So in this case, like I've started off, I've got Layer Four selected. So if I swipe right on three, it selected both of those layers. So then I can emerge. They're not merge Bacon group those with that little three line symbol there and then I can minimize the group. And so I don't have, you know, because if I had, like, I'll say, I've had a bunch of layers in here. And if I put them all into my group, let's do this. Let's select all four of these and hold. We're gonna move them into the group, and now you can see that this whole group doesn't take up all that space because when you've got, you know, a lot of layers in here that can be a little unwilling or having to scroll up and down. So if there's if there's items that you want to put together than grouping them is a good way to do that. You can also rename that group group, keep it straight that way. Also, you can flatten the group, which is basically merging all of those together. So if I click in that, you can see that all of those layers, you know, now going away. So I think that's enough. Layer basics for now will probably discuss some or functions of that later, but let's go and move onto the next one. 7. Using the smudge and eraser tool: All right, so they emerge. And the eraser tool. I won't talk about those together because they're not overly complicated and then go pretty quick. So first, I'm gonna paint something here, make a new layer. Someone clicked that, plus sign up there at the top. Right? And she's a brush, and then I'm gonna just We'll call her something in here. Okay? No, the eraser tool, when you click on it, is going to erase. Right now, one thing that it does that I find interesting is if you have a brush selected. Okay, So in this case, this is Ah, one of the default brushes. I believe that came with the app. This Niko role brush. I don't you say that, but ah, so that that's my paintbrush here. If you hold down on the eraser tool, it will actually change to that same brush type. So even though this is smaller, the actual brush itself is the same, and you can always resize it. I like using the same brush style for my erasers as whatever I'm painting with. Because if I were to go on a two finger, undo this for a bit. You also hold down two fingers and that will also back up. Let's say that I paint with this really cool texture, a brush, and then I'm going with my eraser tool and do something really different. Okay, I've got this really like, digital looking eraser tool, and that's doesn't really looks digital, right? So instead of sorry back here. So instead of having these two really different types of erasers or brushes, I will, you know, breast whatever I'm gonna brush with, and then hold down that eraser and use that same tool to erase, and it makes it look more natural. There's all sorts of options under the eraser you can literally erase with anything, which is you get some cool effects. So if you want to erase with, you know one of these tor cold brushes here, then you know you can erase with that. It really helps to make things look not so digital effects. Your goal anyway. And then smudge tool. Let's get something up here. We can smudge eso this much Still the same thing. You can still use the same brush types, or you can choose different brush types. And it does exactly what it sounds like. So if I go to my smudge tool, this is a very strong, uh, smudge tool. But you can see that it's pulling that color around so I can, from the red area into the clear area, Or I can go from the clear area back into the right area. So that about wraps it up for eraser and smudge tool. So we're gonna get into the when we're gonna be using the most, which is the brush in the very next lesson. 8. Using the brush tool: All right. So there are a lot of different aspects to the brush and all the brush setting is not gonna touch when all of those. But I just want to give you guys the basics that'll get you going quickly here. So I'm gonna click the brush icon, and procreate is great. And that includes a lot of brushes. OK, so whatever you're looking for, there is probably a brush for it. I'll say this as a kind of. As an aside, I think a lot of beginners get too caught up in brushes. You know, it's one of question that I get the most. What brushes that? How did you do that? What brushes were the brush come from? Where did you get the brush? You know, there is no magic brush, OK, there's a lot of painters. If you watch YouTube, people like myself for other digital painters, and you see the stuff they're doing, man, like it's gotta they These people are awesome. This brush must be why they're so awesome. And that just doesn't work that way. Um, I'm gonna include a few very basic brushes that are really just really specific things. But for the most part, I use the brushes that included would procreate when you click on the brush icon. Like I said earlier, there's a lot of different brush types here. You guys can see airbrush is charcoal, all these different things. These can be dragged around in a range just like anything else. So, like if I, I've got a a new group up here that I created with my initials and I can drag brushes into that first group. So, like, if I know there's a couple of my favorite brushes and I can create a group here at the top and keep all those together, which is what I've done here, and to make a new brush group, it's sort of hidden. But if you swipe down on the brush group, you can see that it reveals new set, okay, and then you can name that whatever you want. Ah, and it'll it'll create it there. So I named mine my initials K M. R. So let's say that I want to bring in, Let's just go down the charcoal and let's say that burnt tree is one that I like a lot. Then I could just hold down the burnt tree brush. Bring it up here to the, uh, km our group and then drop it and you can see that it's put that burnt tree there at the top. Okay, so if you don't want it in there, then you can just delete that and make sure that it doesn't. It's still saves a copy in the charcoal section so I can delete them. And I included a couple of rushes in the course in the downloads. One is this fat pencil, which is just Ah, really, it's the basic procreate pencil with some things adjusted. Actually Got this brush from my Kendari. It's a free brush that you can make yourself and I have excluded there just for convenience purposes. Um, the Waterson dry is not included. This is one. I'll put some links to where I got this from. Uh, it's just unthinking brush that I, like most of this is just standard procreate brushes except for the flatter brush. And we're gonna use this to do some flat ing later, which is a If you're in the coloring, uh, comic book style. That's something that will use their. But if you're not doing that you may never have to use it. So anyway, that's how you get around. Like I said, there's lots and lots of different cool brushes, and I would just say toe, you know, be careful about using some of these really crazy brushes too much. You want to keep things suddenly you wanted. You don't want to be one of those people that where you see their artwork and even recognize the brush like Oh, that's this brush from photo shop. But that's this brush from this. I'm not a big fan of that personally, so I try not to try to use them in ways that doesn't just slap them onto the campus. But we'll talk about all that and a bit. The other thing you need to know about brushes is the size and the opacity sliders that over here on the left side of the screen, you guys can see this right over here. So let me just pick a brush to get the pencil, for example. Now, one of the things that's convenient about procreate is with your left hand. You can adjust the size on the fly or the opacity without having to switch settings at all . So I can start drawing well, coming. Get off a locked layer here so I can start drawing. And then if I wanted bigger, I could just grab that top slider, pull it up, or I can pull it back down. So that's the slot size slider. If I can say that, um, this little icon here is a color picker. Okay, so if I had different colors on my piece, I think I can hold that click that color picker and just hit it with my pen, and that changes the color that I'm using to that color. So this is something that digital painters do extensively. It's a way to mix colors very quickly on the canvas without having to go back into your colors. So you just hold down that little thing and tap. There's a couple of different options in the procreate settings for this, but that's how I've got mindset. And then the last thing here is the brush opacity slider so you can see that if I leave this all the way up, it's 100%. It's not opaque it all, and as I slide it down, you can see that it's not quite as call the way down. You can see that it's not quite as, um as dark, so I can layer that better. You know, this is really important, especially if you're if you're painting and you want a colors to mix, then make sure that capacity stays on the low side. So, for example, if I go back so let's say Let's I picked this red, Then I'll pick like a yellowish color. Now, if I put these on too opaque, then I can't really mix them that well. But if I turn the capacity down and color, pick that read and then kind of drag it over the yellow and then I can color pick the difference. You can see that now. I've got a different color here. I've got this like orange color now. No, I didn't have to go pick and orange. I just layered red and yellow. So that's one thing. That about opacity that's very useful when your digital painting or drawing or whatever, and you want to be able to mix colors, you know, turn the opacity downs. Good way to do that, and I like to use the two finger Undo. You know, most of the time you can hold it, Teoh. You know, go back further on and then three fingers to go back. But there is an undo and redo. Will arrows down here? The far right there. These really small gonna blow this up right here. So I've got back and forward. That's another option to if the gestures don't work for you. But for me, it's just really easy to draw. I get on the layer that I want to be on draw. It's not right. Undo. So that's the brush tool. You know, we'll go into more detail on that later as well. But that's the basics, So let's move on. 9. Using gestures: all rights wanted to really quick lesson on gestures because I use them all the time and there's a couple of them they use a lot were covered those real quick. The 1st 2 we've talked about already is, and that is the undo and redo. So get a brush here color and draw two fingers on the canvas will undo three fingers. Well, we do now. The way that I hold a pin show you guys here, you know, it's you know I do with two fingers, like I guess most people do about like this. So this actually frees up. You know, I can use these to here my ring finger, middle finger and my thumb for undue and then just drop down its third finger for reading. And I don't have to let go with a pin. So so Children draw, do and or redo either one without having to worry about picking up the pin. The other thing I use constantly is the zoom and rotate. Now, a lot of abs to do this. The cool thing about procreate, it does them at the same time. Uh, so if you put two fingers on the campus let me draw something on the years You guys can follow two fingers on the campus, pull apart and it zooms, Put him back together and goes in. This is pretty standard iPhones. I've has been doing this for a long time, but would procreate. You can do them both together so we can small, big rotate all this stuff at the same time. And that's really, really useful because most people, if you're like me, I'm most comfortable making lines that are, you know, kind of horizontal. You know, kind of like this angle because that's just kind of like the natural movement of your arm goes that way. It's a lot of times you'll see me do this, and unless I need to to make this angle well, instead, I'll just kind of do this in that way. You know, it's just you see a lot of artists and you'll watch that are drawing on paper. You'll see them constantly adjusting you re sizing and things and procreate. It feels very natural to do that that way, so that's something you'll see me doing quite a bit. Um, the other thing that I don't use quite as much is the quick menu. I believe they call it. Let me check settings. Yeah, so if you go to the going to get to this section a bit, But if you go to the little settings, icon appear with little Wrench and where it says preferences and then advanced gestures. Okay, there's a quick menu you can turn off and on, and there's a couple of different ways you can set that up. I've got it set to touch hold, which has just put a finger down and hold it, and you get that layer pop up. I probably got it set too much time. Right now. You can adjust that, but you can clear the layer. You can merge down, you can copy, you can make a new layer, and there's a lot of things you can do there. Just touch and hold. That'll pull that up. Um, if you haven't said to something different, like if you haven't set to just touch or tap or any of those things than you know, it'll obviously work the same way. The other thing you can do is that there's a a three finger clear. So if you're make sure on the right layer. If you put three fingers on the canvas and then just basically shake back and forth, it clears it. That's one way you can quickly clear. Two. Finger undo again. You'll you'll start doing it so much that you will do without even thinking about it. So I think that covers all the the main gestures anyway. We use. If I come across anything else, we'll throw it in there as well. So let's move on. 10. Using the transform & selection tool: We've got a couple of other tools here on the left side of the screen. Up here at the top, you could see these the transform, which is a little arrow thesis election, which is a little s tool than the little magic wine with the sparkles, which is adjustment on. We'll start off with the transform tool. I don't use this a lot once my drawing is kind of set the way I want, but it's great for moving things around, making things bigger. And that's one of the great things about digital art is if you draw on arm to small than, you know, stretch it or whatever, but to transform tool so I don't want to really mess with my sketch here, So I'm gonna duplicate this just by left Swipe on the layer. Now, when a layer is selected, you can click it again with your finger and will bring up this menu with a bunch of other stuff. I'm gonna rename this and we'll just call it Inc. And I'm gonna go to the little Aero Tool and it looks like the transform tool and you can see that draws a box around what we've drawn here. Now, on the bottom. Down here, there's a couple of options. That's the freeform and magnetic now, magnetic. What that does is it keeps the ratio the same. Okay, So if I graham this top right hand corner and start dragging in, then you can see that it's re sizing that. And actually, what? I'm gonna dio one son do that. I'm gonna turn off these layers underneath, so there's no confusion. Some get back on my inks layer, hit that little, uh, little aero tool for the transform. And I could make that smaller or bigger. Okay? And I can do that from any corner. Okay? All right. So I don't want to transform it in that directions will leave it alone Now. Free form at the bottom is another option that lets you squash and stretch things. So if I got a free form and I grab it, you can see that not only can I resize it, but I can also squash it left, right or up and down. Okay, so we'll undo that. Now, the other options down here on the left, under the on the transform tool, I've still got it selected. Its blew up here at the top left. You've got this little symbol with the arrow pointing to the right, which is is right here. If I click that, it's gonna flip the image. Okay, You've got a vertical flip right next to it. You got rotation all way around. You've got to fit to the screen, which I don't really want. Someone undo that. You've got a oh, hide, you can't hide it and there's undue. So if you let's say that we make a bunch of so you make a bunch of changes of this and I realize it's not what I want, that I can step back using this as well. And that's I use that mawr when I'm drawing with the last. So then with the transform tool. So there's some different options to do that, and you can use that in conjunction with the selections. We're about to talk about to really get some some cool