The Absolute Introduction to Sketchbook for Beginners | Pedro Twist | Skillshare

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The Absolute Introduction to Sketchbook for Beginners

teacher avatar Pedro Twist, 3D Artist & Illustrator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (1h 36m)
    • 1. Intro

    • 2. Layout

    • 3. Lagoon

    • 4. Brush&Color Pucks

    • 5. Brushes

    • 6. Toolbar

    • 7. Layers

    • 8. Class Project

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About This Class

This class is "The Absolute Introduction to Sketchbook for Beginners".

After all the reviews on my previous class I realized my "Digital Painting for Beginners" wasn't so beginner friendly and thus, I created this class where I go through all of Sketchbook's tools one by one and guide through the entire process.

I mentioned you can get free custom brushes and here's the link for some of my favorites:

Enjoy and be sure to share your project with us!

Meet Your Teacher

Teacher Profile Image

Pedro Twist

3D Artist & Illustrator


I am a 3D artist and illustrator living in Barcelona, Spain.

Working with a strong passion for crafting new worlds and environments, I'll walk you through my thought process, guiding you step by step across my workflow to create beautiful scenes together.


"Put some beauty back into the world, that's what we, as artists, should do!"

                                                                                                         Aaron Blaise

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1. Intro: Hello, everyone. I am Feather Twist, a treaty artist and illustrator from Portugal. Besides my professional projects, I really have a passion for sharing and teaching. So if you want to learn digital painting from scratch, this classes for you And so I want to welcome you to the absolute introduction to sketchbook for beginners out of desk made sketchbook 100% free. And this class will take you from never having seen to software before to actually being able to create your first artwork by yourself. I'm really looking forward to getting through this process of stick around, learned something new and hopefully you'll have some fun. 2. Layout: opening sketch book for the first time, you will get a blank canvas. Simplicity is one of the perks of this tool. It's a very intuitive digital painting software, completely noise free, allowing you loss of space for creativity. We will have a close look at all the tool separately, but for now, a quick overview. Up here we have the toolbar, the color and brush bucks here on the left and I'm here. We have little good now. Sketchbook has the default brush automatically selected, allowing you to start drawing right away with any previous set up. The lagoon here is for quick access to certain tools will get into it in time. That's one of the main tools I used. There is to clear the campus whenever I'm sketching, and I want to start over, so it's a quick way to do it. The goal with this class is to actually guide you step by step without skipping any parts without doing any time lapse. So doing it in real time to make it easy for you to follow. So let's jump in the next video so we can start talking about the lagoon in detail 3. Lagoon: starting with the lagoon. There are actually a lot of tools compiled here, and the first thing you need to know is that by clicking and holding down, the cursor on top of each icon will open more tools and actually holding long enough on each one will reveal its name. Now all the tools that you find here can also be found in the toolbar, which is actually the one I refer to when I need any tool other than a brush. But I will come in a later video. So now starting to dig into the lagoon, this is the magnifying glass, and once it selected by clicking and dragging in different directions, it'll leaders zoom in or out on your campus. Now you don't see any actions right away because probably you have a blank, blank canvas. Now you would help to have some kind of drawing in it, even if it's just a duct or a line, anything so so just to help here visualizing by dragging up, for instance, you'll zoom in by dragging down. You will zoom out naturally. Now, when you have a zoomed out like this, this outer selection area that you finding the tool allows you to drag the campus around. And now, if you notice in the center, there's a small section in the middle. This allows you to rotate your cameras, helping you draw some lines that, well, otherwise would be more complicated. This actually positions your campus into right angle or right side of your of your screen, let's say and allows you to draw better. And this can in fact be really, really helpful. Now if you want to go back to the original view, the one that was when you opened the document in the first place. This fit view here for the second Icahn will do just that. It fits the image to the view, meaning it fits your screen. So next we have the rule it. In my case, I don't really find much use for it, but of course, you're more than welcome to give it a try. Thies to side buttons allow you to drag its position and change directions, dragging inwards or outwards, and to move the entire ruler. You can use the middle one just here, moving on to the lips, too. Let me just clear the screen first. Actually, this told them, Here's something I use quite a lot, so clicking and dragging to the right to clear to campus. So the button in the middle that's you move the tool around the campus. The one on the right here will rotate the tool. The one the top will deform the shape of the tool, either making it more narrow. Or why there, if you will, and the left one will scale it all in proportion. Stool can help you outline a perfectly round form, whether it's a perfect circle or Justin ellipse. So let's clear the screen once again for the next two. We have the layers now these I have on at all times so, but due to their importance, I dedicated a full video to them later on this class, so we'll go over it then. So next we have the symmetry, more options for it. Open up in the tool buyer on the top. But simply put, if the Oriental symmetry is selected, anything you draw on either side of the line, it will show up on the other one as well. So if we draw, for instance, any circle on the top, you reflects on the bottom as well, clearing the screen again. The next two is the vertical symmetry. It stays active on top of there's under one. So if you want to be activated, one of them, you need to actually do it yourself. Did I was select just to try to vertical symmetry again. The same thing. If I draw on the left, it mimics on the right. And if I don't writing may mix on the left. I rarely use this tool. Sometimes it's kind of fun. You can get a little bit carried away, and I'm sorry for that. So I'm going to stop just to show you that you can come up with things pretty quickly. But this is mainly for patterns and work. Ah, that requires any symmetry of any sort. So this last tool fits the canvas to which riel size, and with this we conclude the lagoon. As for the other elements of sketchbook, I'll see you in the next video 4. Brush&Color Pucks: we'll start looking at the main tools that I have open, and I'll select them here from toolbar. So obviously, the very first thing was right here. The layers. So that's exactly the first thing here. So I used these four mainly. Sorry, I don't use this so much. I use these three, and I'm gonna show you what they are. So layers is there? Okay, this is easy to talk. Go on. Enough theater to brush sets. Okay, So the brushes, I always have them. And I usually leave them here on the left. I'll show you in a bit, a little bit more about it. And then I used the co pick colors. I personally prefer to coping library. So everything is here. I don't usually like this. I design. I always have illustration here on, and it just has a variety of colors that that is actually saying and it's actually it actually matches the markets of co pick on. You have everything is it concedes. So you can choose. You have all your grays and blacks there, colder or warmer. So they're all here. You got your yellows or browns, Your grabs, your blues, everything you can just any have funky colors too. So if you if you're a fan of that, you can check it out. But sometimes it can actually give you a hint of what you could use it for, or or not. It just depends on the painting that you're doing any dependence on your preference to. But I definitely use this. I always have it on. And I definitely use these colors. Which brings me here to the pucks. So the color block. I usually have them up here, not in the middle of painting, so I usually have them both. Like here. This is the color that I select. So, for instance, if I select here the sky color, it immediately adjusts, did