Introduction to Procreate on the iPad - Understanding the App

1. Skillshare Promo Video: Hello, everyone. I'm Robert Marcelo, and welcome to my class intro to procreate on the iPad In this class, I'm gonna walk you through the interface and controls of procreate and all the gestures in command so that you're ready to start creating dynamic art. We're going to talk about all the important features, like the selection tools, layers, the blending modes, how to define and set up brushes, how to adjust your pressure curve, all the things that will get you to where you're more comfortable with this app so that you can draw and paint effectively. Please keep in mind to this is sort of a preparatory class, so you can head over to my other lessons where you'll actually utilize this app and create some dynamic artwork. And you could submit a project filed there. So I hope you enjoy these lessons. I'd love to know what you think, and as always, keep drawn, keep having fun, and I will talk to you soon. 2. L1 Understanding the Device: Okay, so now we're gonna do is first talk a little bit about setting things up on before we even get into that. I guess what we should do is address the what exactly you're seeing here just so you can compare apples to apples. So, for instance, if years in just an iPad you might use a different stylist, I'm gonna be using the apple pencil I before I get started with this. And this is the iPad Pro 1 20 gig. Before I worked up to this, I started with an iPad two and ah, regular like stylist with the bulbous kind of soft tip. I was able to get a lot done with that. I was even able to get a lot done with, like, finger painting methods. And I'll talk about those as well. So work up to this. If you don't have us, it doesn't mean you're not gonna be able to learn and follow along. You're just not gonna have maybe the efficiency and effectiveness that I get with this. But again, keep in mind that I was able to start with that previous set up, maybe even trace some of the artwork from that I was still able to get some pretty nice art . It just takes some more zooming in and refinement and using layers to your advantage and stuff like that. So we'll talk about that also, What you're looking at here is I have a case on it. Ah, this is ah, like a Beetle case or something like that is just a protective case. You know, there's lots on the market. You just research those. The beauty of these is that if you drop your not so awfully worried about it, uh, worried about it and a lot of them have, like, a kick stand in the back that lifts it up. If you like that. So it gives you some different options there. Mainly, the protection is what I wanted. And then as faras the cover. This is a tech armor satin finish, anti glare cover. You see that when it's lit up, Hopefully you can notice there. It's still very busy visually there. It doesn't. There's probably some degradation of overall quality, but it's very my new. It's very great and it's it's just awesome for the grip that you get when working with this and the fact that, you know, you get that out of protection again. I'm very concerned with protecting a device like this eso with that that tells you exactly what I'm using here. So the apple pencil, the case, the satin finish cover. And again, the 1 28 gig, which is just gonna be more storage. Keep in mind, though, a lot of times with these devices you're not looking to store a huge amount of data on these. You want to get used to using things like Dropbox or Google Drive or whatever. I use dropbox. Whatever is most effective in your workflow. But you want to store things on a cloud and it gives you more accessibility. And you're not worried too much about filling up the the hard drive of this, for instance, so s so it is what it is. So now let's Ah, let's jump into it. So hopefully you've got procreate installed and just tap to like on there you get a plethora of your images. If you've worked on a bunch of stuff like I have and we're going to start off by just creating a document so it's gonna be the plus, I kind of the top, right? And I'm basically gonna work through a lot of this with you, like I'm working on a project pile. But well, obviously deviate and talk about some specific things as it pertains to, you know, your productivity and stuff like that. So eso basically, you could see I've got a lot of different options in here that I've already kind of saved presets so you can create a custom size. You could go with one of these. You're gonna have a bunch that a preset. I think the four K was already in their four kids. Just like it sounds. Four k video already set to that that speck or whatever. I typically will work like nine by 16 if I'm talking. Inches 19 by 20 by 10. 80 is like regular HD video, I think, and I'll double that. Sometimes eso if you noticed my comic practices actually that size but doubled because I just want that added, You know, it's almost like a four K or something to that scale. Um, so, essentially, if we go in there and we say Let's just start with this direction, let's create a custom size just So you're aware of some of the other things. So if you want to create your own size, you're getting in there and you're gonna do, like, you know, book cover or whatever it is you're gonna dio. What's neat about this is as you generate the file, it also tells you the amount of layers, which can be very important if you need a set amount of layers to be functional. I generally don't work with anyone anywhere near 128 layers, but also this file sizes pretty small for what I generally work with then so you can change your color mode. Your DP. I entitle it right there. You know whatever you prefer to work in, you know, you could do inches or pixels those the two that I use. And let's say we're gonna do interest here, and we'll just do I'll do like a comic book page size, which I typically work at for my comic production with Will Go 11 height 17 and just like that, you know, we put type of right here comic panel like that, and we had 11 by 17. We got our DP. I I generally will work at 300 DP, Iet that size you can go to 600 or something higher. But you know, you want to keep in mind like again. You could see it jumped down the maximum layers to 27. That's probably about right. That's a pretty good size file right there. So with that, I would just hit, create. And just like that, we've got our document. I'm gonna get into things like pinch controls and gesture controls and things. But I want to let you know that I leave my palm rejection disabled with this particular device. Now, if you are this particular stylist now, if you're using a different style issue may want Palm rejection Mawr. This actually does pretty well by itself in conjunction with the iPad Pro, so I don't need to worry too much about Palm rejection eso It gives me this ability to pension zoom, which allows me to work very quickly. Um, so what? That that gives you the basic overall starting point of creating a document and let's go ahead and jump into some of the other settings. With that, let's go and move on to the next lesson 3. L2 Adjusting the Sytlus: Okay, so now we're gonna talk about getting the stylist ready. So one thing I will say is with the apple pencil, you're not gonna have to do much of anything. They just seem to work. The only thing you really have to do is basically take the apple pencil and, you know, connect it and it'll it'll run you through some prompts there for connecting. But as's far as it goes, um, and what they will say what? This is that it actually charges really quickly. Ah, and if you need a quick charge, you can plug it in, and within about 30 seconds, it will give you I think it's 30 minutes of use or its 18 seconds. But it's basically ah, quick charge. It'll still give you time to finish up your work, save your files and move on. And likewise with that, as far as saving your files go, just keep in mind. Every time you go back to the gallery, it'll pretty much capture where you're at, so you don't actually have to goto like file save or anything like that. But I do that I'll shift to the gallery every so often to make sure that I'm kind of saving the work. Um, so now was setting up the stylist. You're gonna go into your gear icon here, and you're going to go up to our down to connect third party stylists. Okay, so this is gonna be if you're not using an apple pencil and you see right here, it's gonna tell you that if you using the apple pencil, there's no need to connect. Ah, but you can use things like did Don it, Pogo and Wycombe's got one so you can basically go with any of those. And this is where you're gonna set those up. Now, obviously, I don't have any of these devices to use, but it's gonna be pretty self explanatory. That's one of the neat things about the iPad and