effects. So and I would normally do this at, like a sketch stage, not a final stage, but will use an example of that a little bit later. Right now, I just want to get through the tools, so let's say, for example, that I want to make that gun bigger. I think it's too small that I can go to my selection. To which that little, uh, it's a blue s up there at the top. Left. You guys can see. I'm gonna zoom up now. Right now, it's set to FREEHAND. Okay, that's what I want to use. So I'm gonna start. I want basically want a trace? Just the edge of this gun. Now, the cool thing about procreate is if used to Photoshopped, you can lift your pencil off of the tablet and it still keeps your last so going it would photo shop if you lift up your hand than the selection closes, which is really not good. So but I'm gonna keep on drawing now. The other thing you can do here is you can draw straight lines with lasso tool just by clicking. So if you see, I'm clicking around the image here and it's creating straight lines, so it actually mixes if used to photo shop, it mixes the straight line like political lasso with the free hand last night, which is also so I'm just gonna go ahead and close this off and click on the end of that selection. That's how that works is I'm gonna click on the little, um, little circle there, up there at the top. You see it right here. When I get ready to close it, just click on that little close it there. So I'm gonna zoom out some Well, now I can switch to my transform tool. Now, I'm gonna keep it on magnetic because I just want change the size that I can grab a corner , make that larger. Right now, I still have that on underneath so I can turn that off. But obviously, I'd want to go in and change. Other things were just to give you guys an example of how that could be done. And we'll talk more about the automatic motive selection a little bit later. When we get into some of our coloring, we'll talk about the automatic mode. So a couple of other things that to me, it took me a while. To figure this out is how the lasso tool works. Because I was really used to Photoshopped. It really doesn't work quite the same way. Um, So I'm gonna zoom up here and Let's make a new layer and just paint some things. We got something to look at. And when I click my freehand lasso tool Now, I was gonna make a selection here like, say, half of this and close it. Now, if I want to add to this election, it's just a matter of doing it again. That was the one thing that I would surely thought that I was missing something. But it really is that simple. So I could just add to the selection. And as long as I click that little icon at the end, it will add to that. Now, if you want to remove items from your selection started, start the selection. But don't close it yet. Okay, you can see it's still open. Now come down here to the bottom and there's a little line right next to that plus sign, and that removes the selection. Okay? And if I want to go back to adding, I can just go back toe closing it again and then to remove, make a selection, don't close it. Hit that minus sign. Okay, that's how it works with procreate. Now there's also an inverse selection, so I want to get to in depth in this right now. But let's just say that for now I want to color inside the selection so I can paint and you can see that it's contained by that selection. Sorry. And if I want to get back to my selection, I just hold down that blue s again and I'm gonna click that this strange little symbol down here, it's right next to the X at the bottom. It sort of looks like a plus sign that's getting broken. If you click that, it inverts the selection, and now it only lets me whips back up. Now, I'm only painting outside of it, so that's very, very useful. We're gonna use that a little bit later. But it wanted kind of touch on that two guys. And if you ever want to bring your selection bar at the bottom back up, this is something else that wasn't obvious to me when I started. Hold down that little blue selection thing up there at the top, left that button that'll bring those options back up for you. So selection tool does lots of really cool stuff again. We're gonna die more into that a little bit later. But that's the basics. So you know 11. Setting the pressure curve: all right. One other quick feature before we are finished up with all of the tools here and get into some actual drawing, um is the pressure curve now by default? If you've been playing around procreate and you like the way that it feels and you've got really smooth transitions from light to dark and it's working for you, leave it alone. Worry about it. But if you're like me and I draw very lightly when I'm drawing digitally, um, some people don't. Some people, like bear down and like, they need the opposite of what I'm gonna show you. But if you go to the little gear symbol appear at the top left, I could never what that's called preferences, settings, whatever is if you click on that and you got all these different options here, but I'm gonna go to Preferences. Her preface is what it's called at the very bottom or near the bottom. There's a non option there that says edit pressure curve. Now what this does is it shows how much pressure it takes for it to register, as you know, pressure it. It's how hard you have to press in order to get that difference now. I like mine to be very, very light, and that's what you're seeing here. So what this means is, at the bottom, you've got your low pressure, and at the top you got your highest pressure. Now when it sent like this, when the whole thing is kind of shoved over to the left. That means that from going very light to going to very dark doesn't take a big difference there. Okay, now, now, by default, it's much more different. It's it's it's It's kind of a straight Dagnall like this, you know? I mean, so if you're if you yours, I think by default, it's gonna look kind of like this. Just a straight line. So actually would be easier just to show you guys on this show occur. So by default, I think it's something like that. If you like a lighter touch, then you know you could do something kind of like what I have done. You could even curve this a bit more if you want to buy adding additional little points just by clicking. If you click on the line, you can add more points to create an actual curve. Um And if it's the opposite, you know, if you want to press really hard, then you know you could You would have it over here somewhere. So it's It's dragging more like this. This is probably to advance for this stage. I would say, if you're a beginner, the default works pretty well. But if you if you wish that you could press harder or press lighter than play around with the pressure curve just by adjusting those little dots there and ah, you can see what happens, there's really not a right answer. This isn't like the one the pros use or anything like that. This is totally personal preference, so don't feel obligated. Teoh copied this or anything because of my grip issues. At times, I just prefer a lighter touch on that. So not really a lesson here. But I just want to point that out because I knew then that some people prefer certain things when it comes to that. And yeah, so there you go. Let's move on 12. How to import brushes: all right. One last thing I forgot to mention before we actually start drawing here. It's how important the brushes if you haven't figured that out yet, like it's that included a few of the real basic brushes in the downloads. But if you go to your brush tool, there's a little plus sign right up here at the top. OK, so if I click that you'll see an option to import, and that's what you can do with those brush files. Just click import, and you can open up to wherever it is that you keep those things or find it on your iPad. Wherever you download it, does you just click the item? So if I click on that, then it's gonna and pull that into procreate. There, you see fat pencil. Okay, so I've already already have that imported, so I can just drag that to the left and it works like the layers. You can delete it from there. So that's how you important brushes. And I think that's all we need to talk about about brushes. Let's get 13. Creating your rough sketch: All right. So we've covered all of the major tools, at least in a kind of a Broadway enough for us to get started with some actual artwork now . And like I said earlier, I don't really consider this to be like a drawing course. I'm gonna have one of those as well, but one for artists. That or maybe new digital art. To be able to know how to use the tools and kind of get the most out of it and maybe show you some tricks that you haven't. I haven't thought of hopefully and actually drew this ahead of time. And hopefully we'll end up with something like this again. We're gonna be using this when we get into the part when we start coloring. But so I'm sure you guys have got to this point and so I'm gonna do is I'm just going to turn off all of these other layers. Really. Just two layers. There's the sketch layer and then the ink slayer and someone to make a new layer. And I'm just gonna rename this just tap on the layer and rename it. They were gonna call this sketch if I could type now artists have different opinions when it comes to where you should start as far as the actual color of your campus. Now what I'm doing a pencil drawing. I tend to attend to like it to stay the, you know, the color of of paper. What I'm more familiar with that. It feels fine to me now when I start coloring its use a little bit different. You know, I don't I don't want that white background to be blinding me the entire time coloring and actually can make colors appear to be darker. They really are. But for our purposes today, I'm going to start with white canvas. If you guys feel more comfortable starting with a different color, all you gotta do like, for example, one popular technique is to use like a middle gray. And so I go to my color picker here and just choose like a middle gray there, right there, about halfway down the circle and just grab the color and pull it on the campus, and it will fill the canvas with that color. Now, Like I said, I'm not gonna be using that myth today, so we're gonna undo that two fingers to undo. Now I'm gonna pick. Ah, pick a color. Now for the originals, The scantily doesn't matter that much. I used to draw with, like, non photo blue pencils, which ah, lot of you guys are on if you're familiar with those or not. But it's Ah, it's a sketch pencil that's roughly about this color, and it's it's hard. It's almost impossible to pick up on a photocopier. And back in the day when you were doing your copying and scanning your work in that photo, blue wouldn't really show up. Ah, it's just a habit that I have that I never really grew out of. So I'm going to use that color. But, Phil, Frito, to use any other color that you want at this point Now, I'm also gonna make this pretty small, more like a pencil. So I'm gonna I'm shrinking the size down over here on the left side. You guys gonna see that over here? It's a little too small and make sure I can see it. All right, so I'm just using the, um, fat pencil tool here. So it's about, I don't know, 1/3 of the way up or soon. And when you're going to do, let's say a character like we're going to do here. I like to start by doing what's called thumbnails Now. They call this thumbnails because they're literally like the size of your thumb on paper. Usually, Uh, now, with Digital, you have a lot more flexibility than that so we can draw whatever size one. What I like to do is whatever my canvases like in this case, it's just a square. And this is a seven by seven square. By the way, a 300 g p i and I'm just gonna kind of split this down the middle, just roughly. It doesn't really matter. You kind of eyeball it and then I'll zoom in tow one of those squares, and I'm gonna make four attempts at my drawing here. Just These are very, very rough not going to spend a whole lot of time on. So when I go in here and let's see, I'm doing the super hero guy. So let's say his heads here. Now, the way that I draw, I like to kind of start very, very, very loose. And so I start with a head and then add a spine. This is kind of a cartoony characters, so his body is sort of got this kind of pear shape to it, and we'll draw some arms out here, and I'm just gonna rough some hands. And like I said, this stage, it's really not that important. And you guys will see me and grab and move. That camp is quite a bit even when I'm drawing sketch like this. So anyway, I've got my sketch, You know, he really doesn't fit very well in my square, so I can go up to my arrow, the transform tool, actually, let's elect him first. So I'm gonna hit that ass up at the top left and just draw a line around them. And then I'm gonna hit the transform tool, and it's gonna move him up and we'll shrink a little bit. So something like that, and I'll do a couple of those so I'll come over here and we'll draw another one. So let's sound and stays in profiled. It's time. So it's heads kind of shaped like this, and I don't know, maybe he's Superman or something. And he's gonna be flying out this wedding or a non copyrighted super person, and I'm terrible. It's sizing, uh, myself on the canvas, as you guys can see so we can always shrink him back down. And again, I'm just trying to get the pose at this point. You know, I'm not really thinking about details or eyes or no, I'm just getting rough ideas. So And I must say, you sitting down Ah, And he slumped over in a chair for some reason, and his arms were crossed. And in the last one, trying to do this from from memory, where he ended up kind of like this. I don't know where that other hand went. And this arm I made, like, a like a gun because we get to the color part, I'll show you how to make things look like they're made of metal. Anyway, So my sketch ended up looking something like that. Now, let's say that this is the one that I'm satisfied with. All right, So what I can do, I can get my transform tool appear the top left, hit that Aargh. And then we can just zoom up and you can to finger pan while you're doing this so you can pinch with your fingers, or you can move your fingers. And right now, I've got magnetic right down here at the bottom. I've got that selected because if it wasn't, you know, would be distorting it as well. So magnetic keeps the the ratio the same. So I just blow him up there, That the arrow again. And that's what I'm gonna start from. Okay, Now, this is just kind of our first level here of our sketch, so I'm we're obviously going to start building this upstart, adding more detail. Eso I'm just gonna go right on the sketch and start filling this out here a little bit. And so his head's kind of an egg shape. You see, I'm still not really that worried about being exact. So I'm looping out here and being messy and everything, and that's that's fine. Now I want my eraser to use the same texture is my pencil. I talked about this earlier, so I'm gonna hold down that eraser tool, and now it's using the same texture as my pencil. All right? No, I just like the way it looks. It looks less digital that way. All right, so and then I kind of put out. I like to put circles on the joints, so we've got and then we'll leave that rough for now. And I really don't like the angle this arms. Let's get rid of that. And don't worry about the little messy places in here. Like I said, this this layer is not going to show up in our final piece. Anyway, Gun ends up something like that gonna start to tighten up his body shape. And again, he's kind of a cartoony opportunity guy here. All right, so it's something like that and maybe a little sketch in a bit of what could be escape. So I'm just kind of building this up now, Um, when you're drawing faces, just kind of, Ah, tip here. Eyes usually fall right in the middle of your head. A lot of people don't wanna put eyes higher up, but if I look dead on if you measure from here to here and if you look at the distance between here and here, it's the same. So the top of my head to my chin is the same in eyes Fall right down the middle. Now this is cartooning. You could break those rules if you like, But I'm gonna I'm gonna keep him at least human ish. And let's go back to you guys. Don't have to look at the tough My head. All right, so we're about the stage here that I'm okay with the rough part. Okay. I'm gonna kind of okay with the way the sketch looks so in, the next lesson will start tightening this up. 14. Tighten up the sketch: All right. So I was just looking up at the monitor and the angle that I'm looking at this iPad at is actually a little bit flatter than usual, because I've got a got a camera up here, actually, that's filming the iPad. And it's much more saturated on the screen than it is for what I'm seeing. So I want to take some of the saturation of this on. I'm still in my sketch layer. I'm gonna hit that little Looks like a magic wine with little sparkles around it. That's the adjustments. I'm gonna go to hue, saturation and brightness. And it's just to saturate. It's only just turn that saturation down a lot. There we go. So we'll it easy to look at. I'm not blowing you guys eyes out here. All right, So what I'm gonna do around to start getting in some layers here, so I'm gonna hit my layers. I'm gonna to finger tap on my sketch. I'm gonna drag in my hand. You guys can see it. I'm not making rude gestures, but I'm gonna drag my finger across and you can see that it's getting less and less viewable there. OK? And the faster you go, the more it actually does it. So I just want to get to work and see it just well enough. So it's something. Let's say somewhere about right there. I want to make this a little bit brighter so that or darker so you guys can actually see it . Because what I'm seeing on my screen at this angle was actually pretty dark. All right, so I don't know. That's 50% 60% as long as you can see it and make it out. That's what you really need. All right. So I'm gonna make a new layer. So hit my layers, hit the plus sign and let's call I'm just gonna click it again Hit, rename. And we'll call this the tight sketch or whatever you want. You don't actually have to label these things. Once you're comfortable with it, you probably won't have to, but for the sake of education purposes, we'll leave that there. All right, so and when you use, this is my baseline. And this is kind of what I was talking about earlier in the early lesson about like using tracing paper. That's kind of what I'm doing is it when you use this is a guy. Start tightening this up and I'm gonna switch to more of Ah, I see a little bit darker color. Yeah, it's almost almost black. Maybe that is black, but you guys don't see that. Okay. All right. So I'm gonna go in here, and I'm just going to start kind of following these lines here and again. At this point, I'm still, uh this isn't our final. We're gonna We're gonna think this digitally once this is done. So I still don't get quite Aziz tight with the pencils that some people do. Uh, but because I know if I'm gonna think myself, then I have I have an idea about what I'm gonna be doing. So But you can make this is looser, as tight as you want. Do you like Sen? It's a big kind of cartoony eyes here. We'll have him looking down at whatever it is he's shooting at here. And, you know, I'll give you guys another tip when it comes to where to place your ears. So if you draw a face and look at it dead on the top of the ears, lines up pretty close with the tops of the eyes. Do you guys, I'm trying. Look at myself here, but you. But you can see that, uh, the top my ears lineup right about with my eyeballs and they stopped at about my nose. And that's a pretty good rule of thumb. So when you're making, uh, human ish years anyway, you know you can start those about at the top of the eyes end them where the noses. Now, where does the nose end for most people, it's right halfway between this distance. Okay, so right about halfway between the eyes and the nose. But Eisen, the bottom of the chin, let's use the word nose falls as a general rule, of course. You know, if you look at someone like Shrek or someone than their notices really short, you know? Anyway, general rule, that's where the nose falls. But he's kind of looking down here, so we've got this little bit of angle going on, so I'm just gonna leave that up there, and I think I gave this year. I gave this guy and, like the the cool Mr Robot hair cut that it seems to be very popular. These days. So again, I'm not worried about being to exact here. I'm just scribbling some stuff in and actually right now is it seems like his little too high on his head. So again, the wonders of digital art. I'm gonna go to my selection tool again. Well, just select his hair. Hit the transform tool, which is that little arrow things Move it down and I can turn that magnetic often put on free form if I don't want it to snap like that. So that lets you give you the freedom to move it around. I could even make it bigger. That's actually probably closer to my original one. Something about like that. Alright. So back to my pencil tool here, eyebrows. I'm gonna give him, like, some kind of like, space man. Uh, expend. Shoulder pads. Mutant group. That is not a copyrighted name. Shore pads. We can give them, like some big gauntlets or something. And in this arm already said, he's got it like it's a ray gun thing going on. What's I accidentally did some kind of gesture there again. I just switched to that eraser toe when those things out. And sometimes when you're you're drawing something that you wanted to be symmetrical. Change the rotation, the image and look at it like straight up and down. So, like if I wanted, like, you can now see, like, I see that that cylinders kind of. But this curve thing going on here, like, if I exaggerate, it's kind of doing that, which I really, I don't really want so I can go in here and looking at it dead on it's a little bit more obvious. I said this wasn't gonna be how to draw, but I guess it is a little bit something else. I like to do a lot when I was a kid. I don't know where I learned this originally, but I would take the paper that I was drawing on and then flip it and hold it up to the light. You guys are so easy for you guys now, but I will hold up to the light and look at it in reverse, or look at it upside down. In some cases, even and procreate actually has this feature built in. So if I hit the little, remember what this is. One day, the little settings or preferences thing here if you click on unless he wears a canvas. So I'm clicking on the, um whatever. This is the settings and then go to canvas and then flip canvas horizontally, and it will give you a different perspective on it. And you'll see things that you didn't see before. Like, to me, His eyes don't really do what I wanted them to do now. So I can just go in here and I think this I over here, I'm gonna select it and move it down a little bit. You see me still tweaking a lot, and then I'll flip it back at the little camera, the little, uh, settings and then go to flipped horizontally and I'm back to where it was. And if it still looks right, then, you know, good for us. All right, So, uh, instead of finishing this whole image out, I'm just gonna were gonna pick up where the other image left off because it's about the point that we left off that other sketch. So we're gonna do Let's turn off what we just did. Turn on the tight sketch here. I guess you can call it. So, um, you can see in the original a little bit different than what I just did here. But this is all just for fun anyway, so doesn't really matter and said this is what I like to call the tight sketch. Or if this was in comic book terms, you have, Ah, a person that pencils. They are usually and then a person thinks the art, sometimes the same person. Someone colors it. Someone puts on the lettering bubbles in all these things. Eso if I was going to hand this off to someone else to think that I might tighten this up a little bit more because this is still pretty sketchy. Okay, um but I'm gonna be making it myself. And, you know, I have an idea about where I would end up. So in this case, I'm gonna leave it a little bit rough, and we will start with tightening up to sketch a little bit more and then doing some thinking in the next lesson. 15. Inking your sketch: All right, we're gonna pick up here with the what I call the tighter sketch of the tight sketch. And I'm still using my same pencil here. And I'm just gonna start filling in a few details here where I was really, really sketchy to give myself something better to go on. But if you don't, if you feel comfortable and ready toe, start putting some some dark rings on this as it is, go ahead. That is totally up to you. All right, so I think we're kind of a pretty good place here. All right, so now, right now, this images, it's 100% opacity haven't changed at all. So we're going to the same thing we did before. We're gonna lower that opacity down again. So I'm gonna go to that layer to finger click and drag this over to where we can just barely see it. Well, enoughto draw over it here. So for me, that's about 25% or so. But there's no hard fast rule if you if you can see that I want to go crazy or if you want , you know. But you go with this way. But you don't really want it to be close to black because you don't want the black ink that we're gonna be doing too. You know, you won't be able to tell the difference in this and your pencils, so I will do that. And we could even shift this if I go to my adjustments and go to color balance. You know, we could shift this little bit blue. Something like That's fine. I don't know if you guys can see this well enough. I'm gonna pump this up a little bit. There we go. All right, so we've got our sketch here. It's on layer one. So I'm gonna make a new layer, and we're gonna rename this 12 weeks. That's what I like to do anyway. You can call it in, can call it whatever you want. Now there are a lot of tools for inking in procreating. The one I've played around with a lot of them. And I found a batch of brushes for sale this Waterson three point of dry brush that I like , um and that's a cool brush, but foot, but almost said photo shop for great has a lot of cool brushes too. so we'll just use one of those. And there's a lot of different feels to these, and it is really not a not a perfect answer. It's just kind depends on what you're looking for. So if I want kind of a rougher edge on it, you know I can choose. This is the ink think bleed brush, I believe. Yep. And it's sort of simulates the ink bleeding into the paper a little bit, which I kind of like that one. If you want something like super clean, this studio pen is very, very smooth. Um, so we've got that, um, gel pen is a little too mechanical looking for my taste. Same thing with technical pen. I want us to have a little bit more of ah, some life to it. So I think I'm gonna choose the ink bleed for our purposes today. And the reason I'm doing this method from going, you know, from pencils, ink color like this one. It's what I'm used to doing as working in the comic industry. But if if you're someone that works in a different way, or you want to be a painter and go straight into paint, you know you could skip all this and start painting. Uh, like I said, I don't really want this to be like a This isn't a how do you, you know, x y z process video? Because it could be anything, but just let me know what works for me and what I think. Easy, especially for beginners that are might be new to digital art. New to procreate. So that's why I chose this method. But if you learned a different method from someone else, you like, better use it. There's a 1,000,000 ways to do this. Anyway, I'm not crazy about his positioning, so I'm going Teoh, select him and move that a little bit and shrink him a little bit like that. All right, so I'm going to zoom up. We have really been zooming out much. This is something else that you want to be careful about, because with the digital art, you know, you have unlimited zoom. For the most part, you know, you want to zoom in on his eyeballs and what happens? People that zoom in like this, you know, they'll start, uh, get on the right layer, though they'll start drawing inks, layer and, you know, get in here and whips and they'll start in the minutes like all these details and eyes and all of this, and you've got the the blood vessels and things. And I am You're not going to really be able to see all that stuff when you're when you're zoomed all the way out. So I don't recommend starting there. I'm gonna do the three finger, clear three fingers on the campus, moving back and forth so you can put that much detail in art. But I wouldn't say it's the best place to start, especially for a beginner. So I've always started with eyes, eyes and hair had, at least ahead. That's just once that's in place, that I can usually work better from that. Um, I haven't really used this ink tool before, some kind of trying to get the feel for it. But use whatever brush you like. Let's see. Let's try one of these other ones. Yeah, that was a little too crazy for me. Let's go back to this one. So this is the ink bleed, Bryce, But feel free years where everyone now the size on this, you can kind of play around with, um, you guys can see where I am on the screen. It's about 1/3 of the way down the brush thing here, and I met 100% opacity, and I'm just going to start tracing out the major shapes here and we'll see. Mixture has been there we go now. Something else you want to keep in mind. Another. Our tip is to make sure your varying your line weights and what I mean by that is you don't want every single line to be the exact same with and and with no variation, and it's just it's very mechanical looking. It's actually hard to to make one that mechanical unless you pick a brush like that, but usually on the undersides of objects. So let's say if I'm lighting him from from this side, then I'll have thinner lines over here and maybe thicker lines on this side. That's an idea. So I'm just gonna start and again I'm throwing in some details that really aren't here in the pencils. But if you wanted, if you got really, really tight with your pencils and you want to trace those exactly than you know, that's fine, too. You guys are probably get sick of hearing. May say there's a lot of ways to do this. And again, I'm thinking about keeping those line weights, you know, changing so that they're not all the same, these little details. I'm getting really thin. But some of these bigger ones, I'm really letting pushing a little bit harder so that I'm getting a little bit more interesting things happening with the lines. And if you mess up two fingers on the campus and you're right back where it started originally, I think this guy looks a little more evil than he ended up in my other drawing that I did earlier. And sometimes, if you feel that your sketches starting Teoh kind of get in the way of what you're doing, you can always go down here and turn it off. And, you know, go in and add more details that you don't really need your sketch for, right. Then you just turn it back on and I'm gonna do this for the whole image. I'm gonna trace all this stuff out, right? All right. You guys kind of get the idea here, so I'm gonna We're gonna pick up again. Why left off in the original drawing. So I'm gonna go ahead and just turn this off and go back to our original. But I did ahead of time, just for the sake of time. And on this one, I guess that I think I used one of the smoother brushes and I wouldn't add a lot of extra details. You know, the little lions knows places on the folds and his, uh uh, you know, this clothing and things so you can do that along the way. So at this point, we've got our sketch done, and it's clean. And if you want to add more detail, you can. I just I'm trying to keep this one. You know, it's kind of simple and cartoonish one just further. So you guys have to sit here and watch me, you know, sketched the sound, draw it all out for our but, um, so this will pick up and the next one will actually start adding some color. So that's my favorite part. So let's go 16. Flatting your colors: all right, so in this lesson, we're gonna start adding some color on this is not a step that I have done yet on this one's. We'll do this one all together. If any of you guys are familiar with my photo shop courses, you'll notice there's a lot of things I'd do differently in procreate because really trying to take advantage of what procreate is is best at. And there's some things in Photoshopped that it just works differently. It's not really better. Worse eso familiar with that method, you'll notice that there's some similarities, but a little bit different for appropriate now. One of the brushes that I included with the course is this brush that's called flatter. Okay on it. I call it a flatter because it's a brush you flat with and all it is it's just a square brush. OK, uh, you make a new layers. Two guys can see