Draw and Create with Procreate!

1. Introduction: Hi, guys. I'm Ed. And I'm Joey. And this is draw and create with Procreate. Jump on in and join us as we show you the great things about this program. We'll teach you about the basics of the interface and learning all the tools, and more advanced techniques like creating custom brushes. If you've ever wanted to master creative projects on the fly, this Procreate course is for you. Hi Hi. 2. Joey Interface Overview: Hey, guys, it's Joey, and this unit is going to be on the basic overview of the Procreate interface. This is going to be a really generalized overview of the app and its tools, so make sure to check out our other units if you have any specific questions. Now, if you look, you can see that we're in our Canvas already. You can zoom in and out using your fingers, as well as rotate the Canvas as a whole. You can also see that we have tools on our top and on our left hand side. Don't worry. It looks like a lot, but I promise we'll get through it. On our top left, you can see that we have the gallery tool. This is going to take us back to where all of our projects are. Going back into a specific Canvas, you can see that we have a handlebar looking tool, and this contains all of the actions that we can do. So in the ad action, you can add photos, files, or texts into your Canvas. In your Canvas section, you can turn on animation assist or drawing guide, which really helps with perspective. You can also add a reference board which you can import your own images if you'd like. Pretty helpful if I do say so myself and flip your Canvas if you'd like, horizontally and also vertically. Now on the bottom here, you can see that there's Canvas information. Clicking this, we'll give you just a bit more detail about what's in your Canvas. You can see when it's created, the dimensions, the DPI, the layers, the color profile, video settings, and statistics. All helpful if you really need to know. Sharing, you can see how we export these files. You can share the image as a PDF, PSD JPEG, but you can also do something cool where you share the layers as a whole. You can do this using a PDF or PNG files, and even you can use the animation gifts or PNGs if you want to export an animation of yours. Now, video here is pretty cool. You can check the Time laps replay of anything that happens in this Canvas, which basically just means it's a condensed video of all actions or drawings that you do on this Canvas. You can turn this off using the Time laps recording, there's off, purge the video, whatever, turn it on. You can also export this video once you're done if you'd like to have a closer look at it. There's preferences. This is really just going into little details about your canvas and the way it's set up. There's your light interface, which turns it onto light mode and so dark mode, burning my eyes a bit. There's right hand interface, which just switches the tool bar from your left to your right. There's dynamic brush scaling. You can project your canvas onto a screen if you'd like. Brush cursor, pressure and smoothing gesture controls, all things that if you wanted to, you could change. Over here is the help, which is just any additional questions that you have about the Canvas or Procreate. In general, you can click on one of these and it'll take you to a website that Procreate has created that can answer these. Now going into adjustments, this is mostly about drawings that you have on your canvas using hue saturation brightness, color balance, curves, gradient map. This all changes the color of your canvas. Let's say we have something blue drawn. Over here, you can change the hue saturation and brightness, see I can change it to green color, maybe even red if I'd like to, and the saturation I can bump or push down. All this affects the color of my drawing. Then we can go into these next ones, which is gaussian blur, motion blur, and perspective blur, which all affect the clarity of my drawing. All these, you can see will blur my drawing. Now going into these extra ones, there's noise, sharpen, bloom, glitch, half tone, and chromatic aberration. These are all little niche things that you can do and experiment with to see if it fits what you need. There's also liquefy, which just pushes your canvas along like this. Now moving on, we have our selection tool. This is really interesting because on the bottom, you can choose specifically how you'd like this to be made. You can do a free hand one and select your image or you can do, build it in. You can do a rectangle, which is pretty cool. You can do an eclipse or you can do automatic. Now all of these have little things on the bottom, which is add or remove. You can change if you'd like to make it so that you can color inside your selected areas or outside of your selected areas like this. You can also copy and paste using this, or you can do color fill or clear. As you can see from earlier, if I go like this, make a selection and then color fill it. It fills with color. Now, pressing up here in the arrow is your selection tool. It basically lets you warp and move your image that you've selected. Now, there's free form, which means you can bend it and reshape it. Uniform just keeps it in the same shape, but changes the size, and then distort. You can change one area, maybe angle it differently, and then warp is pretty cool. You can make it look almost three deep. Now over here, you have your brushes. You can see your resins. There's a bunch of different types over here, even going into imported brushes that you can add later. There's also the blur tool, which blurs all of your stuff together, and you can also change what brush you're using for that. Now you can also use erase tool, which is pretty self explanatory. Then here are your canvases. You can see my top one and my bottom one. There's your delete, and your lock. Locking this means you can't draw on it anymore. And, of course, duplicating and deleting them. See, deleting them clears them. You can also change your background color, which is pretty cool, changes the whole thing. Going back to white. Then over here, you have your basic color wheel and you can change the way that they look, whichever one you prefer, as well as certain color palettes that you'd like to have. You can save all of them and we'll show you how to do this in a different unit. Now going over here to your left hand side or your right, depending on if you changed it, you can see this is the size of your brush. If I make it really small, I can get really small lines, or if I make it really big, I can get a really big line. You can see I'm using a textured brush right now. If you look on the left, you can see that there is a size and opacity adjuster for your brushes. See if we go full opacity and a small size, I can make super small details, I go bigger, I can get a bit of a thicker look to it. Going down the opacity, let me change my brush that we can just see it a bit better. Bigger size, but down on our opacity. You can see it's pretty shear. Adding another layer can add more opacity to it though. If we wanted to do full opacity, that's what it would look like. Then this is just your undo and redo button. Okay, so hopefully this video helps you guys understand the basics of the Procreate interface and just understanding the tools that come along with it. If you guys have any more specific questions or how to, you can check out our other units and see those videos there. Bye, see you guys next time. 3. Joey Canvas Set Up and Assist Tools: Hey, guys. Welcome back. In this quick tutorial. We're diving into setting up your Canvas and preferences in Procreate. You can start drawing the way you want right from the start. Whether you're creating for print, animation or Instagram, getting your setup right makes a huge difference. Let's get into it. When you open Procreate, you'll land in the gallery. To start a new project, you can tap the plus icon in the top right corner, right there. Now you can see we have a bunch of off Cut. Now you can see we have a bunch of different options for a new Canvas. You can pick from built in sizes like screen size, square, A four, any of those normal ones, or if you want a little bit more customization, you can choose the custom canvas settings, which is right here on the top right, a little rectangle with a plus icon inside. Now you can see there's a lot of things that are here. We can look at the width, the height, the DPI and the maximum layers on this first image. We can see the width and height are in pixels right now, but we can change it to inch cut on this first screen that we look at, we can see that there's a lot right now on this canvas, but it's pretty easy to break down. So right now you're looking at the width and the height of the canvas. This comes in pixels, but you can change it to inches, centimeters or millimeters if you'd like to. The difference, honestly, is pretty minuscule unless you're wanting to print these out. Now, you can see that there's also a thing called DPI, which is basically the amount of pixels in the actual canvas. So having a higher amount would mean it's more of a higher quality image. For printing, I'd recommend around 300 to maybe 500 DPI. But for regular just Instagram posting, it can be around 100. You can also see on the side there's color profile, which it chooses how your Canvas displays it. There's the red, green, blue. There's also the CIM magenta yellow. You can switch between the two, either one. Honestly, you'd have to mess around with these, find the difference between them, which one you personally prefer. I just like the classic red green blue. Now the time lap settings, this is for the recording that you have in your Canvas. You can change it to be a higher quality one, studio quality, anything that you really like 2k4k. I usually just go with the general preferences that they already have set for me just because I'm not really too big on having a good quality video. But if you guys would like that, there is an option to change it. There's also the Canvas properties, which is the background color, which you can change from being white to any of these colors you'd want, or you can just press hide the background, and then you have a clear transparent background. Now, let's say you're happy with it, you can press Create now the first part of making your canvas is done. You can honestly toggle with all these options so much. There's so many different options, but at least creating it is done right now. Inside, let's say you want to change something about it, you can also go and tap the wrench bar and go under Canvas and there's so many different options there. You're not happy with the size, you can put a crop and resize, go like this, make it super tiny or super big and you can see that there's a bunch of different options that change. As you make it smaller and smaller, you can see that the layers go up. But as you make it bigger, it does go down. There you go. Done. Let's say we're happy with that. Then if you also wanted to do an animation, you could press Animation Assist, which means that you can add different frames and multiple layers of stuff like that. I'm not going to delve too much into this right now just because we have a separate video on that, but don't worry, I will later. Just turning that off for now. There's also page assist, which has all those different layers except they don't give you the looping and the kind of flipping back and forth, like the animation assist does. This is really helpful if you have PDFs or anything like that that has multiple pages. There's also the drawing guide, which you can edit. You can see how it's just a plain simple grid right now. You can edit the drawing guide. You can see on two D grid, we have the opacity. You can also change the color. Let's say I wanted to go for maybe a red or green or blue. Any of that you could change. You can also change the screen is hard to see the thickness of your lines, so super thin or super thick, pushing opacity all the way. Super thin, super thick, up to you. I'm going to go for 50% or around the grid size. This is super helpful. You can make it super tiny. Or super big, up to you, honestly. I like it like that, maybe. Now, there's assisted drawing. You can turn this on. Without this, this means that you're just going to have those lines as a reference behind your artwork. But turning this on means that your pencil will make lines that only follow this grid. Same goes for if you wanted to switch to isometric, which is pretty cool. Same different toggle options with the size and the thickness. There's also perspective, which you can tap and create some vanishing points. With these vanishing points, you can adjust where they are. You can delete it if you'd like, make a new one, you're unhappy. But with this one, you can move it around like this and then pressing assisted drawing. We just mean that your drawing will follow the rules of whatever reference lines or perspective lines that you have in place. Turning that off, you can also create two. So you can do two point perspective, pretty, pretty cool stuff they have over here, which would be really good for drawing some buildings, anything like that, if you want to do three point, Anything like that is an option. You can move this around. It's very cool, very interesting. There's also symmetry, which opacity here, you can adjust that as well as the thickness. Now, this one is a little bit different because you have different options. You can have vertical for your symmetry line. There's also horizontal, but then there's quadrant, which means one in all four, and then there's also radial, so it goes around. This is good for creating mendolas, anything like that. But I'm just going to stick with a vertical one. Going here, let's say I'm happy with that option. Let's say I want to draw something. Let's do a heart. A heart. There we go. Looks pretty good. You can see how it appears on both sides, right? We can actually change that. That's only on one technical layer. If we want on a different one, you can see that it's only on one side. But let's say this layer is good and you want to stay on it, but you don't want it to be assisted anymore. You can actually tap into that layer. You can see drawing assist has a checkmark. Tap that again, and you're free to draw however you like. Let's say you want it back on, pretty easy, tap it again, and then it's assisted again. Yeah. Pretty cool. If you wanted that on, just as assisted underneath. If you wanted it off, it won't sure to be a little bit careful with that. Don't forget if it's assisted or not. But yeah, remember that it does change your drawing and your canvas and all of that because it will replicate on the other side. Anyways, hopefully this video is helpful in giving you guys a basic overview of different options that you can use and mess around with for Procreate. There's a lot more that we could go into, but I think this is a really good place for you guys to start. Hey, well, hopefully this was helpful and I'll see you guys in the next video. 