act. And so it's a force, Right? So you find it's like this Cool grey Here. There you go. Let me select maybe this screen. So what does this allow you to do? So basically the color park is very dynamic, and I use it, especially when I'm quickly working on shading and lighting and they're adding other details to a painting. If you click on the puck, any drag up, you can see the change right so And you see here on the bottom in two centuries mentioning Lew Minutes. Basically, what you're doing is increasing the lights in your color so it turns into a different color , actually, but this is very useful for this fact. So let's say I have selected degree the middle green and I'm going to select here the brush , which is likely thicker than a pencil as a default. So I'm doing this and then all of a sudden I want a darker or a lighter color. So based on the same you, let's say the same color huge. I wanted, like their version of it, so I just drying the luminous up. Now, all of a sudden, I have a clear color. Depth stays on the same, uh, let's say understand color, age and the same happens. Let me drag it down. If you drive the luminant 30 breaks and get away Dark bank. And now we have this tree berry. It's not very pleasant to see, but when you start adding a mix of techniques with other tools and brushes, this could be very, very useful. The same thing if you drag left or right instead of touching the limits. Or like the lighting of the contrast of ah, color, for instance, you're actually, instead of touching under luminous, you're actually touching the saturation. So if I click here and I dropped right, it's actually increasing the saturation. So the color is supersaturated, and obviously the opposite happens when you drafted the left situation zero, which obviously gives you. I agree all right, and then brings me to the brush park here. So the park of the brush, those two things you can dr capacity upper gas up. If you drag all the way up, he gives you maximum capacity. You drag it down, you're dragging your part of the down. Now he's at 50 super cool and even drive it down the bed and then you see how this works, right? Or let's put the capacity in the next completely very co. If you drive left to right, it's actually increasing or decreasing the size of the brush. So if I attracted a right, it's doing a massive increase in my brush. If I drive to the left, it's decreasing its size, and this obviously that it becomes very useful for what a fine details. Anything, actually throughout your painting, so these are very useful, thanks to half year, and I always always have these two packs of right here. 5. Brushes: the great thing about brushes it sketchbook is actually there's a wide range of it that comes with this with software already from the beginning. But in addition, there's a great deal off brush that's that are completely free and that you can easily downloaded selling your computer and they add a lot. Or it can add a lot to your paintings. It just depends on what to use them, for course, but I'll tell you what to get them later to. So now, looking here, let's look at the different. I'm not gonna go through all of them. It just, uh, the main one is that I don't know, at least I like to use and that you may find interesting to use to as well. So basically, pencil, I use this a lot. Not gonna lie there. The basic pencil is just my my go to thing for everything. So I just started sketching, always with the pencil, the levels of pressure, it it's amazing, and you could actually see how smooth it is. You can actually try it yourself. So let me clear this screen here a little bit, so it gives us a better understanding of each tool. So obviously the pencil pencil we saw so different levels of pressure obviously affect a effects the capacity also of the pencil itself on how hard it is. I use a pencil. I use the airbrush as well. Your brush of ports is way lighter, so you have to keep pressing and passed several times in the same in the same area if you want it. But this is great for shading, forgiving like radiance to different areas, even by changing colors. Hughes and yep, it's very useful, and probably when we start making something far more defined will probably go through it. We have the chisel tip, so like like a normal chisel tip gets thinner or figure just dependent on the direction that you hold a pennant and that you actually do the stroke on it. Has a nice look and feel to it. I don't think I use it ever to be honest, but he kind of looks interesting if you do the signature or some kind of lettering. Or it might be interesting ballpoint pen I never used. It's another one, but it's it's here, and it just standard line, I guess. Like a standard ballpoint pen. Um, now, this brush I use a lot I used because I like to, uh, after the sketching faces done with pencil. I always do one base layer color and I you always like to do it with with a center brush here. So you got a felt tip pen to also, of course, you can tell a little bit the size Berries with pressure. I don't use it often too. But this is just a simple, simple line. I think the special about it. If you consider the inking pen now the in campaign, I use quite often self. Let me just this really, really could do great line work eso you can see I'm not touching the size at all. This is being done on Lee with pressure, right? So really, really varies and can give you a really nice and fluid stroke. And this is great. So I usually start with the with a pencil for for the sketches, I go in with the normal distended brush to do a base color I usually go in with with the ink impact here. I just love how it looks and the control we can have with it, too. It's quite awesome. Then you have these thes smudges here. So this is a smear. So what this does is basically just it's a smear. So hey, just meters it it's It starts a little light mixing of all the levels of color you have, and it starts wiping away a little bit of the hardness of the color itself, right? The smear, the blur, it just goes in on top of ink and blurs. It's completely okay. Obviously, this changes with pressure to So I'm just doing life Brush Stokes here. But if I do a heavier one, there's a a bigger difference and the sharper does be opposite. So if you pick up the sharper one, he can actually sharper your image. You can see the difference here. This is the software trying to sharpen the blurry s that you have there right now. Two tools that I use a lot, which is the erasure. So you have a hardy rager that just does hard line across everything where it passes. Okay, any have the soft one the soft. See it a little bit as the airbrush here, but in reverse. So if I use this software razor here lightly. This is what it starts to do, right? So you can be very useful if you do gentle brush, brush strokes on painting. It starts really clearing out and give you a nice look to it. I find very useful now, here on the first option that we have here. You have the brush properties that allows you to touch every single one of these pressures . Okay, so as soon as it selected, you can actually chase sides are Amanti raised or but this probably for for editing brushes , all of them will probably have to do it. Let's say in probably another class, I can actually do a class a smaller class on on brushes alone because it's it could be a big topic. And you might be offensive creating brushes and export them and all that. So we'll leave that for another. Another opportunity. Because what you have is a base, uh, as a base set of Russia's to work in this tool and just software, it is already pretty incredible. So let's dive into that. If you click here, you have your entire library. Okay? Start with the basic that we went over. You have texture essentials. I'll leave you room here to pause the class and start all of them and experiment on your home. And then you can actually, you know, tell me which ones are you favorite? I don't usually use it. I like to use some coping ones, but mainly the the this extra and the medium broad name these inky ones I usually don't touch. But I like to work, maybe, especially because the properties of layer that they have. So when he comes to layering color after color or even the same but different values, values on top of values, it can work pretty pretty well. Um, and what I do here, we can actually already start building or brush palettes, so to say, or brush tools what I do here, you just I pick it I selected, and I can drag it as simple as that. Any states there. So I'm gonna drunken stupor and keep them there. Okay, let's keep going down. Synthetic paintbrushes. This works. Other Softwares happened to their There's nothing in particular about it Just works, says Ah, normal paintbrush stuff. Let's say it would run out of ink if you don't lift it up. So if I select Theis phrase and having flat