What's New In Procreate 5: The Complete Guide | Leo Mateus | Skillshare

What's New In Procreate 5: The Complete Guide

Leo Mateus, Illustrator | Content Creator | Mentor

What's New In Procreate 5: The Complete Guide

Leo Mateus, Illustrator | Content Creator | Mentor

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12 Lessons (1h 48m)
    • 1. Introduction

    • 2. What You Will Learn

    • 3. The New Canvas Section in Procreate 5

    • 4. CMYK Support: Understanding RGB vs CMYK

    • 5. Adjustment Menu: The New Clone Tool

    • 6. UI Changes In Procreate 5

    • 7. The New Color Harmony Tool: Creating Smart Color Palettes

    • 8. The New Powerful Brush Studio

    • 9. How to Import Photoshop Brushes Into Procreate 5

    • 10. Animation Assist Tool: Create Stunning Animation In Procreate 5

    • 11. References For Your Class Assignment

    • 12. Conclusion And Graduation Day

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About This Class

Welcome to the start of your Digital Illustration journey with Procreate 5! Join this special class from artist and illustrator Ghost Paper and learn all of the ins and outs of this latest update - including the re-designed Brush Studio and the amazing Animation Assist Tool. Plus, dive into new adjustment effects, CMYK support and many other amazing features to help you create your own art while using the iPad. Make sure to go through all the lessons and we can't wait to see what you can create!

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

Important: Please keep in mind that this class is fully dedicated to the updates on Procreate 5 - and intended for those of you in all levels who had a little bit of time with previous versions of Procreate (4 and older). In other words, this class only covers what's new and improved in this latest update. If you do want to start learning from the beginning, please refer to my other class below:

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

  • New Custom Canvas options
  • CMYK Support - and a comparison to the RGB color work space
  • The Clone Tool 
  • An Overview of the re-designed Brush Studio
  • A Guide on the New Animation Assist Tool
  • and more!

Plus, Ghostpaper will show you how to make animation in Procreate 5 with the new Animation Assist tool and help you with references and ideas for your class assignment.