devices like this and APS there. They're pretty much a walk through. Um, but, you know, you're gonna have to connect it and then set it up through here. So again, if use an apple pencil, we're just gonna leave that to none. The other thing I will talk to you about is the, um, the pressure curve. So this pressure curve also effects how any of these thes, um, styluses work based upon them having pressure sensitivity controls. So if I was to take, I'll show what pencil amusing here. It's a modified technical pencil. I'll make sure that any of the brushes that I have now that I utilized in this course will be supplied to you so that you have the same settings because I do make a lot of setting changes to my brushes. So I want to make sure using the same ones. So with the technical pencil, if I was to bear down, let's put it right to about the middle. Ah, setting. And it will give you do with the other hand so you can see what it's saying there. It's saying about 20% of the size full capacity. Okay, So if I was to draw with this and lightly pressed down and then press down as hard as I can't based on this file size, that's what you're going to get. So remember that based on the file size, the brush can look very different. So it got to be working with the same file size that I started with here. Um, so again, I'll do that one more time. That's with heavy max pressure. So with light pressure, almost nothing of the weight of the pencil. Okay, and you see if I start to turn the pencil to the side, I get a thicker line. That's the other neat thing about this type of style is that it recognises tilt, and it gives you line variation based on that as well. I typically draw more or less with the pencil up the entire time, but it's there if you need it. We'll talk about that as we apply paint and things like that. So knowing that this is what you get with your pressure, you can go back into your pressure curve and you can modify this. Now I will recommend using a brush. Let's let's get back out of here. Remember to finger tapas, undo or if you got a lot of stuff on the screen, three Finger tap is afford or radio. You got a lot of stuff on the screen. You just want to get rid of it. I'll do a three finger swipe down and just hit cut, so it's just a quick way to kind of get it out of your way. that having a select or race or anything like that, Let's go to a brush that has more variation. So let's go to inking and ah, my sword brushes One of my favorites. Franking. Can I make sure you have access to these eso? Now, if we do this, let's turn this sucker all the way up. Just so we got a lot of variation there. Okay, so this is if we were trying to get this nice brush kind of effect with the very thin to a very thick paper line. Okay, so now the reason why I recommend doing something like this is now when you do the pressure curve, you're gonna see the difference. So we pull this way down like this, and I try to recreate the same thing. Look how much difference there is. And I tried to apply the same pressure there. So a huge difference in what the pressure curve means for the way that it reacts here. I'm gonna be able to get almost no thin line. So right about here is where I found it to work. You have to play with this and see, and I can't decide this one for you because basically, we all create very differently on this is gonna be based upon the strength of your hand and how you utilize your own strength with the device and this stylist. But that's another way to adjust it. So I just want you to be aware of that. Okay? Now, keep in mind too, with the pressure curve. You know, you obviously also have the option to pull this forward and back, so you're gonna want to test that as well. The best way is gonna be to do incremental adjustments and the test set, and you're also gonna want to test that based upon the brushes that you use. For instance, I have this kind of set for what I like to draw on in quit and then, you know, maybe painting isn't as accurate as I like, But you gotta find that happy medium. We're not having a constantly justice, or you just get very good at utilizing this and making the adjustments rather quickly. You also want to be aware of the speed in which you create the mark. You know, a lot of times you're gonna get a smoother line by a quick stroke like that. Eso you want to test all these different things in conjunction with one another on really kind of figure out what works best for your style of creation. Again, it's probably gonna be a bit different if you're thinking a comic versus digital, paying a character, something like that. So the other thing before we go on to the next lesson, I just wanted to be aware there is another setting inside of the brushes themselves. So when you go to the brush itself, you click that you're gonna get all these plethora of other options. We're gonna talk about some of these as they pertained to what we create. But keep in mind that there's a bunch of other settings under pencil right here. So as you go through all these different options when you're creating brushes and we're gonna do a section where we create some brushes and talk about this But you can see that you have a pencil option here that relates to the apple pencil in this case and then you condone, you know, adjust some of these settings based on angle opacity, gradation. I mean, those are all pretty cut and dry size compression. I guess we contest that real quick. So if I was to do a stroke across the screen like that tiger of us off to another one, you know, I'll be honest. I don't see a whole lot of difference other than it. Well, I could have just been the way I did the brush, so it felt like it tapered off there. But I'll tell you, I always adjust something and then shifted back for fear that I might just too many things in the not map where I'm going. Eso just be very aware that, you know, you're just gonna have to test season, see what works best. But again, a lot of them are pretty cut and dry opacity and gradation, angle of the tilt, things like that. And then also it's gonna generally, in most cases, as you adjust this, it's going to give you a visual guide appear as well as to what it is doing so we could adjust the pressure setting toe the size, see what that does for us. It was kind of the same, and a lot of times I will go pretty dramatic, but again, paying attention to what exactly? I'm shifting, not just shifting it and definitely not just leaving it and then shifting something else. It's a great way toe kind of back yourself in a corner. I like having the max ability to taper it. So make sure gonna put that all the way up as it pertains to inking. Because generally I want a nice thin line to the, you know, the ads, the taper that I like when I do my cross hatching and things like that. So some of these lessons we're gonna kind of overlap parts of what you see in here, and we're gonna do some that are screen grabs after I explain enough of the gesture controls and kind of how this functions, because I think it will be more conducive with lessons that I'm gonna give you. So with that, let's move on to the next lesson. 4. L3 Using Advanced Gesture Controls: Okay, so now we're going to get into the Advanced Gesture Control. So we're gonna go to the gear icon here, and we're just going to click here to advance gesture controls. We don't the bottom and you notice that this also gives us a lot of selections on choices for even the apple pencil. The way that the touch gestures react, I dropped her tool in quick menu. So we're going to start here. So with apple pencil, you can have it to where it does just a specific thing or selected tool, which will have it do everything. That's the way that I like to use it. Ah, you can play around with us and do what you like, but I like for the apple pencil to be able to do everything. But as it pertains to the touch options I like toe only use gestures. And the reason being is that if you haven't say selected tool and you get out of here and you start, you know we'll see painting something or whatever. If you accidentally make a mark with your hand, you're gonna gonna accidentally right on that. Okay, so sometimes you're moving the screen and trying to work pretty fast. It may interpret that as you trying to make a mark with your finger. Now, if you're trying to finger paint, that's great. But if not, you may want to disable that. So what I tend to do is leave that the gestures only because it's gonna give me the ability to paint and then quickly moved the screen around without making a mark so I can't can't get it to make a mark now. So that's just the way I like to work. But again, you know, kind of mess around these and see what works best in your own workflow. Now, as far as the eyedropper tool, you just have to be aware that if you select