brush, if I do a lot of strokes, it's It keeps being filled with new ink, Let's say. But if I keep the same stroke, you can see what it works, how it works, right? So you have to constantly lift and tap and lift it. Always like that you can work. It just depends on what kind of our work you're trying to achieve again. Not usually something I used. So honestly, you hear me saying that a lot. But that's because it's actually true. I do most of my artwork with 34 brushes during the entire time. Okay, so I have some exceptions. Let's say, for 10% of the work, But in 90% of the full painting that I'm working out, you will be done with three or four brushes, some of the traditional. These are variations on what you'll find here. Yeah, the airbrush is the normal brushes, pencils, these. They're all variations of what you'll find here. So there, last week's poor as well. Some texture. This might be interesting for some people. You have already pre made textures here that work with. And also, if you change the colors here, every single brush will adopted these colors, too, right, so you just can't work. Some simple shapes have here this gun, for instance, feathery want might be interesting if you're working on some vegetation, let's say this follows the direction that you're pointing at two. So if I drying the brush down ex pointing in that direction and if it up, it's pointing, so this could be quite useful. You can also increase or decrease the size on all of them. Okay, cool. You have splatters here. Could be interesting to to explore on maybe using some some occasions, you. It's an interesting feel looking feel. If you're working on a fan of funky, funky background freezes for painting or useful the Globe. The Globe has a really they work like a normal brush. It actually has some settings behind it, and it actually creates a strong, strong glare if you if you don't lift it up. So if you keep anything in the same area. So, for instance, if I keep doing here, it's basically just creating that white supernova. Sure, intimately, but it could be it could be actually fun to use in some points if you just do a small brush stroke. You see how this works, right? Not something I used. But these all that are here work with me on across competing, useful to. But again, if you keep doing it in the same space, just this house, Right? So this is getting too crazy for me. I'm just gonna clear it, have all your smudge tools. So, gam fring, since I wanna show you a little bit of that works if I worked here, If I give it a little ruminants, do this and I come with this much Say is, uh you could be the flat if last much and starts to blend. Everything is fine. Okay, This actually works both ways. So if you start doing here, it's blaming the white background with being that it plans. Okay, over. You only have designer tools. Another set of Russia that I don't to be honest, he's not that I don't use them. I haven't explored it myself. Uh, but something might be useful, but usually see, they actually for me, I think they look a little bit more beautiful, even that the synthetic paint brushes that we tried her eso It could be something here definitely to to explore our line Hairbrush. Pretty cool. Might be interesting to explore this these tools better. And then you have the artist wants Can Some of them are very interesting others, Not so much. But it depends on the size of them. If you all them. Sometimes they come with default settings, including the size, and they may not. They may not be so interesting and actually, before that they come. So you might have to tweak it a little bit. I don't mean in their properties. Just remember to sometimes if you see a bigger brush phrases, even this one that we just used here, this salty water color Maybe by putting it a little bit smaller, you get a better understanding of what it could be. You know, be very interesting to to work were these tools and just experiment. The key to all of this, with all these tools, is to actually experiment and see which ones you're comfortable with. I I realized through the years that you can have 50 brushes on your your tool set, but you'll probably see that painting after painting. If you keep with the same style you use, I'll say backs move five. I'll say maximum. Obviously, there's exceptions. You have minor details, something that you want to include in a sort of painting. Whatever it might be that might request a new and you brush or a new set of brushes or something like that. I'm talking about 90% of all work guys. I'm not talking about every single detail, but 90% of will work. I couldn't guarantee you that if you work in the same platform, probably probably. You know, you use those five brushes. It's conceptual are interesting too. Looks I like I like the shading that it actually is able to give us pretty interesting. So very nice to explore. You have a wash here. That's pretty cool, too. Yeah. Yeah. Kind of like I can't like Nice. Kind of very a cloudy effect without even trying too much. So you have your basset colors here. So if you ever work with dry past those, it's this, uh it's basically a digital example of a drive. Passell painting? Yeah, Good for a more rugged feel to your paintings. I again not something I use a lot. And in his color, suggest much is so the core of the colorless brushes are just youth for smudging. Yeah, right. It just softens up. Even their eater works very well. Or you just crew up here in Taipei. I'm gonna go ahead and clear this, and that's pretty much it. So it's a very that's a very quick overview of what you can get. So I'm just gonna start clearing out here a little bit That's setting up our environment to start to start painting. Um, to be honest, I don't usually usually work with with these. I could take them out. I'm not really putting it in place. I know, but don't be mad. It just I don't want him here. This is what matters to me, right? So I usually work with you either. I don't work with you. I don't work with you either. Yeah, they got felt it too. The harder rate is actually something I used. At least I usually work more with the software on this. Basically, it's in terms of the environment of work. I like to work here, so I'm just getting some texture now. I'm probably going to get Okay, So maybe this artist one? Yes, maybe this pencil. I believe I was Yeah, it's more rugged. More pressure? Yeah, I'll definitely here. Okay. In a again, I defaulted my program. I installed it again and I removed my preferences because I really wanted to show you the process from the beginning. So there's actually a couple more brushes that are missing here that I use for for a majority of the majority of my paintings. But this comes from a custom brush set that I downloaded from from the block apart from sketchbook dot com, They have a tab with the block that they post constantly new things and you can get brush that's there. So in the end, Indian of the class, I can actually show you where it is located and which ones I download and the ones that I use to include here. But this is mainly this first started is action Preview 6. Toolbar: So if we move on to the toolbar sound and tools we discussed here and I stopped here in the lagoon because this didn't make sense because these are or brushes, right? These are colors on. These are other tools that we have there directly into toolbar. And this is actually for for the files. So you save opened a new one I don't really use. It s o. The lagoon is actually here. I'm not gonna light it. It just because I got so accustomed to every time I want to clear to just do this right. You just completely any drag to the right that I left it there. I lead the lagoon there. Specifically forgot. Because everything will every single thing else, every anything else. I just I have the brushes here. I have my tool bar here with the buttons ready. Ready to go. I have my colors here. Like you, right on my right side And the layer swell. Right? And I work here in the middle, but I mainly use the toolbar and let's go over. So the magnifying glass. We already saw what he does, right? It's pretty cool, creepy, useful. You all the time. The selection tool. Now the selection tool comes in several shapes. Right. You can either have a standard rectangular one. And this Why is this useful? I have a color selected and I cannot make outside of it. Right. It's gonna be pretty interesting. It depends on what you're doing. But for instance, you can work. Let's say excuse me. An example. For instance. Let's say I'm doing a work on a circle, right? So I'm gonna draw here. Simple, simple circle here. We close it, and then I want to start. I want to feel the inside, so we will want to hear to our field to write the flood feel and yeah, this one Darley would fill the inside. Okay. And then let's say I want to start shaving this part. I