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

Meet Your Teacher

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Leo Mateus

Illustrator | Content Creator | Mentor


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

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1. Introduction: Hi, everyone. My name is Leo. Welcome to what's new with appropriate five. Complete guide. This is a force where we're going to take a look at everything that was added and new improvements done to the fifth version off procreate. We're gonna go through all of the changes. Wife. We're gonna see some of you adjustment tools such as the clone tool. It's gonna take a look at the powerful burst studio and also report Photoshopped rushes into appropriate on. Finally, we're going to take a look at the also very powerful new intonation. Assist. We're going to see how we can actually use procreate 5 to 3, your own animations. And I'm also going to give you some examples of what kinds of animations you can make inappropriate. Find this Special forces actually dedicated for those of you already have a little bit of an experience with previous versions off procreate, and you're really just interested in knowing what's really new and different one procreate . In any case, I hope that you do have fun in this glass because we're going to see everything You appropriate my starting right 2. What You Will Learn: So before we start diving in into what's new here on Procreate five, I just want to be able to give you an overview off the things that we will be looking and covering throughout this glass. So first we're going to be looking and working on procreate 5.0 point one version, and that is the first update after its major public release. We're going to be covering the new canvas section and especially the new canvas custom section, where there's a few changes. First, there's a complete redesign off the section. In the whole, the whole U Y has been changed as well as we're going to be looking at the different call it profiles. Now we have RGB as well a seem like a in different color profiles on each. Then we also have a few time lapse settings and finally, some canvas properties. We're also going to be looking at the redesign off somebody icons and you y on the top left side here off the procreate ey. Once you're inside any illustration as well as a new adjustment mode, the clone mode and some differences on the redesign off some of the adjustments options as well as the redesign off the selection tool. Next, we're going to be looking at the new things in the brush section, especially the new Brush studio, which is a really, really powerful studio now to create your own brushes or to tweak and modify the existing brushes. Next, we're going to be looking at a couple of changes in the layers menu and finally, a couple changes in the colors menu as well. We have the Harmony section, as well as a floating color picker now available on appropriate five. And finally, we're going to take a look at the new animation assist in Procreate five, which is one of the most powerful additions to this application. We're also going to be century. Our project class or project assignment around animation assists as well. So now grab your iPad, your apple pencil open, procreate and let's get started 3. The New Canvas Section in Procreate 5: in this lesson. Let's take a look at the new canvas section here on procreate five. Upon first glance, a lot has not changed. When it comes to the campus action Here on procreate, you're still able to open and close illustrations. You're also able to preview them my just pinch in in and pinching out to go back straight up into the canvas section without having to actually open illustrations. You're also able, Teoh, open your stacks, be able to close stacks, you're able to select and drag illustrations in inside stacks. And you can also go inside Stax Select once again illustrations that you want over on to the title and drop them just here on the campus action so that they go outside. They are grouped from stacks. You can also go inside Stax, for example here and pinch in and be able to slide through the illustrations within that stack. Once again, pinch out takes you outside of the mode. And, uh, just monetary. One more thing if you pinch in and then you double tap, you actually go inside That illustration. So now you are actually editing. You can add it. This illustration So once again. Although a lot of things here haven't really changed from procreate 4 to 5, the creation off canvases here on procreate has changed quite a bit. So first, the Holy Y is with a white kind of team color, and that really has a really great contrast from the campus action. So here on the new canvas action, you're able Teoh create canvases. There's a few presets that procreate always gives us, such as thes screen size of your iPad, a few print, um, formats. And then it also kind of stores your your latest created canvases, as you can see a lot of the canvases that have created. I didn't really give it a name because I was just creating on the fly for a specific purpose. Maybe four specific illustration. But you can slide them to the left and you can hit at it, and I can give it a proper name. But just clicking on the name title here at the top, I can change their properties. So, for example, here it can just sprite or say, ghost paper HD. And now I see that is that 19. Actually, this is a HD vertical because it's an 10 80 by 1920. So I can just say that if I want to as well, vertical and how it can just leave it at 72 dp I because this is definitely for a screen that this is not really going for print and I'm gonna hit safe. And now ghost paper Vertical is here renamed properly. I could also slide this created canvas, and I can hit delete if I want to clear it out from a new chemise is and you can't a section. So now let's take a look at creating a new campus here on Procreate five and is this little I can hear this little folder Aiken with a plus sign and clicking on it. We go back into the custom canvas You Why? And this is a much better redesigned version for the custom campus section, compared to procreate for its full screen, and it's got some new options as well. So first, you know, indeed, Dimension Section. As I've mentioned before, you can rename the campus. You can also changed its width and height. There's also the DP I, which is now set to 72 if you wanted to make something for print purposes. You can set this to 300 FBI or even 600 dp I for even mawr quality for C. And just keep your mind that the more that you increased the width and height off certain canvas, you will decrease the number off maximum layers. So again, No, really, this doesn't really change for the dp I. But the bigger thes numbers are here. The bigger your canvas is in procreate. Ah, generally for because of memory purposes, you will decrease the number off maximum layers. It's basically a ram limitation for the iPad. The next we have the color profile which will be looking in the next lesson. Then moving on. We have to time lapse settings. Right now I have my time. Let's standings to 10. 80 p, which stands for in 1920 but 10 80. I can set it to two gay. If I want a little bit more resolution and I can't even set to four k time lapse, which is really detailed, you can definitely import this to an editing software and you can punch in on areas If you say if you actually done an illustration For some reason, you didn't really zoom much into the illustration to do a lot of detail work by recording and four K, you'll be able to zoom in digitally once you are in some kind of an editing process and you want to show you want to play back that video. So just keep your mind that that also will probably take a little bit more space on your iPad if you're storing your time. Lapse in four K compared Thio 1920 by 10 80 and last. We also have low quality, good quality studio quality and even lossless, which is un compressed. These will all probably add on to your file size as well. For now, I do leave it at good quality. I'm not really looking to show Ah, and some sort of a making off or process show like the best best quality, because I usually put the final result first. As it's still, which is something that you can export once your illustration is done. It's got nothing to do with the time lapse settings, but showing the process can always be a little bit more forgiving. That's what I'm trying to say here but it really depends on what you're going for if you are. Actually, if you do want to show more quality, definitely go for higher resolution and definitely set the at least two studio quality. But just keep in mind that sometimes making off and behind the scenes can be a little bit more forgiving. And finally, at the bottom, there's the H E V C. Check mark here, and basically this is a new video compression method, which is It's basically the age to 65 if you're familiar with H 264 which is the famous MP four kind of video compression method. Apparently, the age to 65 is a new and improved compression method for videos, which keeps at the same quality for basically half, nearly twice as efficient as its predecessor. So half of the file size. But also just keep in mind here that this format, the H 265 may not be as friendly compatible as the H 264 which is really widely compatible with many players Windows Media Player's and Mac players. A quick time and, uh, I haven't really tested this one yet, but I will definitely give it a go, and I'll see if this is compatible with Windows Media Player, for example. And finally we have the canvas properties, which basically you can choose to have a background color right from the get go. You don't have to start with a white background just to give you an example. A lot of, um, illustrators for realistic kind of paintings. They do like to start with gray because that does help. You know, when you're choosing colors, if you start with a really bright background but bright white background, Usually we tend to go for more saturated colors, whereas if you start with a medium grey, it does help to balance colors and finally gonna also choose. Do you have no background just to have a hidden background when you start a new, appropriate file, and now what you're seeing here? Probably the camera. It's not able to capture it, but it's just a very faint grid over the canvas. 4. CMYK Support: Understanding RGB vs CMYK: Now, let's just take a quick look here at the differences off RGB and seem like a which has just been added to procreate. Five. So now you're able to also create files that will be print ready files straight up from procreate, which is a great additions, a great feature to have. So, in order to create the same weight gay or RGB file that is actually also set in the new canvas section where, when you're creating a new canvas, so we're gonna go back into the custom canvas section right here, looking at you, why we're going to click on color profile. And this is where you can set your newest file your new canvas. Here, you can set it to RGB or seem way Kate. So let's first talk about are to be so First. Let's the fine RGB and also the fine seem like a So are you be as a color. Space is an additive color model in which red, green and blue are colors. Edit as light, and they are added together in various ways to reproduce abroad. A rate off colors. The name of this color model comes from the initials off these three colors is three primary colors red, green and blue. Now the same white que color space or seem like a color model, is a subtracted color model based on the C M Y color model used in color printing and is a color printing. It's part of color printing process. It's also used to describe the printing process itself seem work. A refers to the Four Inc plates used in some color printing, which are the science color magenta, yellow and black, The main difference that you can certainly see by looking just that designs with the RGB color space and the seem like a color space. It's a bit of ah difference in brightness and in saturation, and that is because RGB is an additive color mode where the colors come from the lumens kind of emitted from the screen. So it's it's additional color space where it's using some additive mood to display callers where a same way case trying its best to represent in a digital way what colors will look once they are transferred into ink. So I think that the best way that I can describe the difference between C RGB and see what gay is with this picture here on the screen which just shows the range off colors that difference off range of color between RGB and see my K. So back here on procreate. If you are creating on RGB color space file, I would recommend you actually used the P three color color space. And that is because the P three color model has even a bit more range than the S RGB color space. And you can also see here with a picture that is on the screen right now. B three is a technology that's widely used on apple displays. So the iPad has that the iPhone has that not a lot of the computer monitors actually support the three. But you don't really have to worry that bunch. Just make sure that that will be a little bit of color compression. So maybe your greens one bs vivid, because the P three color workspace works really well with ah, with a green range. But within that difference is not gonna be as visible as going from, aren't you? Be to seem like a so if you can leave it at p three or if you just wanna work with a more standard color space for it to be, You should definitely go with the S RGB. And you will know that your colors will look as good us as on Apple IOS devices, as on many monitors there that you can see that only support are to be and not the P three color workspace. Now, when it comes to seem like a I would there is a few presets here. I would definitely use d generic seemed like a color profile. And now if you just want to make a seem like a caller workspace file, you just hit, OK, And now you are actually working with e seem like a collars. So now I just want to open the color wheel here so that you can take a look and see the differences between a seem like a color workspace in an RGB call award space file. As you can definitely see, the colors here in the color wheel are much more muted in terms of brightness and saturation. And that is the main difference. Visually between seem like a file in an RGB file. What, you're looking at them on a computer or on the tablet, such as the iPad. So once you were working on your illustration and you're working on an illustration for a print purpose, just make sure to refer back, compare and talk to your print shop in order to achieve the best results. Leslie, if you are unsure here if your file you're working file is an RGB p three or seem like a, all we have to do is just go into the actions menu, go into campus and then go into canvas information. And then when you click on caller profile here, you definitely see this file has been set up with the generic seem like a color profile. 