It's a very, very square brush, OK? And you want to make sure that it's sent 200% opacity, okay, and you're probably wondering, Well, why do I want to use this brush? It's looks like it's wouldn't be a good brush to paint with, um, the way that we're gonna add color to this is again kind of the way that it's done in the comic book business, which is that we're gonna flat all the colors first, which means we just lay in the base colors without getting in the light and shadow or anything just yet. And the I would normally do this with a lasso and Photoshopped, but there's a problem with or obviously a problem, but the less so in procreate works a little bit differently. And I'll show you what I mean here. So we're gonna use that flatter brush kind of as a lasso tool. Because if I go to my lasso tool and I make a selection and I fill it with the color and let me get an actual color here and if I start zooming in, I'm gonna de select. This will start zooming in and you'll notice that the edges aren't actually clean. They've got their anti a liest. Okay, What that means is, if I start picking colors here, I've got an orange. What's this Smaller. So I'm gonna orange color right here. I've got a different color next to that. I've got an even different color before I get to white. So I've got four colors happening here. And when you try to fill this with, um, a bucket tool or like color drop or whatever, you don't end up with clean lines. And so it really doesn't work that well for most most flat ing purposes, anyway, when it comes to color, so with a with my square flare brush, make this bigger. If I zoom in on this, you'll see that it's completely clean. Okay, there's only two colors there. There's the white and there's the color, the brownish cover amusing there. So that's really important when we start using these selections later. So I'm on my flatter brush, and this initial color doesn't really matter that much. But I'm just gonna pick kind of, ah, middle skin tone here, kind of right. In the middle of the the color wheel are the circle and kind of an orangey color. That's gonna kind of be our base color for skin. But I start off with, I'm gonna shrink this brush way, way down, and I'll end up re sizing this probably a lot throughout the thing here, trying to find a good size to start with something about like that. And I'm just going to start by going around this edge, and I'm making sure that I'm staying under when I get really close. I want part of this to be under that black. Ok, what I don't want to do is this. You know where I'm I'm not really getting into this area here, okay? You want to make sure that you're under that black there and we're going to go all the way around here? I'm gonna do this for every part of this image. Now, if you're inclines air really, really clean, then maybe you can use one of the, uh that the color dropped features in in procreate to fill this. But I haven't had really good luck with that. Unless the inks are really really there's not textured all on Don't really care for that look, So I'm just gonna crawl close this off here. So my goal if I If I turn off my inks layer, my goal is to make sure that shape is closed, okay? And what I'm gonna do is I'm gonna get my color and just drag it down and drop it, and it fills in the color there wrong inks. Here we go. All right, so we're just gonna continue around here. This is sort of the This is the boring dry part of Cory. Unfortunately, and I'm switched to a bigger tool in some of these places where the banks are a little bit , uh, ticker. Like I said, just make sure that your you can fill it in like this if you want in places. But the main goal, Just make sure the shapes air closed. And what I mean is there, You know, there's no open like that's an open shape. That's a close shape. I'm gonna make sure that all of these little areas are closed In the comic book industry, they actually have people that just do this part. They're called. They're called flatters, actually, and it's not really a creative position, So it's hard to It's hard to break in as a colorist or an artist as a flatter because most of the time not even credited. But, you know, this is a very time consuming part. So what the colorist will do lease in the comic book world is they'll pay a flatter that takes care of all of the tedious technical stuff like this. And then, you know, they just go in and start adding a light shadow on top of it. Now they also have to change the colors because it flatters colors or usually just random colors. Because in photo shop, it's really easy to, you know, change colors. Once you've got him down, you can just use the magic wand toe change it sort of like we're gonna use color drop and procreating. And like I said, you might want to try color dropping if you're inks a really clean Um, but I haven't had a lot of success with that when it comes to this part of it, anyway. All right, so if I did that well enough, and that should have feeling everything and it did so just go to your color dragon in there . Now, one other thing that procreate does and have to get really close to see this. But if you color drop and then hold it does something called a threshold, okay? And all that means is, it's looking for. It's kind of the degree that it's looking for edges and 100. It won't even do it all. So I want to leave it somewhere around 80 90% or so. And it's gonna clean up a few of these places that I've seen here. Where that whites coming through? Yeah, I'm going If I'm gonna look this hard, and I'm not really gonna be able to see it once I seem out. So So now we have our our base shape here, and I guess we need to Do we do this fire here? Don't Actually, we can try. We can experiment here on something. We'll see how well this does. I don't think it's gonna work that great, but we'll try. So I'm going to set my inks as a reference layer. Okay, when you when you click on a layer that selected it pulls up all these options here and there's an option for reference and what this is going to do when I use the color drop tool , it's gonna use these inclines as a reference point for the edges. Okay? And theoretically, if I drop this into this shape, get on the right layer and one dragged that threshold down. But yeah, because the there's just There's some openings in the inks. And like I said, this is why I'm not crazy about using this method. Because you end up having to go in and switch tools back to your pencil. Actually, was on the wrong, made the wrong leader reference layer. That's what I did. I got to get rid of some of these other layers here. All right, So this this is why you should name your layers, people. This is our reference layers. So I'm gonna reference that and would see him out and try this again. I didn't really work. So if I hold and drag it, see what happened there? So as I drag it to the left, it starts finding those edges. But as you can see, it's somebody doing a very good job. Right. So you might want to use that as to sort of get a rough estimate of where you want to go. But let's see if we can get this even close to where we want. It's not bad. I'm gonna have to clean a lot of this up, but so that's something. What I'm gonna do, I'll go ahead and clean this up in the meantime, and in the next one will keep on with the coloring 17. Flatting part 2: All right, We're gonna keep on with the flattening of this image. And it's been a few weeks for me. You may notice some slight changes. I actually have a light now so you guys can see me a little bit better, like one Israel pro light lights. You know how so Did something with this blank space up here. So have a new logo on my name in case you forget, So all right. And before we go any further, I was looking at this file and I'm going and renamed some things and clean this up. Says we're gonna be dealing with layers. Ah, little bit in the next couple of lessons. So first thing I'm gonna do is now I have this sketch file. Now, I'm not worried about keeping this, but if you want If you want to save your sketch before you delete it, you can always just go to the settings up at the top left, go to share, and then choose whatever you want. Their PSD j. Peg. You know, whatever you want to do, procreate in order to save the file up to that point. But that's an option. Don't forget to do that before you delete it. If you want to keep your sketch. Um, I don't really care about sketch, so I'm just gonna left swipe with one finger Ben had delete. So now we have two layers here. I'm gonna go ahead and just click on and layer to I've got here twice. We're gonna rename that too. Thanks where I am. You can call it whatever you want and and then for this one, I'm just gonna call it, um we want to call this call this outline or main flat. Here we go. This is just the the silhouette. Basically, I don't want to spell. So let so we've got our main flat. We've got our inks and that's the thing we have for this background color is going to stay there. So, uh, what we're gonna do next is there's a feature and procreate. And Photoshopped, that's it's called Alfa Locking. And it comes from the name of the channel then asked me to explain off the channels. I don't even understand them that well, I don't really use them, but if you click on the layer you want if it selected you just click it twice or if it's not selected, click it twice. So once the layer turns blue, click it again and hit Al Falah. Now what this does this is extremely useful. Okay? Because what this does if I go get a color here and I'm on this layer and I tried toe paint on it, you'll notice that it won't go outside the lines. So what Alfa locking does is it locks that layer to just the pixels that are already there . And if there is any transparency left, you can't paint on it. Okay, so this means that we started rendering and painting later. I don't have to worry about staying in the lines. I was I was good at that as a kid, by the way, staying in the life. But it's a just a lot of time. OK, so I'm going to make sure that that is set like that. Now I want to keep that selection separate. Okay. From what we're about to do, we're about to start changing all the other colors. And so what I'm gonna do, I'm gonna duplicate this layer. So I'm just gonna click that button again, actually. Nope. You have toe left swipe duplicate. And let's just rename this when rename Mr Flats, this is gonna have multiple colors here. Now, it also copy the awful lot. So if you want to check that, you can. But you can see even on the new layer, I still can't paint on it. That's gonna save us a lot of time. All right, So I'm going to go to my brushes and get my flatter brush again. Make sure that selected and we're gonna zoom up and very similar to how we did before. We're gonna outline the things we want to make different colors. Now, the colors themselves aren't super important at this point, we can change those any time, but I would like to try to get it in the ballpark of what I want to do. Um, for some reason, I saw this guy is a blind, so I'm gonna make him blind, but you can make it whatever color you want. So I'm gonna go to the oranges here, and that's really close to a skin. Colors get more yellow in here. Pretty saturated is kind of a cartooning. Pictures. We can go really crazy with colors, and you can test it a bit if you want, and that's pretty close to where I want to get a little bit brighter, actually, totally up there we go. That work. So now I can use that Alfa log to my advantage. I don't have to trace all the hair again. Okay, now there's a lot of ways to color. I know I've said that several times, probably, but this is what I like to do. I think it makes the most sense. Thanks. We're gonna zoom up and let's see how big is my brush will make the brush a little bit smaller. Still did about like that. And I'm just going to start by making another outline here along the edge. And if you're not as fast as me, that's fine. You probably won't be. It takes practice if you mess up, you know, to finger undo is really close. So that's also why I like to break up my strokes. Because if I did this, let's say that I do this and I'm going along here and this is not very good, but I want you to see it and I Oh, crap. I made a mistake. Well, Now I have to. When I click on do I'm undoing all of it. So it's something that I realized a couple years ago I was doing instinctively. I didn't really think about it, but I started making really small strokes. You know, at times because I don't have to redo a bunch of trucks if they're wrong. So you'll notice one thing that I do a lot and I cannot remember honestly if I talked about this. But I do a lot of rotating because there's some things that just feel better to dio. Um, certain angles. You don't have to do that, but it's just two fingers you can resize or rotate. Um, but I'm just gonna keep my keep this going here. And if you want to feel something like that, that's fine. Either way, you know what? I don't even know if that line necessary. Let's try something. So, actually, all I did that's back this up. Okay, so now all I've done, I'm going to see if this works the most. I'm not sure I've only separated the two parts along the where the hair makes the skin, So if I color dropped this, let's see the color drop and then home. No, it's not gonna let me do that. That's fine. So? Well, now we convict this Brussel that bigger and just start going along this hedgerow wide like that. Now it's trying. Maybe doesn't feel just drag it to the left or right. You can see for me color threshold of around 12% or so bends on your drawing how you did it . But it's a lot faster once you've got that initial flat done. All right, so what else would just start at the top and work our way down? So, for eyes, very common mistake is for people just make eyes white, like completely, perfectly white. Um, they're almost never that color. It actually looks kind of weird. Usually, if you color that way, I'm gonna make it just a little bit blue because what they do is they absorb the light from the environment. So if he's looking, if he's up in the sky, then it's kind of the is gonna look kind of blue. He's in a forest and maybe tens a little bit toward green, and not very much. This is gonna pretty much look white, but um, you guys see what I mean? Someone's going to fill all this in. All right. And let's see, green eyes. Maybe you make the eyes whatever color you want. I'm just gonna pick really saturated green color. Feel that. And I'm still just using my flatter brush. I've got good edges, all right? And then you can move on to whatever section you want. We'll just keep going here. So we got this area around his neck. So what kind of color scheme we want to go for here. He looks kind of villainous to me. So I'm gonna use some, will you some purples and, uh, blues. Maybe you're purples and reds. We didn't figure it out. Basically matter quite that much at this point, but so I'm just gonna do you get, like, a blue, and same thing is before it's gonna trace around here. You could even you could even do this part. We can always change it later. Just for exactly pretty small. So you could drop fill this, or we could just color general quick, whatever you're in the mood for. And next, let's do these shoulder pads and let's make them red. Now I'm not going like, all the way saturated super red because tens look a little crazy, so kind of, ah, saturated end of the spectrum. But so again, we're just kind of I understand. Just drag the color over, and I think his I think his gloves in his boots will both be read to so really only have to be careful, like in places where his thumb is, where the where it's overlapping the other port and then the rest of it, we can increase the size and fill it in quick, more quickly. Like I said, you could scribble it in with a big brush. Or you could color drop it if you mess up like I just painted some red there. We got the color drop feature right here between the two sliders. So I was gonna color pick the skin, and I think that's breast smaller color. Pick the red to bring it back. We'll do like the standard superhero thing where he wears his underwear on the outside, which I never quite understood. But whatever color drop again so again, I'm only really having to do the separation that Aiken loop around it and call it feel so it goes pretty quick once you get that outline 18. Flatting part 3: We're just picking up where we left off. I'm gonna keep on flying. Need section like don't worry too much about the colors. This point. We can always