touch, it's gonna disable the gestures only over there, so they're basically conflicting. What it boils down to is that if you have touched set here and you go back to utilize it, you're not really gonna get the color. You're going to get it more like almost a swiping passion to see if I just click it's gonna get, but it's actually doing it more off the touch, so if you see it's immediately jumping on their without the millisecond response time so that if you go back here and you take away touch or if you do gestures only because again, I think this is more important to have you're still going to get the touch and hold effect right there. So say that you put down some color, he paid something down, and we'll put down another natural color like some red and say you want to sample that middle tone right there. You still have your gesture controls to zoom in. If you swipe right across screen, you're not going to get that selection tool until you click and hold like that. And then from there you move it around and you get just the right color you want. And it will bring that color to your swatch up there ready to go. So just be aware that that's kind of the change that it's gonna have by having gestures here. It's gonna eliminate touch there, and middle cycle response time is gonna be how long it takes as you touch and hold to get that to activate. If you find it accidentally activating too soon, then obviously you have to just that with the quick menu. Same thing for the millisecond response time there. But you enable it here. And you see, it took out gesture controls here because we have touch here so we can do touch and hold, put gesture controls back on and touch and hold their well, it's gonna conflict now with here. So you have to kind of pick and choose your battles as faras which one you want? You can also dio tap the center icon. So if you put tap right there, it's gonna disable it there. We've kept our gesture controls there. So now we should have everything we need. Let's jump out of here kind of test that. So if you click and hold, there's your selection. But notice that you won't get your your quick menu that it was talking about. I don't use this like quick menu. Ah, but you can get to that by clicking here now, just like that. So you basically defined this button right there as a quick menu. So and you know it's going to be some nice options, like flip horizontally, vertically, generally as much. But he's flipped horizontally a lot and another way to get to that is to go to the gear icon under canvas and you got flip horizontally right there as well. So very important. So that will give us some working knowledge of the gesture. Controls will now move on to the next lesson, so let's press on. 5. L4 Importing an Image File: So now we're gonna talk about importing a file into the iPad and to procreate. So there's a couple ways to do this. We go back to the gear icon, you start with the image on the very left here and sort of file. And when you go into this, it's gonna open up. This is more the the way that I would utilize it to pull from the drop box. You can obviously pull from the iPad and things like that, but I am gonna kind of encourage you to some sort of external device or storage because it just it frees up. Um, the space on your device, which is important on it, just becomes a little bit easier once you get in the habit of doing it. Ah, and you know, you've got access to your files everywhere, I guess. Provided the heavy on my connection. You can emit download once they're inside, procreate and do whatever you need, Teoh. So you can basically click one of these and you're gonna see it download first, because again, it's not actually stored on the device, and it's gonna import it into the screen. Nothing that I would say you need to probably worry about here is make sure the file sizes ample enough so that when it imports end of this, it doesn't have any loss of quality. You can check that by you, get it back on the screen. There two clicks to go back. Come on or forward. I guess. Eso it, zoom in and check that. That's about right. It's about where the quality is on my little over. Dude, there s That's not too awfully bad. But if you have a smaller file size originally established, it may have a loss quality as as an import sense. So just be aware that I'll show you another way where that's not gonna matter. Insert a photo so you can do this off, going to your camera roll or whatever. I've got one from Selfies because my my son likes to take pictures of themselves. Their eso here, you got a camera wall and I could pick any one of these will pick this little monster dude and you see, you can quickly select it and resize it and do whatever again you could check the quality of it. That's about where it was. This was kind of a loose painting. Eso there's that. There's another way to import right there. You also have taken a photo, which is this is actually just gonna access the camera that's on the device. So that's Ah, it's face down. So I'm going to see much there now, the other way that I want to show you. So you have you ever say things that cut, cut, copy, copy, canvas paste, things like that. Such as your copy and paged options, which are pretty standard and almost anything on. I'll show you how to do that with selection tools as we progress as well. But the other way I want to show you how to utilize the import feature is to go right into Dropbox. So obviously, this is gonna be different if using a different being, like Google Drive or whatever. But what kind of need here is it when you go into Dropbox and I've got a cold already designated Ah ipad art files. I can select either one of these and I can import it by going to this. Ah, seals three little dots in the top. Right click that and you're actually gonna export so What it's saying is you're exporting from your dropbox for your online storage, so it's still in import, but it has to export it first. From here, you'll see what I mean. So eso then what you want to do is open an app. That's this little icon here you're gonna see it's gonna export it from the Dropbox now. So a way for them. And then you see, I've got the icon already set up here. You can set up whatever programs you like to use. Um, you know, you may have to first designate by going to Mawr and then accessing. You got to tell the iPad ah, to allow you access to, you know, bring it in into here. But it's pretty easy. And then add the procreate. Now, the beauty of doing it this way is it's gonna actually create a new document inside appropriate. So you see, it didn't even take us out of this interface, would jump back out of here, going to procreate. You see, it did something, but we're still in the document we were already in. So let's go back to gallery. And there it is right there. So the beauty of this. If you notice it's got the pixel data, it actually imported it at the exact size. So there's not gonna be any loss of quality. It is what it is. So just be aware that that's another way. If you're tryingto make sure that you get exactly the same file, that's probably the means you want to take so that you're not mistakenly jumping down or maybe increasing the size. So it's important if you're working on, say, a client document or something like that, and you need to keep that pixel data or resolution exactly where it waas. So that should be it for, uh, for imports image. And then we'll now ah, jump over to canvas and talk a little bit more about that. Ah, that's pretty basically will address along with this is using the perspective guides. So with that, let's move on to the next lesson 6. L5 Using the Perspective Tool: So now we're going to talk about the perspective guides. And you see, we also got flip cameras horizontally and vertically like Remember, we've also designated that two that quick button here s that does that as well. So you get to that both ways. I always think that's a great sign of a well designed application, our program or software. When there's multiple things to achieve whatever you looking for so that you've got options , you know you can make it work as you prefer. But what the perspective guide, I will tell you that this is one of the best, if not the best perspective guide set ups I've ever used on. I've used a few of them. Let me show you how this works. So I think we'll just go ahead and define the new canvas because we want something that we can see and probably something ah, that's more horizontal. So let's go to comic practice. Ah, size There and again, I'll make sure any of these documents sizes everything is just available to you, so it's easier to follow. So when doing this, the great thing about the perspective guide, you just title it on right here and you go to edit perspective guide. It's gonna pan this back for