5. Adjustment Menu: The New Clone Tool: So, no, let's talk about one of the latest additions to the Adjustments menu here in Procreate five , which is the clone toe. So the clone tool is at the bottom here, off the adjustments menu in the adjustments list. UH, minus, of course, the caller correction section. So it's it's It's in here just at the bottom off the adjustments menu in terms off capacity , Gulshan Blower, Motion blur and etcetera. So what is the clone to? So the clone tool is something that is widely used in other software, such as Photo Shopped, for example, where photographers digital artists need to do a lot off touch ups. Basically, it's an idea on how you can actually take a photo, for example, and you can modify it by copying pixels from one location to another location where you actually want to paint. So it's a much more convincing way off actually patching and modifying a photo by using the photos existing pixels rather than trying to pick collars and painting on top of that photo . So if this sounded a little complicated, don't worry, because I'm going to show you with two examples here in this lesson. How how do we actually use the clone tool? The first example is going to be using a photo with photography, and the 2nd 1 is going to be using one of my own illustrations. And both were going to be using the clone tool. And I'll give you the best use case scenarios and why we're actually using the clone to. So first, I'm just going to for the first example, we're going to be using photography. I'm going to turn on this layer. That's just one of the photos I took. Um, and, uh, this is, let's just say the location of the park. We have an old table here, what we actually want to do. Let's just say that we want to paint some some of the things here on the stable. We want to be able to clean it up a little bit. So what do we have to do here? First, we need to go into the adjustments venue, and then we go into clone. And the way the procreate actually created the clone tool here. It's a very simplified version, much more in a way compared to photo shop, it is way, way simpler. So basically we have a certain brush that we can choose. We can actually go and select any off the brushes from from Procreate five while using the clone tool. I certainly highly recommend some of the brushes that even I I think I believe the control already starts with which is in the air burst section and is basically wanted. These soft brushes right here. And I will explain also why we're actually using the soft brushes. Next, we can set the birth, size and the strength meaning that at maximums maximum strength were actually copping 100% off pixels from other. Another area of the photo onto the target, this nation. And if we slide this down, it's almost like a capacity level. But in terms of strength, like how much we're actually copying from a section to the target location. Now, if you ask me like, is this actually really good? Because basically, if we want a patch something, wouldn't it make sense to just always be painting and Max and is a bit of a yes and no answer because, yes, painting a max off course, you're going to be finishing sooner per se because you're copying pixels at 100% capacity to the target destination. But sometimes doing that with just one past may look a little rough or by rough I mean a little bit known, realistic or like not really convincing. But sometimes when you paint multiple times at 50% strength, you actually achieve a better job than if you just painted. Once it's almost like painting the interior wall off a house when we actually painted twice or even three times rather than this, then just using a lot of ink and or a lot of paint and just doing one coat. So usually doing the job Ah few times with last strength or less paint will yield a better result, if that makes sense. So in order to use the clone tool, we don't have to actually worry about selecting brushes from this section. Or it's much dual or the race till. The only thing we need to do is to make sure I'm just gonna click on the layers panel here , so we'll probably cancel the clone tool. But we have to be on the select selected layer that we actually want to use the clone toe, which then again is a little bit different than Photoshopped, because photo shop, you're able to create a new layer and then use the clone tool on the new layer. So, in fact, you don't have to merge or flatten your artwork. And if you don't want, don't want that clone tool anymore, you can just turn on and off the visibility off that newly. But because we don't really have that option here, appropriate procreate once again is a very synthesized virgin off the clone tool. We do have to be with our selected layer, meaning that whatever changes we do with the clone Tal, those will be final. So because of that, my first tip is to actually always duplicate whatever you're about to dio to use with the clone tool. Because if once we use the clone tool it is final, you're going to modify that image. There's no turning back unless you actually undo the steps, and that is even before you close. If you're close to go back to gallery, those steps will be forever saved into this canvas into this illustration. So we're just gonna make a copy off the the image that we want. Teoh change and I'm just gonna turn off the visibility visibility off the the one that the bottom. I could even rename it as backup, for example. So now that we have only your selected, we're gonna go into the adjustments, Manu here and we're gonna go into clone. So now that we've talked a little bit about the brush that we want to use, definitely want to use Thea a medium brush. In this case, I'm even going to change it to a soft brush, meaning that the address will be even soft, more soft. And, ah, we'll probably get a better result on the outer edges for the birth size. I'm just going for now test from 17 to around 10 20% size and strength. I'm actually gonna do it with a max for now and show you like the differences. So then we get this, like, little ring here, and what this ring is actually doing, or what it can do for us, is to place into a location where we want to source the pixels from. So let's just say that we want to paint this little, um, a piece of metal right here on the table. We want to be able to get rid of it. So in fact I'm actually going to zoom in a little bit so I can source better pixels from it . And there are multiple ways we can actually use the clone tool. One major rule when I want to see actually, multiple ways is like there are multiple ways off sourcing the pixel. So I could do horizontal kind of job over here by sourcing from the side and making sure that I'm painting following the veins in the wood or we can do like a vertical clone. I mean that I will probably paint up and down, which, in fact, I think that that's probably what I'm going to try, because I think it's going to be easier. It's basically whatever becomes easier for you to mask or to make something as convincing as possible, and I will probably lower my birth size to about 10% since I've actually zoom zoomed in so much. And now I'm just going Teoh start painting. So as you can see here, I just painted that section. I'm gonna move this a little bit here cause I just want to see Alright. Ah, that that bit was like feeling a little bit darker. Oh, are too bright, actually. So I'm just gonna move this around a little bit more, maybe Can even put it over there. And I'm going to just go 50% to do half a quote here in a couple more times and just noticed that now that I'm at 50% I'm just getting more of a convincing effect. So now we fit. If we zoom in all the way and I'm just gonna click away, we have actually patched that little metal. Um, kind of, um you know, screw that was on the table. So let's just do it. No one more so it can keep showing you how we can actually achieve this. So once again, back into the adjustments, Manu Glowing tool. We're going to zoom in quite a bit. I'm going to stay right about here. So now, instead of starting at 100% strength, we're just gonna go with 50. So now, with 50 as you can see, I can paint twice, and we still see quite a bit of thes screws. So that means that, like, it takes more actions to actually get something completed, but you may actually yield better results. So what I like to do to be completely honest, I usually paint at 50 or actually at 100% 1st and I see what what's actually happening. And then I go down a little bit on the Strand and then I have to source from other places. So when I source from other areas since I've already started painting, that's really when I actually take down the strength. So I'm going to do this one more time and I'll go over the steps once again. So I'm gonna go about here just trying to get de best. The fact that's possible, he will increase it. Okay. And went too far there. Hey, All right, let's just do a zoom out here. So it's also important for you to see that once we're really zoomed in, this may not look super perfect, But once we actually zoom out Teoh pretty much another percent of this picture or, like snap to the actual size. We see that actually, this wasn't Ah, this looks actually very, very convincing. So let me just do one last time and I'm gonna go through what I actually do. Usually when I'm actually trying to clone something once again Adjustments, Menu clone. And, ah, we're gonna set it about here. I usually start really strong, at least on the first pass, or I would say, from about 80% to 95. So let's just go this route first. A couple times here and all that I start seeing there was like a little bit of Ah, you know, there's a little bit of a difference in caller tone. Denna. Go to another darker section and I reduce the strength. And I use that as my away to blend a little better. So we're painting this sectional paint this section as well, and finally think I'm gonna go all the way to Max and try to grab. Let's see for grab here. What happens? Um, it's getting a little brighter, actually, Soy. I'm actually gonna zoom this quite a bit. See if you can get rid of this and then a little bit of finishing touches. And now let's zoom out and see the results so overall, really not too bad. Procreate five is actually amazing because it's starting to offer a chance for, you know, having the ability to do general touch ups on images and also illustrations, which is what we're going to see next. All right, so now let's take a look at this example, which is the illustration example. Let's just say that this background right here is going to eventually become a greeting card. Maybe we'll say Happy Birthday, maybe will say anything that we want. But what we actually want at this point is to multiply the number off fall leaves here around this card. Let's just say that we've created this or, um, we haven't are a piece of artwork that has a few leaves, but we want to be able to multiply this a little bit a little bit, Maura, around the canvas. And not only that, we actually only want to replicate or multiply the read the small red leaf right here. So once again, we have to make sure that we're actually selected on the layer that we want to multiply things. There's really no ability to do that on a new layer, but we can, and we should actually duplicate whatever layers that we're going to effect with clone, because once again, once we affect those layers and get out of the tool, those changes are final. So we're gonna go into the adjustments, Manu going to clone. And now, as I was just saying, we can move this around. So the first thing that I'm going to do, because again, we want to clone this little leaf right here, it's gonna set it about here. I'm gonna increase my brush size and just keep it a max because it's a very flat piece of artwork. We don't really have a lot of shading or a lot of different pixels of variation over tonality of pixels, so we can just use 100% strength in this case. Now, let's just say, ah, this is selected and I want to start painting some of these red Leafs. So here's one. And now I'm going Teoh paint another one here, and I just want to show you something. I just painted this like they're freely. And as you can see, every time that I was actually centering the red leaf and just paint in this round, I'm actually painting a little bit of the yellow leave that is just sitting right next to the rad one. So a bit of a problem that's happening here is that our our yellow leaf, it's actually very close to these source that we want to multiply over this illustration and because I'm just going to undo this because that's definitely not what we want. And I'm just going to step out of the two here for a second because we actually paint in on procreate five. We actually do clone with the same layer. There's really everything, meaning that everything is merged. It's going to be quite a bit of work for me to actually select this yellow leaf. I could move it further out from the red leaf, but that that's just taking more, more work from what actually just want to achieve. So here's a little tip that we can actually use on the clone tool. So back here in the clone tool, I'm going to source my red leaf. But now I'm just going to click and hold. I actually do have to do with ah, hand gesture, sort, so you cannot just do with your apple pencil. So if you saw what just happened here, I'm just gonna move it once again. just place it where we want Teoh use as a source that I'm just going Teoh, tap and hold. And that little animation. The little expansion off the circle means that our clung to is now locked to the red leaf. So now when I paint the red leaf, you see that the red circle it's not really moving is just really locked onto that position . And because it's locked onto that position, we have to worry way less about actually painting or getting a little bit of that yellow leaf leaking on every copy that we make with the red leaf. So it's a super cool feature to actually be able to lock the source off your off our clone tool and then be able to multiply that over the illustration. 