tweak him, but because that reds pretty saturated I did pick sort of. Ah, middle purple for this. Too much saturation with too many different colors. Looks doesn't look great. So, Randy Sarah de saturates all those others? - No , I think I want his rest of a suit to be white. So again, I'm really gonna pick white White. We're gonna gonna pick, like, really, really light blue. Because if I'm end up putting a sky behind him then and the sky is blue and the whites gonna look a little more blue probably could just color drop what's left yet. That's still just tracing that outline. Actually, when these were completely cut off in the rest of it, so we can probably color drop these two? Yep. There we go. So let's keep the color scheme with purple on this thing again. I just color color. Pick that purple real quick. Fill this in and let's change the middle. A middle of it to a different color. I'm gonna change that. blue I did earlier. That same purple lips. Okay, now we have left is the arm. This is gonna be, uh, metal. So I'm gonna start with, like, middle gray with just ah, a little bit of that same blue color that I'm going toe Eventually. Put the background. You're going to a different color background. You might want to ship select a slight, different color. My undo is not wanted to cooperate all the time today. So we just color drop the whole thing? Yep. And in the same thing on the blast here, like a really saturated blue. You could make it red or whatever. Let's make it like fire. Let's just do them like a deep, deep orange and weaken. We'll finish that off later with some special effects. Now, if you want to make some of these parts of the arm slightly different colors, we can actually think I wanna originally intended Teoh have that separated like that. So it's like like the bones of the arm. You know, there's two bones there. Um, well, there's not on that party arm, but this gun, this guy there is it's a robotic arm anyway, and we'll put some little red lights and I'm picking really saturated red for those lights on the inside of the gun. Here, we can make a different color. Actually, I guess if it's firing, we can make it orange color. I was gonna color pick the orange and feel that part. Alright, so I've got a good baseline of based colors now. And so the next lesson I will start with the the rendering. It's fun part. 19. Creating shadows: all right. In this lesson, we're gonna get into what I think is the fun part. Anyway, of coloring is the actual rendering, which is deciding where you gonna put light and shadow and effects and all those sort of things. Um, there are a lot, a lot of ways to color. Okay, Um, I mentioned earlier like, I'm a professional colorist primarily. And I was talking with another friend of mine who is also a conflict chorused. And we're talking about techniques and he said, There's there are as many Why did he say there's a Z many ways to color as there are colorists. So I want to show you guys a couple of things I think are good for beginners and even people that have been doing this for a while. Some of these things I still do, but I think they're the simplest sort of wrap your head around when you're first starting. So we're gonna room tackle a couple those So start off with let's do some things with some layers here, So I'm gonna layers and let's duplicate these flats and we're going to lock the flat so that we can't do anything with him not Alfa Lock like we did earlier, but lock them completely. So we can't change them because we don't want these two accidentally get painted on. And then we have to go and redo our selections. Uh, so we're going to let's see what is left. Swipe on the layer duplicated, and it copy the Alfa lock again. And we're gonna call this. I'm just gonna call it colors. Because these were just We can paint on this layer, or we can paint above this layer. It doesn't really matter, but I'd like to have a separate option than messing around with my flats layer, which I don't want to change. So I'm gonna lock the flags layers on the left. Swipe hit lock. So now if we try to paint on the flats were gonna warning This is a lot player. Do you want to do that? All right, I'm gonna go ahead and lock the main flat too, so we don't accidentally do anything with that now. One of the simplest things is deciding whether or not you want to start with dark colors and then paint lighter colors or if you want to start somewhere in the middle and pain darker and lighter colors. That's kind of the way that I do it most of the time now, but there's not really a right or wrong answer there. If you prefer to dark and everything to begin with and work your way up, that's fine for beginners. I think it's a little bit harder, so these colors or sort of, ah, middle ground pretty bright. But for the most part, they're kind of middle ground when it comes to brightness. And I think that's easiest. Four people, they're just starting out. And so the first technique I'm gonna show you were gonna make a new layer. Now, earlier we have that main flat layer. I said you we talked about this earlier. It's just the silhouette. Basically. Now what I'm gonna do is we're gonna make that our selection and procreate makes this very easy. So all you have to do is click on that main layer selected to turn it blue and then hit it again and they will bring up this menu and I'm going to hit you guessed it select. So now on Lee that is selected, okay, and we can take that selection with us to other layers. That's the difference in say, for example, just doing an Alfa lock like we did on these colors earlier. So if I let's just don't to de select that selection by clicking a little selection tool at the top left up here, a little blue s So like I said earlier, we can paint on this layer without going outside the lines, because the awful lot But if I make a new layer actually actually made too. So if I make a new layer on top and try to paint, you'll notice that it doesn't work because we're not on that layer. Okay, so what you can do is we'll select from the main layer, select everything. Well, now I can go to that new layer, and I can paint and stay inside the lines. Oops, I actually get a paintbrush. So it's It's sort of the same thing is doing the awful lot, but we can take it with us the other layers. So I'm just gonna pick, let's say we can change this at any point, but I'm gonna start with, like, kind of a bright, bluish color. It needs to be bright for this method. We don't want anything dark to be too dark. And let's I'm just gonna rename this layer two shadows. All right? Now, I've still got my selection. Something go get my brush And it doesn't really matter which brush he used. It just depends on the look you're going for. But, um, I like this flat marker brush, and I'm gonna try that one Now, the other thing I'm gonna do before we actually start. So right now, if I start calling with this, this doesn't look like a shadow fry. It's a big, bright blue color. So what we're gonna do is change the layer mode. OK, now, layer modes get pretty complex in how they work. Technically, it's a lot of math involved. I don't even understand. So if you want to look it up, you can look up like, you know, player modes are photoshopped. Layer modes are procreate layer modes and you'll find some bog post that kind of explain them. Honestly, I don't find them that useful. It's a lot of technical stuff and doesn't make a lot of sense to me. But I I know what I like and I know how they work. I know what they end up doing, and so that's what all that matters to make. So for the shadows, there's a lot of options here. There's multiply when you're burn all these different things. So just to show you guys, I'm gonna start with normal and let's, let's say one of my light source for simplicity say we'll put the light source kind of from the top and a little bit from the left. Okay, so kind of in front of them, though. So it's to his left above him and in front of him. So when you're thinking about light sources, you gotta think about you know, all three of those things. So I'll actually explain this real quick. This will help to understand what we're talking about. So when you decide on where you want your light to be now, in this case, there is this glowing thing on the from the from the gun will use that to is a separate light source. Later. I'm talking about the main light source that I want to use here. And so the first thing I need to decide is where is it now? What I see from a lot of people is they'll say the lights on the right were the lights from coming from the top. Well, I'm gonna describe the light as like a comb, like an arrow. That's a cone. Okay, so if you're looking at it from the side and let's say it's from the right, that means we do have some different layer just so we don't get confused, we do it from the right. Well, that's just, you know, Cohn's gonna be a flat edge and there's the rest of era, so that's directly from his right. But that doesn't really describe the light. Will enough. Okay, so cause you could have the light directly from the right, you could have the light behind him. Where is light? Let's say that's the back side of the cone. You know what I mean? So those dots or transparent So it's kind of pointing toward us. It's still coming from the right, but it's coming from the right and behind him, and then you would have the opposite, which is coming from the right, and it's pointing at him from where we are. So you're thinking about like you can't just think it's coming from the right of the top. You've also got aside. Is it in front or behind? What? I'm what I'm gonna paint here. I want to get to advanced with this, but I should give you guys enoughto think about. So let's just say for simplicity's sake, the lights kind of coming from this side and kind of in the front. Kind of like this. Okay, that's gonna be our light. So it's shining on this this way. So where are the shadows going to be? All right, So I'm to go to my shadows later again, go back to that bright, bluish color. And so we know that, like, underneath here, this would be shadow. I'm gonna fix this color a second. This doesn't like a shadow right now, does it? And then, like, maybe his hair comes down. It's kind of like this. Only make sure I've got my selection. Now I can't go outside wires, so it doesn't like a shadow. But if I go to my layer modes and you see that letter in that letter in stands for normal when I click that and I'm gonna try the next one on the list actually is multiply and it starts to look like a shadow, and this is a little bit more green than I wanted. So while I'm on that layer, I'm gonna go to my, um, little adjustments window up here right next to the blue s and hue saturation. I'm just going to shift this more toward blue and purple Now that I like, it's kind of ah, deep blue color. And that's more in line with with what I want. So we'll see what color that actually is that I'm gonna set this back to normal. So normal and it's it's a slightly superior winkle blue, It looks like to me, So I'm gonna color pick that now. If you're gonna be using a color a lot, I would go ahead and save it. Okay, so I'm gonna go to my colors and over here beneath my initials I'm just gonna hold down and set. And now I've set that color out there that kind of periwinkle blue out to the so I can always come back and grab that. All right, so we go back to my layer settings and change it back to multiply and go back to my brush. And now I've got a great shadow color. All right, so where Answer the shadow is gonna be so, like, the underside, the underside of this kind of gonna be in shadow. And if it's coming from that side, then you know this overhears mostly gonna be in shadow. If you make a mistake, you can always go to your race and what of it? And we'll see under his eyes and, like, this whole side sort is gonna be in shadow. Now, this is not something that comes naturally toe people. They're just starting out. So if you're struggling, take your time, work through it. You know, look at reference material, um u under his nose, something like that. And we could go the whole image like this. You're inside of his ear there, maybe a little bit along here. And so we don't have to worry about picking a ton of colors this way. We just can pick our shadow color and go to town like his head is going to cast a bit of a shadow here on this whole little area. Actually, all of this under here now you have to be very careful with multiply mode, OK? Because it gets very dark very quickly. So you have to pick very bright colors. Because if I decided to paint with an actual dark blue here like it's too much. Okay, there is a point where it becomes to be too dark and especially if you're doing anything in print, doesn't matter that much for just the Internet. But it's gonna print it. You don't want to be that dark. So So we're just gonna keep going here. I lost my color something Go back to my swatch and pick that car again. That's why it's useful to have that around. You see, I'm a health. How fastest is so I'm already thinking about this orange down here, so I'm probably gonna leave this. This would normally be in shadow, but because of the light, I'm gonna avoid doing that because the light from the gun would be very, uh, very bright. So underside of it's Kate. All right, so we're off to a good start with our shadows. Will pick this up in the next one 20. Using light modes: that's less than we're just gonna continue with our shadows. Another common mistake is to get too close and zoom up too far. So you don't want to, like, do this and start painting because you zoom out, they're gonna lose a lot of details. So we're just gonna keep this simple. And right now, now think about where this light is. You know, this light is coming from the front, but so his hands kind of like, kind of a border lions about the same angle. I'm gonna go ahead and just fill this in, so I could just looks better that way. So again. And I think also thinking about, you know, shadow under here under that, um uh, shoulder pad is gonna throw a shadow on there, and we're going to get little bits of shadow underneath the cape here. I'm zooming up just a little bit so you guys can see this little bit better. You know, this this whole sides probably gonna be in shadow. But what edge there. All right. And all this will put in shadow and the whole time when you're when you're deciding where the shadows go. One of the most common questions that I get from students is how did you How do you know where to put the shadows? I always think about everything in three dimensions, just like you would if it was a real thing. So I'll give you guys an example here. So, like when I'm thinking about a leg, I'm not just thinking about those two lines that make the leg here. So I change. Is that something you guys can easily see? Like this Marine. So I'm gonna de select this for a second, so I'm not thinking about, you know, here's a line. Here is a line. I gotta put shadows over here, Okay? I'm actually thinking about this shape, so almost any shape can be broken down into some basic parts. And so this is sort of like a kind of like a squashed cylinder we're looking at here. It's kind of 181 ends kind of been squished down. But, you know, if we were to, like, drawl rings to sign and make sure what this looked like, it would look something like this. You know, I'm thinking about you know, these shadows. We're gonna sort all fall on this side, you know, because of where the light sources, You know, if we let's see, if we get rid of it's clear that even this layer here, it's kind of another squashed, you know, cylinder. But I'm almost all of this shadow because of the angle. So I'm thinking about, you know, when I go back to my my shadow layer, you know, I'm thinking about that coming down, But then you also have this area here where the knee is. So it's going. I'm kind of leaving some space for them, so it helps to know anatomy to color. You really can color. Well, without knowing at least some basic anatomy. You don't have to be an expert, but if you can at least be able to break things down into some basic shapes, you know, you will do well. All right, so I think that's pretty good. We're off to a pretty good start here. Um, I lost. My selections are gonna selected Just hold down that blue s again, or that s the selection. Too little bringing back to the last election that it waas. So, um so yeah, and, um and you could decide, you know, how it level of detail. You want your shadows. I'm keeping this pretty basic