pick up the airbrush, I increase its size, and instead of choosing another color, I just lower my luminous here. Okay, give me a doctor. If I could work here slowly, this starts to give it a little bit of dimension. It is true, but it's coloring a little bit here. Outside. Right. You can see that. Say, if you come with the our brush here. You can definitely see that there's something there. Okay, So what do we do here? It might be good if you come here to the selection to, for instance, and you just I know this will, um I say this is not perfect. Right? But let's say you toe like the oval viewable tool here, and you just adjust here to decide, for instance. Okay, this is very quick. Obviously, when we have one time work better, but And now I do to say with a brush here. Okay, I don't go too hard on this side because I don't want a line to be there. Right. So I don't go too hard there. But I work here on this side trying to get a little bit of shape, right? If you cancel that out. Now, you see evidence much the outside, and you start to get a little bit of a grating. Okay, so, of course you can try this out like this. You can try with this, um, lasso tool. So the last hope really allows you to do Let's say more or less. It's not a magnetic lasso, so but you can extend a little bit. You get the picture, I If you select your brush, you can come in or less with same technique. Did you start having so this looks awful, but you get the picture so you can actually do a selection on your during that will, for instance, allowing to do certain sort of shadings the magic want allows you to select apart. Let's say it actually select everything of that same cup so free, since if I select here to center Oh, our circle, it just It's blocking out where he notices a stronger shading, so stronger, different color. But everything else is selected, so this could be quite cool. So if you select now here, it actually selected perfectly. Here are Circle on. Now that I'm thinking of it. Of course, I look kind of stupid cause I should have started with this from the beginning. But this is actually the perfect idea to do a perfect Cheney. All right, so we don't go off any selecting tired thing, and it allows you to work very comfortably, right? So if you come in one more time, I know it's not selected this part, but it's okay, so I just wanted to prove a point here. If you go in with the light illuminates and you do gentle strokes on this side with and then you lower the size of it. Any do a strong characterised with Like it's glowing and you have a little bit of we're looking sphere, but you get the picture selection tool could be quite useful. I don't usually work with everything else that is here, but you can feel few freedom to explore. So you have here d add or remove parts of this election. So you do want if you have in this case, we have selected a magic. What? Sorry. So let's say I have selected here this rectangle and I want to remove. So if I do another, you just removes that part right could be also very useful. So let's say we want to add here, so it just it feels out their entire selection, right? So that can you can work quite well as well. So let's cancel the selection and let's move on to the next we have or crack too, and across well, basically, the selection that you do. It's kind of Crawford and see if you want to maintain it or not if you want. Yeah. Just kidnapped everything else, Right. This is just a quick, uh, cut tool. So you basically have even select. You have your selection, you can increase it. You can decrease it in size. You can rotate it. It's killing too. Okay. You can be useful as well. So the same with the rectangle. You do the same. Any have a move to hear that most. The entire layer, not campus. They moved the entire contents on this layer here. OK, so it's not moving to canvas in general, it's moving the layers now this to actually use, and I'll show you how I use it in particular. Okay, But usually it's This is the work, too. And this work in this case it called it's called Distort. But the work to what allows you to do is select the entire content of this layer. And if you drive it here, you can actually start adding some perspective to it. Okay, Rotating don't want to select you, so it just depends on what you're trying to achieve. That this can be very, very useful. Could be so useful. Honestly, I'll show you. Ah, practical application for it. I actually in my in my previous class. I use this to kind of get a perspective on all the elements I was trying to, including my painting, and it really came this distorted came really happy. The bucket feels so the flood field tool, you just feels out of space with color that you have selected. Okay, it can work. Give useful, uh, ingredients center Grady into or left to, right. As you wish. Art a full flip field textile. To be honest, sketchbook is not the best tool for for text. Let's say it's not made for that. But the option is, in fact, here. I don't use it. But you condone just, you know, index something. You can select your thoughts, okay. And, uh, color and everything. Just it. Place it there and before before you cannot do this after. Okay, But in the beginning, once you selected once you choose, you press OK. You can zoom, INGE amount, rotated. Uh, place it somewhere else so you can actually move around, but you Okay, moving on. So we covered a little bit the rulers and the lips till this French car fear that it's that we have available. It's basically a great tool for doing around stuff. You can actually increase the increase sides. It could militated. It can be very useful. So you could sell like the tool you have your brush selected here. You can actually work on those cars there, right? So if you just it depends on what kind of work you're you're trying to do here. But you know, could be useful come useful. Yeah, I do. Start. You stopped experimenting, moving it's kind of way. But you get the picture now. Perspectives, This could be interesting. So you can still like one. Centrepoint, Obviously you can select two. These are here. You can drive them out if you wish. You drive them closer. But basically what this does is it's giving the direction that you cannot mess up. So if you doing vertically you do it vertically. If you're doing something, diagonal is going directly there, it doesn't matter where you start, Okay? So this can help you. So you have to in this case, right? And this really helps you work with some perspective. Not something again. Not something I usually use. This is for, to be honest, a different kind of work, but nonetheless could be very rewarding. It is very easy to start working with us. Okay, so I'm gonna clear out the campus here. Um, just gonna I'll go over here. What? I just did in a bit, but I just wanted to show you now the tree points one. So it's basically instead of giving wherever immediate vertical line, it just adds a different perspective point. So now everything you construct, it actually has a direction. Two, right, So on the sides, he goes to these corners, but vertically, he goes obviously inactivity here. The disappoint. Okay, this could be useful, actually, if you if you raise it and you're seeing a couple of buildings, for instance, from perspective, if you're down on the street and you're looking up, this is probably what you get, right? So you're down there and you can see the bill that year might be interesting, and then you can even complicate fixed and add more. Right? This all goes to all these points in, Let's say, a more circular manner. OK? We covered symmetry to We went along side of it. So we said We saw the vertical with some theories on one, and you even have all of them combined, and then some. Right? So obviously this works. Many people find it interesting. You have the ability to make patterns. So so easily. Now, this the great tool a really, really great tool just basically helps. You have a more controlled struck. So let me talk a laid off like when we take it out. So this is my struck with a pencil, right? If I have it here, you have more or less. But guideline that goes with you. So you see, if I start slowly, my guideline is dragging before I start. May be right. But if you do it fast, have the thing there guiding and it gives you more controlled flow. Right? Might be useful for some of you guys to try. The different applications of it it can be, could be as experience. Okay, You definitely feel once you get used to it, a couple of strokes and then you feel like you're very loose when you're not using it, but yeah, could be useful to start training out some some long lines and some some more fluid work, and then you have a predictive stroke. This is OK. I again it's something I don't use. But if you want, it just moves out. Everything you do. So let me clear it again. Use a thinner want. So I use the brush and say, this is a bit flaky once you let go. So you see it? I'm gonna go now and you will see it smooth. It will smooth down the entire path. Right? So this is more of a straight line. This is not so much. Just smooth it out. But if it's if you're trying to do a more straight one, just its most that so it's trying to predict what you're trying to achieve, right? Basically, just help you. All right. And then here basically just lets you do simple shapes. The line you click and drag up to that point straight line drawn heatedly for these shapes again. The same and the same and the same that so I think we covered it pretty much, you know, an overview of all the entire toolbar. And then I think it's time we should start putting this in practice. So I'm going to go if you follow the next video, I'm gonna go into layers a little bit more So how they work their modes and Howard a useful . And then we can actually put this in practice, and hopefully you guys can follow. 