4. Ed Layers: Guys, it's Ed, and I am back. I'm back with a very, very cool unit here. This one is one of my favorite topics in Procreate, so bear with me because it might be a little bit longer in some ways. But honestly, if you get this down, this fundamental idea, you will be leagues ahead of any upcoming work projects and stuff. Like this will really help you understand some of the basics of Procreate, okay? And in this, I'm particularly talking about layers. Okay, so what are layers? Well, first when we're looking at our menu here, we can tap on this button up top and we see a bunch of layers. And these are just work layers that I've been using. There's only one no two that are visible right now, the background layer. And this inserted image. Everything else is blanked out. And so you can see when I tap on it, it'll show different things or whatever, but right now they're not visible. I do not want them because I'm going to start a new project here, semin with just this inserted image there. But what I do want to draw on top of it, so I'm going to show you guys how to do that. First off, we're going to create a new layer just by tapping the plus sign, and now I can draw on top. And I can move this layer around if I want. I can move it right above it. It doesn't really matter as long as it's above this image, and I'll explain why as we start to understand what layers actually are. So why don't we get into them? Okay, so I'm going to give away my age a little bit here. I'm going to age myself. I remember growing up in school and we had overhead projectors. OH Ps. And what they did was they projected an image up on the screen for us, right, and it was laid down in transparencies. So just a transparent sheet with a light beaming up onto the wall or screen. That transparent sheet is kind of the easy concept of what we're working with here. A layer when it is first laid down is a transparent sheet. When I laid this new layer down that I'm working on, it is transparent. It looks dark. Like, I know this preview makes it look dark, but really it's just a transparent sheet. You can see through whatever it is I'm doing. You can see through underneath, right? But I'm on top. So that means if I draw on top of this layer as I'm doing right now because my layers on top of this insert an image. Then it's going to push through and be on top of that. But watch. If I was to move this below the inserted image, well, look at that now. I just lost my arrows. They went behind that image. That's not what I want, so I'm going to move it on back, grab it and drag it. My images my layers are back to where they're supposed to be. When we're looking at this particular image, it looks like just a flat picture, it looks like somebody painted it stickingly painted it, that looks like a lot of work, and it is, but it's not the work you necessarily expect it to. This is not a flat image. It has multiple layers. Let's see if we can count them one, two, three, four, five, six, seven, eight, nine, nine layers to this image. And we can see the first layer is a foreground layer, right? It has these rocks. It has this tree, I believe, yep. And this is in the foreground. So it's ahead of everything. It's in front of everything, right? And then as we look through the layers behind, we could probably see okay. One is doing this. One has this tree on it. One has the water. You know, it's hard to parse it out right now, but we can kind of imagine that there are these we can see on the different layers behind there's trees in front of trees and stuff, right? And so just at its fundamentals, you can use layers to stack images in front of each other. Then you can kind of move them around if you wanted, right? I could let's see. If I wanted to, I could go down to this layer here and just shimmy things around, right? So let's say I wanted this layer to, like, match up with the circle above it or something like that. Well, then that's what I do. I just it up there or move it back to kind of where I had it originally, right? Kind of. Roughly thereabouts. Okay. So you can play around a lot if you've separated things on different layers, right? So that's one great advantage of being able to move things around and separating out your foreground, midground backgrounds, things like that onto different layers. It allows you to do quick edits much later on, but that's not it. So, you know, like I said, at one point, is quick edits. And I think it's great, but it's not the only point. It's not actually kind of the most important point in my mind, but it's a great one. It's a great one, and that's why you save the working file so you can go in and edit bits and bytes out of it, right? But a second point, I'm going to say, is layer effects. Now, bear with me as I kind of plot this out. I'm going to give us a white color here. I'm going to give us a midtone color here. And I'm going to give us a dark color here. Okay, so we've got white gray and black, right? And I'm going to zoom in just to make this simple on us, right? Okay, so we've got white gray and black, as we can all see, right? We're good to go. Gonna come into layers here. Oh, dang, did it on the wrong layer. I wanted it on this layer, so I just erased it. Gonna come back and do this again. And yeah, 'cause I want to separate this out for us guys. Let's see. We'll make this how I want it to be. There we go. So again, once again, I'm going to have white gray black. Yeah, I'm going to come back to this layer. And now see this layer here has an end to it. I'm going to click on that end for the properties of this layer. And in this layer, we can see a lot of different options here that are listed, and we're going to get into them in a second, and we can see the opacity of this. So the opacity is how much I can see through this layer, how solid it is or how much I can fade it out. We can see even by adjusting this, well, there's room to play on this, right? Maybe there's a certain thing that I want to do, a certain effect I want to have. Just by adjusting the opacity itself on one layer, I could achieve a lot, right? Yeah, but let's bump it all the way up. Let's take a look at something. It's set at a normal setting right now this layer. But I'm going to shimme it into this section. Like, above normal, I'm going to go over to multiply. And now that's interesting. Watch that again. Watch what happens to the color. The white disappears. The black is still there and the gray is kind of half transparent. So multiply, darken, color burn, linear burn. I call all of these shading effects, but they're really not. They just work with they take away anything light and work with your darks. Okay? So that's why they're so great for shading, right? So what you can do is come down to multiply and look at how you could use something like this in shading. Like let's say I wanted to I mean here, and I wanted to shade this tree underneath this tree, it was a brush, right? I could definitely see how that might play out, and then I could come back in layer and I could bump the opacity down, and you can see how maybe this cast this shadow here might come down this tree and I could shade it all and still have a bit of the vibe of the original colors and shape, right? So I'm coming around, there we go. Do you see how I could adjust that, right? So you can play around with these layer settings and just see how they work. I find multiply is good for shading. Color burn will use some of the inherent colors that are in the original image and the color if there's any trace of color in what you're laying down, right? Linear burn will often do that as same. It's just a little bit harsher, darker color, not as much, right? Then we switch back to normal and we can see how that looks, right? So play around with how you might use something like this to shade for nice and gradual to something really impactful. And almost psychedelic, right? Okay, so back to normal, we can see our yellow, gray and blacks are still there, right? But below here, we've got lighten screen Color Dodge ad, lighter color overlay. And look what happens when I move into that spectrum. The darks all disappear, but the lights punch up in different ways, have different effects. So if I use this section more for shading effects, I'm going to use this section for highlighting effects. So I'm going to come back over here, maybe grab something on this end of things, the lighter end of things. Now, actually, maybe I'm going to maybe a blue or something like that. Yeah. And see how that might be used for doing some highlights, right? We can see you look at that effect. So what's my layer setting at right now? Color dodge, right? Well, that's going to look different in lighten. We still looks okay. Screen Ooh, gets very punchy. Color Dodge starts to blend that color in and stuff, right? Add lighter color. Olay gets really punchy and really interesting. And overlay, I find really uses the colors that are underneath it, right? Okay, guys, so we can see how like We can go from normal and use a lot of different darker colors for shading or darker hues, right? And then the lighter hues for highlighting. What I would strongly recommend is if you've got a shading layer, have one layer that you all use for shading, and for a highlight layer, that's separate, and so you can adjust your shades. And actually, sometimes I have two or three shading layers and two or three highlight layers, right? So you can really play around with this. Next thing we're going to take a look at is, and I've kind of already hinted at it. But we're going to lay down some colors here. So I'm going to hunch up this brush size a little bit. I'm kind of going to see, I want to color over a few things here. And just to see how different colors vibe, right? So I'm jumping all around. I'm going to grab some green here. Why don't I grab a different green and see if that does anything. A lot of this is just experimenting, seeing what works when and why? Okay, so now my layer is set to normal, right? I'm back at normal. But I know that if I mess around here, I can really do a lot, right? So on this end, we're gonna come back up, and we're gonna try some shades. Ooh, ooh, ooh. Hold on. Let me move this. That look kind of cool. I move this over. Let's take a look. Okay, so multiply. How does that look? Oh. Okay, well, we can see how because when we shade, we don't want to use pure blacks. That's a rookie mistake most people do when they get into digital art. Shade is often used like the shading tones are grabbing on to colors that are in the environment and the light source. So you want to kind of bounce around and use darker hues of colors when you're using multiply darken color burn. But you can see how these can give a really interesting kind of, like, impact, right? And now we're going too, that's our baseline, normal, we're going to get into lighten. We'll see how this might work. Really funky sometimes. And you'll be like, I don't know if I like that. Cool. Just move down the opacity a little bit and see how that might be more of the effect you're looking, something soft and subtle with this nice peach coloring or something, right? So that's what you want to do is be able to play around a lot, right? Now, I've kind of taught you