you, and you just basically tap on the screen and define ah, horizontal line and a vanishing point or horizon line, I should say in your vanishing point. So if you were to zoom in to figure pension pole, you can see these lines converging to the vanishing point off canvas, and you can move this by simply clicking here and moving it around. You can click here and adjust the horizon line to a tell. I don't really do that, and I'll explain a little bit as I go. Why don't particularly do that? But there's instances where that could be, I'm sure usable. And then when you go to define your second vanishing point because you're almost always going to use probably a two, I'd say 11 point. Perspectives are pretty common. I do a lot of two point perspectives, so you're just gonna click on the canvas where you want the other one and again you can maneuver. These were we need Teoh. I try not to move the, um, the horizon line, and you can still use your two finger tap for undue three finger tap for redo. Obviously you've got him right down here as well. And then if you want to add 1/3 for that really dramatic kind of upshot to a building or whatever it is you're trying to create, you can do that with 33 perspectives or three vanishing points. And again, you can just move those around and check it visually like that. So once you've got these into place, we'll just go with two. Ah, you can hit done. Gonna lock those into place. Now you can just use these visually and start drawing away. In fact, this is actually how start with almost anything that ideo I'll just do a really fancy building for you here and that. Pretty cool. But I'll start with a sketch. And the reason why is because I feel like you get Maura the creativity into it, just like thumb nailing. You want a rough sketch things in before you really going to start tightening them up? So if you like in your perspective, grid snapping or whatever, you might get a little bit too much tense feeling to the buildings, which seems a bit weird right, like buildings being that tense. But you'll notice that as you start to get better at drawing buildings and I use less more brushed, you'll start to be better. When you free hand a lot of things, you'll get a little bit more creativity in there. So it's just one of the ways that work. I'm not going to get too much into drawing Ah, perspective here because it takes a while to do this. But let's just go ahead and get that out of the way. And let's just draw one click quick little structure here, a little bit cleaner than what I did there and explain basically the way this would work. So say you get your nice little sketch in there for your building something like that, and make a little darker so you can see it. It doesn't have to be perfect, but it's got the general idea of whatever it is you're trying to get on the page. Then you can go over to layer. I'll generally make a new layer, and you can tap here. And then now click perspective. Assists. Okay, so now what's gonna happen? The same thing. But it's going to snap to the perspective, and you could see how awfully bad my, ah, my rough sketch waas. But one of things I'll say about this software is it. It seems to do really well at locking in the lines. You'll you'll do a mis step line every now and then, but it's ah, does a pretty good job in interpreting the direction that you're going and hitting the mark . I've used a lot of different software's like this, that do perspective and they snap improper. Ah, improperly, quite a bit like that, right? There was a missing that. But I blame myself on that one, and what I've noticed is you wanna pull kind of over accentuate the pole to the vanishing point. You'll miss snap a little bit less now. The other thing, that's really great, and we'll get into this more. This software also has a snap to feature, so if I hold this line for a few seconds, it snaps to a straight line. It kind of bypasses the perspective snap, and you can do things like this really quickly where you confined center, so really need for perspective drawing. It's just ah, it's a Miss snaps. You'll start to get better at reading it when it doesn't hit, and you just quickly undo redraw the line. Eso this snap to line can be really powerful along with the the perspective grid. Now the other neat thing about the perspective grid on I think this is This might be the only program I found this toe work, but you see it Perspective guide right there. Title that off and you would think Well, now the perspective guys not on it can draw any which way I want. No, it's still snapped to the perspective lines like so it's just not visually in the way. So that's really versatile because sometimes you want that where you want it out of out of your way. But you still want the ability to ah, you know, to be on those guides, um, a little bit less visually intrusive, I guess. And then you can just quickly go over here, take it off, and then, once you've got enough of your basic grid in place, you can start to draw freehand and maybe loosen up some of the details and get in the roughness of the bricks or whatever it is you're trying to achieve. So there's There's a lot of versatility with this perspective guide on That's how I use it , and I find it to be again one of the most effective ones that I've used again. You've got the flip horizontally and vertically, which I recommend for checking in the work. Um, not so much in perspective, but it's probably a good habit to get into just regardless helps you spot things like improper symmetry and faces and, ah, you know, just composition errors, things like that. So that's about it for the cameras. So now we'll move on to the next lesson. 7. L6 Exporting Image Files: Okay, so now let's talk about saving out files. So you've created this artwork and you want to share it with world. So you go to your gear icon, go to share and notice you've got lots of different file types to choose from. All the popular ones supports layered PSD is which is awesome. We'll show you how to do that. Typically, you're gonna share something like a J peg. And if you save to this icon here, you're saving to the iPad itself, which will be like your camera roll or something like that Saved files. If you click here, you actually going to save this into more the document file of the app file? So basically, if you go toe on my ipad, he would do procreate, and it would save right into appropriate folder s. So that's one way. So it's still on the device. I didn't say that one out. Obviously, the one I like to do the most is well, generally use the Dropbox. But I assure you that with the PSD, I'll generally just go save image right here. Says export successful. So then, if I go back to say gallery and now you want to load it into this file, which really, you can just copy and paste from section to section. But you would go right here. Go Image concert. A photo. You're gonna find that under camera roll have already kind of tested it. So it's right there. So simple is that as faras saving it to the device and then later importing it. So also, it supports PS teas, which is fantastic because taken industry standard. So if you work in the field professional, you're gonna deal with PSC's at some point tips as well. But PSD is very important. So let's go to gallery. What kind of test that for you will go to this one will just create a quick, uh, layered file. So add a new layer by clicking that plus icon draw out of shape. I just do like a circle here and fill it with a red, and we'll talk more about how to do this. So don't pay too much attention that I just want to make a layered file. So now we're gonna export this and let's do share PSD, and I'm gonna use the drop box this time, so click that and it's gonna save. Probably take a minute to do this. IPad Art files. You can name it here. Maybe. Ah, give it an alternate name. So you don't confuse it with anything else. Uh, just given a numerical value like that could save. It's gonna take a minute because it's actually having to, you know, uploaded. So now it is using the cloud space versus using the I don't know if you call these hard drives with the storage space on the iPad when we go and pause the video because this may take a moment to complete, okay? And we're back. So it did take about 20 seconds to upload that, but psd zehr gonna take a bit longer cause they're just they're layered and, you know, they don't compress like J pegs. So basically, let's jump out of here. Now we're gonna want to load this separately to make sure it preserved are layered files. So let's go to Dropbox iPad art files. And there's that numeric value to We're gonna click on that. There's our little perfect red circle and let's go ahead and click here, export open an app. I may take a second to you know, this is going to depend on your