6. UI Changes In Procreate 5: Now let's take a quick look at some of the U White changes here and procreate five as well as some of the white changes on the adjustments. Manu. So let's just keep using this illustration here from the previous lesson as the example for this lesson. And we're gonna go into the adjustments menu, and I just want to go quickly through these adjustments and show you guys what actually has changed in terms of you. Why so in terms of like capacity, not a lot has changed. We still have the top bar here. Have a few options at the bottom, such as cancel this operation, undo, redo and reset. So the adjustments theodorus mint off opacity can still be done by just scrubbing your finger here. And you still have the options here. The bottom. So in terms of what really has changed to give you one of the best examples is actually at the four last options here, the hue saturation. We also have the color balance. We have the curves and recall er, so using the hue, saturation and brightness as the one of the examples we see, the procreate has now a much smaller U Y for this section for the hue, saturation and brightness compared to procreate for So I'm gonna put here on the screen what actually used to look like on procreate for if you if you really can't remember anymore. But it was like this. I think it was about two or three lines height and he had the all the options on screen, such as preview reset to be able to start from scratch, undo and and etcetera. So, for example, let's just go and do some corrections here. Something really simple. I'm not gonna be really you know, I'm not gonna be trying to achieve, like, any results here, But let's just say that we want to color or do some hue saturation to something a little bit more purple. Now, the first option that we used to have was an option called preview and preview was a way to see what you know, how he was before and how it's looking at the moment and be able to see if that's actually what you want. So that button that actually disappeared is now just a tap on the screen. So if you tap and hold, you see that we actually go back Teoh to how he was before. So it's tricky because these buttons and those functionalities the buttons air gone. But the functionality still exists so that that's me. Just show you how you can still achieve that functionality. The other button that we used to have, which was reset, which is also gone now, is just a tap on the screen. So if we tap anywhere on your illustration, we see the button reset. And by clicking on that, just go back to how the picture was before we started applying some of the adjustments. So I believe what Pro creates trying to do here. It's to save some real state around the display, to be able to have more of your off your illustration on screen and still give you the all the controls that so that you can keep exploring your creativity your illustration by using some adjustments. So it's just important to know that these things there are not completely removed, but it's just a different way to access these options. So another option right here called balance really, you know, is just done. Now, in the same kind of premise where we have just a one liner here for you. Why in all those sections shadows, mid tones and brightness. Now they're just here at the at the right side. So it's just a click. And the mid Don's air represented by this little Aiken, the highlights or the shadows. So if I moved to highlights and I change some of these settings so we are affecting just the highlights and then shadows we can do the same here. Just gonna just moving sliders here just so you guys can't see. And now, once again, tap and hold does the preview on If you just happen here we go back into reset. Now the last thing that I want to show you that has changed for the U. Y. Or how procreate actually used to work in terms off the bland modes. So each layer has its own blend mode, since you know the many versions appropriate, but at least on the version. For once we clicked on the blend mode, we would have some categories, so each section off blend modes. I would say about 45 filters or 45 different blend modes was categorized by certain sections, so we had darkened modes. We had brightened moods. We had, I think, I think, maybe caller modes. And these now have going back into some sort of a list and at the very at the top most US option or blend mode, we always have multiply, and then, basically normal is doing a bit of a divider, so it's dividing what the dark and modes are. So anything that's on top of normal is considered a darkened mode in everything that's, ah, below normal. He goes into the brighter modes, and then we'd still go into other modes such a skull arise and finally there some luminosity and situation, and it's sad. So and now we just became more of a list, and that's just something for you to be aware. Every blend mode has now a new Aiken that tries to represent what what that is, and I believe that the more that you actually use procreate and procreate. Five. You'll be able to recognize thes Aikens a little better. But once again, the blend modes air not going there just now, categorized and displayed in a different way here on appropriate five 7. The New Color Harmony Tool: Creating Smart Color Palettes: So now let's talk about the new color picker as well. Asti Color, Harmony Tool here on procreate five. So the first section of this video, we're going to be talking about the color picker. And then on the second section, we're going to be talking about the color harmony tool as well as an example on how to best use decode harmony. So first talking about the color picker, we can see that the in terms of you why procreate has actually increased the rial state for the color picker. It's a little bit bigger compared to the version in procreate for so you can you can see the colors a little better here around the disk. We still have these the same four modes, so we have the color disk. We have the classic mode very similar to the color picker and photo shopped, for example. Then we have the value mode, which is a very important mode, especially if you have some very precise scholars they need to use. Maybe you're getting some brand guidelines from a client in order to make an illustration as some freelance work, and you definitely want to use either the hue saturation brightness value or the RGB callers or even the accessible. If you're making some some designs, they're gonna go on a Web page, for example, on. And then finally, we still have access to our color palettes. Nothing has really changed from procreate 4 to 5, but with some really nice editions. The 1st 1 just going back here into the color disk is that now we have a color history. So these air the collars. They're not necessarily your color palette, but sometimes they are testing college. You don't really want to save them in your color palette, but you want to keep them for a little bit more for a little while so that you can test it out. See if this caller actually really applies to your work. And let's just say you actually really like this shade of blue. So you know you could be using that into your designs and say they really, really like the stone. You can just go back here into the color panel and having that blue selected you just added to your color palette. So now it's saved into your color palette, and the second really great addition is the fact that now we have a floating color picker, so that really makes the whole productivity much faster now because this floating color picker is always on top, you can always move it around to whatever place actually works best for you. And you can still access between all of the four modes, including being able to access your color palette. So this is all really, really great. Uh, and now we have one more edition, which is the second part of this video, which is the color harmony. It's a new mode off color selection on procreate five. So how those color harmony works and water some of the examples on how we can use it best. So basically, color harmony has a few modes. In fact, we have about five different modes here that comes with procreate. Five. The 1st 1 is complementary and his premise is quite simple. By choosing a primary color which is this big disk that you see right here we are, Ah, show that there is a second disc, a little smaller, which shows you did direct opposite off that color meeting. What is the complimentary color to your chosen color? So This is really, really useful because we can actually establish our color palette with just two colors and then vary the tones off that same color. And that's where we're going to see in the little in a little bit. So the next modes, just like so I can show you what are the other color modes that we have here for color harmony? We have the split complementary. So by choosing one main color, we have two opposite collars equidistant to the main color. The next one is analogous colors, and with this one you actually can get some really nice and powerful monochromatic tones for your illustration. For example, choosing this more of a red orange color, you get to analogous colors which are in the same in the similar range as your may color. So once again, you can create some really nice illustrations where you're going to have a similar range off colors, almost like a monochromatic look. The next one is the triad IQ, and with this one you get three colors. By choosing the 1st 1 you get three callers who are which are equidistant from each other, and finally to tragic collars, which Now you get four colors who are equidistant from each other, almost like a square formacion. So now the question is how to use best the color harmony, tool. And that's what I want to show you in this lesson. So I want I do want to keep it simple. I want to keep it in the way. That is actually very easy to digest. So for this one, we're actually going to use the complementary color scheme. So let's just say the four this illustration I actually want to choose a color that's more on the salmon side. So I'm going to choose. My primary color is going to be this one right here. I'm just gonna bring it a little bit more into the blues. Maybe here and I can see my complementary color right there. So what we're going to do, I'm going to create a new layer. Make sure I have a studio pin is gonna reduce this a little bit more, and I'm gonna make a circle. I'm gonna drop the color into the circle, and here's her first circle. Now I'm going to create a copy of this off this layer. Make sure have magnetic selected. So it is snapping on the same horizontal axis. And now I have my second layer, and I'm going to choose my complementary color and just drop it here. So know that I have those two colors and in two separate layers, I'm just gonna pinch and merge those into one layer. I just want to have those both callers into one layer. So basically what I'm going to create here just so you guys understand is that I'm going to great create our color palette with a complimentary color mode in mind. So now we're going to go into the selection menu, and we're going to change it to a rectangle. And we're going to make a selection about 1/3 here at the bottom, off the rectangle at the bottom, off the two circles. And now we're going to click on the adjustments and we're going to choose hue, saturation and brightness. So here I'm going to make it a little bit more saturated, about 65% and a little less bright, about 35%. And I'm just gonna click on the arrow just to confirm that I want this stone once again. We're going to go into the selection mode rectangle. And now we're going to select the top third off our two circles, and we're going to go into adjustments, hue, saturation, brightness. And now