7. Layers: Let's take a quick look here. Then, on the layers panel, we start with the first based here that says background. Sorry about that. The background is exactly what it means. It's background of the image, the full image if you click here the I So this highs and types and unhurt the layer that you're selecting. So in case you click on it, you will have a transparent background just like this, right? So if now on Leader one which is on top of this back one layer, If I draw anything on it right, you can save this and actually exported just like that, with a black line with no background at all, right? Anything. If you click on a no, hide the background. You'll have this color if you exported like this in the back so you can select a color background just here. If you want, you can click here on sampler, and you can click any color wherever you would like. And it was simple that right? So even if it's on a toolbar, prisons as I just did, or if it here one of this coping colors here and banner, anything at all were you click it, It actually allows you to select that specific color. Most of the times I actually turned us up, right? I don't have it on because I do anything with the layers. I start painting and I select another. Layer two uses the background or use with images, anything at all. But the function is there. It could be very useful. It just depends on what you want to do with it. So what do these buttons? All me. So I'm gonna just clear my canvas. Here you have the normal add layer, but right, you can do this or control l as it mentions. There, you can just do like so I don't use these buttons. I use control l either. For me, it's ways, er, to prompt the menu that it shows up here. Once you click and hold. So if you click on it, hold drive a little bit. You will show all these options right? So immediately if you have the one up does the same as displaced, but the ad later. But right. Um, the one right next to it it's delete. It is to rename the layer. So this name here that says Layer for that would change to whatever you'd like. Rename, merge all murder below the merge all would simply all visible layers that are here no matter the numbers I'm gonna add and add And if you do emerge all you'll nerve all the layers in one right Reverse that if you do merge below you would only emerge this one and the immediate one Actor it right So if I do Onley or seven merge with below you will merge seven and six Okay, also, I mean, sometimes you might be useful. I do it just to organize A soon as I'm almost finished with the painting. Let's say I had a layer for the base cover and then the layer for shading. After I'm done with making all the changes, he might make sense to merge them all. And just you have one for colored. Want just to keep the aspect clean if and only if you're not going to keep working on it. This is very important because, of course, if you're working on different thanks on different shading techniques, different elements of the painting, it might make sense to keep all the layer separate because you can but work on them without damaging the rest of the work that you previously done already. So continue with this menu here. You could lock it. What This does. So you know what? To give you a better example. I'm gonna maybe draw something on it. Otherwise, it is not gonna make sense. So to delete to remember, you click in the middle drag and you have it here immediately. So you lied. Layer, layer, layer. Right. So if you do quickly, it just doesn't. Now, this is this might be interesting. Doesn't some of the options get great out? Because this is layer one. It doesn't continue background as a layer. So later one, the base layer is here, and you cannot delete it because you always need a working layer to be well to be active. So let me, for instance, let's go for kind of a circle. Oh, right. I don't think I mentioned this going over the toolbar and all the options. So just one quick ad and I hope you don't mind. It's here in the layers when you hold and you're doing some sort of ellipse or circle objects. If you hold down shift, you will make the perfect shape of a circle. And with this one as well. Like if I want to do a rectangle Sorry. A square. If I hold down shift, it turns into square. A perfect square. All set, right? Okay, cool. So just a quick excited there. I'm gonna do a circle here in the middle, and I'm gonna choose the buckets Bill. And I'm gonna let's, uh well, choose any color and feel the inside. So you guys see what I'm gonna talk about. Let's create a new layer on top, right? You know, circle and the alkaline are on layer one. Right? I'm gonna rename this rename to and here you can do two things. You can select the show me what's on this layer or not. I usually turn this up and it shows later. One we can clear it, and you can type whatever you want. You can actually type with your pen, whatever you wanted to say or you can right here, circle, Not that circle. Any chose their shows. The letter that you wrote and shows the renaming of this layer here. So let's say for instance, now I choose black and I'm gonna think in a little bit my brush. And now I could draw on perfect. So if I do any I think it all on top of this you will cover it, right, Because the layer is on top, this one. So I'm just gonna do here, rename it, and I'm gonna write line so we can organize ourselves and keep or workflow from the beginning. Very organized. Now, what does this do? Every layer that is on top of the other will always show. So the order that you have here, it's the order that will show up. Here we have this lying on a layer that is on top of the circle layer. Now, these two buttons here, this one lost the transparency of the layer. And I'll go over that in just just a minute. Now this one allows you to reorder layer and change it, even drag it. And when you see the line there, the color line getting active, it's where it's gonna place the layer. So if I do that, I ask you to keep your eyes here to see what's gonna happen. So I'm gonna do this. And it had to the line behind a circle. And so the button below the drag here, it's the lock transparency. So once you click it, you're telling sketchbook that you want to block any action that you're going to make to where there's actually something already painted on locking transparency. It means, actually that is, locking anything that is outside of this black line here. So I have the brush like that, just like before. I have the lock transparency, and it doesn't let me do anything here as much as I try much of trying to whatever with whatever tool it does not likely do any changes now. This is perfect for coloring if you already have the outline that you want and let's say I want to give a different color, too. This line here. So let's say I go and select. It's E 31 here and I have my brush. I can actually even do it something faster. I can increase the size, and if I go over an hour anywhere near this line, you will color the lion on Lee because I have the doctor spirits. So if I do this as you can see, it's covering Onley in this sections and it's so useful this I use every single time in every one of my paintings. So it's very useful when you do a basic color for anything like the same way. If I go now here and I love the transparent and I want to work on the under circle another thing So another way I can to do some shady right? I have air burst selected. I locked the transparency and I I work here. I'm no worried in creating anything I should on the outside part, I'm gonna keep going just a bit because, like, things finished, so why not there Go all the way up and do the opposite here, Finger even bigger. So with the airbrush, it also works like this. So the bigger it is, the more diffused the paint it gets right. So could do this and get a bit brighter in and lowering. And just that