Internet speed. What? You're running in that kind of thing. Time a day, all that fun stuff and no. So it helps. If you just kind of push it like then No. Does nothing at all but trying to kill some time here because I don't want to stop the video again. Come on, you can do it. We're almost there and were there. Okay, so now again, you're not going to see it in here so much. We jump out of here, go to the procreate app and waiting. Is this it? No. That was the one we had before. No, I didn't load that time. Interesting. Let's try it one more time. Generally, it works on the first try. Maybe I did something wrong there. Let's try it one more time before I Yeah, not load. Okay, let's do it again. And I'm not gonna edit this out because you need to see it for what it is. So we're going to try this again. So we're gonna export this. Let's go back there on this file. Export open an procreate. And I think that it's Ah well, there goes importing. Okay. Not sure what happened there. I'm sure if I do the playback, maybe I'll see it. But, uh regardless, you know, if it takes wanted to try, as I guess. But generally it happens on the first try. There s Oh, now let's check the layer. And sure enough, there's are separate layer, so it preserve the layer. Attributes of the PSD is now One thing I won't notice with transfer and PSD is with almost any program. There's certain things that won't transfer properly. Haven't fully tested that here. But I would assume that the perspective guides would not transfer. So certain things like lack transparency on We'll talk more about that. As we progress. We'll transfer, find so certain layer tributes sometimes like the blending modes of the layers. Well, sometimes transfer fine. And then other things will not. So just be aware that you kind of have to test it. You really figure it out based upon your workflow. But perspective, guys, I'm almost assuming every time will not transfer because some programs like Photoshopped friends. It just does not have perspective guides, so it makes sense that it's not gonna be able to translate that information and I'll just get lost may even keep a layer with the same name. But it won't transfer the perspective guide, since it doesn't have that technology s. So there's that. So that should give you the options to save out different file types and also how to import them and understand a little bit about what goes into the layers. With that, let's move on to the next lesson. 8. L7 Exporting a Time Lapsed Video: Okay, so now, for one of my personal favorites of this sauce application is its ability to create movies within the APP, so it saves out the workflow. So I utilize this a lot. Maybe, you know, maybe don't. But I do a lot of stuff on YouTube, and this is a great way to share the content. In fact, I'll create these videos and share him all over the place. Facebook, YouTube, whatever, um, tells us create a quick face here, and it's not gonna be very structured. So I'm just doing this for ah, speed sake. So it'll be a little bit off if you want more symmetry and things like that and you use a little bit more structure, but it would be a little bit more animated just quick. And typically, I like to do screen grabs of this because when I show the drawing process because my hands not in the way But that's really the neat thing about these types of videos because does that for you There is there. Is there a little character? Oh, happy person and was sure so he doesn't get cold. Okay, so, yes. So there's there's my quick sketch. Forgive. Forgive it. I could refine this or whatever. Uh oh, yes. So if we go to time lapse replay, well, it's gonna show us the stuff we sketched. I'm thinking the previous example, but hey, it's fine. You see, there's ah, Pittis scribbles in there, but that's the time lapse replay, okay? And you could crop out just to the end, not inside of here, but when you go to do your video editing, but it gives you that replay, And so then what you can do is you can export that time lapse. You can also do a live broadcast. All haven't messed with that a whole lot because I use different Softwares to do Ah, live broadcasts or whatever, but, um, but it does have the option. So I'm interested to see ah, you know, explore that later on. But I think that's a little bit more beta. I think it has a little bit of flaws to it, from what I've heard, but, um, but you know what's needed? They released the stuff they like, tests it, and some of it works out really well. And then, obviously, as they refine it becomes stronger. But this app has done an amazing job at making things very functional. So you're gonna export the time lapse pretty quick. But that was a very short time lapse. Keep that in mind and all the same rules apply. So I'm not gonna keep going through this because we've already addressed this in there. The lessons again. Save that to your computer tablet here, save to Dropbox, which I recommend things like that. It feels to save it. It will export that. And you got a nice little video file. So that's 11 aspect of it. Another way is to actually just, um I guess you could toggle that off. It'll perch the video of that particular file. That's probably going to be a good idea if you're not worried about video and you want the maximum performance because I'm sure what's happening is when utilize this, it's going to take Resource is so just keep that in mind that if you toggle that off, you're probably going to get a little bit better response time. I I don't really notice any lag or any difference. Ah, one thing I will say, though, as I'm working, I think I mentioned this before in the course I'll hit gallery every now and then. To me, that's like saving the file. And if I work on a project for a long time, I do that quite a bit because I've noticed there has been jumps in the video, and I think it's just because I created so much content on one canvas without stopping, because I'll get in these spurts where I just draw for hours. Eso just keep in mind. That's kind of like your save button. At least I found that to be true. I'm not. I can't back that up with any factual evidence of that. Then it seems to have worked for me. So I want to share with you. Yes. So the export of the video option is fantastic. And then I was sick. Take that video file uploaded wherever you need, Teoh. And they're pretty good. Um, lo file sizes. What they're doing is they're capturing each line that you make, so it's not per se. Ah, video grabbing the entire face of the screen. You're not going to get any of the interface. If you want to get the interface, you're gonna want to use. There's ways to record off the iPad itself, and there's different. You can use quick time through your computer, and you can do a screen grab as your recording. Those. They're gonna be larger file sizes just here, where this is basically just recording every mark that you make, whether it be painting, drawing, whatever. So yes, so it's a pretty ah, pretty effective, pretty neat, capable quick. Um, so, yeah, it is what it is. But go and check that out. Hopefully enjoy that. And with that move onto our next lesson 9. L8 Understanding the Preferences Tab: Okay, so now let's jump into the preferences tab. So we're gonna go to the gear icon preferences. So this is going to control more the interface, and we've obviously already covered, like advanced gesture controls. And the pressure curve connect third party stylist is just as it says. If you're not using that pencil, you're going to use this to connect the different stylist. But you got the light interface or dark interface. I prefer the dark for contrast, but you can just toggle that and get a light interface. Eso pretty self explanatory there, right? Or left handed controls with their set up title that off this all stays the same. It basically just moves this quick slider bar over there. Eso we'll go back to that. I prefer to keep it over here cause I draw to this side and brush cursor. You're not really gonna notice. It's a whole lot, I don't think. But the difference is is when you use a big brush, something like this painting brush. You got a full scale. Just when you lightly touch the screen, you're going to see the cursor. But if you toggle that off, you're not going to see it all. Even after you press the screen, you're just going to see the mark that it makes. It doesn't make too big of a difference because you don't get it just by hovering like you would traditionally get eso. That's one of the complaints that a lot of artists made when this first came out. I don't find it to be that big of a deal or hindrance, so ah, the airplay is if you outsource this or send the image to ah, using Apple airplay. I don't use this, but it's obviously got some pretty need. Ah, teachers there for that, Uh, rapid undo. I don't use