the shading spectrum and the highlight spectrum. But we can also come down in here into hard light, Vivid light. I'm going to bump this up. Linear light, pin light. And you can see, oh, hard mix. You could see how they have different effects, right? Overall, I would recommend experimenting with these, especially like pin light and hard mix and stuff like that. It's a very hard, hard setting. Meaning we can see how it looks like kind of a late 80s retro poster or something effect, right? Not going to be what you're looking for always, but good to know. There. You can jump around and see how they all kind of work, how all these colors and hues and everything interact as we go through the layer settings, right? Okay, so one thing I've done using that color setting is throwing it as an entire layer, and I'm just going to make my brush huge here and just colored over an entire image with that one color. Look at that. So it can definitely have an interesting effect, right? I've just colored over it. And notice how it's not going on to the white. It's just going on to the colors that are underneath it. It's impacting the hue and color range of what we're going over top, right? Then I'm going to come back into this layer, and I'm just going to adjust the opacity. And can you see? Instead of it being a harsh red, which is cool, we could bump it down and just Here's the original. Here's a warmer version of the original at 50%. Pretty cool, right? And so that's the color setting. Which I really like. Okay, guys. So when we're talking about layers, like I said, one of the first things is you're able to really be able to adjust quick on the fly, quick edits and stuff like that, if you've got things layered separately. So, you want to change your background. Well, that's easy because it's a separate layer. In fact, it's three separate layers, and I just want to shimmy these trees around a little bit, right? So the first reason to really master layers is for your quick edits, okay? The second one are the layer settings themselves, editing those layer settings. And as we can see, that's pretty cool, right? Being able to make these adjustments. Your homework, I'm going to say for this one, is to play around a fair bit, to take an image like I've got here. To put colors on it, to try to shade a little bit extra, to try to do some highlights, to maybe do a color overlay on it, and just make some interesting adjustments and practice playing with these layers. Guys, I hope this unit was interesting for you because like I said, it's one of the best skills you can have to mastering Procreate. Let's see the work you get and get ready for the next unit. 5. Joey Importing and Exporting Files: Hey, everyone. Welcome to this quick Procreate tutorial where we're going to walk through one of the most essential things you need to know how to import and export files in Procreate. Whether you're bringing in reference images, custom brushes or exporting your masterpiece to share a print, this video will show you exactly how to do it. Let's jump in. Starting with importing, there are several ways to bring files into Procreate, depending on what you're working with. As you can see on our screen, there's a plus button in the right hand corner. We press this. We can choose a new Canvas. You can choose one of the default sizes or create your own custom Canvas, which we covered in a different video. Let's say you already have a file you want to open. You can choose the Import button on the top here at the right side of your gallery and you can see there's a bunch of files that you can choose from. You can choose a JPEG, PNG, PSD or Procreate file. Especially with using a PSD, you can see that Procreate will preserve the layers. If you're working with Photoshop files, you're in luck. Let's just say I wanted to import this picture. Here it says importing. And now you have this sketch ready for you, right? Complete with all the different layers. Now, you can also use a drag and drop icon when you have your iPad in split view. If you can see, at the top, if you go back to Gallery, there's usually three buttons that come up here and you can see full screen, split view, and slide over. If you choose Split View, you can choose to add in another app. Let's say, I don't know, Safari, right? Here you go. Now I have my fancy letters that can transfer over into Procreate. And when you're done with your Safari or any other app, you can just swipe over to the right and go fully back into full screen mode. Now, with that, let's go back into our split view, bring up Safari again. If I wanted to, let's say, I cleared this sketch completely. I could insert an image holding down and dragging it over. Pretty convenient, right? So there you go. Pretty easy way to drag things over using split view. And once I'm done, I can just swipe away. Now you can also import brushes, which is a pretty big thing. If I wanted to, I could go into my brush icon and you see how there's all your different options and stuff. There's also a plus right there. That's how you make an untitled set. You can name it whatever you want, like my favorites or something like that. Then inside that, you can tap this plus button in the corner and make your own brush. Now, once you're in here, you can see that there's the import button on the top right hand corner, the third one from the right, right here. And then I can choose whatever the fonts or brushes that I have imported, could even be images, stuff like that. And that's how you can create patterns and different textures and lettering if you want or anything like that. So once you've created your custom brush, you can use it, right? And it's just in your untitled set right there. Now, this is the other side of importing and exporting. We're going to talk about how to export your files from Procreate, which is pretty important. Let's say you wanted to export this image of letters, right? You can go tap your crowbar handle bar icon. Not sure what that is exactly. But when you see share, you can see all the different ways that you can share. Now using PSD or PDF will share the layers of it. You can see that PDF share layers will keep them individual and separate. Same with PSD. You can export it within Procreate. Best for saving your full editable file. PNG is really good for social media or JPEG is really good if you're posting it on Instagram or something like that. Then down here you can see animated GIF, if you say the weird way, or the MP four. These are just ways that you can share an animation if you've made one. Now, exporting a JPEG, let's say, as our example, you tap it and choose where to send it. You see there's airdrop messages, save image, save to files. You can send it on an email, anything like that. There's tons of different options. If you had your social media on your device or whatever you're working on, you could also go straight and post it there right away. So pretty easy, pretty straightforward. You can also export directly from the gallery by swiping left on a canvas and tapping share. Let's see, swipe left, share, and then here's all your options were the same options that we were looking at over inside the actual image. Pretty quick and easy. And that's basically it. Now you know how to import and export images, including some custom brushes and PSDs, if you want to shave all your layers in your artwork. This will all be really helpful for whether you're printing stuff, posting it on the web or just sharing it on your Instagram. If you found this helpful, give it. Let us know if you found this helpful and check out the next video for some more procreative. 6. Ed Brush Basics: Okay, guys, after taking a quick little look at some brush basics in procreate, we're going to get a little bit more in depth into it. Not too much more, but I want you to really be comfortable dealing with brushes and stuff, right? So the first thing I want you to see is that here's kind of my brush size, right? I can do a dot, and that's how big that brush size is. But I can increase on this kind of hot menu to left the brush size. So I can increase it by 100%, and there we go. This is a nice way to just jump back and forth on your brush sizing and stuff like that, that you can use this hot menu off to the side. The other one is the opacity. So I can come here and I've got, you know, it's 100% or I think that was there we go. I could cut it down to 40 or 50, right? And I could cut it way down. Now, for inking and this particular brush that I'm using right now, I probably wouldn't do that, but we could see how the opacity might be great when painting or something like that, especially, you know, watercolor effects and stuff, right? But definitely this size, it's awesome. Like being able to just pop over here, adjust the side really quickly and get in on it, right? Okay, so the next thing we're going to get into is the brush advanced settings. We're going to come in here and I'm going to click on that brush and look at what it gives me. It gives me so much going on here. I've got my stroke path. I can adjust my spacing. So you can see it's actually a bunch of little dots. And when the little dots are all spaced out, they're just little dots. And when they're really, really tight, well, it looks like a line, right? I can adjust the jitter. That means how much they follow in line with each other or jump around in generally the pathway, yeah, you can see it better when it's all spaced out, right? And you can get the fall off, as in, like, where the line starts and where it starts to taper off. You could have a massive fall off that you barely see anything, right? I'll pull away that jitter, which sometimes is nice, right? And of course, I wouldn't want that spacing. So it could be that nice tapered effect. And for me, particularly inking, not as much, but for pencil work and stuff, I love this fall off. It really helps me, right? Also the line stabilization of when I'm moving, whether it corrects a lot or whether it doesn't correct much. And I can see this on this drawing pad option here, okay? So I want to do my little drawing pad and do this. And it's hard to see, but the wiggle can be corrected sometimes. You can see it bends in just a little bit. So I'm going to see if I can do a little bit more, and it bends even more too. Like, I'm coming out and it bends. Unless I if I go fast, you can see that bend, right? I'm going to keep clearing this. There we go. We could see some stabilization, how that impacts things. It'll help me draw straighter lines, right? Oh, there we go. And even once I put it down, I could say, Okay, no, no, no, no, no, no, I want to be able to adjust this a little bit more. So you can see my natural amount with no stabilization. They're kind of straight. But, wow. Look what that does, right? So if you're struggling to draw straight lines, this is where you might want to get into. Another one that I've kind of talked about before, you know, when we talked about the stroke path, we had this fall off, right? That's different than the taper. The taper is how much it tapers off and narrows towards the end of the beginning or end of the line, right? So I can adjust it with my touch taper or my pressure taper here. I can play around with the tip and see what that does, adjust a tons, right? Start moving things in oh. That why am I doing this here? There we go. That's better. I never say it never gets buggy. Things happen, right? So yeah, what I want you to do is fool around with all these properties coming down. You could do the grain, the shape. I wouldn't get into these so much. The first three are really where it's at. Or when you get into properties down here, you can see the preview size, right? You could see how much the smudge pools and stuff. Okay. You can see whether it gets fatter. I love this preview that it kind of bounces back and forth. You know, the maximum size, the minimum size. So it'll show me with my taper and stuff, how much it goes to the minimum. I don't really like that taper there. I think I might try that a little bit more. I don't know. I'm kind of playing around. Oh, that's why. Because I wanted to taper on that end. See, I can adjust up there. There we go. Okay? I can adjust touch taper there. Start playing around. There we go. Okay, back to properties. So you can play with the opacity down here as well if you want to set your maximum and minimums, right? And again, even with the, we've got a great option of having the Apple pencil here. I'm going to clear this off. You can adjust the size according to pressure. So if I push down, you know, it'll thicken it up. If I touch lightly, it's a lot thinner, right? And same with the flow, you know, you can adjust how much flows out. Each brush, it'll react a little different to these settings and stuff. So, in my opinion, when you start to find your favorite brushes, come in here and just tweak them that little bit, okay? Just adjust them a little bit so you can get that little extra fins that you're looking for. Guys, in Procreate, there's so many options to have fun with brushes. I'm really hoping you can dive into it and have a blast. So I want to see some of the brushes maybe you've fooled around with adjusted or even, like, your gradient practicing and stuff, showing tonal values and stuff with, say a pencil, for example, right? Have fun with it, guys, and let's see what you got. 7. Joey Drawing Corrected Lines : Hey, guys, it's show you with an easy procreate tip for y'all. The first one is going to be how to draw a straight line. See, if you try to draw a straight line normally, it's a little bit curved, right? We can't exactly get it straight. But an easy thing that you can do is just hold that line down as you're drawing it, and procreate automatically straightens it out for you. Same goes for, like, maybe a circle, hold it down, then you get a perfect circle and maybe even a triangle. Let's see if we can do that. Oh, there you go. And then it's a perfect triangle. 