we're going to increase brightness to about 55% and saturation about 55% as well, actually make it 60 just to be a little bit more obvious, I'm gonna hit the arrow to confirm this. And here's what we've done here, guys, we've actually we've actually got two colors and then created a range from the same color. And then we have a small colored palette that will be complementary to each other with three options for each color. So three different tones off the same color. So right now we can even close my color. Uh, picker, if I can actually being a little bit buggy. So I'm just gonna Here we go disclosed that, and now I can go back into my illustration. I'm gonna make a new layer. And first I'm just gonna use the eyedropper and choose Maybe, uh, the darker color here, and that's gonna be probably our background. So first I'm going to just delete this color that we just had. In fact, I'm gonna go and choose this collar, and I'm going to click on our line of work and make sure it's a reference layer because I want to start dropping some collars just to make it easier. So this is going to be the color off the pince. And now we're going to make a new layer, use the color, the eyedropper, and picked this color, for example. And that will be the color of the shirt. Also, I'm just going to select our color pallet over here. I'm just gonna put it at the top and just going to scale this down just a bit, so it's a little bit easier to access, and you can see the illustration. So now I'm going to use the eyedropper once again, and I'm going to choose. Actually, I'm going to choose this brighter color here, making you layer, and that's going to be the color of the skin off our character. Just dropping it all in here. Okay, All right. And now I'm just going to choose the darkest blue, and I'm going to make a new layer. Make sure it's at the bottom. That's gonna be the color off the background. Zoom out just a bit. You know, I'm going to choose once again something in the range of for first color tone here. And that's gonna be the color off these letters. Even I'll actually go with the, um let's see what happens with the darkest one. Probably I'll go with the medium. This is just like a you know, it's important to test all the tones. Make sure that you like that, Tony you're actually using for your artwork. Also, I just noticed they need a little bit more of the blue just in this little section here. Oops. And we're gonna put every here, as you can see with quickly established do collars and created tones within those two collars and quickly created a collar palette that has some harmony between the valleys. So this is a very quick way to actually opt. Create illustrations with a minimal color palette if you used the complementary mode and just great variations off the two collars that you select. So I just wanted to show you this example. Just, you know, it's more on the quick side here, but it's easier to digest and understand some of the best ways to actually use the caller harmony tool in procreate five. So now you can take this technique and apply to your own illustrations. 8. The New Powerful Brush Studio: in this lesson, I'm going to give you an overview off the new brush studio in Procreate Five. So basically, we're gonna going to cover all of the most important features and options on the birth studio, and we're also going to create our custom brush here. In this lesson. If you follow all of the's stops, we're going to create this really cool and colorful brush. But we're not necessarily going to go on to every single detail off the breast studio because that will mean a very, very long video lesson and probably something that will be quite hard to digest in one single video lesson. So let's just go through an overview and create our custom brush together in this video lesson. So the very first thing that we need to do is going to the actions. Manu, just before we even go into the the new brush studio, we're gonna go into preferences and we're going to click on edit Pressure curve and just make sure that your pressure curve looks like this. So if it doesn't all have to do, just hit reset right here and your pressure curve will look like this line right here. And that's just important because that really affect the way that the custom brush looks on this video, that what I'm about to create with you will be affected by your pressure curve. If you have anything differently, my actually yield some different results. So now, in order for us to go into the brush studio, we have to go into the brush library panel. And then we see this little plus year, and that's how we get into deeper studio, where there's actually two ways. This is when we create a new brush. I'm just gonna hit, cancel or we can also add it. Any current brush the procreate has in any off deep at tabs here, sketching, thinking we can go into artistic, for example, this one called Wild Light. I could just click on it, and I'm able Teoh change any off the Saudis over here. But we're not gonna going to do that necessarily. We're actually going to great our custom brush, so I'm just going to hit the plus sign, and this is the new Burst Studio four Procreate five and it's really, really cool how they've made this full screen, and it's now divided into two sections. Ah, in the left on on right side. There are two different things. So basically on the left side we have all of the sliders and things that we can tweak on our brush. And then on the right side we have a live preview off whatever options were choosing here on the left. So it's really cool, intuitive and real time and those air great things that are now happening on procreate five cousin procreate, for we really only had on the same brush library panel. We had the brush editing capabilities and that was really small. And, you know, this is much better use of space and it's a really dedicated for customizing brushes. So now that we know that, you know, left side, we change features Right side. We have our preview. Let's just go a little bit here on the right side for so I can show what are the options here? So, basically, on the right side, we can draw strokes because this is almost like the testing stage here on the right, so you can draw any sorts of strokes. And if this gets a little bit too busy, you can always go click on a drawing pad and select clear drawing pat. You can also click the drawing pad and change the callers from the brush that you're actually creating again Select Blue, for example, and continue to test out. But for this lesson, we're just going to select White, and I'm going to select clear drawing pad. I'm just going to do that same kind of similar shape as when we started deeper studio. And once we enter with the new brush here on the burst to your own procreate five, this is D. Look for this is the default brush that procreate gives us. It's just simple circle shape source with no grain source and a few of these options this probably no tapering and so on so forth. So we're gonna go through all of these options one by one, and I can explain what these actually do. But in a nutshell, the one thing that I really want to see about how does brushes actually working procreate is actually quite simple, so I hope you can understand holiday actually work. It is basically a combination off a shape, so selecting a shape source in this case we have a circle with a grain source in the Grain Act acts as a mask, so it will actually create some imperfections to your brush if you choose anything differently than this full own white once again, White reveals things, and black obscures things in your brush. So to give you an example, I'm just going to hit at it. I'm going to import a different brain source, and you have three options. Here. You can import your own photos, so that means that if you take any photos and you can, you can also treat them in other programs. For example, you can treat them first here on procreate, even and crushed them. Make the black and white, and then you can import them as photos. You can import files and you can choose from the source library that comes with procreate. And when I was saying when I was mentioning about treating your photos, making them black and white and really crushed in terms off levels, in contrast, I mean, if you look at the library from procreate, all of the green sources and the shape sources are all black and white, with some really a nice contrast, and that's that's what Probably that's what he does to yield the best results. So back at what I wanted to show you, for example, if we went with a fine hair as the grain source and then I'm just gonna click done now we see that our brush has completely changed from a full on stroke, like a full on a pat iPhone opaque stroke to something that almost looks like painting the universe or painting some star field. And that is because our shape, which is a full on circle, is being affected by a grain source, which is a masking feature. And that is the recipe off a brush in procreate. So once again, a brush and procreate is composed off a shape source that takes some masking from a green source, plus a few other options, such as tapering some a passively random ization, some random ization off the positioning off the shapes and other things. So I really just wanted to show you here as simple as possible. What is the recipe of a shape? What is the recipe off a brush? Excuse me on procreate, So Ah, we're just going to go back. I'm going to go into the ring editor source library, and I'm going to go back into the full white because for the purposes off this video, I just want to go back to all the way to the top and go a stage by stage and creator custom brush. So we're going to start on the stroke path in the first set of options that we have your spacing, streamline, jitter and follow spacing. If I increase basing, I start to reveal that magic you know, the behind the magic that was talking about what is a brush on appropriate? Basically, the shape the shape source, which is a circle, starts to be revealed on every stroke because we are actually increasing the spacing. So the last basing that we have, the shapes, the circles air getting so close together that it looks like a perfect stroke. So maybe if this is your intended result, if you wanted to create a brush that almost looked like billboard lights or a billboard billboard marquee lights, you could just create this one. But for the purposes off our brush, we're going to leave it at around 16%. So a very nice, opaque stroke. Then we have streamlined and streamline all of that. It does. If you look close of the year, the curves, they're all getting compressed. But what it is is that streamline really helps you. I'm just gonna clear the drawing pad really helps you when drawing your curves so that they are as perfect as possible. So if we reduce streamline 20 and once again just cleared the drawing pad, he picks up any movements from my hand gestures that is d streamline at zero. But if I once again just put this at 100% you just see that it eliminates most off the jittering it the jittery motion, all of the you know it tries to optimize. It basically tries to optimize your stroke to be as moved as possible. So for our brush, we're going to leave it at about 30%. We confined the number by slight by, you know, just finding this number here, but choosing on the slider. Or we can also just tap on the number here and we can just happen the numbers 30% and click away. So if I want a 60% I just tapped on the number 60. But we're going to go with 34 now and then jitter. It's basically some random ization off the shape position. So as you can see with jitter and none, all of the shapes are following the path from my drawing stroke. So again, I'm just gonna make that default kind of shape. But if I add some jitter, the shapes are expanding, and that really creates some really nice trails. So maybe this is like a little glitter trail they're creating on some sort of element. Maybe it's like, for example, a butterfly flying, and you're just making some little glitter that's falling the path of the butterfly. So for now, we're going to leave jitter at zero, and finally fall off is an in fact, is an effect off, almost like running out off. Think so in riel in the real world. And if you were to actually use a paintbrush and get some paint and start painting the canvas, just going to increase the fall of here, you will probably get on effect like this because basically you're pink brush. Once you start painting on, the campus starts running out of ink. If you're painting, for example, with, um, very low amounts of oil paint, for example, eso This may be in effect that you want if once again, you're creating an oil brush on oil painting brush. So for now, we're just gonna leave, fall off at none. And once again, I'm gonna clear drawing pad and create our default stroke here. So moving on taper is a very important feature as well, because you can actually add a little bit of tapering to both the beginning and end of your stroke and those air really great. If you're making calligraphy brushes, if you're making more, you know, brushes where you really want to show the new ones off pen pressure. If you want to show those little details, it's really cool to use the pressure taper. There are two types of tapering on the birth studio. These are pressure taper to your apple pencil and then you have a different setting for touch taper, which is drawing with your finger. So let me show you how this works. We can, you know, choose different types of tapering to the beginning and at the end of your stroke, or we can just hit this