this a lot, but I'll show you how this works. It is pretty meat. So say you make a bunch of marks on the canvas. You know that you condone do undoes with a two finger tap reduced with a three finger tap. But the rapid on do is if you place two fingers and you hold it, it plays three fingers and you hold it so you get this rapid kind of speed process of it. Now, the reason why you might adjust this is that if you find yourself like maybe resting your hand on the canvas a bit more than I do, because I've never really needed to adjust this. But you may want to adjust the millisecond response time so that it doesn't happen so quickly so that you have more time to react. So that's basically what that saying, Quick line is when you let's go ahead and use the undoing. Get rid of these. Quick line is when you draw your line and you hold it and it snaps to a straight line and you could pull it wherever you want and release it. So that's the response time for that. So again, increasing the response time is going to make it take longer before that occurs. And again, this might be effective to change. If you find yourself drawing and then all sudden that snaps too quickly, Anya, then you might want up that millisecond response time, so that doesn't occur. I find it to be pretty accurate right about there. Would you like to use this feature? And I'm pretty aware of what it does. Basically, both of these air gonna be kind of affected by how where you are of that as you're utilizing this device auto, hide the interface. You say I haven't disabled, but I'll show you eso Let's just put it on a really quick one. So basically what happens is is as you start to work, the interface hides, which is kind of nice. I might start using it more, but then have have to let go the middle. Second response time is how long it takes to come back naturally. Should have already came back. But you connive obviously hit that button as well. Let's check and see why that did not return 1.82 seconds. Auto hide. So we start to draw and there goes, it comes back. So for some reason, it didn't come back the first time in the time that it should have married us. So that's basically how that works. Like I said, I have generally disabled that eso I'll just put that back selection mask visibility. So this is a percentage and opacity or visibility. And all this means is if you create some sort of selection, this little great out area, you could make that more or less visible. Just like that, whatever you need visually to make that effective for you, and that's about it for the preferences so that we complete this lesson. Let's move on to the next. 10. L9 Using the Adjustments Tab: So now I'm gonna talk to you about the adjustments tab. So right under here, under adjustments, we can do things like control the opacity. Now, keep in mind, this is just gonna affect the current layer around. And you could do that just as well, by tapping over here and going to There's a two finger tap, Yeah, two finger tap and basically kind of selecting it. So I guess that's there's two ways to do that. Uh, the other thing is your gauzy and blur, which I use this a lot. Ah, you can blur the color and notice that it's keeping a crisp edge to this. The reason that's occurring is because there's lock transparency on over here. So a two finger swipe to the right and now go back to the Gaussian Blur again. And now it's gonna blur past that edge. So two different ways to kind of apply that and different uses for both Really motion blur , same thing, but just a different kind of blockage. That kind of blurry vision look view kind of cool for this little creature. Actually, I might, and abusing that What are your back to normal? Well, we'll just do a two finger tap and get back to the original perspective. Blur. So I don't use this much, but I would assume that you can. You can move this. It's actually pretty cool. You can move this to a perspective point and then blur, and you could see it kind of Rex against that. Wow, I've never used that. And I'm actually pretty impressed. So don't be utilizing that more really soon. Sharpen. I think you'd have to be a little bit closer to really see what it's doing, but it just kind of makes a more rigid effect to the edges again. Something I don't use very often. Noise is a good one because it gives you some granular effect. So a lot of times when you're trying to make something not looks overly digital, you can actually use noise with your painting to kind of give it a bit of texture, and that's got some real benefits now, these ones down here highly important. I use these ah lot because it's just such a quick way to really change the look of your design on really explore some different opportunities. So you see that you know you can control the saturation, the overall hue, saying it's really need effects just by doing that, especially with a, you know, cartoony kind of character, like this color balance, same thing where you know you're gonna be able to control mid tones, highlights and shadows and introduce more or less of a color to that specific area. So you could, you know, isolate your highlights and say, Well, I want there to be some more bright greenish yellow in there and you're just gonna move that slider around, Uh, and sometimes it works. Sometimes you get adverse effects, and you're not really too keen on them. Other times it just introduces the right effect, and you get all sorts of neat and inventive ideas. So you really want toe play around with. Those curves are going to kind of adjust levels again. You can adjust these based on red, green, blue. I usually use composite, but you can really move around the slider. Remember, it's a busy a handle, so you want a, you know, experiment with the way that uses its not just kind of linear, you know, angular, linear, I guess. But ah, and re color and Also, you can basically select an area like Bam, and I'll be honest. I don't really know what that's doing, but I don't use that one. So forgive me, because that's that's something that I just realized. That I've never used is the re color option. But at any rate, a lot of these, I think, are just things that you need to jump on an experiment with. The top ones are pretty self explanatory. These you definitely want experiment with. They're going to give you all sorts of neat ways to recall, arise and change your artwork. So, uh so, yeah, so that'll explain the adjustments tab. Now let's move on to the next lesson. 11. L10 Using the Selection Tools: All right, So now I want to show you the selection tools, so selection tools or both of these, really? But if you go into here, you've got Freehand and free hand is one of the best selection tools I've ever seen in any software program app. Because you can draw Freehand with amazing accuracy. You can stop, you can adjust, you can undo redo, and you could pick right back up where you left off. You can also start doing a click by click and then draw right back to free hands. A very versatile again, probably the best that I've ever used. Then once you complete the selection and you could do that two ways, you can finish by clicking that initial point, and you can hit the plus sign, and we'll do it for you. Keep in mind the further back you are when you do, that's gonna convert to a straight line, so just be aware of that. That's not a big deal. You complete it thes diagonal lines mean mask, basically. So now you can get in here and you can draw right into that open area. You can also let's get back to that I will probably do another one. It's to another one. You can also invert that by clicking right here. So see, the diagonal lines kind of replace that area. And now I can draw in any area on the outside of that. So that's pretty much how you're masking will work with this selection tool. You also have automatic, which I don't use this as much because I like to define my selection to be very specific with it. But you can basically touch where it is, and then you can slide how much it really effects. So the threshold is gonna matter, or it's gonna define basically how far it goes into selecting that areas. Let me show you that again. Automatic click there to find the threshold. You kind of see it increased the area of influence. And if you go too far, it'll jump right past sentence. Select everything. You just have to play with that and you go to your your brush and it'll drop in that Ah, that masking. And then you compete in that area and you see it goes behind some areas because it didn't the threshold didn't allow it to expand to everything. So it takes some getting used to. I don't use that one a lot, obviously, but there are some options there now. The other selection tool is just basically selecting and anything on that layer it's gonna grab, Okay? And then you're gonna get free