for right now. All right, so we've got some shadows now, Now, let's say that we want to add maybe some lights, OK? Now, this is what this method here is. It's pretty much cell shaded. I guess you could call it where pretty much everything is one or two colors. You've got your base color, your shadow color and for some art and even this art, I think this works pretty well without you know, all of that old that detail. But, um, let's say you want to take it a step further. So I forget this whole area in here because his arm is gonna be throwing a shadow. So something like that. All right, so highlights. Now, there's again lots of ways to do this, but I will make a new layer on all of these air under the inks. Okay? We're not getting on top things for anything yet on Lee thing that I would ever do on top of the inks is if I was doing some glow or something which will be doing on this a little bit later and Let's Marie name this, too. Uh, light. Now, there are a lot of different layer moments for light. Uh, it just depends on what you're in the mood for. There's no will, Right? A wrong answer. I know prose that work in all the modes that use all the modes or that doesn't really matter. But what I'm gonna do for our light lier, we'll try a couple's. There's a whole little section down here. You've got dark and light and show you all of these different layer modes available. I'm a good lighten, and we'll just go through each one and I'll show you what's you'll see what it looks like. So I'm gonna get, like, really bright orange color. Okay? Almost is saturated and bright as you can get, and we'll leave the same marker there. I've still got my things selected. But if you lost it, if you did something and forgot it, just hold down that, uh, that selection tool again. I'll bring back the last election and same thing here. I'm thinking about where that light sources and with hair, you could even break hair into shapes in a in a weird way. So this part here is sort of like a squashed cylinder. Okay, now it's more complicated that, but the light source, it works the same way. You know, if you light a cylinder, you're gonna end up with this little section here for that light's bouncing off, right? And if you don't believe me, you find any kind of like, cylindrical object that's shiny, and you'll see that the light is usually just kind of a line on the cylinders. That's what we're gonna do something to get my bright light here. And we're enlightened mode right now. I'm just going to see what this looks like. So I don't use a light very much. Yeah, actually, that the original dark orange, it wasn't dark enough, so it was too dark. So I moved it over here, toe the storm or more white in it, and you guys can see that looks like it's not too bad. I'm not a big fan of light mode, but let's try a different mode. Let me just clear that So screen mode is very popular for light, so I'm gonna go try my orange again. You can see how it adds a little bit of yellow are more yellow than what it is and you can be is rougher is quick with this. If you want, it works pretty well in the hair. You could add some little streak Senate. Maybe it's gonna catch more over here on this side. And again, if you mess up, don't be afraid to go and grab the eraser and clean it up your top of the ear again. If I'm thinking about this, the shape of this face, it's kind of going to do this. And again. This might take some some practice but sort of works, and then it's going to kind of catch his nose here two a bit. That angle so screens pretty pretty good for that. You can also try. Add now ads like Super intense. OK, really intense, so I don't recommend using it very often, but you can always turn the opacity down. So, like on that on that layer, eyes open, I could just grab that tone it down a lot. So if you work with with add mood, it usually needs to be really, really you know, de saturate not be saturated, but really not much opacity. So even 26%. 25% you know. And now we can. We can use that and get some pretty cool colors, and you can do this all over, right? Right. And then here's not a cylinder over here so we could make a little bit. Uh, we can. It will do a brighter with this little bit later, since its chrome or I'm going to say that it's chrome. I do want that to be super reflective so we can have another layer for that, and we can draw on top. However you want to do it. So that's an and murder. That's a pretty simple way you can. Also color dodges also gets pretty intense. It's ah, it's not quite as intense is add mode. If you turn it up, the opacity of you can see it's like really, really bright. So if you man, if he had, like, you know, if he was a superhero and flying up against the sun or something, if you were, you know, some kind of energy blast or something by the only time that I use color dodges. If I'm doing some kind of special effect, usually, but I kind of like the way that ad looks on this, there's something else to keep in mind with coloring, and I realize this is not specifically a coloring course, but especially for coloring, whether it's for comics or just, you know, posters or whatever it is you want to do, always think about the fact that color is there to help the viewer. You know, God guide there I into what it is that you want them to look at. And so this is a pretty simple piece, and this is not very much to it. But if it was really complicated or if he was bigger on the page, there was a lot of other elements I might need to draw more attention to, generally the face and hands, that kind of things. So I'll spend more time, you know, in an area like this adding all lots of little details if I want, maybe a no. This is not a great example of this kind of cartooning, but I can go in and add all these little details and bits and things. But I might not worry about that quite as much on like his shoe, you know, because all of that contrast up here, it's gonna draw your attention to that area. Yes, I think about that. Usually you're gonna put contrast in the places that you want are the most contracts is gonna go where you want the viewer look, so keep that in mind. So that's Ah, few easy ways that you can do some lights and shadows. On the next lesson. I'll see you guys on different techniques. 21. Cut & grad rendering style: all right. So another method that is really popular, especially in comics and a lot of illustrations, is what they call cut and grad. Now it's called that because you make cuts with a lasso and the grand is Grady int now way back in the day with photo shot. When it really didn't do soft brushes that well, you could use Grady INTs. And if you're not familiar ingredients, great dances like a subtle change from one color to another. So, like the equivalent would be to get like, a soft brush and, you know, make make some big marks. And but this little area in between, where it's transitioning from orange toe white, sort of like a radiant, you know, it's a smooth transition from one to the other. All right, so let's get rid of that. So I'm gonna turn off these light and shadow layers here for a second, and so we're back to our our base. Now let's say that I want to do ah, cutting grad style this time, so I'm just gonna go back to you can do this on a separate layer, or you could do this on the original air. It doesn't really matter. But just for the sake, is simplicity like we did on the others. Uh, do that on a separate layer. He's gonna make a new layer still on top of the colors. And I'm gonna rename this to cut and grand just so we can tell the difference is all right , a own right layer. Okay, so I'm gonna hit that selection tool again. Little blue, uh, s up there at the top. Still straight yet. Okay. And there's there's two options down here at the bottom. There's freehand uh, if you're looking at seven down here at the bottom, there's freehand automatic. A automatic is work. Sort of like a magic wand in photo shop. If you're familiar with that, so automatic, I can, you know, click. Um, I go to a leader that's got something on it. I can click an area, and it will select that area. And then I can go to another layer and pain and stay within that layer. But the other way you can use that selection is the free hand. Okay, someone click freehand. Now this freehand selection tool. If you're familiar with photo shops, a lasso tool that's pretty much what it is. So we could do the same thing we did before except weaken. Uh, make the edges harder on it. Looks more like you would see in a lot of, like, anime movies or like cartoony comics and things like that. So same thing we did before when we started just making that, uh, shadow. So I can kind of just trace the shape that I want. And when I get to the end, you click that toe clothes that selection. Now we can add others. So if I know that you know, I want to go under his eyes again, just click that button. It'll keep adding to that selection, and again, it will take some practice to figure out how you where you want your shadows to be. All right. So let's say it's that Well, now I can go to my moment cutting grad layer, and I can either color pick Mike and just pick a darker color and a little bit of red to it and then drag and drop it, and it will drop it into the ozel areas where I put the color. Now you can see that I wasn't on a separate layer with the I. So I got the eyes to I could do the same thing I did before with that freehand tool and just select those areas. And then I can clear that now, In procreate, you can put three fingers on the screen and wiping back and forth to clear it so it gets rid of that and it gets rid of selection. So you can do that. We can do it all over. So I've got my, uh, color already there. But again, you could use the multiply layer like we did earlier with just that blue color or whatever . There's lots of ways to do this. If you want, just pick your colors. If you want to use a multiply layer, it doesn't really matter. So what's clear that? And I'll show you one more. So this time I want to pick that blue again. I'm just gonna grab it from the swatch that I saved earlier, and I could make that cutting Bradley or multiply just like being earlier. Make sure it's visible. Choose my selection tool, the top left but up here and decide where we want that shadow and just fill it with that color, so the net effect is the same. This is totally just a feel thing. Whatever you want to do, um, you will need to understand how add and remove selections while you're working on it. So I'll show you over here. Eso Let's say I make a selection first. You have to choose the selection tool and I'm gonna do a shape. So there's my selection. Let's say I screwed up. That corner wasn't supposed to be quite that angle in misstep. So I'm gonna do this now If I closed this. If I click that little circle there, a little gray circle there, the note and to that selection, that's not what I wanted to do. That someone back up. Undo. Now, before I close it, I'm gonna get it close to being closed at the bottom. There's a minus sign to subtract it. There we go so I could go in here and make a selection and remove it. So this is really useful when you're deciding where your shadows go. So let's say like I was doing earlier. Let's say that, uh, I want my shadow to fall over here, but I don't want his eyes to be included. Well drawn my selection, and it's gonna automatically close it from here. Okay, so minus minus. Now, remember, if you try to close it again, it's gonna add it. Okay, So if I do this and then click it, it's adding to that selection instead of taking it away. So it's one of the kind of quirks with procreate. It's a way for them to do a lot with a little, though, You know, I like the fact that it doesn't have to be all other different tool where I don't need a keyboard in that kind of thing to make that happen. So, yeah, that's the cutting grand method. It would work just like the other methods would be. It would work with light works with shadow. So, like with hair, could kind of do the animate, saying, you know, we've got, like, that kind of rain going around the hair. Oops. Forgot to close it, close it, some adding all these little sections here each time clicking that, um, circle. So all of that selected, I could either fill it with just drying the color over and drop it or now I could go get a brush. Now this is where the grad part of cutting Grad comes in is now that I've got that selected , I can go get ah, brighter color and just get a big soft brush and let's see, get out of multiply matter that would help. I'm gonna go normal for a second, and now I can paint with that big soft brush. And then that's how you get that. Those different, um, amounts that Grady in, you know, in that color. So it's a little bit brighter at the top. That is the bottom. Because I had that soft brush and I could go is in many levels with This is I want So let's that has changed a layer mode on that to screen a little bit brighter. You guys could see it better. So now I can take it a step further, and I go get it like a really bright white and say, I want a really hot highlight and I don't want it everywhere. Just want to be a couple of places. I'm just gonna grab a couple of little areas here. Well, now, when I get my brush paint that in sheikhoun do this. You know, with multiple levels, you have as many of these you want. That's what they call cut and grab. It's like it's very popular in comics and, um, a lot of other different types of art. But eso that's another way you can color and well show you more than excellent. 22. Changing the color of lines: all right. So before we get into changing the line color, which is a very popular technique One last note about color and lighting when you're first starting out, you know, find some art online. If you're not artist or when you're drawing their own, you know, draw ahead at whatever angle you want or draw hand at some angle and then, you know, in your mind think about what If the light was here. What if it was there? What if it was over here so and I might go up? You already talked about some light from the left. Well, what if it waas? You know, coming Kind of from the right, you know, we would have I may get my you got the right layer. Get my marker brush again. So you know, this part over here would be let this time this side of his nose. Maybe you alone here, this side of the hair is gonna be lit instead of the other. You know that there's so always think about where that light sources is. One of the most common mistakes you'll find on from beginner colorist is they'll use either the very the same letting technique, or especially if you're coloring someone else's, aren't, uh, you might have. You'll have hints in the line art a lot of times, but where the light sources pay attention to it and don't ignore it. So all right, so one of the technique I want to talk about is what the industry calls color holds. Don't ask me why it's called Color Holds, but that's what it's called. H O L. D s Color holds its probably a layover from some old process that's not used anymore. But that's when you change the colors of the lines themselves. No, when you've drawn your drawing in procreate, you know when we look at this link slayer by itself. But let's leave the background on. There we go. You know, you don't have to Alfa lock the inks because there's already nothing where the white is OK , so if I get below the inks and start painting, it's going to stay below the inks because we can see right through things that makes sense . Now, if you import a drawing, okay, if you import a black and white drawing, then you're not gonna be able to color it in normal mode. You're gonna have to change the inks to a multiply mode so you can see through it. Otherwise, there's all this white that is getting in the way. Right, So make sure you keep that in mind. This technique doesn't really work on imported art. I'm sure you guys a slightly different way, but I honestly haven't found a perfect way to do this and procreate unless it was drawn in procreate. So let's give me an example. So let's turn all of our colors back on close enough. All right? That light layer is too bright for my taste. Just offensive turn in town. So there we go. All right. So let's say that I want to change the color of his hair. I want to change the color of the lines that make up his hair. All right. So I would always recommend making a duplicate of your inks first. That way, if you really screw him up, you can always go back to the original links. So I'm gonna select the ANC's left swipe