option here. Any links, the tip sizes. So if I choose just this little amount here at the beginning of the Taper, that's what happens at the end. And if I put it all the way to the max, he copies whatever we're moving. So whatever is lighter, removing it's mirrored. So we're just going to leave it like that and size. Now we're going to increase, and that's when you start seeing the difference in tapering. I can add some a pass iti to our taper. You can play with the pressure. And finally, what does the tip looks like. So was a very sharp, sharp tip. And you see, um, you know, just a like a cone shape or with a blunt kind of tip where you don't really see a lot of difference. And finally, tip animation really relates to you how you start every stroke or you can just turn that off. So it's just going to be the same result every single time. So one thing that I really want to show you is I'm actually going to turn off tapering. We're not gonna be using tapering for this custom breast we're creating. But I'm gonna leave this at, um, zero here, but for the touch paper, I'm actually going to leave this on increase sizing capacity. We don't really need to touch. And I'm gonna choose classic classic taper. So now if I draw my shape with my apple pencil, you see that we still have this very nice kind of a solid line. But now, if I use my finger, I now have the ability of tapering with my finger, and that is the option that it was just talking about. We have a separate option for painting with your finger and painting with their apple pencil. This may come in handy if once again, you're creating some sort of a different brush and you wanna great two different effects when creating an illustration. Say, for example, it's oil paint self a forest, and you wanna just also be able to create some finer details. Either with your apple pencil or finger. You can have two different types of tapering with the brush studio. Once again, let's clears a drawing pad and creator default shape. So now, going into shape. It's something that we kind of talked about at the beginning of this video on what the actual recipe or the magic behind brushes and procreate, but just to give you on example, we at the same how we can also change the grain source. We can also change the shape source so we can just click on add it, and import is about the same types of options for the grain source. So here, for shape source, you can import photos. You can take photos up different shapes that you actually want to use. Another good example. You can buy some markers, some paint markers. You can buy paints, and you can take photos off those paints. Treat them to become very black and white and also crush the contrast. And then you're able to actually import these foot thes photos and create your own brushes . But for the purposes off this video lesson, we're just going to use the brush out this source library. So I'm going to click on the Source library, and these are already great examples here. That procreate gives us from the shape brush library, and I'm going to use. I'm just going to scroll the way up and let's just go for nowt with the flat marker. So I'm going to hit, done. And as you can see, our shape changes to this more of a wispy kind of effect because this is what the shape looks like. So now, as options we have scattered and scatter really changes, the rotation randomize is the rotation off each shape. We have more controls off the rotation, off the shapes with the scattered. We also have count and count is how many passes. It's almost like how many quotes Off Inc with every stroke. So if we have run out four, there are four times the shape goes around four times with every stroke, and that just becomes a more of on no Paige kind of line. And if I just keep it at one, is just one pass. And finally, Count Utor is just a random ization off the council half, if we have seven right now with a counter, 60% is trying to make some variations, but unfortunately think this brush is just very rich. So the county it is not really showing that much for the purposes. Off this last, we're gonna leave it a 10 come Jeter and Finally, there are some options for the rent immunization off shape here at the bottom as well. Weaken definitely have randomized. And that is not a bad option to have, because that actually gives a bit more of a convincing effect. If you're shapes are a little bit more scattered with the randomizer. And finally these air a few off the flipping options you can flip on the X, you can flip. Why, and there's even the azimuth as well. Then finally, here the bottom. You can have a shape that is a full circle or just like Photoshopped, you can have from a shape that is this a circle or this. Now this little more complex shape here, you can almost like squish, squish this shape and in fact, I'm actually going to go into edit Import source library. We're going to go back to our hard shape because I just want to be able to show you what this does. So it's actually and I'm going to actually. Sorry. Just get rid off scatter. So, as you can see as a squish, the shape source, it creates almost this like calligraphy marker kind of effect where if you were to draw with a flat marker, you would get thes like flat areas, and then the turning points will be a little bit more thin. And that is the effect that actually happens. If you're using a flat marker on paper. For now, we're just gonna leave. Is this as a full circle? And finally, there's pressure around this and tilt around this at the very bottom here. These are rendering kind of effects you can have to the shape filter, so the bottom one called improved filtering is a new filtering technique that is on procreate five. And that is all about the anti A leasing off the edges off your stroke if you're doing something realistic. If you're doing something for print, or if you want to just add some high quality to your artwork, make sure to keep it on. Improved filtering glasses fit. Classic filtering is something that comes from from previous versions appropriate, and that is only if you are actually, you know, have been using appropriate for quite a while. Your brushes are being imported from previous versions of procreate, maybe wanna have that option then selected, and finally, no filtering just removes any kind of anti alias ing, and that is only good. If you're saying, for example, say you're making a brush for pixel art and you really need to see every every pixel really opaque. And you really need to see off the pixels who definitely don't wanna have any anti alias sing apply to the strokes. So then you would use no filtering. For now, we're just gonna leave it at improved filtering, moving on to the grain source something that we also kind of talked about in this video. Green sources the masking off her brush. So just for the purposes off explaining the section a little bit were going to go into a source library again. And we're going to choose, for example, um, square dots. And then I'm gonna hit, done. And now our shape has changed with the masking. So it still is when we look at the result, it does look totally different, but it still is made out of circles. It's just that the grain is affecting the visibility of the stroke and is making a look like once again, a bit of a star field. But one thing that a real on the show is like, You can definitely see some lines, some black lines running through our strokes. And that is the, um is the tiling off her grain sources, Actually, not very good at the moment. So if you ever come across something like this, you just have to go into at it. And you can use this option on the grain source called out a repeat. And that is something that procreate has added in order to try to help you when creating a more of a convincing effect with your green so you can choose, for example, the grain scale. So we're just gonna raise this a little bit? You have some overlap with the border. So at the moment, I think leaving a max creases really blurred the fact that we're just gonna lower lower this to about 32. You can also rotate your grain. Sometimes that really helps. In this case here, I think leaving as your the grease actually helping the most and then the mask hardness is something that also with a very grainy kind of, you know, a fine grain. You would see this a little bit better, but anything here, um You know, we just have to play around with the sliders and try to achieve the best effects. So I'm probably going to turn off pyramid blending A Z can see. It's also helping to remove some of the blurred dots that we see here. And I think grain skill. I'm just gonna play with this a little bit more, and I think I'm going to leave somewhere around here. I just wanna make sure this is good. So, yeah, just gonna leave that somewhere around here and I'm gonna click done and not procreate is actually creating the texture. And as you can see, the result is already much, much better. Finally, you can play with the scale, so maybe you want to lower the scale just a little bit, and we'll have this really nice kind of ah star field. And you could also have mawr scale if you play with the zoom factor. But we're just gonna leave it at follow size. Then you have a bit of a rotation to your grain and depth, so that basically brings it back to almost like 100% opaque. We're just going to leave it on Max and you have to values for depth, the minimum, and did that. Geter. Then you go also offset the Jeter. You can play with blend modes in your jitter effect, play with brightness contrast. And finally, as the shape has the filtering, the grain also has filtering, which can be improved as very nice. Anti a leasing, applying to it, classic filtering coming from previous versions of appropriate and no filtering once again , really good for only when you have things that look more like pixel art. Then there's a whole tap dedicated for rendering. These are several options in several rendering modes for the brush itself. I think you know here you can definitely play around with all of the's effects here and see which one looks best for your brush. For the purposes of this video work, going to use intense glaze and then you have some options here at the bottom for blending. You can just, you know, it's almost like a capacity once again, these air great. If you're doing something like water watercolor brushes because you have flow what edges and burned edges, two things to features that we definitely see on watercolor brushes as well as some of the blend modes for the burnt edges and the blend modes, and you still have luminous blending. So this section here is really dedicated for watercolor as well as the next section section , which is the wet mix. You have the evolution charge, attack, pull, grade and wetness. Jeter, if I play with these values, is not gonna make a huge difference here. Once again, if I was making this on hold tutorial but watercolor brushes, you would have to be dedicated for that. We're just making a very cool, colorful brush here. And so the section that we're really going to focus on is color dynamics. So let me show you what color dynamics actually does. So the first section about stamp college ITER actually colors every single circle that we have on our brush. So if I raised the hue, you don't really see any changes. And that is because the hue here is dependable on the settings off piece off the slider shirt at the bottom. So for us to have variation in hue with no saturation, nothing happens because we're still hanging on no color. So we definitely need to raise saturation and Now you see that every single dot here has a bit of a different color and they don't have a few more options here, such as darkness, lightness and using these secondary collar on your color palette. Teoh bring more colors into this brush, so I believe that I have probably black. So that's why second, their collars not really adding too much at this point for the purposes on for brush. We're actually not going to use stem college ITER. We're just gonna leave it at zero. Ah, and we're actually going to use stroke, collar deter and color pressure. So stroke color deter. We're going to leave it at 88. Then saturation put it all the way to the max and some lightness darkness Probably not in some secondary color. And now, finally, four color pressure were definitely gonna raise this once again and saturation quite a bit as well. So what is actually going to do is going to create a stroke that as we keep drawing, he keeps changing color, changing the hue, and that's something really, really cool. So for us to act up for me to be able to show you what it does best. I actually have to go back into a grain and we're going to go back into the green editor. I'm going to import from source library and just go back into a blank grain for this one now hitting. Okay, you. Now you see how cool the brush looks like. It looks this really nice neon kind of brush collar. And as I was just saying, as we keep drawing, he keeps changing colors. So it goes through a lot of the hues of colors. And if we go back into color dynamics and just crank the hue to the max as well as the color pressure now he really goes into all of the Hughes in the appropriate color wheel. And every time you draw a stroke starts with a different color. It's something super super cool. It's gonna clear drawing pad and draw our brush once again. So finally we have size. And that really creates a nice effect in terms off tapering. You may actually want to use a little bit of ah size based on the speed that you're drawing strokes as well. Osama, pass it e. You can add this really nice effect