8. Joey Brush Size Quick Save: Guys, I show you back with another art tip for you guys. On Procre, you can actually save your brush sizes. So an easy thing that you can do is press the size bar right here and press the plus button, and it saves that size for you automatically. Let's say you're doing a little bit of thin line art, and then you're like, Oh, shoot, I need to shade, move up the size, shade. And then you're like, Oh, I need to go back to that size for thin lining, right? Go back just a simple tap, and then you have that thin line again. 9. Ed Brush Advanced: Okay, guys, after taking a quick little look at some brush basics in procreate, we're going to get a little bit more in depth into it. Not too much more, but I want you to really be comfortable dealing with brushes and stuff, right? So the first thing I want you to see is that here's kind of my brush size, right? I can do a dot, and that's how big that brush size is. But I can increase on this kind of hot menu to the left, the brush size. So I can increase it by 100%, and there we go. So this is a nice way to just jump back and forth on your brush sizing and stuff like that, that you can use this hot menu off to the side. The other one is the opacity. So I can come here and I've got, you know, it's 100% or I think that was there we go. I could cut it down to 40 or 50, right? And I could cut it way down. Now, for inking and this particular brush that I'm using right now, I probably wouldn't do that, but we could see how the opacity might be great when painting or something like that, especially, you know, watercolor effects and stuff, right? But definitely this size, it's awesome. Like being able to just pop over here, adjust the side really quickly and get in on it, right? Okay, so the next thing we're going to get into is the brush advanced settings. We're going to come in here and I'm going to click on that brush and look at what it gives me. It gives me so much going on here. I've got my stroke path. I can adjust my spacing. So you can see it's actually a bunch of little dots. And when the little dots are all spaced out, they're just little dots. And when they're really, really tight, well, it looks like a line, right? I can adjust the jitter. That means how much they follow in line with each other or jump around in generally the pathway, yeah, you can see it better when it's all spaced out, right? And you can get the fall off, as in, like, where the line starts and where it starts to taper off. You could have a massive fall off that you barely see anything, right? I'll pull away that jitter, which sometimes is nice, right? And of course, I wouldn't want that spacing. So it could be that nice tapered effect. And for me, particularly inking, not as much, but for pencil work and stuff, I love this fall off. It really helps me, right? Also the line stabilization of when I'm moving, whether it corrects a lot or whether it doesn't correct much. And I can see this on this drawing pad option here, okay? So I want to do my little drawing pad and do this. And it's hard to see, but the wiggle can be corrected sometimes. You can see it bends in just a little bit. So I'm going to see if I can do a little bit more, and it bends even more too. Like, I'm coming out and it bends. Unless if I go fast, you can see that bend, right? I'm going to keep clearing this. There we go. We can see some stabilization, how that impacts things. It'll help me draw straighter lines, right? Oh, there we go. And even once I put it down, I could say, Okay, no, no, no, no, no, I want to be able to adjust this a little bit more. So you can see my natural amount with no stabilization. They're kind of straight. But, wow. Look what that does, right? So if you're struggling to draw straight lines, this is where you might want to get into. Another one that I've kind of talked about before, you know, when we talked about the stroke path, we had this fall off, right? That's different than the taper. The taper is how much it tapers off and narrows towards the end of the beginning or end of the line, right? So I can adjust it with my touch taper or my pressure taper here. I can play around with the tip and see what that does, adjust a tons, right? Start moving things in. Ooh didn't mean to do that. Why am I doing this here? There we go. That's better. Never say it never gets buggy. Things happen, right? So yeah, what I want you to do is fool around with all these properties coming down. You could do the grain, the shape. I wouldn't get into these so much. The first three are really where it's at. Or when you get into properties down here, you can see the preview size, right? You could see how much the smudge pols and stuff. Okay. You can see whether it gets fatter. I love this preview that it kind of bounces back and forth. You know, the maximum size, the minimum size. So it'll show me with my taper and stuff, how much it goes to the minimum. I don't really like that taper there. I think I might try that a little bit more. I don't know. I'm kind of playing around. Oh, that's why. Because I wanted to taper on that end. See, I can adjust up there. There we go. Okay? I can adjust touch taper there. Start playing around. There we go. Okay, back to properties. So you can play with the opacity down here as well if you want to set your maximum and minimums, right? And again, even with the, we've got a great option of having the Apple pencil here. I clear this off. You can adjust the size according to pressure. So if I push down, you know, it'll thicken it up. If I touch lightly, it's a lot thinner, right? And same with the flow, you know, you can adjust how much flows out. Each brush, it'll react a little different to these settings and stuff. So, in my opinion, when you start to find your favorite brushes, come in here and just tweak them that little bit, okay? Just adjust them a little bit so you can get that little extra fins that you're looking for. Guys, in Procreate, there's so many options to have fun with brushes. I'm really hoping you can dive into it and have a blast. So I want to see some of the brushes maybe you've fooled around with adjusted or even, like, your gradient practicing and stuff, showing tonal values and stuff with, say a pencil, for example, right? Have fun with it, guys, and let's see what you got. 10. Ed Sketching: Hey, guys. So in this unit, we're going to fool around and procreate just a little bit and do some fun sketching. Nothing too serious. Everything's kind of light, so I'm going to start lightly with pencils and just kind of find my way through them and see what I like. Now, I like to sketch in blue. It's an old carryover from a while back. And when things used to go to print, and I just feel comfortable in blue. So let's do that, shall we? And I'm just going to kind of see how this feels. You can see, like what I do is often like sketch a line, do a little wiggle line, and that's really light, right? So might bump up the size just a little bit, but the opacity is all the way up, so I really have to push down. And is that what I want? I'm not quite sure. I like a stroke that's a little bit more defined, a little stronger of a stroke. So let's see. Oh, there we go. That's more like it. So if I'm going to be sketching, I think I might sketch using something like this, but let's play around just a little bit more. Dusky? I don't know. That's not bad. I do like to taper on this. Yeah, that's kind of nice. Okay, so why don't I stay with Dusky? I'm going to take this out, create a new later. And let's see. What I like to do is start with doing circles just to see how I warm up. Sometimes I do a lot of circles overlapping, smaller ones, a little bit bigger, a little bit bigger. Then sometimes maybe I'll bissect them just because I'm going to be practicing drawing faces at some point later today. So I might do something like this. Bisecting my circles, turning them into spheres types of things, right? Okay. And then I might draw some simple shapes, you know, nothing too extravagant. And if I want to, I can kind of play around and try to turn these shapes into three dimensional objects a little bit. Just throwing a little bit of perspective on them, right? Seeing how that looks. And I got to say, it doesn't look good, but it doesn't look bad because that's what sketches are for. They're supposed to be nice and loose so I'll even come down here and maybe riff off that's just a little bit better. I will draw myself a little pyramid here with a little box below it in perspective. Behind it, I might put another little cube. There we go. And on the other side of that, I might have a sphere. Now, it depends where you studied art if you ever did, but this could be easily transformed into a familiar still life of something sitting on a table. Don't mind the cold as I sniff. Something sitting on the table, like fruits and veggies or a plate or whatever it is, right? And then you're having to take the forms and shapes and put depth to it. You know, one is in front of the others in front of the other type of thing. And you can you can arrange that in depth, and in sizing, and there's a few other ways to do that. But fundamentally, this is what I like to do. I like to see how my pencil line blends, and then how I can blend it even more. See how the pencil translates into what I was used to because I grew up not digital. I grew up paper and pencil, you know, doing traditional things and stuff. And so often, I'm trying to mimic that feeling. Doesn't always happen on a smooth tablet. It's not that hard to make it come really, really close. So, guys, this is what I want you to do. Simple sketch exercise, whether it's circles, whether it's shapes, it's three dimensional objects, whether it's just gradient lines, practice and see if you can get down the groove of what you want to achieve. And that's our exercise, a quick one for sketching. 11. Joey Color Theory: Hey, guys, in this tutorial, we're going to be talking all about color, including how to use color theory and how to set up your color palettes and procreate an actual Pro. Let's dive right in. Color theory helps you a lot in your artwork, especially when creating moods, adding contrast and harmony within your art. Procreates color wheel makes it super intuitive. To find this within your canvas, you're going to be on your canvas. Then on your top right corner, there's this little circle with whatever color you have within it. Pressing that gives you all the different options for your color wheel to look at. You have your disk, which you can move around like this, including here inside. You have your classic one, which you can move around, and then you see sliders on the bottom, if you'd like to to adjust, whether it's a lightness or how muted the tone is or how vibrant it is, or just to change the color entirely. You also have harmony, which is pretty interesting. Let's say you wanted to pick the color blue, you'd also get red and green. Pretty interesting, or let's say we wanted orange, like a strong orange. You get purple and a teal blue. Pretty cool if you're wanting to use colors that go well with each other, anything like that. You can also adjust the darkness, the lightness of it, the vibrancy. You can go for pastels. You can see adjusts all three of them at the exact same time. You can also adjust your values. This is very much more of the technical side if you wanted to edit your colors, you can look at you can see here, here's the red. You can change the vibrancy, it's more muted here and this is how bright it is. You can also change the red, green, and blue content in it like that, increasing it, decreasing it, anything like that, decreasing it completely gives you black, and then you can see here, they're all zero and here's your red, your greens and your blues, so you wanted to make don't purple, you could go here with a blue and then go here with a red and you make purple. Very much just basic color theory. You can also choose to insert the hexadecimal if you knew the code for it. That's pretty much the basics of how to make any of your colors that you wanted to. But let's say you wanted to keep your color. That's a different choice. If you wanted to do that, you can create a new palette. Over here, you can see that we have a bunch of different preset ones. There's blonde hair, skin tone ones flourish, which is pretty cool