duplicate, and we'll just turn the other one off and we'll rename this to original. Thanks. And they're turned off. I don't want to. We want to make sure those who turned off otherwise little mess up. So we're gonna go to my inks now and let's rename this to color holds or just holds neither one. So I'm gonna go to my selection tool now. The white parts don't matter here. I don't have to think about grabbing just the edges. I'm gonna get this all of the ink that makes up his hair. So I'm gonna start over here. I drove around this way and I don't want to get a skins. That's where the only place you have to be careful is when it meets another area loop around here robing Close it off. Selections done. Easy stuff. All right, so now I'm on my color holds layer over here. I'm going to go to the adjustments. I'm gonna go to Hue, saturation, brightness. Now the first thing I'm gonna do is brightness, and it's gonna get a little bit lighter. Okay, Now you can try playing around with saturation, but it's really brightness. We want to do so knowing. Brighten it, son. Now it's really only going to make it great, but that's fine. We're going to go to color balance now, and we shift that to the right. You can see it's changing the color. And when you're trying to decide on what color to use, I like to go obviously darker than the base color. So we've got this yellows. I'm going darker than that, and usually a different color, a slightly different color. And like, this is a more red type color. Because if I go and just add yellow, it doesn't look bad, but it doesn't look great either. Okay, so I'm gonna shifted over to read a little bit. And this is total, son, something you can play around with, right? Right now, this little shadow section has selected It's really not gonna make that much difference, because this is all the same color. Color balance can affect just darker areas and lighter areas. But what do you know that is gonna make that much difference? Mid tones, uh, shadows. It doesn't really matter You can play around with, So that's really cool looked. May I like the way that looks a lot. Another place that I might want to do that is in his case, is that blast that we're seeing down here in the bottom. Left hand corner, Right. So again, we got a selection. Just select the whole thing. And I'm gonna try color balance first without making it brighter. I don't think this is going to work, right. It doesn't. All right, so I go back to adjustments, change the brightness. I didn't think that was gonna work, but I don't want to, but I don't want it to go white. That's it's interesting. Look, you might want to, but that's not what I'm going for. Just gonna make it a brighter and in good color balance again. And in this case, it's another arm G color. So I'm going read again. You could play around purples and greens and more yellow. And the possibilities on this you can do a lot of stuff. So let's say I want to go. I have a strain brush mark there, but I can go and select all of this little middle section. And maybe I want to make that a different color, more yellow or something. And because this is like a really hot blast or something used little whips. Go to my selection tool. Grab these little mini medium ones, the middle ones. Maybe in this case, maybe I do go all the way. White if I want, you know, Or I could do something else so you can play around with that. Let's see, where is that stray work? There it is. It's on the light layer. So I hit the eraser hero that All right, so that's color holds pretty straightforward in procreate, if especially, it was drawn in procreate, like I said, So we'll go ahead and move onto the next one. 23. Creating special effects: All right, So this lets I'm gonna talk about glows or special effects, whatever you wanna call him. It's usually things that happen on top of the lines and make things look like they're glowing. The lightning strikes and different things. Uh, you know, I'm a comic guy, so it's like laser blasts and all that sort of stuff. So first off together this white background for this because otherwise you guys won't really be able to see what's going on. So I'm gonna go to my layers. I'm gonna My background color, I'm gonna choose like, uh, like a dark ish Ah, blue color. So one thing to keep in mind if you're ever gonna print what you're doing, uh, avoid colors that are in the very bottom because they're really not gonna print that. Well, OK, so you want them to appear to be dark. They're relatively dark compared everything else, right? I just noticed. I've got, like, this glo action in the middle of the, uh right there that were so see, I want to get rid of that. I can select from the main flat, and then this little button right here, if you guys gonna look at the camera angle. There. There's a little button that looks like, uh, looks kind of like two arrows doing this. I'm Yeah. Have you guys see that? Anyway, it's like two arrows pointing to each other. OK, click that it will inverse the selection. So now just the background is selected, and I'm gonna three finger clear that. So I get rid of that fuzzy thing in the middle. All right, Through glows. I'm going to do things here that don't really make sense on the surface. But there's some technical things that I can explain why this happened. So I'm gonna get on top of the length of the inks here, or in this case, the color holds later we made earlier. And I'm gonna go ahead and rename this to, and I don't want to select. I want to rename s f X and I want to fill it with black and everything was going to disappear. Okay, So selected black filled with black. And you're probably thinking, why on earth would you ever want to do that? It's because when we switch the layer mode of that black layer to screen, so I'm gonna go to lighten and then screen the black will go away. Black doesn't show up on screen mode, but it gives the colors that were about to put on here something to react to. Okay, because the Layer Mobile is going to use. It makes a difference whether it's coloring something or coloring nothing. Now I know that's hard to wrap your head around, but if there was nothing else in that layer, the modes gonna look different. So we put that black in there to give it something to react to. Don't try to understand it. I don't really understand either. I just know it works better on Black. It's not important to understand. It's my point. So I'm gonna go to the contrast, uh, Layer. Actually, no, I don't do that yet. I want to go to my brush now. What I did is I created this, marked a brush, and I call it marked A because on my favorite colorist name is Mark Ingrassia, and he colors and hard light mode quite a bit. So when you go into the brush settings this brush to be available for download. But on the blend mode, not only can you have modes on layers. You could have modes on specific brushes. So if you like to switch to hard light a lot, instead of having to go up and change the layer mode, you can just put the layer mode in the brush. Hopefully, that makes sense. So this brush isn't hard light mode already. Okay, so to recap, we're on a layer fill with black and screen mode, and our brush is in hard light boat. That's the combination that I think works the best. There are other ways to do this, but this is the simplest for me. All right, so we're gonna pick a color. Usually it's a bad about as bright as you can get if we're going to do glows, and I'm gonna try just kind of a middle of the road color and see what that looks like. So first, gonna get make sure I'm on my big bright brush here and just gonna start brushing. I wanted to I don't want the issue really kind of fade. Those I want to make this bigger and you see like this starts to look warm the more that you layer and I can shrink this down and the smaller it gets, you can see these colors get brighter and brighter. Okay, you might want to do a little bit where the where the gun is. If it gets to yellow or something. I can always come down like switching to some like an orange, like a deep orange. A little too deep, have you? So that's in fancy. I didn't select anything night. Now if there was something you wanted to, you know, control where this was affecting, like what happens a lot again from a comic side is you'll run up against edge of a panel or something. You know, this stuff still works. Just make your selection first. So let's say that I'm right up against the edge of a panel. Well, I'll just select that area where I know I'm going to be painting and then switch to my brush. And that way, you know, I can control what's happening along that edge, right? And then when I get out of it, I'm not outside of my panel, so you can always mix and match these techniques that we're doing undoing all that one these days. And I remember, just make a new layer and they lead it. But, you know, and so something else you could probably doing anything that's, like, Reflective. Maybe it's not in glowing. Or maybe it's not like an energy blast, but it's still really reflective then usually things like chrome and metal and things. You can put those blows on those things, too. It really looks cool. So I'm gonna switch, though toe like, kind of a bluish color. I'm thinking about the colors it's gonna reflect, and it's going to reflect mawr, that background color. And then again, just get a brush and go to town. Make it small if you want it to be really, really hot, you almost It's almost white, you know. So it starts to look more reflective. Um, and you can also play around with different color modes and things. But, um, like in this case, I would probably do Livermore rendering under the glows. So, like I could go back to my colors. I'll show you different selection technique here, too, So I'm gonna go to my selection tool, choose automatic, make sure I'm on the right layer and looks there we go. So if the selection tool and then on the colors layer have selected that that whole arm. Now, I can do this on the colors, like that's fine. So I'm gonna get, like, a deep, deep blue, and I would change this brush to color Dodge. Okay, So colored dodge selected. You can see when I start painting with this. This gets really hot. Really, really quick. It's like, if I show you over here, where that, uh, layers and glow isn't I start doing this in color dodge mode. You can see it gets really, really bright, Very almost all the way to a white very, very quickly. So you can do that with, um, you know, different techniques to make this really small. Maybe just those two areas there. So color dodge is really good for metal that changed that breast back before I forget. All right, so and one more time. If you if you weren't aware. And you click on the brush. This is underneath the brush behavior over here under general. Okay, I don't point that earlier, you know, by to follow, that might open up to a different section, but it's under the general section is where you'll find that blending mode. So I like to save different brushes and different modes from that. Use them a lot. And of course, you can always have multiple light sources. So, you know, if you wanted to show some of this orange on him, you know, we can do that so you could do this on a different layer. You could do it on your colors. Layer, if you're feeling confident, doesn't really matter. But ah, I'll just stay with same original lightly er and just picked like an orange color and pick my marker brush again that for this case, and I can go in here where all those little places were going to be facing And that blast Yeah, it's pretty subtle, you know, like over here, it's really gonna be in the shadows because of the main light. Um, or you could make it a stronger effect, you know, so you can always mix and match you like over here in the dark. It's really gonna show up, and you can make that effect as strong auras subtle. It's You want one more thing I'll show you before we move on from glows. Was this sort of related I'm gonna but, ah, new layer Just to make this easy and I'm gonna pick a listen. There's a lightning bolt. So when I picked like a what I think a lightning bolt color might be Actually, I'm not gonna do that yet. I will start with White, and it doesn't really matter which brush someone. Maybe the pencil. It's fun. So let's say, Here's my lightning bolt and it forks off and does different things right now with lightning. A lot of people think, you know that they need to color. I'm just making this a little bit bigger so you guys can see a lot of people think they need to color it. But you know, whatever the color of the Lightning is, but with glowing things and with any Senate kind of special effect like this, where the light itself is glowing, I would always recommend to start with White because even like saying Star Wars, for example, if you look closely, it's a white light and surrounded by a red glow. Lightsaber itself is not actually read okay, but it's glowing with red light, but it's so hot that it's white. All right, so that I've got mine my white lightning. I'm going to put it in color Dodge mode. OK, so I go to the layer itself under the lighten section. There's color dodge. Now it's still gonna look white. Okay, but if I go get a color like that bright blue with a soft edge around it and you can make this is bigger A small as you want, but you'll notice that it starts to look more like it's glowing with blue just around the edges. Okay, now and you can be, You know, you could be softer with this also, I just kind of depends on the field you're going for and what you want to look like. And, of course, you can go in with the eraser and tighten up some of these points and different things if you want. But, ah, but color Dodge is really good for glows, and then you can, of course, you can always go in. It's like your adjustments and play around with the actual color, you know. So it's pretty cool trick. Well, what of it depends on what color is underneath it, so I kind of play around with the color you decide there. All right, so that's glows and special effects. Let's move onto the next one 24. Using adjustments: All right. So we've covered all the basics of credit an illustration and put some color on there. And some techniques toe create special effects and light and shadow and all that. I want to get some of the other features that are in the adjustment section of procreate. We have spent a whole lot of time here, so I'm going to some details on that. Now. The first thing is opacity, and we've covered opacity for layers, and this is really does the same thing. This is a different place. So, like, right now we're on that lightning leader we create earlier. So if I go to that adjustment section, opacity will bring up that slider and then you could just put your hand on the campus to adjust that capacity back and forth works just like it does when you do a like a two finger tap on a layer. So I fight. Not one, but two finger tap brings up the same thing, so just a different way to do that. So if you ever do in effect, that's it's too much too strong. Opacity is a really easy way toe kind of rain that in a little bit without having to redo it. There's also what's called a Gaussian blur, and this just makes things fuzzy. And there's a lot of different techniques you can do with that. Sort of like you could use. It is the depth of field effects. So if I drew in a background and then blurt it, you would get that kind of depth of field effect where the backgrounds blurry. But you're you know, the main picture isn't but you just click Gaussian blur the same thing. You just dragged that left and right and you guys can see that is making that mawr. Uh, we do it like this. It looks like it's kind of, you know, it's happening way behind him somewhere. And you could imagine how cool it's would look if you you know, the head of a lightning storm. You know, the further back you go, the blurry. There were something you know. There's lots of cool things you could do with college and blur, so we'll leave him slightly blurry. Actually, I want to use this file with you guys, so I will. You can see the original this way. All right. We also have we have motion blur. I really like the way that procreate handles motion blur because the direction that you move your finger on the screen determines which way the motion goes. So, for example, if I go left and right on my lightning, you can see it does that kind of effect there, you know? So if it's traveling horizontally for some reason that it would look like it's it's going that direction. OK, if I undo that and