almost like I wispy kind of new online. Just gonna leave it a zero, and I'm gonna zero sizes Well for No. And finally add some jitter as well to the shape source as well as some capacity. Geter. So, um, then finally, we have some pressure options, thes air, some apple pencil options. We have some pressure right here. Some capacity. We have the flow off your brush. So this actually effects the beginning of two stroke and the end of the stroke. Just gonna leave it a zero. Then we have the bleed smoothie, the response. And finally, the tilt, Which is like the angle from where you started drawing this brush to see the lines actually moving a little bit. And that is the tilt based on the position of your the tip of your apple pencil onto the canvas. Finally, we have capacity, gradation, lead, and a little bit of a size size, actually, really nice, but ah, where we're actually really gonna talk about. Size is on the next pain, which is right here on the brush behavior. So on brush behavior. This is something that's really, really important. So when we see here, maximum size at 100% and minimum size zero. So these options were here are related to the size of the brush that we see right here on the Y. So when we actually tweak this from from 1% to 100% is using the numbers that we sat in the brush which are now sat from 100 to 0. It's it uses the range that we sat in the brush to you. So the best example that I can give you is if you look here, I think it was drawing at about 90% of the birth size here. If I just keep it a 94 No, somewhere around it. And now we're gonna go into a brush studio once again. At it are brush and out for maximum size. If I put 500 and then minimum size, I could just put 50 not for hit done. And I not gonna change the size of her breasts year, But I'm just gonna drawing you stroke. Just look at the difference between the size of this stroke compared toa our previous stroke. This is many, many times bigger, and we haven't really changed the size of the stroke, The brush. We haven't really changed here on the main ey, so basically, because we change those numbers toe 500 for maximum. When we put here at 100% size, we actually have a brush at 500% size. When we use this, when we put this to 1% size, we actually are using her brush to 50% on deeper studio because these these are the values that we set right here. So I'm just gonna leave this at 100. And this 20 last thing is that, of course, your minimum size can ever be bigger than your maximum size. Progress are not even going to allow that. And finally, once we go into about this brush, we can just click on the name here and can call this neon brush. And you can even upload a picture and you can sign this brush. And Leslie, you can create a new reset point. So basically, if you created create this brush, you can save a reset point. So, in order, In any case, if you change by mistake, if you change, and if the settings and if you need to roll back. You can just click here and it rolls back to your reset point. So now we're gonna hit, Done. And now I'm just gonna keep this probably Ah, something smaller. So we can really test it out, making you layer. And here's our created brush looks super, super cool like a super colorful kind of stroke. So I believe this is the end of this lesson. And I just want to show you that with this brush here have actually created a whole set off brushes which I've used to create the illustrations that you see on the screen right now. So this is definitely a super super cool brush. And I had a lot of fun playing with this set of brushes. 9. How to Import Photoshop Brushes Into Procreate 5: so procreate five now allows us to import Photoshopped brushes into procreate. So in this lesson here, I just want to show you a quick way to import. And the best way that I believe it is to import. Photoshopped rushes in to procreate. So if you're familiar with importing procreate brushes into this application, you probably know there are several ways to import these brushes. One of the most common ways is to actually go into deep brush, a section, the burst library. And then we have the little plus I can hear on the top right section. By clicking on this icon, we arrive at the brush studio and then we have the button import. Once we click on import, you can import your brushes from several locations. I'm just gonna go back here so I can show you. We can import brushes from your iCloud drive from a location on your iPad and from Dropbox for the purposes off this lesson, I'm just going to show you how to import from your Dropbox. So let me just go back to the folder that I had here. And this is a brush that I created myself and as you can see once you're here in the screen , you see that the thumbnails fully illuminated, meaning that we can import this brush. So if I just tap on it procreate, imports this brush and puts it in always places at the top. Most location off your brush library list. Now, let me show you what happens when we try to import a photo shop brush with the same method . If I go here on two D plus sign and then click on import. And now I just have to go to the location where I've placed a photo shop brush. You can see that the thumbnail is actually great out. Meaning I cannot import this photo shop rush this way. So what is the best math that when importing Photoshopped rushes into procreate? Well, that's what I'm going to show you right now. I'm just gonna rest my Bensel here onto the table, and I want to show you that if you are tap and then you just slide the iPad. Alas, bar. I'm just gonna please click on Dropbox and place it on the right side of the screen right here. And I'm going to give it about 1/3 of the screen size. Now you can see that the photo shop brush on the same folder that I had on the import section is just sitting right here on the right side. And I'm going to click on the three dots on this file. And now we're going to tap on export now, tapping on export. I have a list off APS that I can send this file to, and there's this option copy to Procreate. So I'm just gonna select this option. And as you can see, we saw the import being done here on procreate. And now if I go into the brush library, I have my new brush right here. So now this is the brush from photo shop imported into procreate. So in conclusion, just remember that when importing Photoshopped rushes into procreate. Instead of going through the method off importing through the brush studio, remember to open a parallel application on the right side here off your ipad os, and then just export the file into procreate. That being your dropbox app or your your files on your iPad, remember to go through this route because the breasted away not doesn't really seem to work when importing Photoshopped brushes 10. Animation Assist Tool: Create Stunning Animation In Procreate 5: all right for this lesson here, I'm going to be showing you a few things. I'm going to be showing you how to actually animate in procreate. And what are the new features that have now being included with the amazing animation assist that Procreate five is now offering? So in order for me to explain how to animate, I'm gonna take it through a series of files here and increase the challenge and what's actually happening on screen little by little and step by step. So on this very first file here, I have three layers and I've just put these ladders a B and C one on each layer, so it's easy to understand. So the first question is, how do we actually turn on animation? Assist in procreate? Well, we have to head up into the actions menu and then here on the sub folder on the some menu canvas, we're going to turn on animation assist, and all of a sudden you see that the letters are blending. That is due to some sad things that we're going to cover in a little bit. But now what we see here at the bottom section of the UAE of procreate five. We see this little plate timeline with the play button set settings and the ad frame button . So if I hit play, we see that our animation is now playing on our time line, and the timeline is indicating which frame we are on as we go through the all of the frames . So in this case, right here, procreate is understanding or procreate. Understands that each frame or each layer equals a frame. So it's it's It's an important concept that the more that you actually practice your on procreating will understand this better and better. But basically each layer equals one frame. So now if I click settings here, we can see some of the standings. Then I'll come with the animation assist Weaken set the offerings for second off her file right here with the slider, and he goes from one frame per second all the way to 60 frames per second. If I were to play the animation, of course that 60 frames 60 frames per second, it would be quite fast and if I play at let's just say two frames per second, it would be quite slow next. The fact that these letters are actually a bit transparent is due to the fact that we have onion skin frames actually turned on, and in fact, when I was turned on for only two frames and there is a little bit of onion skin opacity. So this is a feature that we're going to see on ah file that we're going to open in a little bit in this lesson. But the more that we increase the owning skin frames, the more they were going to see. The frames there are happening before and after the current frame. And then we also have the onion skin opacity, which dictate dictates how much of these frames before and after the current frame you actually want to see in terms of capacity as they blend with a current frame. This is really helpful when you're doing walk cycles, run cycles and animations that you really need to see where your character was, where you're actually drawing, and then where you actually want the character or the object to be in the next frame. Finally, there is his option blend, primary frame and color secondary frames, so the first option blend primary frame is you can see adds transparency to the current frame is an option that you may find actually quite helpful as you animate objects. Characters moving on In this case here, it doesn't really make a lot of difference, but is basically a matter off if you want. The current frame toe actually also blend with the owners Skin frames in color. Second airframes basically colors in a way that all the frames after the current frame are tinted green and all the frames before the current frame are tinted red. And this is also something we're going to see and check on the next file. So I'm just gonna close settings for now. You can also add frames if you want to. If you want to continue your animation as it was just saying, Procreate understands every layer as a frame. So if you go here to the last layer, you don't have to actually go here into the layers panel and click on the plus icon actually at the frame. But as a as they just do that, you can see that it adds an empty square here. It's gonna delete that, but procreate is trying to make it in a way to actually make it easier for animators. If the ad frame capability is just here as well as clicking on the slide, I can duplicate Hold this rain. I can set it as a foreground layer, which will also see in a little bit, but it can also delete it. So just to keep things simple in this file here we can play through the time line at the bottom. We have three Layers, A, B and C, and we saw some of the options in terms off settings on what we can do for our to be able to visualize our working animations. So now let's jumping to our second file. So now here on our second file, that's where we start. Teoh add a few things. So I'm just going to turn off onion skin frames because I want to talk about another fundamental here when it comes to any meeting in Procreate five. So remember when I was talking and saying that each layer equals a frame? So what if you actually want to have multiple layers in one frame? For example, what if you had a main character running on a brown plain and behind there was some mountains. These are all elements, different elements that, as we illustrate here on procreate, if you have any experience during appropriate, you probably know that we like to break it down into layers so we don't have to. For example, if you're drawing the character, you need to draw what's behind the character in this case, the mountains. And if everything is in one layer and your any meeting it, it's going to look. And it's going to be quite a bit of hard work in order to paint, repaint the mountain as the character moves to us to say from left to right. So how does procreate actually solves this problem? How can you have multiple elements into one frame? We're while now in this file here we still have the same premise. We have the A, B and C letters, but now we have groups and basically inside groups. As you can see, we have all these separate elements, so when I click play, it's actually playing correctly. We can see the A, B and C letters separated each on its train, and they have multiple elements. Well, that is because basically procreate understands that each group equals afraid. So in a nutshell, each layer equals a frame, and also each group equals a frame That is, in the case that you can have just layers. So it in this case, I'm just gonna make something here between B and C. I'm actually just going to choose. Let's just see this color. I'm gonna use the studio pan at a little thickness. It's so I make like a circle not gonna be too careful about it about it. But now if I play, you see that this animation, now it's going through groups, goes through a single layer and back to a