looking. There's also different cards that you can see as instead of the compact one. But let's say you wanted to create your own. Press plus icon in the corner. You can say new palette. You can choose from taking a picture of something, choosing from a file, or choosing from photos. I'm just going to press new palette. Having this, you can see that the blue checkmark there is the palette that I have chosen right now. If I wanted to, I can set this one as default and just switch it around, but I'm going to set it as my untitled one as the palette I'm going for and I'm going to go for my classic tab and let's say I really need Christmas colors. I'm going to put down this red. Once I've chosen my color, I'm just going to press one of these squares and it fills up that square. Say I want to keep a darker red like that, just keep filling it up with all the different colors you wanted. Now I want some green and put that in there. Pretty straightforward. Let's say I wanted a brown and then maybe a bluish white. Then here is my custom palette and if I wanted to, I could go back to palettes and edit the name here by just double clicking on it. Let's say I wanted to name this Christmas type that in, and then it's saved and then here you go. Here's your automatic palette and that makes it super easy for just keeping track of all the colors you've used. You don't want to lose them or anything. That's pretty straightforward. Now, there's also some hue adjusting things that you can do within different settings. Let's say you wanted to maybe create this triangle right here. And let's say you wanted to make it a different color. You can actually do that by pressing this magic wand looking button, and you can change the hue saturation and brightness. So if I wanted to make it more red, I can go like this, the saturation, punch it up and punch up the brightness, that's white, but let's say I wanted it here and maybe I wanted it purple instead or green. You can change it however which way you want. With this pencil option, you can also choose to color in certain areas a bit darker if you'd like, as you can see here, I've chosen to color in this square right. Let's go for a medium Brightness, maybe a bluey purple and if I wanted to, I color in this layer, which is pretty cool if you wanted to change just one little color of something. But we're not doing that for right now. Then there's also color balance, which you can adjust the different pigments that are within it. This would be more noticeable in a lighter colored image. You can change the shadows, highlights, also the mid tones of something. Pretty easy to edit your work if you've already completed a piece and you're like, Hey, I want to punch this color a bit more, anything like that? Pretty cool to look at. I'm just going to draw a bit of a lighter colored shape so that we can see that. Let's try this again. Color balance. Let's say we wanted to do highlights. See that only punches this first color up a bit. And you can change it like that, but it doesn't edit the color behind versus if you wanted to shadows and we wanted to make it a lot more green, it would change the shadows, right? Same with tons if you had any mid tones in your piece. We can also change the curves, which just means editing the darkness and the lightness of it. Pretty easy to change and figure out on your own. Flat would be your original color or as close to it as you can get. Darker would be more steep of a curve, and then higher would be a higher curve, right? You can got pretty intense with these. I almost looks like it's glowing a bit, right? So you can change just the reds, just the greens or just the blues. Say we want to change the blues and we can punch them up or bring them down, make them more green, or we could address some red, anything like that. It's all up to you to edit yourself. You can also do a gradient map, which you can choose to add a new gradient library. If you wanted to make your whole palette a gradient, you. We could do neon or any of these preset options, honestly, up to you and you can just make it so that each line is a different color. Let's see, let's turn this back on gradient map. You can see they're different colors now. It's all almost like a gradient in the way that it's shown. It's pretty cool. We can adjust the gradients if you want, go into it. These are the colors I want or these are the ones that I want to avoid. You could also make your own gradients. It's all super customizable. Okay. Well, hopefully this was helpful for you guys in understanding all the different options that you have for colors within your Procreate. It's pretty simple but also a little bit confusing, but hopefully you guys are able to get a hang of it with all of this new information. If you need to watch this video again, don't be shy to, and hopefully you guys are able to work this out. Okay, guys, I'll see you in the next video. 12. Joey Filling Selections: Guys, it's Joe you back with another art tip for you guys on Procreate. My next tip is going to be the rectangle select for an easy colored and rectangle. So you're going to go to your Select tool. You can see we have free hand, rectangle, ellipse, automatic. You're going to press your rectangle. Go like this and see it doesn't do anything, right? It just selects the inner area. You can either drag your color in, fill that like that, or from the start, if you have your color fill on, you can drag out your rectangle, and it automatically fills with color. 13. Joey Drawing Guide Tips: Hey, guys, I show you with my last easy Procreate tip for you all. What I got is the drawing guide for help. I don't know if you guys knew this, but in Procreate, you do have a drawing guide. Here in actions, you can go into Canvas and turn on your drawing guides. This gives you a bit of a grid. See, you can't follow it, though, unless you're really just sketching along. But if you go into that and then press Edit Drawing Guide, there's one, a two D grid, isometric perspective plus symmetry, you can do. Is assisted drawing. Every line you now make follows that grid. This is really helpful for perspective, anything like that. Or if I change it to symmetry, let's see. If I draw one thing on this side, let's say I'm trying to draw somebody's eye, here you go. It's a pretty ugly eye, but there. Look at that. You get two absolutely symmetrical eyes. 14. Ed Shading and Lighting: Okay, we're back. And we're going to talk a little bit about shading and lighting, just a little bit. To do this, what I'm going to do is take this layer. Do I want to rename it? Yeah, let's go blue. Good job. I want to drop the opacity down just a little bit, a fair bit. So I'm going to drop it down maybe about there, and then I'm going to create a layer over top of it. And I'm going to call this light. Or shade, whichever you want to go for, let's say, for example, my light source is going to be here. This is my sun. It's the ugliest sun, but it is my sun. So what does that mean? If it's center of my sheet here, that means the light is going to be radiating out in these directions, right? We're just going to go with one primary light source. So if that's my light that's radiating out, you can see how it would touch this surface here, this surface here, maybe this surface along here, right? Definitely this surface on top of so it would touch here, here, here, here, probably here and stuff, right? Off these three D objects. And if I wanted to get into the spheres, it would touch this surface of the sphere, this surface, that kind of thing, right? But what we're going to talk about here is shading. I'm going to switch out, and I'm going to switch to some grayish. And I'm going to see if I could use my Apple pencil just shade, but the light wouldn't be touching. There we go. Now, I might make it darker at certain points along an edge. And this is the backside of what would not be touched. And when it comes to a sphere, you can kind of curve that shading, right? Nice. As the light kind of touches it. Now, so I've got the light touching on these sides, right? And I've got where the light's not touching. But then I would also probably add a bit of a cast shadow, right? This object would cast some shadow going off into the distance as would this sphere, right? And truthfully, this square would probably cast, depending, some type of cast shadow onto the sphere. Now, it looks awkward. I'd probably bend a little bit with the curvature of the sphere, right? And I got to say, just sketching it out like this, it's fine. I think it looks pretty good. But what I really like is in Procreate, you can get in here and just kind of smudge things up a little bit. Now, you could fool around with us a little bit the sizing of it, right? You can smudge it out. Like when I was a kid, I used to use either my finger because I get sweaty fingers, or I used to use a piece of paper that was kind of wadded up and used as a bit of a smudge device, right? You can still find those, but here digitally, smaller. You get kind of funky little tools to do this with, right? So the key when it comes to shading is one, understanding the light source and how it would affect a three D object, and then two, applying that and just having some fun rubbing some things around, right? So that's what I would do if I was to want to shade these objects, right? Come in here and then just blend it all out. And of course, when you get into light theory, the deeper you get in, you understand about bounce lighting and rim lighting and various occlusion effects and stuff, right? But for right now, that's a really nice way to learn how to shade. Let's see what you come up with. Guys, I want you to take some simple objects and shade away. 15. Joey Textures and Patterns: Hey, guys, in this quick tutorial, we're talking about one of the easiest ways to add depth and style to your art. And you guessed it. It's textures and patterns. Whether you want your art to feel vintage, grungy, soft, or even bold, textures make all the difference. So let's get right into it. Add textures or patterns to your art where tap the wrench icon on the left over here. You can see me tap it. And then what you're going to do is you're going to tap Insert a photo. You can also insert a file, it's up to you depending on how you saved it. Inserting a photo, I'm going to pick one of these grungy ones over here. And now you have it on your paper. But it's not covering your whole paper, you're going to want it to fit to Canvas. There's a button down there. You can also rotate at 45 degrees. You can press fit to Canvas again, or you can manually move it by pressing the dots. This green one rotates your image and then this blue one makes it bigger. Now that it's rotated, you can also do distortion down here where you can just move one corner if I wanted more of this pattern or less of it on my paper, any of those things are all options. I can also flip it horizontally, flip it vertically. Now I can see I missed a spot over here. Perfect. So now my whole page is covered, right? If I press on this arrow button, it releases my image. Now if I want to make it an overlay, I can press the maybe it's a double square icon, if you want to call it that. You're going to press the N, which means it's on normal mode for its overlay type. The opaqity you can see over here is sliding bar, and then you can see that there's a bunch of different options. Usually, if you want it darker, you're going to go for multiplier or darken. If you wanted it lighter, you can go for overlay. Or add, but you can't see that right now because the background color is a bit too light. But if you go darker, you can definitely see how that grungy pattern pops. That's a really nice thing. But I think I'm going to go with multiply and that makes it really nice, dirty grungy look to it. You can see if you wanted to draw something underneath and have this pattern over top, you can move your layer underneath that, do your little drawings and stuff, and then you can see that the pattern still exists over top. Now, let's say you wanted this pattern a little bit less intense, you can lower the opacity down and it's not as noticeable, or you can bring it back up if you wanted it really intense. Now that that's over, you can see that we can also do a clipping mask, which means that you press on your image here and you can press clipping mask and that puts it only on that one item that you colored on. Now, if you go back to your original layer and you color some more, you can see that the original design comes through. That grungy pattern is now on this new layer, but only on the parts that you've drawn in blue, right? So that's how you use clipping masks. There's going to be a more in depth tutorial about that on a different video. But overall, that's how you do it. Now if you wanted to take that off, we can unselect and there you go. That's how you would add a grungy texture or any type of texture or pattern to your paper. Now, if you wanted to add a pattern, let's just clear this. There's a bunch of different options that you can use that are already pro created brushes. There's a lot in the textures pack over here. There's grid, there's also Poka dots. Like that, very good for some pop art looks. You can also change the size of each of those or make them smaller, anything like that. Those are all options. You can also go for maybe a wood grain texture, which is really nice, very good for realistic drawings. Yeah, those are all options and then there's also imported ones that you can choose to do. I have some lace brushes, which is technically a pattern. But as you draw, it just draws a pattern of lace. Well, I hope that was helpful guys. That's all about textures and patterns within Procreate and I hope to see you in the next video. 