form, which basically free form. If you do a two finger pinch, you're gonna be able to scale it down. You gotta be careful, cause gonna tilt. It's gonna rotate it. I'm okay with that. I use this one a lot. You do have your undoes to get you back out of there if you need to and then let go of the selection by clicking there. But you also have magnetic where you can basically proportionately grab it and move it. So that's pretty nice. And you also have things like flip flip up and down, rotate all sorts of neat ways to modify the work and get just, you know, proper angles of it. So you that you're not doing this freeform kind of thing. And if you don't like any of that, just hit the exit will go back to the original, and this will actually scale it to the window so if you noticed when I hit that, it proportionally brought it out to the edges. So lots of options there. Also. One that I use quite a bit for a distortion is you can grab each one of these points. Hold on to it and you can distort. Now, Right now, I've had I have it on magnetic. So it's doing kind of this proportionate distortion and in perspective, basically. So if you go click hold So it kind of locks basically to that, you know, if I goto freeform going to be able to click and hold and distort this anyway, I want This is great for emulating perspective and distorted perspective. I use this one a lot. Have a lot of fun with that one. So eso lots options there for creating selections and maneuvering again. I think the free hand is probably the best for what I utilize it for and in use in conjunction with your lack transparency as well. For all sorts of neat ways to isolate portions of your painting and get just the right effect in a controlled area so that we complete this lesson. Let's move on to the next 12. L11 Using the Gallery: So now I want to talk about the gallery. The gallery is everything you see here from kind of this aerial view of all your different artwork they've created. Ah, you can do things like this. I don't need this particular file anymore, So I'm gonna swipe over exact share it. I could duplicate it. I couldn't believe it. I'm gonna go and delete that last me. If I want to do that and it's gone, you can also stack your work. So as you start to collect this and get maybe things that need to kind of be together and maybe you got a fan art section, maybe get a cartoon section, maybe had a furry little monster section. Whatever you got, you can just hold that, drag it over top, and you could drop that in there and you're basically going to stack it. You can rename that whatever you know, free little Well, that one's that furry. Let's just calm little monsters, then monsters for lack of a better term and even go in there. And then there they are. Your little monsters inside of their, uh you can, you know, select them independently, and that's basically click and rename on whatever you got to do there, let's go back And then also, you can move these around so I like to categorize work, especially if I started sporadically working on stuff. Some pretty crazy. But I might take something and start to organize it an arrangement. So you just got to be careful that you actually pull these in between the next one or you'll stack it. So that's really the only difference there. You can move him around any way you want. You can rename any of them just by clicking on them. These air basically armed studies. Oh, you know, just something like that. Try not to misspell, and you know things like that you can import. You can again select and delete, you know, kind of in the masses or whatever. Let's get back out of here. You got to be real careful about how you click on these. Should be able to selectees. Okay, I'm sorry. You have to tap on the artwork. I was giving it conflicting information. There I was tapping on here. So it's thinking I want to rename it, so you have to tap on the artwork itself. and then you can notice. There you can share all these at once. You can stack them again. This way you can duplicate them all. Which I wouldn't want to do that or delete Imo, and I definitely wouldn't want to do that. So Well, X, out of there, and that's it. So you know, lots of ways, and you just scroll up and down through your art files toe, organize it and, you know, notice. You can see the pixel data, which is nice s a very great kind of layout and workflow for your gallery. So that a complete this lesson, Let's move on to the next. 13. L12 Introduction to the Brushes: now we're going to discuss using the brush is so what I want to do is first just get you up and running. There's a lot that goes into these brushes. Procreate has some of the most vast options as it pertains to brushes that I've probably seen definitely in any app, and probably in almost any program there's just a lot of different options. So instead of confusing you by trying to explain every single one, I want to give you the tool set to do what I've done. And that's basically get in, explore options but gives you the main ones that I think pertain to get in good line making . So a lot of people when they jump in their first goal generally is drawing not always. Sometimes they want to get right to painting, but it's getting some kind of clean line, okay, and a few things go into that. I think the technical pencil, our technical pan off the star is pretty good for sketching the technical pencils. Really good. Now notice this. I kind of the top right. That's to show you that it's been modified. So the original one is here, so I've done some modification to this one, but it's not March. It's probably in relation to the amount of size that I like to see at the beginning and end of the Taper. So that's gonna be right here. So stroke Taper. I like to turn it all the way down for the star all the way up to the end. So that's basically Max, you know, starting and things like that. And then as you scale the brush down, you know, you could see that it's got a nice taper at the beginning and end of the brush, which is what I like for drawing. No other brushes require a little bit more. So, for instance, the first thing you're gonna want to do as you modify something is make a duplicate of the original. So if you notice there's no I count of these, those are originals. You're gonna swipe over and duplicate its immediately gonna add that I count for you. This is where you want to start because if you just jump into start modifying, you're gonna have to reset brushes and you're gonna lose some of the good settings that you've incorporated to maybe eliminate the bad ones. So the thing that I try to tell everybody when doing this is make sure that you really map your progress first, you know, name this something. You know, you can click here and just call it test brush for something. Ah, just to get you started until you find, ah, something you like and you want to just again map the progress you want to think about. Okay, If I just let's start. Maybe I don't want there to be the same. Start to it. You see how it starts to fade it right there. I don't really want that. And then, you know, you just want to look at this thumbnail as you're working and see what you can see and, you know, kind of be aware of each change that you make and then jump in here and play around with it . And you're also gonna wanna play around that based on the size of the brush, because that's gonna have a big difference, you know, based on your canvas. So if you're working at a 3000 pixel document, it's gonna be very different than if you're working at a 1000 pixel document. It's also gonna be very different in the relationship to the brush size. So you have to really analyze this stuff. You can't just kind of throw it on the canvas and go, Okay, That's not right. Let me make another change of the change. If you do that, you're probably not gonna really map out where you're going. Other things to think about our let's see that streamline. Okay, so streamlines another big one. And I'm gonna touch on this because essentially a lot of people face getting toe clean lines on this for, say, thinking. One of the things that I do is I create lines that are thick to thin for my comic cross hatching OK, in the way that I found that's most accurate for me to do that is either speed in the way that I create it, or in some instances, especially with the pre drawn sketch, I'll do a slow kind of steady pull end of the line. You see, I get some some waving this there, so it's not perfect, but I will tell you, as I'm working through a piece, it's got a lot of cross hatching. Lines will get better and better because, you know, practice just does that for us. So the other thing, though, if you're not as confident with your line making and no matter what you do, you just seem to get some weird waving this into your lines are