had a little bit well right, and I couldn't unlock it. And now, of course, just to show you what would happen, I'm going to zoom in here because this line is perfect, right? But now I don't have the lock on And if I do this with the airbrush, the lock transparent. Ease off. If I start painting here, Look what's happening here. Right. You can see it. You can see you got there. Right? So lock transparency. Amazing. Amazing amazing picture feature. Perfect. You know, obviously, my drag this up, the line shows up, right? Then again, I can look it. And if you want to, you can You can go go in with this bright color and then choose sicken rush. This makes you faster and you can write if he was up So going over the rest of these buttons here just for for you to know. There, there, The ad layer. Of course, we already saw that. This is a way control l is another. But we prefer toe simply drag up. We have the ad grip here. So the folder adds a group of layers. So basically have group here, and you can create new layers and then you put here another. This creates a group of layers. And if I do add a layer and I drag it inside that he goes now inside this group, right? And you can go in merge or under any one group into Larry's again, out right and the group not fully. This appears so grouping layers it just for well, for any sake of getting deep into organization. But this makes sense if you're working with 10 plus players. Otherwise, I mean, if you can fit normally, if I can fit all of them here, I like to have him all visible and I gripped him. And usually this is very enough because I have one for of course, the background would always stay here. Then I have a sketching one. I have the thinking that perfected line work on top of the sketch. I have the basic colors. I have the shading, and then I have usually highlights and some extra details of the composition. And I'll speak roughly to to those to those 5 to 6 layers and then keep my work flow from, you know, very clean and and simple. So again, I can keep painting a outside of the this this'll a box. So the groups and then you have at image for adding the image. You can do it here. There is also on the file. You can go to add image and when when you add an image, this will stay in a layer of itself, right? So let's say let's let's do it. Actually, choose an image that I could do, for instance. Well, here's something I was working in the media for the Arc Station logo. It just adds once it adds the layer you see created here layer five as this layer, it prompts here the command control for this so you can scale it here to a maximum of 400% . All right, so this is a PNG imagines the local so we won't lose, Um, that much definition so we can actually try it just for you guys to see it's in the Mac snap. It doesn't go beyond 400 This basically it's scaling it, but deforming it and this rotates right? We don't want any of that. I just want to keep I just want to keep this clean. And now it might be a bit textured around the edges. You don't see that so, so clean. But once you said it deeply X, Now it's on and then cleans a little bit around the address. Right? This preaching you later and sometimes I don't know. My beautiful My images might be a part of your work. I showed in the previous class the workflow I go through every time I start doing it painting. And that involves getting inspiration and starting to put a scene together with the help of images. And then I worked from there. If you remember real quick, the way we delete layers, Um, I'll give you a minute to think. There the easy way for me just did. It's right Click Drag Top Right then. Currently, there's nothing under Slayer either. So I'm gonna do the same deleted on that unlocked the transparency of the transparency of the line. We don't need it anymore. So that was just to let you know what the function is. And let's move on to this one. The last one. So this is the clear, which is basically the same as we got here. Okay, what does this do? So now I selected a line. If I press clear, he deleted what's on that plate right? Which is exactly what we get here. Because this leads not the full picture, but the active layer. Let's say 90% or 95% of all the tools will work on the active layer. You know, there's very little you can do to damage the entire seat. Andi moving on to the last. This is just a drop down menu of every single thing you already have. Uh, here. So in this menu here that you can select all around you just select and you see here the new layer at image in your group group layers clear duplicate. I don't think I went over duplicate, but duplicate just duplicates the layer exactly as it is, which is also here. Sorry about this. Made a plea kick layers here we can lock the layer and you can hide it. Hiding the layer is the same. It's here, right? There's the same. The locking the layer. Locking the layer is not the same as locking the transparency Looking. The conspiracy still allows you to work within what's already painted on this layer. And looking delayer itself doesn't want to do anything right. You actually get that symbol there and it doesn't let you work on anything. And it protects that layer from being in any way that much while he working on anything else. So unlocking, and this is basically there's nothing else particular about it. Here we have all the layer moats, and this is the opacity controller. Basically, if you drag it down if she were now selected here on the layer the line layer, If I drag this down, it starts to. If I drive capacity now 35% you will see that the line It's fading, right. It's the same as controlling here, and this is would usually what I use. I never touched this area here, so this is what I right, the same you got an idea can do in all the years. And sometimes there's some work that might require this kind of work now choosing the layer modes Now this is a big drop down list. I mean, not huge. If you're going to programs like Photo Shop, for instance, you'll have more options. But there's some interesting ones here. So now we're selected again in the line, and he selected to normal all layers out of out of the gate, already selected as normal. But let's say, for instance, I select multiply right, what what this is doing. It's basically what do you do when you selected normal. Every layer that you put on top of each other does not mix right. So normals are basically like a new sheet of paper that he put on top of another. Right now, with all the other moments, you're usually mixing what you paint on top of each other so that multiply. It maintains the same. There's nothing under here to for the color to react with. So in this case, in remains, well, unaltered. But in the middle. Yes, it recognizes there's color in the bottom. Eso it's multiplying what it sees. So basically this color that we didn't line with multiplying with it one on the layer below color burn lady burn. Okay, I don't usually use them the dark and either I use multiply. I use sometimes color dodge hype can use. I don't use glow. I use overlays Well. Overlay is very interesting, but it's quite difficult to tell you exactly what every single layer does layer mode. Sorry, because they will react different with the color that you use. They will react different with any tools that you use, but just know that it might be cool. Franks. If you want to do a better let me put normal again. I'm gonna hide it. Created you later and without doing anything I'm gonna do, uh, color Dodge right on this colored on Chanel, I can see what it's gonna do. So I'm gonna select this one, and I want to have a more intense globe here. Right? So a little brighter, bigger, and I'm gonna color dodge here. And basically what color dodge will do is intensified any glow that we're trying to give it . So, for instance, now if I paint here giving shading to this, um, this fear here and just for you guys to tell in case you think there's no difference between the color d'Argent normal that we did previously do when we were shading the circle . If I go to normal, you'll see what happened. So the same amount of paint work differently. Gonna go again to cover Dutch This So this is a very perfect example of how a layer mode can work on top of another. It speeds up your process, it can get you quicker and also better results. So it's ah, it's definitely you think to explore maybe the light that as well it can mix a little bit, but the color dog really works. As let's say, it's adding a bit of, Ah, stronger glow to to any shading your child, right? The overlay, more or less so it can be used on difference. Different occasions, The glow. It's too strong. Honestly, I never use it of the glory, the soft glow even when I'm painting. If I'm doing a scene, for instance, imagine a night scene with a couple lamps emitting light. I'll use the color dog