16. Joey Customizing Brushes: Hey, guys, in this short Procreate tutorial, we're going to show you how to create your very own custom brushes. Whether you're after a specific texture, line or style, or you just want to put your own twist on your tools. Procreate makes it super easy. Let's dive right in. The easiest way to start is by duplicating an existing brush. Open up your brush library over here and swipe on any existing brush. So aside from these untitled sets, we can go into sketching, inking, drawing, any of those. Let's say I wanted to duplicate this untitled brush over here. I'm going to swipe right or towards the left, and then we're going to press duplicate and then you have a second one right there. Now, if we wanted to open up this brush, that's definitely an option. You can change the spacing of the dots within the line. There's also Jitter, which is a spread of it, and then fall off is basically when you draw, at what point does the pen stop working? Now, there's a lot of other options here. There's streamline, there's pressure adjusting that you can do stabilization, which you can test out here, the differences between them, the amount of motion filtering, expression, all of those. Taper is a really good one to adjust. You can make it so that your ends are very thin compared to your inner parts, those are all options there, size, opacity, all of those are all options. You can also press classic taper, shape, rotation, all of these are stuff that you guys can experiment with, see what you're into. Now, if you wanted to do a little bit more of a custom brush, you'd go back into grain and in here, you could paste an image and create your own brush. I'll show you guys how to do that just by going back here. Let's say I wanted to do a smiley face brush like this, give it a nice smile. Go here in the wrench icon and then press Copy. Now that it's copied, it says copied layer, it pops up. I'm going to go back into my brush. We're going to press this plus button for a new brush. We're going to go into grain, edit, import. Then you can see you can import a photo, file, any of those, or you can press paste, which is what we're going to do. And there's my smiley face already and done there. Press done to complete it. And done. So this should work in creating a bunch of tiny smiley faces. I can make them a little bit bigger if I wanted. You can see that they're almost like stamps, right? Very interesting. And it's an interesting pattern. So you can do this with poka dots. You can do this with chainmail. Any of those things are definitely an option. Just make sure to experiment, kind of find your way around it. It's pretty easy once you get the hang of it. Just make sure that you copied your layer completely, and then you make a new brush. Okay. I hope this was really helpful for you guys, and I hope to see you in the next video. 17. Joey Masks and Alpha Channels: Hey, guys, in this tutorial, we're diving into two super powerful tools in Procreate, Alpha lock and layer mass. These might sound technical, but trust me, they're total game changers for clean, flexible and non destructive editing. Let's get right into it. Alpha lock is like putting a stencil over your artwork. It locks the transparent areas of a layer so you can only paint what's already there. Let's say at a circle here and I only wanted to color this. What you're going to do is you're going to press the two squares at the top, right over here, and you can click on your layer, and you're going to see the Alpha lock button. Press that once, and now you're locked in. So if I wanted to color it a different color, let's say, a purple, I can only color within this layer, right, that we've locked. Now, you can go back, click off of it, and you'll be done. You can color back on the rest of the layer if you'd like to. Or if you wanted to, you could keep this on and make sure that you're not accidentally mistaking anything, right? Now, when you paint, it only affects the existing shape. It's really good for adding some shadows, textures or recoloring without having to worry about coloring outside of the lines. Very helpful. The catch Alpha lock is destructive, meaning any changes you make permanently affect the layer. If you want some more control, that's where clipping masks come in. Now a clipping mask lets you hide or reveal parts of a layer without erasing anything. Like putting a piece of tape over your art that you can peel off later or move around at any time. To add one, tap the layer and choose mask. Let's just make sure that this is a complete normal colored circle. Colors that press a plus button, creating a new layer, you're going to tap on it, and then you're going to see clipping mask. Now you'll see this little arrow, that means it's working. Let's say we wanted to color it nice green, can go like this and it only colors on the thing that you have. But in reality, you've colored around it. You're able to remove it and put it back on. There's no hassle about it, if you drew underneath this layer, let's say back in purple, it would expand or until wherever you've colored above it. Pretty simple and easy to understand. Masks are perfect for soft shading, textures and overlays, including lighting effects or fixing mistakes without actually having to start all over. A bonus tip with clipping mask is they work similarly but on a separate layer. Add a new layer above it, tap it and choose clipping mask and now your drawing can stay locked in in the layer below without touching the base. This is super convenient compared to Alpha lock, but Alpha lock just make sure that you don't have any mistakes around coloring outside of those lines. So when to use Alpha lock is when you're looking for something super fast and easy, you have one shape that you're really wanting to just recolor. That's super easy. But if you wanted to use clipping mask, you're probably going to want some more complicated designs as in shadows or something like that that you can move around and edit and go back on your mistakes if you do want to restart. Those are definitely going to be the types of actions that you're looking for. Okay, and that's a wrap on Alpha lock and clipping masks and Procreate. They may seem like small tools, but they'll definitely take your digital painting to the next level. Start using them now, and you'll work cleaner, faster and smarter. So you guys in the next tutorial. 18. Joey Animation and Screen Recording: Hey, guys, in this tutorial, we're diving into one of the most exciting features in Procreate, the animation and also showing you how to use the built in time lapse recording to capture your entire drawing process. Whether you want to bring your characters to life or share your art and motion, you're in the right place. Let's go. To start animating, just open a new Canvas and head to the Actions menu. That's the wrench icon right here. And under the Canvas tab, toggle on Animation Assist. Over here on Canvas, you're going to see animation assist, press that, and there you go. So you can see that there's a timeline at the bottom of my screen and each layer acts as a frame. You can add more frames by tapping the ad frame icon, or you can go into your layers tab and press the plus icon, which adds more frames. Now draw your first frame, adding a new frame and drawing the next part of the motion. Procrit gives you the onion skin effect, meaning that you'll see the ghost version of the previous frame to help you guide your next drawing. If we were to draw, that's pretty thick. Let's go down a size. If we were to draw a stick man over here, you can see on the next layer that you can see part of him. If I wanted to make him wink this time, I can still see his base to try and follow along. You can also tweak how many frames show or how transparent they are in the settings panel of the timeline. Down here, you can press settings and you can see the onion skin frames, push that down, which you can go down to none, or you can go all the way up to the max amount, right? You can also choose the opacity, making it darker, which is more visible. You can make it super light. Definitely important things to note. You can also do onion skin colors, which means that they're going to be a different color than your original base. I like going for a nice blue. You can also control the frame rate, how fast your animation plays and choose whether it loops, ping pongs or plays at once. Let's see settings here. You can see loop. There's also ping pong and one shot, which just means one video of it. Now if we want to talk about the time cut, now let's talk about time lapse. Pro Cree automatically records your entire process from the moment you start drawing. View it just tap the wrench icon over at the top left and go to Video tab. Over here. Then you're going to see your time lapse replay. Hopefully, your time lapse recording is on. You're going to press here and you can see your whole replay of what you've done. Now, if you wanted to export this, you can export your time lapse video full length or just 30 seconds, it's up to you. I'm going to press full length, and then you can export it in whatever manner you'd like to. Now, this gives a nice and clean, sharable summary for social media if you'd like to post it there. Now, combining animation and time laps, you can definitely do this for sure. Procreate Well, time lapse records. Wow restart. You can definitely do this for sure. Procreate will even time lapse record while you animate. You can share not only your final animation but also the behind the scenes process of what brought it to life. This is great for content creators, students or just tracking your creative growth. That's how you animate and capture your creative process with Taps and the animation tool all inside a Procreate. It's simple, it's powerful and it makes your art move. Try animating something small today and you'll be surprised what you can bring to life. See you guys in the next tutorial. 19. Ed Final Project Sketching: Okay, guys. So in this first step of our big project, we're going to do some sketching here. You know me? I like to use the blue pencil or pens just as a bit of a throwback to when things used to be printed all the time, right? And it just helps my brain. I don't know why. I just enjoy sketching in blue here. So what I'm going to do is sketch out some simplified characters. I've been watching and reading a lot of Scotty Young's work lately, and he draws this kind of chibi style. So it's this cute little character style, really simplified looks to them. Usually when I'm drawing them, um, you could almost go with, like, the body to head ratio of around 50%. I don't know. It's kind of a winging it thing, right? But, for me, yeah, that's kind of what I go for. So, like, the head Ah, geez, I'm kind of not loving the pencil I'm using here. It's always a bit of an adjustment for me, right? Like, figuring out which pencil I want to use for my rough sketch. Never quite sure which one I want to finalize on. This one's looking okay, though. Like, I kind of like the little cute little blobs here, right? Like I said, when we're drawing chibis, we're drawing it really loose. We're drawing just having some fun with it, right? Let's see if wow I'm drawing and sketching these characters out. See if you can tell which character I'm sketching. I don't know. Might not always be easy. Sometimes it might be a bit of a giveaway as I'm still wrestling with what pencil I want to use. Uh, no, I do not like that for my sketch. Okay. No, no, I'm digging this. This looks a lot better for what I want. Okay. So now that I've found my sketch pencil, let's get rolling with it. Sometimes the setup takes a minute, right? It doesn't always go as quick as we'd like it to. Alright, so back to my little chibi thing, right? Remember, I talked about Scotty Young and how much of an impression he's made on me over the last few weeks, and I was like, You know what? I just want to draw something cute for you guys as my final project. You can draw whatever you like for your final project. I'm just trying to think of something that I can incorporate that's fast, furious, simplified, and something that's not too boring to follow along with. So I will draw, like, some basic little shapes of the heads, the feet, the legs, all that kind of stuff. And let's see if you can kind of guess which characters. I'm going to draw a few here, I think. I'm feeling in a bit of a sketchy mood. See what I can come with. Oh. Maybe that's a giveaway for you? Maybe not. We'll see. See how well you know me