group. So procreate really understands that each layer equals a frame as well. A a swell as that each group equals afraid so this solves some of our problems here, which again is the case of half having multiple layers. So now I'm going to jump onto another file as I want to continue to show some of the fundamentals off animating and procreate. So no playing this file here, you'll see more or less what I was just saying on the previous file scene where we have an object travelling from left to right. We have a floor plane, have some mountains. So if I paused his animation, um and I just opened the layers panel here. The layers panel is really where you can see the contents of each layer. And here on the timeline, it just really helps you in order to add frames, keep drawing and making changes. But really, if you want to get down to looking at the contents off each rain, you do have to open the layers panel. So if I open one of these layers one of these layers here, one of these groups, I can see that we have the background layer. I'm just going to once again story. I'm just going to turn off onion skin. We can see the mountains, we see our floor and ah, were, uh, our hero here that's moving left to right is actually one of the last frame. So maybe I'll just go somewhere in between Over here. I think it's probably gonna be better. So once again have mountains. We have the floor and we have the square. So as you can see in each group, I actually had to duplicate the mountains the floor in the traveling square and that goes for every single group or every single frame. So what's happening here, as we know, is that we we know that procreate has a limitation in terms off number off layers. And that actually varies depending on your iPad, your iPad model in your iPad capacity. So the problem with this technique here is that by having a limited number of layers, because we're actually duplicating the background and the foreground layer. As you know, I was just saying that each group equals a frame. We need to have these elements multiplied if we want to keep having the background on site . If I just turn off the background for less, you see this layer here. And if I were to play the animation you see a pop, you see that the mountains are actually popping. That is because the mountains are not there in just one of the groups. So how that procreate actually solved this problem and pipe problem? What I'm just trying to say is that you're actually spending layers that you could be spending on your on your hero animation. Your spending these layers by actually just having to have the mountain and the floor layer because those are the Constance off your animation. So now we are going to go into another file, which I'll just open here just so you can see. And once again, we're just gonna be going back and forth here in the little in between files so I can show you all of the features. So now if I played this file right here, this is actually the final animation off a bouncing ball that I just worked a couple months ago, testing the capabilities off the animation assistant Procreate five. As against you here Definitely fuel a pop that's happening on the background kind of flashes for a frame. And that is because my very first frame looks like my background, and my very last frame looks like a foreground element. So basically, procreate has allowed us to, in a way that we're constructing our animation, the very first frame, or layer or group. You can actually set it here to be a background. Curiously enough, on the beta version, you could actually click on the layer here, and you could set it to background. Procreate has removed that and I think where they're trying to do is to synthesize things so that these options are mainly on Lee here on the bottom timeline. So now that I've set this us my background when they play the animation, although I have just one layer form for my background, it is what replicated throughout the whole animation, those saving me lots and lots off layers. So now we're seeing another pop, and that is now coming from my foreground layer. So now we're gonna pause again the animation We're gonna go back to the very first layer here to the top, most layer. And once again, as I said, these options air here on Lee on the U Y on the timeline here at the bottom. So we're gonna click on this layer, and we're going to select foreground. So now when I play the animation, I have both my background and foreground throughout the whole animation, which is really, really helpful and just saved me tons and tons of layers. So now let's hop into the beginnings off this animation here, which was the planning stage, the planning stage off our bouncing ball. I've actually done just without lines as it was just trying to get the motion right. So if I go here into settings, there are was again. You have the frames per second. You have the owning skin frames and a few more options. So let's now go through these options as you will be able to visualize them a little bit better. So onion skin frames. I'm gonna leave it about six so you can really see what's happening here. As I've mentioned with onion skin frames, you can see the number of frames before the current frame and a number of frames after the current frame. So right now we're looking at six frames before the current frame. Six frames after the garden frame. You're passively square high, so I'm just gonna turn it down just a little bit. I'm gonna leave it about 75%. And now was again if I set the primary frame. If I If I asked to be blended, you see that it actually also gets colored. So I'm just gonna have this off. So I really understand that my current frame is the black outline, and finally I can ask to caller the secondary frames. I do find this option really helpful, but sometimes it can create some challenges. So I just want to show you the without coloring the secondary frames that before and after . You can really see the six dreams before six frames after Justin Gray scale. Now, if I choose to call a second airframes, you really see that the frames before the current frame are red frames after the current frame are set to green. What I was just saying that it can create a bit of a challenge is that if your animation actually at this stage, if you aren't if you our animation actually uses green or uses red, it actually can get a bit confusing. For example, if I select our current frame and I'm just going to select the outline here, let's just say that I'm actually going to pick a green collar and I'm just gonna hit Phil. So if you look at the animation right now, even though I do not have the option to blend primary frames, my current frame is set to green, so he makes it a little bit complicated to understand which frame is actually the current frame. So in a nutshell, when you're planning our animation, I would actually recommend you to not use red or use green. If you do want to use this option off coloring these secondary frames, just keep your outlines. Just keep playing your animation with black outlines or white outlines on a black background, but try not to use red or green. So I'm just gonna do that and keep the outline black. And finally, one thing that you can also do on this timeline. He's gonna go back here. There are three modes to actually play your animation. One mode is just the one shot, and that is really good if you have really long timelines, so you don't really need to see that at that time line playing over and over. Then we have the loop animation, which is really good if you are planning to actually make looping GIFs making looping, short, looping animations for your instagram and other social media. And we also have pink phone, which goes from first frame Teoh last frame and then bounces back from last frame to first rain. It is also very interesting way off watching the animation because watching it backwards may give you also some ideas on what are the things that you could do a little bit better? And finally, one less thing. I just want to go back into you, our master file or final file in the bouncing ball. You can also within these options. Let's just say as you're playing this animation, you want this rain here. I'm just going to the elite. This frame seems to be an empty frame. Now, on this frame, I can click on it and I can duplicate the frame which will create more layers. But I think even smarter I can hold a frame for whatever frame duration that I want to select. You say eight frames. So now when I played animation, the final frame is being held by eight frames with in a way that actually saves some memory from procreate, the appropriate file size as well, and just one less thing as well. You can get any like many layer, for example, this one right here I can raise it from the timeline and it gonna slide it, and I can place it anywhere you want by just dropping it. In this off course, be careful as this takes the animation out off place per se, but procreate allows you to use using multiple gestures. It allows you to actually reorganize the frames. Now for your next lesson. Let's take a look in your project assignment and as well as what other ways and shortcuts we can use to make some really interesting animations in pro create five. 11. References For Your Class Assignment: now for your project assignment. I'd like you to take all of the knowledge that you've acquired from Procreate Five and actually think often animation that you will like to create. We're going to go through here a few examples, and I just want to show you a few other ways and shortcuts you can use to create some very different animation ideas. For example, on this one right here that you see on the screen. This is an animation that is actually done with layer masks. It's a simple cycle of the moon, and the weight that have actually broken down these into layers. Just so I can show you is by using the group's technique in a way that on every frame, if I just go to a frame right here, I have a layer mask that is actually obscuring the moon. So by using this technique, I actually just duplicated the moon. It's the same asset. I'm just gonna put this to the site so I can see a little better, and it's on Lee. Using a masking later in this game is just a simple circle to actually create all of all of the different phases off the moon and then finally have a foreground. Later, it's gonna zoom out a little bit more so you can see I just have a foreground layer. That's only here to give some visual interest and as well as its checked here as foreground , and I have a background layer, so I'm just gonna turn it off so you can see what it looks like. And I actually also have to turn off my foreground. So my background layer is just a plain blue background. It's gonna set it back as a back room here in the stars are actually inside each layer because also, as you can see, they are twinkling and, um, any meeting on and off. So this is one of the ideas that you can actually use as as a shortcut. You can use layer masks in order to create your animation. You may also decide to actually make your animation with just a moving object on the screen . In the six simple right here, I have a moving circle that's using the concept off anticipation, meaning there's a few frames at the beginning and at the end off this animation, which are being grouped which gives the feeling that there is a bit of a breaking point of the very end and a bit of are ramping up at the beginning of this animation. And now if I open the later stages off this animation just to show you what's happening. And then as the animation evolved, I've started to draw some trails. It's a really interesting, colorful trails. So then finally, at the last stage of this animation, I did a little bit of floor a background, and I made sure that the background was a bit darker so that the trails would jump out in terms of colors. You may want to create a bouncing ball animation by just having a ball bouncing at the center of the screen. It doesn't really have to travel from left to right. And finally, you may want to create something really, really splashy, like this one, this animation that I was just working for the release of procreate five. I just wanted to some fan art animation where I've actually created this in three D, and it was rotoscoping, every frame with a different art direction. So with that, I've actually created some really nice really cool frames. And once you play because the elements are the same is just the art art direction that change is it actually creates this really striking effect. So in the natural, there are many, many ways to actually animate things and procreate. And I would love to see what you can come up with. I can't wait to see what you can create with the animation of Sistol in Procreate five. 12. Conclusion And Graduation Day: Hi there and congratulations and finishing the course. What's new on Procreate five. The Complete Guide By now, we should have all the necessary knowledge and information in order for you to make your next illustration and your next animation. We have covered all of the fundamentals that came with the new version off Procreate five and we've seen the transition from Procreate 4 to 5. We've taken a look at the new adjustments, such as the clone tool. We've also taken a look at the color at the new color picker, the color harmony tool We've seen how to actually use the powerful brush studio and also how to use the new and advanced animation assist on Procreate Five. Now I can't wait to see what you can create in this version off procreate. Thank you so much for watching and we'll see you on the next Joe