go down to motion blur again and this time you know, do it a diagonal, you can see that it's moving diagonally, so that would be something we could do. You could actually combine this with the selection tool and get some cool effects. So, like, if we Yes, there we go down to our thanks here, and I selected all of that part. That's that glow. Well, I can then go to the motion blur and, you know, move that to add some effects to that. Know what that looks like? You know, So I just kind of depends on how you want to do it. Sometimes it might be best to just, uh, you know, flatten the layer all the layers first, and you do your motion blur together, especially doing something like this where you know the colors and extra in separate layers . So one way you could do that, we're gonna talk about this and a little bit. But if you go down to the actions that little wrench and go to copy, uh, let's see, what is it? Copying canvas? Come on, campus. And then I can get on top of everything and go toe actions again and click paste. It copies the entire contents of everything that we did. So now I go back to my selection and go to motion Blur. That's getting everything. Not just the ah, the colors are just the inks, but it's actually affecting all of it. So that's one way you can do both. All right, I'm gonna leave that layer up there, but I'm gonna un selected, so it's not in the way. All right, what else do we have under adjustments on? We've got perspective blurred. So just a different type of blur you can play around. They really haven't played much with that. There's also a sharp in which a nine big fan of you know one. Things that looked away painted over colored him. So But you do have an option. Teoh. Go down toe like one of your layers and then select the sharpen from adjustments. And again, you can slide that around. This is really not that kind of thing. That's gonna sharpen that much, though, so it's already pretty sure. And what else is in adjustments? Noise? Um, noise can be used in some in some cool ways. So if I add, let's see. Let's do this. Let's get on top of everything here. Go back to adjustments. Oh, layers empty. Let's go back to this one. So this is the leader that's on top of everything. Gonna go to noise and adjust. You can see it. Does that, like kind of TV. Ah, effect. You know where everything looks crazy? So, um, sometimes that's useful. I like to use it sometimes on skin, just to give it to make it look like it's gotten some pores or something, so I could go to my original selection. My original colors. Use the automatic selection to select his skin just twice in both places there, and then go to that noise and add it. And if I zoom up again, I want this to be really subtle. So I used barely see it, right? So it's only at, like, 10% or something to 12% and then you come out, come away from that. You know, it adds a little bit of texture to the skin. You don't like it? You don't overdo it and go crazy, but, um, doesn't make it look quite a smooth, just kind of cool. A hue, saturation, brightness we talked about earlier. Um, if I read, do that skin selection, for example. And goto hue saturation hue changes the hue. Looks a little bit like an eighties cartoon there. No, legally say which one. Um, so we've got hue saturation. We've got the amount of saturation. So all the way down, he's gonna look gray all the way up. He's really crazy colors and then lightness and darkness. So I just want to play around with that stuff. We're gonna undo all of these things. Undo. There we go. Uh, color balance is kind of similar, but it ah, let's you add a little bit more red with more blue. Whatever it is you're wanting to take a look at their. There's also the, um, you know, green, the purple and all these different things. It's a way to suddenly adjust colors and curves. Curves are kind of complicated. Do you like to me? They're a little complicated. Um, but you can drag this shape around to get different effects of light, dark, and you can add notches and do different things and get all sorts of craziness toe happen. I don't use it that much. I just don't understand it well enough to be honest. But, uh, it's one of things that it's just another layer of adjust ability that you have a lot of control over it. But I never use it just because I get what I need from levels or not levels but from color balance or from hue saturation. So not gonna do anything with that today and re color, it just takes the color that you've chosen. And Rick floods it with that color. Basically. So right now, that kind of bluish green is selected and showing showing that up here really use that either. So I'm not, uh, too big of ah fan of that particular tool. So those are the main adjustments. Um, like I said, the wind you're probably gonna use the most. Ah, rapacity, hue, saturation and color balance. And those the ones I use the most little mess around. So there's that much. But they are there if you need him. So I will see you in the next one. 25. Using actions: all right, miss less than we're gonna talk about actions now. Actions and procreate aren't really the same thing as actions and photo shop. If you're familiar with photo shop actions are, you know, a set of repeatable steps that you can record, and that's an action. Doesn't work that way and procreate. They have a whole other name for our holder thing for what they call action. So actions are everything that is in the little gearbox symbol up there at the top left. So what is starting left and go away across So under the image section as a couple of things here that are pretty useful. So the first is inserted file. So this is what I would use if I wanted to add, for example, like a texture to my piece here. So I'm gonna make, uh, let's make a new layer. We're gonna put it Well, put it near the top. There we go. And I'm gonna actions. I'm going in sort of file. Now. For me, this is a bunch of textures. I have either purchased or obtained through ah, off the internet. Um and I'm just gonna grab one of these, and it's gonna import that file into the image so I can resize this, make it as big as I want. Just gonna make it cover the whole image. And then, um and I could either manipulate that texture or I can change it or Aiken play around with . But I like to use normal mode. I'm sorry. Overlay mode for texture. So I'm gonna go to contrast, I'm on my layer with the texture I'm gonna go to the mode for that and we'll click the end , go to contrast and click overlay. Now, this is a very strong effect for this. I probably wouldn't want to use it this way, But you're gonna just the opacity. You can bring it up, bring it down. So let's say I wanted to be more subtle, and I could do it like that. I could mess around with different layer modes. You know, lighten. There's all sorts of different interesting layer modes in here you can play around with, but, um, so, yeah, I don't know. I like overlay or either hard light. Usually if I'm gonna be using a texture and you can always going with the last so and or your free hand version or the automatic virgin and select different parts of the image and remove them from you know where that texture is. If I just went in the background, you know, I could go in and say, Select everything on the main flat and then go up to my layer and then just delete that, you know? So it leaves the ended the three finger swipe back and forth to clear it. So now it's not affecting him, but it is affecting the background. Okay, um, and with textures, be sure that the texture using that you can use them. There's a lot of textures online where you have to pay for him s o what I like to do. Just do a Google search, and there's a tool section. And when you do a Google image search and you can actually look for, you know, the license that says you know can be used with modifications or whatever. So I like to do that when I'm searching for textures, and that way you know that what you're looking for is okay to use. All right, So what else do we have in here in sort of photo does the same thing. It just goes to your photos on the iPad. So I'm not gonna do that. I could take a photo which had interested, really, in doing but the same same principle could take a picture, and it shows up there. You get your regular cut and copy and all that. All that stuff. Um, one thing that I do use every now and then is, um, three fingers down on that gesture. If you put three fingers on it and swipe, it'll bring up this cut copy paste. Usually. If I'm going to cut, then that's what I'm gonna do. I'm gonna use that instead of going to the menu. So, like, for example, if I go to my, um, turn off that texture So let's say I make a selection right here. Then I can three finger swipe down, cut and then, you know, paste or whatever. And I've got another copy that I could move around or whatever. So, you know, I don't use a ton of it, usually when I'm working. But if you're one of resize something or duplicate something, you can do that with that three finger swipe down or you can come here to the menu if you don't remember the gesture for it. Um, copy. Canvas I touched on earlier. Whatever is on the screen, whatever you can see, whatever's layers are visible. If you hit copy canvas, it will copy everything there what you can then paste into a layer if you wanted to, so I can briefing or swipe down and paste. And there it is there just different way to have a copy of that. This is useful if you want to let goof around with some type of filter or adjustment or something which you don't want to mess with your actual file. Uh, that's a neat way toe play around with that. All right, that's it for image under canvas. There's not a ton of stuff I used here. Perspective guy. I don't really use that much, but if you're familiar with perspective tools, it lets you select ah, vanishing point and all that. So if I goto headed perspective guide, just pick a line and you can see I've got a horizon line now with some guys that I can use for drawing in perspective. But we could do a whole course on perspective. Eventually, we also have flipped canvas actually, like using flip campus horizontally because it's a quick way to flip everything. And especially when you're drawing, you can see thing that you wouldn't see. So if you ever look at a lot of time last videos or digital painters online, you'll see them constantly like flipping this back and forth. And it's a way to just get a mirror view. And a lot of times you'll get a different perspective. Like his nose looks funny from this side, you know, so you can kind of switch that around. Um, I use that quite a bit. Canvas vertically does it vertically. I don't think that helps quite as much. But, um, it is there, and that's where the campus information is. And we can see that the date was created, Um, a month ago today, actually. Ah, the video file size, the maximum number layers. This is not a huge file. At seven by seven at 300 dp I So we could have a Julian layers if we want, um, video quality. All that set in the procreate settings, the video length. So the time lapse video. We're gonna look at in a second. Right now, it's a minute and 19 seconds long. We've made 2200 strokes. There's ah image, final size dimensions, DP eye color space and the track time. So I have spent 5.5 hours on these lessons with you guys. So it'll get chopped down much less than that. All right, this is I'm cutting out all of them. The, uh, pauses and things you guys will even knew about. What else is in here? Let's see. Share share We talked about early on. This is the same share. Okay, So if you want to export this in the photo shop or clip studio or something you could use PSD would probably best J pangs, PNG files, tiff files, these air just unlettered files that are good for sharing online. If I just want to stick it up on my website, I'm gonna use J Peg. You know, so in the procreate file, just to remind her copies the time lapse video into the file, which I think is awesome. We're gonna look at that in just a second. It's actually right here, so time lapse replay. This is cool for a lot of reasons, but if I go to time lapse replay, it's going to start at the very beginning of that file, okay? It's gonna start drawing, and this was me. Looks like I skip some parts, but that there we go. So this is me drawing this the first time. Okay, so I'm putting in on little details, racing parts, and you can see all the places I screw up until his tour things. But it's cool, because if you put your finger on the screen, you can actually either fast forward or you can back up and you can get in there, Really see, And you can even zoom like this is not a video. This is actually playing back all of these strokes while it's playing. You know, if you want toe, you know, let's see if I back up here and I want to see the point where you know, I didn't think his face that I could just zoom up and let it play. And if I go away, I'm miss something. I could put my finger on their back it up and do it again. So I love these videos. I actually started doing some videos on YouTube using this file and sharing it on YouTube and using that as a way to play around. You can see me playing around with different colors and the brushes I was going to use. And, um, and all the things we've done in this, um ah, in this course play out in one file. So I'm actually going to share this file with you guys so you'll be able to see this happen and see where we end up. So anyway, it'll be cool and time left recording. You can choose to turn that offer on. I like to leave that on. It's totally an option. Live broadcast. I haven't tried yet that you can sign in with, like, YouTube and broadcast live online while you're painting just kind of cool. And an export time lapse video does just that. It saves it as like an MP four file you can control. There's more options under settings on the in the procreate settings for the iPad, not in the app, but in the iPad settings. We can play around with a few things preferences. Um, if you want a light interface, you can I would not like that personally, but it's up to you. If you're left handed, you can switch it from right hand. The left handle that, um, brush cursor. I haven't actually played around with this. I don't know. I don't know what that does. I actually tried playing around this before. Started video and I couldn't tell any difference. So airplay, Canvas. If you're got the right Max stuff, I guess you can share this over airplane. I never played with that. I'm not getting all these delays. It's all personal preference. I haven't messed with any of this except maybe the mask visibility. When you do a selection, you know, you see those lines you can show how much of that is visible because sometimes they can be kind of a pain to see through. And then there's the health, which is just, you know what's new and send you the links all these different places. So advanced settings will open up this, uh, settings on the iPad, which you can then go in and play around with, Uh, yeah, I don't really do much with that. Left it the way it is. So, yeah, that is actions appropriate. So let's wrap this up 26. Outro: all right. Hope you guys enjoy the course. Give us something to look at while I'm yammering here. This is of something I don't plain a few weeks ago. So it's an amazing tool. And I was, ah, longtime fan of welcome tablets and photo shop and all that and most of the industry is still Ah, I don't think they've caught up yet. They realized how powerful this tool is because ipads are everywhere and for, you know, the price of a decent lunch somewhere. You've got this amazing software that has so much flexibility. And I hope I fixed this arm in a second. You guys going to see me fix this arm in a second? But, uh but yeah, it's, um it's been a lot of fun for me. I enjoy doing these courses. And if you want to learn mawr, I've got a lot of other courses at coloring comics dot com, mostly coloring focus, which is my primary primary job function. But I have a patron have a YouTube channel with, as of right now, 150 something tutorials. I started doing procreate tutorials in last couple of months, but a lot of the Photoshopped techniques will carry right over. I think that was one of things that I like the most was. I didn't have to completely, you know, relearn 1000 different things to just use the software. I could just jump right in and get started. And I hope you guys can, too, and Ah, so, yeah, thanks so much for joining me on this. Ah, adventure here with procreate and, uh, see you guys around, take care.