and know the characters that I follow. Alright, so next up, you can see I kind of do this line of action thing, just a big sh sweeping motion, right? And then after that, I start to fill in the head, the body, the legs, just goofing around and seeing, Okay, well, how would this body fill into this line of action, right? It's okay to use references sometimes. It's okay to look around. Sometimes you can even have action figures off to the side. It's really up to you for how you want to flow. Whatever work process works best for you, really, okay? That's what it's all about. So, are you guessing who this is yet? The first one was a bit of a hint, but this one should also be a bit of a hint. I don't know. Should I think it's obvious, but we'll see. Alright, let's try number three here. What have we got? We'll start out with something Well, something simple. An almost vertical action line, right? And once again, you see them just kind of laying in these little pieces. The head and body are almost the same size, although the body's a little bit more stretched out. I've got some cute little legs and feet going on, and that's the thing about these limbs is they're much smaller. So you'll see me kind of just sketch out where I think the hand should be necessarily, right? And then fill in the blanks from there. Generally speaking, though, these are almost like muppet baby proportions or something. There's an old reference, I'm not sure if everybody will get that one. But you can still use lessons in anatomy for it, right? Like, you can still figure out what your what you're trying to do here with shapes, forms, that kind of stuff. And with the character itself, I don't know if you're guessing this one yet, but mighty big sunglasses on that one. See if that gives it away. Mm. Sometimes, you know, it's like, what's next? You kind of get stuck for a second there, right? And you're like, What should I draw? Which character is kind of flowing out of me? And hopefully you got kind of, like, references off to the side, a little bit of a lineup of your favorite characters or posters around your workstation or something like that, where you can just kind of look up and get inspired. And not just inspired, but using some of these as references, right? This one's almost looking like stitch from Lilo and Stitch just a little bit. But here's a hint. It's not. See if you can figure it out. It does have that stitch be though, now that I'm looking at it. Uh, hopefully Disney won't come after me with this one. I don't know, fun little sketches that I'm just adding a little bit of wiggles here and there and seeing if I could suss out some form a little bit, right? Curious if you guys are able to guess these so far. And like I said, you know, when we're doing a big project, this stage, the brainstorming stage is a big part of it. You want to be throwing ideas down and just saying, Okay, what do I got here? What am I thinking of? You know, which idea if I could have just sketched one or two, but I want to just sketch a bunch for you here, so I could flesh them out just a little bit and say, you know, this one is really working for me or something or this one jumps that it needs to be the project. It needs to be finished off or something, right? Hopefully, my let's see if you understand those little squggles. I'm not sure. They, they look good in my brain, but in the sketch here, they're not necessarily working out as well as I would have hoped. That's right. Again, that's what this loose sketch is all about. You figured out who this one is? Probably one of the easiest, I would guess. We'll see. Not the greatest pos, though. Now that I'm looking at it, I think I could have done something funkier with this pose. It's kind of hunched and plain, right? Alright, let's see. Who should I draw? Hmm. Okay. Yeah. Sometimes you just get stuck, and you're trying to think, Well, where's some inspiration? Where can I get inspired from, right? And for me, it's like things I grew up on cartoons, comic books and all that kind of stuff. And luckily for me, I've kind of set up some things around my workstation that has helped that. So I didn't really love the pose that I just did for this particular character. So I'm going to see if I can play around with this a little bit more and see if you recognize a character now. Maybe carry my second version of it. I don't know. I think it's more recognisable, but you tell me. Let's see. And I hope as I'm talking and doing these dumb little commentaries and stuff like that, that you're also just brainstorming along with me with whatever direction you want to head in. You don't have to do the same characters that I'm doing. You don't have to do a chibi style. This final project is yours. I'm giving an example of what something I might do or something, something that's kind of quick and digestible for this course. But you, you should be doing whatever speaks to you, right? So currently, Scotty Young styles speaking to me, and I'm having fun with these simple shapes, simple forms, simple figures, right? Look how simple this is. But can you figure out who it is? I think he guess the last one, for sure. This one might be a little tougher, but this headpiece might give it away just a little bit. I don't know. Now that I'm looking at it, I'm like, m I don't know if it's that recognizable. It was in my brain, but sometimes just these rough forms just look like rough forms. That's kind of the point of them, right? Alright, let's see what we got going on. Something a little vertical, something static and straight on, almost looking like a snowman build here. You know, I've just got one ball book on top of the next, right? Nice and simple, nice and like I said, very straight on pose. So I guess it actually makes it kind of harder to recognize what this character or who this character is, right? Let's see if this helps just a little bit. Some of the details in here. Probably figuring out by now I have a very particular team that I'm a fan of, right? That should give it away. If it doesn't, Ma. That happens. That's okay. So I've got eight. Figure that's enough? I don't know, which one's speaking to me. Well, you know, I could just go on and on and keep drawing them and doing these little line of actions and just filling in random circles here and there and just having fun with it. And this is actually, like when you're sketching, this is important to just truly have fun with it, place things wherever you want, put a foot out here and a fist over there and try to connect it and see how it works, right? That's an exercise in and of itself, okay? So just playing around with it and seeing what weirdness you can come up with, right? Sometimes I've got the figure in my head ahead of time. And sometimes I don't. Sometimes it's a matter of just seeing how this pose kind of speaks to me and what it's telling me, you know, who is this that I'm drawing? And after a little bit, it starts to emerge. There you go. And that's how quick. Look at these sketches, like I just banging out a dozen here in no time, pretty much, right? And that's what this part of the exercise should be for you. Should be fast. I keep saying fast and furious. I think I've watched those movies too much. How about fast and fun? Drop furious, right? Guys, have fun with this. Seriously. Like, just play around, goof around and find the figure that works for you. Or a concept or beginning stage of whatever it is for your final project. 20. Ed Final Project Inks: Okay, so here we go with another unit. This time, we're going to look at some finishing lines. So, you know, I know I've got this blue layer on here, and that traditionally is my sketch layer. But I'm gonna after I enter this in, put it blue, I want to make a new layer and call this I either call it inks or lines. It depends what I'm doing or anything, right? Now that I've got that, no, I got some choices to make. One thing I try to do is, like, lower the opacity just a little bit on the blue just because even though it is blue, it can be a little punchy. I don't want it showing through as I ink over top of it. And again, I use the term inking, final lines. There's some carryover in verbiage from when we were doing it traditionally to digitally and stuff, right? So don't mind as I bounce back and forth on this. I've decided to go for this figure. This is the one that I want to finalize. Okay? And I'm going to fool around a little bit with some pens here, see if I can find a pen that I really like, see if I can find one that matches my stroke and fade. It's not always easy and stuff like that, right? So, some of them, they don't give me the consistency that I'm looking for. And I often don't like some pixelated jitters. For my final lines, it takes a little bit of adjustment for what I'm looking for. And see, that's much too much too see through for me. I'm not loving this. No. That's the wrong pen for me. This is not what I'm liking. So let's switch up. Mm. Do I want to make adjustments to spacing? That might do it. Might not. I don't know. I'm kind of gonna fool around it, see if that makes a difference. Oh, well, I got to make sure I'm on the right layer here, so that'll help me. And just simple like that, that can mess you up. Double check you're on the right layer. Okay, so I'm doing some rough line work here. Gonna fill it in with some nice, more even strokes when I set where I want it to be. And you can see it gets kind of wobbly, kind of ugly. Sometimes what I do is I flip the canvas around and spin it around, you know, within the tablet or whatever, right? Just because I've got a certain stroke that I do with my elbow and wrist that it's just as an artist, I've had that stroke for a very long time, right? I'm kind of hoping you guys have guessed who I'm drawing here. But if you haven't, it's gonna be super evident pretty soon, I would hope. If not, I think I've missed the mark. I need to go back to the drawing board on this. Draw a cute little nose. M. She looks a little unhappy. Even with that button nose, maybe a bit bigger of a nose and a more neutral expression. You know, I'll go with that for now. Make sure our girl, Auroro has some ears. Not too big. And then this cool hawk that she always rocks. Not always. I got to say, like, you know, I know most versions of her have longer biillowy flowing hair, but for some reason, I don't know what it is, but the mohawk always pulled me in when with her character design and stuff, right? So I find whenever I'm drawing her, mohawks pretty standard unless there's a reason why not. Teach her own, though, you know. So you can see she's starting to come together. Hands are tough. Usually, I just kind of rough them in the sketch and I don't really do a lot of details, but especially for these chee By guys, it's kind of simplified. You know, there's a little thumb, quick little fingers. No, I don't know if I like that one. Good enough. That kind of works. I'm going to add in, let's see. I didn't like how that jaw looked. I don't know. I'm kind of wavering on it. We'll see if I keep it. There's some things that are bugging me about it. I might. Also, it's the shoulders a little bit in the way there, I think. So I'm gonna have that shoulder come through as a bit of an overlap. And that adds some a little bit of realism to the figure work itself. You know, everything's not perfectly in line. Some things are ahead of others. You know, it gives that depth to what we're doing here. As does a thicker line on the bottom sometimes, right? Show some weight to it. Lots of things you could do to kind of mess around when you're inking and stuff. This will not really be a true inking. You know, I'm kind of doing some linework here, some very simplified linework and then adding a little bit of line weight just on certain aspects of it. Not very much of it. Okay. So, there's one arm. Her other arm, though, I think I left it out for a reason. I wanted to have it partially in that, in the effects. I don't know if you saw, but I had some lightning in the, um, in the power effects and stuff. I've got an idea of how I want to play that out with her hand or whatever and see how well it works. But that will be in the coloring stage, that's not right now. Right now, I'm trying to get nice sweeping linework Do you see how I angle it? Because I want my wrist to flow a certain way when I'm drawing this. I find I just have to move the canvas around a little bit. That just by doing that slight pivot swirl, whatever the canvas, it matches to how I want it. Okay, yeah, that's more of what I wanted for that cape. Something really flowing. This is, you know, storm, the goddess of wind and all the elements and stuff like that, right? Like the weather witch. She's I want wind blowing. I want that impact off of that cape. It's kind of a weird cape, though, when you think about it. It's got this massive gap in it. It's kind of like a sail, but not. Which makes sense for her powers. I don't know if she could actually like flying flying, I don't think flying is native to her powers. I think more so that the powers have her fly, if that makes any sense, you know, like Superman or whatever, DC is inherently he can fly. But