for adapt and rarely rarely starts the globe on Lee Young. Very specific cases. But I think that's that's the pretty good sum up of all, all the modes. I really didn't want to get into it too much, and it's it's better for you guys to explore. But it's cool to know that well, that they're there and how it can work together. Okay, I want to bring up one more color mode that I use quite often. Um and why is this? I sometimes like to paint and great scale. So, for instance, let me out of the layer and I'm gonna go select any For instance. Yeah, I'll hide all the layers. So we have only just one active and I can work in the middle. I'm going to do a square here and to do it. And now I'm gonna fill it with this grave. And oh, interesting thing about the bucket to Sometimes you can tell a lot the difference. I'm gonna zoom in here so you see, you'll see the difference between the line even though it's the same color, you see a difference. A separation between the line of the outline, the outline of the shape you're doing and the feeling so if you double taps it, I didn't want any create staff and a double top pills in it. Okay, It's gonna be useful to know it is amount here. And let's say I'm gonna blocking conspiracy. I'm gonna choose the airbrush in dark and a little bit sound. Do some some shading. I mean, not for any particular reason. I just want to have different levels. And I want to show you guys what is gonna happen with a different color. All right, so let's say everything is in great, different shaped granted, but everything great and I'm gonna add on top of this new layer, and I'm going to send this layer to color. What this is going to do is to any color I choose. Okay? Any deal earlier, Choose. From now onwards, what this is gonna do is every color or any color that I choose. It will adapt that color to the shadings Arabian place. No matter the base color of all the elements here. So imagine this. I'm gonna go with It's a quarrel. Sovereign. Choose the summer. Right? Vibrant color. This is all in. Great. And this killer, I'm gonna have the bucket filled and I'm gonna quick anywhere. It adapted to what was visible on so right the color here. As long as it's on top, it's acting on top of anything. So I'm gonna choose here. I'm gonna give it a little coat. Maybe, uh, let me choose another grave so you can see what happens. So this is the same base color as I started or square and I have the brush selected. Okay. And if I do a line anywhere here on this side here. Sorry. Let me choose this layer. Sometimes this can happen that we work on the wrong layer, but we actually want to select this one here, so I have the great color selected. But because I have the color working on top the color layer, it doesn't let me work with the rial color I chose, right? It's that that color here or let's say, this value of shading so a dark gray, but with the some one right on top of it, and this is what happened. So if I select a light one, it still has the same way. It works as a you know, different shadings of this some bread the same way. If now I go in and I hide the color, it's no longer visible. No filter on it applied. So what you see is what you get. If we toggle this on again, we get the nice training. It's gonna be very useful. You can paint it grey some time to teach you for you to see the values, the difference between highlights and shape and shadings. And it's not so easy to select the correct colored for it. So if you want to paint all in gray and then add a color on top of it, it can work, and the result is quite nice. I think this concludes overall. What? I wanted to tell you guys about layers. I think it's enough to work from here. So yeah, this is it for this part and just followed through on to the next class will do just a very quick recap of all that has been set and along with the idea for the class product that hopefully you guys can can complete and send it over to me. So weaken, discuss. And I could maybe replied to some questions that you might did my half and will grow and develop together because that's that's the goal and the objective here of this entire this entire class of this entire trial. So? So I'll see you in the next video. 8. Class Project: so recapping everything we've seen on this class. We went over the lagoon. We went over to brushes the toolbar. All the copa colors that are here, the layers, their functions, layer modes, everything you do. Why therefore so this is is a software that actually adapts to pretty much anyone style. And it really helped Teoh increase your workflow. So I just wanted to tell you guys one more thing just before anything before working on anything at all. Any changes, any new layers, any any settings at all. It's worth mentioning that you have to your the image size or the campus size. If you go to image sized, you get here to pixel dimensions here in order document size. So I usually work here and the region where I met in Portugal, where you centimeters I can quickly change tonight you can choose whatever you feel like, but in centimeters. So it gives me an idea of, um the size that the actual size that I want to do Why do I do this? I always like to work on the image size and select ah higher image sized because the brushes act accordingly. The reason why I say This is, for instance, Let's say the airbrush here for it cannot go below 5.0. Okay, meet Dr that onto the minimum possible. It doesn't go below five points here, which seems like a lot, you know, he drinks small here. But let's say you were working on an image size. That is when you go back to centimeters and I choose 10. Right and I have that here toe keep proportions on. So every time I change the with its also updating the height accordingly, right? So this is the aspect ratio that I want to keep working on. But you can take that down and change all of them to make this a square or a longer or shorter rectangle, whatever you would like. But I like to keep proportions on because I already have the measures. You know the display exactly the way I wanted. But let's say I choose 10 perfect and now working. All of a sudden it's the same size, and the airbrush is bigger. I cannot go below this. So if I'm working in detail, sometimes I'm really going in and I want to shade in detail. If my image is too small. The tools won't allow me to get their little to do with the way I wanted, so it's always good practice to before you do anything, you just select the big. For instance, let's go with fit 50 and this is set and I'm working again. This is fire, and you can see how thin there's all right. I can zoom in working detail as much as I want, and you can do this with whatever size you would like, because as long as you do hear the fit to view, it would always stay all active on the screen and you can work the same way, right? And also this helps you if you're printing for large scale. Sometimes I knew work to print and hanging walls, and I've done work that he's one meter long, so I had to work accordingly. So resolution I have at 300 disa just pretty standard pixels per inch. Um, of any Emini makes quite a heavy file, but sketchbook allows me to work on it with any without any issues whatsoever. So someone great keep, uh, 300 pixel 300 pixels branch or higher and don't forget to update your documents size. And yeah, I think that's that's it for now, that concludes, everything I would like to share, I'm going to clean this so on to the class project. I'm not gonna put any restrictions on what to create, because that's what that's what's really interesting about community at the end that everyone can submit all types of things and then we can discuss them and improve together. Eso You could do a character, if that's your sort of thing. Someone can do a cup or someone getting only a circle or a square or really anything at all . There's no restrictions on what to create. I'm gonna, however, ask for someone guidelines. So everyone follows the same steps on down there, some some cohesive you no idea behind all of them. So what we're gonna do is work on something from start to finish. It doesn't need to be. We're not asking for something ultra developed at this point. What we want is the use of these tools, any tools that might might have caught your eye because you don't need to use all of them. Nobody does. So select just a handful of them and do whatever you feel like doing, but basically followed these these bullet points I'm gonna I would like first of all, that we have basic consideration on the layers layer Moz and their organizations so separate everything by layer. And I mean that by number one being sketching number two, for instance. If I create a new one and I'm gonna do some sketching in this one, I'll go in there and keep selecting this because I press a button on my on my tablet. So here, layer. And this is for sketching, right? And if I drag up and I create a new one, this will probably be the next step. Will probably be thinking and then coloring shading whatever you might do, just create a new layer for it and work on it, and then keep them to tell us your process by So if we go back to layer one here So first layers and let's say okay, identify them as well. Number two, you have to use a least three plus brushes, right? So it please at least three brushes the three plus brushes and that I mean by if you use the pencil or are any to whatever. If you use one for sketching another for thinking that counts is too. Of course. So at least three brushes I would like to see you using. Um, and at least do you can stand the same plus to tools. He might be perspective. It might be symmetry. He might be the help here of of one of these objects. Whatever. What we want to see is the news of at least two tools. So the brushes do not counted these tools that I'm talking about. Number three the same way I'm doing these bullet points. 