just not coming out smooth for, you know, for the life of you, you might want to get in here and adjust your streamline. So again, like anything else as you justice, so mapped the progress. So maybe start with a few lines. See, we're getting, you know, think about Max Pressure, light pressure. You know, obviously be careful how hard you're really pushing on the screen service. But I'm pretty heavy handed, and this thing seems to do pretty well. Ah, and then, you know, add the streamline feature just a little bit at a time. You know, just increments, whatever you're comfortable with, and then see what it does. Now, One thing I will tell you about the streamlined feature is I notice it generally will be it a little bit adverse for the way that I like to create. But you see, those lines are definitely cleaner than these ones. Ah, what the streamlined really does is it has a bit of hesitant. So if you really turn this up, I'll show you the difference. We're gonna jump ahead and just kind of really bump that up. You'll see if there's a bit of delay, but it's smoothing that line as you go. So this is really great for, like, lettering. Um, you know, there's a number of things like, you know, very organic line making, you know, fluid lines. This is great. I will say that you want to be careful because anything like this, I feel, can be a bit of a hindrance or crutch because you do ultimately want to strengthen your own hand in your hand eye coordination in the way that you create. At least that's way I see it. I know a lot of people have different opinions about that matter, but just, you know, be careful. But you want to be aware that it's a big one. I'm gonna just kind of fly through a couple of these Ah, lot of these, they're gonna pertain the different things. So if you're creating paintbrushes versus drawing brushes and things like that and I'll probably be adding, I will be adding a larger section on just brushes because there's so much to go into as it pertains to this. But I do want to get you up in Roland so you can complete the project, file on the course and, you know, get to, ah, get to creating. Let's see, you know, Penn pressures another one that's that pertains to the apple pencil. Obviously. So, you know, changing things like the opacity, the bleed, the size overall, the max size that it can go to, Ah, softness. Now I don't not going to use any of that for an inking brush, but you could see where that would actually pertain to drawing or painting. Ah, the tilt of the brush. I don't think that with thinking we're going to see much in the way of tilt. But the apple pencil does support till so as you're drawing, what they jump out of here real quick and go back to a sketching brush. When we pick something like that's ah bit wider, you're gonna get a very different effect from a straight word push to an angled. It's got like that nice, soft, blending eso. It's got a really fantastic set of brushes. Now the other thing, as it pertains to drawing a ranking. Because again, I think this is the one that people struggle with the most is gonna be the pressure curves . We want to go in here and let's say I remember where it's at. Preferences pressure from, ah, lot of times when I'm working, I'll actually leave this part enabled. So if you click off and you go back, it's gonna be right there. And the reason being is because I adjust this differently based on the brushes that I'm doing and also based in the style of work that I'm creating. So, for instance, if I want to be zoomed in to say right about here, and I've got some detail work and I want these nice, thick, that thin lines for my cross hatching and I'm trying to do something like this, you know, I'll jump in and out of this and I will, while I'm not getting as thick alliance that I might want. So let me try toe, see if I can maneuver and keep in mind. This is a busy day, so it goes back and forth this way and this way and again. I can't really explain this for you. I don't think in a way that's gonna help you as much as you jumping in and really experimenting eso you see right there with the same amount of pressure. Very different line. So that was actually the opposite of what I was looking for. So let's go back this way. That's the nose. Gives me a nice, heavy line and yeah, that's what I'm looking for right there. So that's the type of line I wanted that nice thick to thin, you know, kind of Ah, almost looks like a croak Well or something. Just something very traditional looking could be considered like a brush patter. Something that so Some pretty nice lines. And you see, just by modifying that I got a very different set of lines now, nothing is going to overtake practice. You're just gonna have to test and repeat and also rethink your approach. So there's a lot of times when I would think traditionally I would jump in and I'd start going like this, and I'd get some pretty better lines in this right there. Okay, So as I start to work off this. I realized for one, I needed a little more resistance on the screen, so I bought an anti glare protectant. I want protection anyways, but it also gave me a bit more friction, Not much. So he's got to be aware it's just gonna have more slide on this than traditional until they come up with something better than I'm not aware of yet. But the other thing is that you just had to, like, again rethink your approach. So as I was used to making these lines where I would just kind of go like this and you usually get a pretty nice line and here it wasn't working, I started to try things like, uh, changing the speed in which I create the line, you know, some or controlled efforts more on the tilt of the wrist. I guess. Then, you know, I was still using the rest with the other way because I was flicking but less flick and more just steady polls and then pulling end of the line. So I never I never pulled into the line much when I'd work traditionally, but with this, I felt a touch more control by pulling end of the line so slowly adding that pressure on then obviously making the adjustments with the pressure curve and then even playing around with the size settings here. Eso, all of them kind of combined together to give you the best effect. Eso you just really have to keep testing repeating. And again, there's a lot that goes into this as faras brush settings. But if you duplicate the brush first, then make your changes, then rename it to save it and say, OK, here's where I'm at right now. This is what I like. Also keep in mind that you could take these and just by swiping over, you can share the brushes and you can also delete them out of there If you got you know, some bad attempts that aren't working out well for you on also jump into the other brushes that are, you know, may be submitted to your that already here in the app and look at the settings, you know, see what makes these different so that you're aware of you know why that's ah giving you a particular kind of ah thumbnail there and why it may be a bit different than the other brush that you're using. So nothing really is gonna be just getting in there now. Also, be aware the shape source. So if you see right here the shape sources just a circle with a blended edge like kind of an airbrush tip that just kind of blob down there. Ah, the grain sources nothing. And that's the grain sources gonna be anything that you see inside of this. So, for instance, if we go back to a sketching brush something with some texture, we'll try this one. You see the grain source or the shape sources about the same, with a bit of texture already implemented in there. And this is the grain source. So this is everything that appears on the inside of it, and it's got some really neat ways to apply texture. It's It's not if you notice it's not like this overly repetitive thing that shows squares or noticeable tiling really great brushes as it pertains to that. So you're also gonna want to pay attention to the shape source, and as that pertains to like line making, all of sometimes create some that are a bit more. Ah, have a different kind of angle to him so that when I'm creating ah brush mark on the screen here, it's good to something working, you know, you can see that in the bangle of it. And as you tilt the screen, you can get some really nice effects with a brush like this. So, again, experimentation is key. I'll be giving ah lot more lessons on the brushes and delving into it much further. But I want to get you up and rolling. Hopefully that'll get you started. So again, play around the pressure curve, get it the way that you like and keep in mind that you're probably gonna want to change that for drawing, inking and painting. They're all gonna be a little bit differently sets away that I use it. So with that, that will complete this lesson. Let's move on to the next