12 and three. I want you to keep a separate layer the same way just to write down on the layer. The steps. You too. Okay. You can also write them down in the comments. But I would like you to keep a layer here. So for him, I'm going to give you as an example. So just comment And why am I saying this? I'm gonna blocked us now. Just just hide it and let's say I'm sketching. No matter. Um, a company with a sketch, a cup, remember? The sketching is a rough sketching. Do not worry about anything. Just try to see where you want to go with the drawing. All right. I think this looks Campina. This is the sketching. So I have the inking. I'll go choose to more, you know, find Lining brush. I'm gonna go to the sketching. I'll lower your passivity around 50%. Go back to the inking layer. I think the top of the cup, Maybe we can use any lips here. So maybe just like that. Okay, That looks good with increases science now, because I want one brother strokes on the sides of the cup. Choose my steady stroke here and maybe work from there just a little bit. I'm gonna live. Lead a little bit of the edge. Gonna start here, work my way to the bottom here as well. Close it. Uh, there's a look. Perfect. But guys, I'm doing this in 30 seconds. So if now we go and look here, you get your basic idea of a cup and I'm gonna do new layer rename it. I want to choose basic covering, which I'm going to apply this Would the bucket filled and the basic color that I'm gonna use gonna be this neutral gray here, right? I'm glad this happened. It was a mistake I've done. And I realize now that I didn't mention before they work around that I have around this. If I don't want to damage this here. So the bucket feel if I do it here, it works perfectly, of course. But here it's an empty on empty layer. So it covers everything. What do you like to do is probably duplicate the thinking right when he duplicated inky one . You can act as if this is your basic coloring and he work now on it. Okay, so I'm gonna leave here, rename it, Gonna go with color basic coloring. So I selected it for inside. It's gonna be number one a bit lighter way are going to choose some dunker, Maybe a doctor paying for the body. Yeah, like that. Um, this is a basic coloring, so nothing's happening. And now to this, we're gonna duplicated once again triplicate layer, We're gonna call this kating shading. Why am I doing all this duplicating? So in case I screw up here now with shading, if I do something that I really, really, really want to do, something like, horrible. I can just delete it. And I still have my coloring. I'm touched, Right? But the fact that it's a duplicate it allows me to work is if this is on the active layer. And, uh, I'm gonna look the transparency there. So we work all the without damaging, hear the background, and she's my airbrush Gonna choose discolor here on darken it a little bit, increase the size of my brush, and I'm gonna dark out okay, So cool. This is then I don't wanna overwork it. This is just to be fast. And just to show you guys what you could do decreasing out of sight of the airbrush. I'm doing something so simple because the classes hung enough. But if you guys want to do something more elaborate, do it's still seen. You can do anything, anything, any element, any object and landscape. Whatever you might I feel like doing, I would appreciate the effort for sure. So I just want to show you now. Everything said the feeling I'm not gonna work on it anymore. Now, on top of this, I would like to add a color shape, okay, and choose a very nice color for it. Gonna fit this to view analysis on. Let's saying what color cups notice? Um, OK, do. Let's portrait some bluish on may be a problem where rob blue I feel it. I never go The color of done looks very ugly. I'll give you that, but okay. On something you can do, maybe add a new layer I'm gonna add another layer. And this time I want something to be under or in the back So I'm gonna drag this all the way down all the way down He bid They could be here under sketching and this will be shadow . Just I want to give it a notion on Lee of Saint Floor. So with the airbrush been a dark into sound you end Maybe you full full on black because it will work with the blue color on top anyways, So yeah, that's good. And that more working So we can go, brother, we can go bigger. This is working on Lee ended back, right? And does I consume out maybe see better what we're doing just like this and then smaller and deeper around it Don't go darker closer to and sometimes it might be to have something even gonna go in with my softer razor, increase the size and just likely things that are unnecessary. So there you go at the end. What would I like to see? So all the steps that over meant I was mentioning here. I would like you guys to create another layer going top and just refer to it as steps they can be. Step, select the pencil. We're black. Any right on this side. Step one. So you can mention all the layers that you've done. So, for instance, you say you used so disconcerted sketching 1234 an earlier color. So five. So I did five layers. Five layers, which were, uh, actually first sketching, sketching, thinking, uh, basic color shading culpable. Here. Right. Then for number two, I did the pencil for two sketching. I did the in campaign. I did the brush head for the basic color brush man. And then I did the airbrush for the shading eso These are brushes. And then I did dr this here to decide that I did. Plus, I used the lips too for the for the top of the cup. And I used the paint bucket to hear the flood. Fill. Look. So these are my three plus in this case, four brushes plus two tools. Sorry, I even used here the steady stroke, too. So steady stroke. The reason I'm telling you to do here is because I assume I assume you're not going to send me the file. So the tiff. So when you save a sketchbook document, it saves as a tiff file, which is the standard four months for for sketchbook file. But I assume you're going to save it as a J. Paige or PNG, in which case I cannot see the layers. I can see all the work done. So I would appreciate your work being probably in, let's say, half the sheet and any leave half of it. Or depending if you have a more more beautiful or better and writing than my ugly one. You know, maybe you can organize things better, and you could fit everything in one page. I'll leave it up to you. But I would like a brief every comment and look at all all the breakdown up to you. Use them to save it now, as just to finalize. I'm getting too long already. You do save us. And instead of the tiff one if you do. If I do here, uh, P and G, for instance, and he will say, for instance, new art. You will prompt a box saying that all, uh, all the layers will be Merced. And you're fine with that because it's not actually gonna It's not gonna merge. Actually, on this file, it just in the export that one. So I'm pressing, OK? As you see, these are still here. Um and we can open. Actually, I think I saved it. What did I say? That I think I said that here by mistake. But yeah, you aren't any said Jay Pek file. It's small, but it has all the quality that you want. So and you see here. So this is the file, right? Like a picture. And you can see the finalized product and what's been written down is a comment. Right? So this is what you guys can can submit. So I hope I really hope you you participate. Really hoping. Share it with me and all the rest of the students in this class. Thank you so much, guys, For for keeping up until this point. I know it's been long, tedious at some point, but in order for us to move on together and to start developing better, better content and better artwork, we really needed to go through the steps. So please explore them, create share with me, and I'll be waiting and see you next time.