storm, I think the wind lifts her up. So even just a cape like that, I've seen her fly without anything, any of those capes or anything like that, but maybe the cape was an artistic choice. Maybe it was power choice that one of the creators made when designing some of her costumes and stuff, right? But you can definitely see how she's coming together here. You can see that determined face, but still with a little cheby muppet baby type of look to it, right? Very cute, even though it's mean. Not so mean. But it definitely has, like, a certain weight to it, especially when I do a little bit more details around the eyes here and stuff, right? Absolutely. And just give a little anger tick here and there. That might help. Okay, so I'm just going to go through and kind of give a little bit more weight to certain parts, see if that helps it a little bit. Just to punch the figure in a certain way, right? There we go. Yeah, it gives just a little weight to the to the character. Okay, now, I want to come out here and see if I can add a detail. A little bit of a trim on this cape, but I have a feeling it's gonna be a pain in my butt for some reason. It's even that. Like, I want it to exactly match the curvature of this cape, and I it's easier said than done sometimes, right? When you're going fast and smooth, the line just comes out how it should. But when you're trying to replicate it, but you're slow pacing yourself, it doesn't quite work out the same. So I find, like I have to go over it a few times, I have to make a few little edits. Erase here and there, do a little nudge of a line here and there, that kind of stuff, right? So it's the first line you lay down. That's the easier one. That's the smooth one. It's a big broad stroke. But matching it, that's tougher. Yeah. So adding little details here and there will help flesh out storm a little bit. And now you see how to have all the characters that I drew in my blue sketch. Storm is the one that I'm going to choose for my final project. Something fun and a great, great character anyways. Really cool design. Hopefully, you know, the colors will make her pop even more. At the end here, I'm just kind of adding in some fabric details with this cape and stuff and little nudges here and there and stuff, just to show the fold the slight fold, not even a full fold of this cape, because it's expanded out there, but just a little little bevel here and movement there, right? It adds to it. All these tiny little ticks and stuff. Just add a bit of character to what you're drawing. You don't want to overdo it, though. And that's where we get into hatching and cross hatching and all those kind of things. Not going to get into that style, not for this type of character. It's a little bit too complicated. We're gonna keep it nice and easy, and there we have it. An inked lined version of our final project. 21. Ed Final Project Colors: Hey, guys, I'm back, and this is our last installment of the final project. Doing up some colors. Let's see what we can come up with. Okay, out of all my little sketches, I decided to ink Storm. And so what am I going to do? I'm going to color her. Now. How shall I do this? Well, one, I think it's too small for me to color, right? Another thing I want to kind of move this above. I'm that's lines, and I'm going to put a a BG. This is going to be a background. B one. Yeah. Now, you know I can't spell. Okay, so back to the lines. I think this is too small for me and too crunched up in this corner. So I'm going to let's see. I'm going to select our Lady storm here, and I'm going to enlarge her just a bit and kind of center her here. And then I'm going to turn that off, and there we go. Okay, so I might as well turn off the blue cause it's not serving me anymore. And this background, there's a reason I did this. I don't always like coloring on a white background. I think it can look pretty yuck. So what I'm going to do is just. Let's see. Was I on the wrong layer? I'm on the right layer. What's it doing to me here? Nope. There we go. So I just want to color a little bit, mush it around behind her. I don't know if I like that necessarily. I might smooth it out just a little bit. Yeah, I still don't know if I love that. Let's try Platymus. I love the names of these brushes on here sometimes, right? Anyways, I just wanted a bit of a background behind her, and I think I think that'll suffice, right? Now I'm going to create a new layer. This time, let's see if I can spell it correctly. Colors. Not the song by ICT. Okay, so Storm in this particular outfit is wearing something white or near white. So I'm just going to go a little off of white. I'm going to get in here. Double check the layers that I'm in. And what should I use to color her? Now, this is always interesting. This is just a flat coloring that I'm going to be doing right now. So I don't want a lot of correction. I don't want a lot of changes. I just want to color her. Even that brush is, I don't know if I love it. It's kind of leaking out on me. So this is often an experiment for me, finding the brush that I really like all I want is just simply a brush, nothing that goes too fancy, nothing that goes too strange. There we go. Something that I can keep within the bounds of my lines that I'm working on, right? And this is just what we call flatting. So I am flatting this image. And that means I'm doing the background flats and even this and it's little blotchy for me. Sometimes it's not easy, not life in general, but just finding what you're going for, right? Finding what matches the particular thing that you're wanting right then and there. But I think I got it. Okay? So I'm going to get into this cape just a little bit. Get into the cape on this side. Once I get into larger sections, I can make the brush bigger and make it easier on myself for coloring, right? There we go. And if I ever go over outside the lines that your teacher used to give you trouble for in elementary school, I can go in and erase it. It's not a problem, especially on procreate, right? Like, it's just such an easy program to get into, to get using, to get comfortable with. I really appreciate it for that. Let's see. Bigger here. Just do the main body. Again, I don't know if I love this brush. I think it'll serve me for what I'm doing here. But I don't know if I would constantly use it, right? I'm actually using my daughter's iPad right now, so she's got her set of brushes that she usually uses as a bit of a default. And obviously, on my iPad, I have mine. My go tos on my list, right? And I think you'll develop yours, too, that you'll have certain pens and pencils that are just like that just feel good for you, right? That are just your comfort level, your comfort zone. There we go. Piecing it together. Okay, so I got the cape. I'm gonna do her hair. I'll also do it in white because that's our girl. Storm has white hair, right? Really nice. And for some people, they find flats or flatting tedious. You know, they think it's boring and stuff like that. And I understand why it's, you know, it's not always It's not necessarily the fun part of digital coloring. And you'll see, like, when we get into other sections, how the fun begins. I don't know if I would describe it exactly like that, but it does get more. My jokes, however, do not. Okay, so there we've got storms hair. I go to come back here to this little tuft. She's got on her cool hawk. Eventually, she's gonna switch to what is it? Skin color as well, but I'm thinking it's nice brown. There we go. Make it hair darker. And, of course, I can expand on that brush, and then make it smaller. To go into the details. Yeah, even the way this brush has its edges pixelated, I'd probably go in and edit that and change the aliasing ratio just a little bit, clean it up a little bit. I don't love overly pixelized brushes. They have their place, obviously, right? But for some reason, I like my art to just seem a little bit more natural. And the pixelization doesn't read as natural to me, right? Okay, so almost done her skin here. Zoomio and what am I missing? Missing the eyes. The eyes are going to be white on this girl. Good stuff storm. Always bring in the intensity. There we go. That's our storm. And those are the flats. Pause. Okay. Okay, so once I've got this down, though, I am going to try to figure out how to add in a lot of the lighting, right? And these are the colors, but I'm not loving this. I'm not loving how this looks because I don't feel like there's enough lighting on her. So what I would do in general is come in and maybe she's got lightning and stuff, right? So maybe I would do something along those lines and just maybe get a little bit bigger on this one. Go to add some effect. And I'll clean this up in a little bit here. Just going to start to, you know, there's a little bit of a power glow going on from her electrical vibes, right? If I shrink it down just a little bit. Come in here. Tidy up a little bit. And you can see how even when I mess up, it's okay. Come in clean up the fingers, that type of thing. I don't know if you noticed this, but when I was drawing it, I kind of left off the other hand because what I wanted to do was pretend that it was Here, e mean? Then what I was going to do? In my mind, I was going to be like, Okay, well, I can go along with that later. I'm just going to start adding in a glow of electricity coming off of these hands, right? Okay. You can see how everything's getting a bit erratic, right? As if it's There we go. Okay. So now that I've established just that in the background, I don't think I love it necessarily, but I don't hate it yet. I'm gonna go to create a layer above and write shade. I like to work in shades first, so I'm going to change this to where's my multiply. I miss it. I bet you I missed it. There we go. I go to change it to multiply, and I'm going to probably drop this down a fair bit, maybe about 50%. It's more in the 50s. Perfect. Gonna change the color. I'm gonna change it to somewhere there. So our light sources right around her fingers and stuff like that, that means out here is going to be in darkness, right? I'm just going to blot it in right now. Maybe this 50% might be a bit too harsh right now, actually. I might have to change that up a little bit. There we go. Little bit in here. So you can see what I'm doing is, I'm trying to say, Okay, the light is emanating from this focal point around her hands. So where would it be casting around otherwise, right? I would cast on this side, maybe on the side of her nose, maybe on the side of the mouth a little bit, on this inside of this eye inside of this eye. Live bit in there. Most of the hair. I can play with his hair just a little bit. Of course, the hair is gonna cast shadows on her. That type of thing. You can see how when we play around, even if I'm doing this super fast, it starts to make sense. It starts to get pretty effective here, right? We go, and we can even cast some shading into a cape bottom of the elbow just a little bit Cuff There. And if I want to throw a little bit in here, Anywhere that I think might escape the light a little bit, right? Maybe this underside over here. And you know what? I feel like her body would cast onto this. Even more. There we go. Now, right now, it's pixelated and it has a bit of a cell shaded look to it. And I could go in and smudge it and smooth it so that'll smooth out the edges. Watch. Let's see if I was to right? But I think I'm going to leave that for now for just how I'm doing the design here and stuff, just to show you the fundamental basics of how to set this up, and then you can go in and decide what style you truly wanted to look like, right? Okay, so that's shade. I'm going to do another one and say, maybe high. And with high, I'm looking for probably a color dodge, maybe not that high, but we'll see. Now, a color dodge might give a little bit of burn impact. Just thinking of what would be on the you can see how it changes. Changes what it's touching, right? If it's touching a lighter color versus a darker color. And I'm not spending a lot of time on these effects, doing little swirly lightning things to show you what you could if you wanted to do, right? Bring little dots around. The white or the highlight is a little hard to see on the white. What is there? Maybe in her hair just a little bit. Okay. Now, I don't have to have it that high. I could turn it down in the layer just a little bit. Turn it back down. Right up, turn it down. So you see how it could be just a subtle rim like globe. And then what you want to do is just fool around with this. You can, like, do a whole bunch of things, play with colors, whatever you want to do. Sometimes what I might do also is over the whole thing, I might put something like a uh, let's see. A color layer color hue overlay. And this will be weird for a quick second here. But let's say I want to do this. I'm going to take a very big thing, go over top of it like this, right? And what I can do is come in here and fool around with the impact, right? I might do color and then bring it down just a little bit. We'll see. There we go. And so it can have that sepia look or whatever if I want it to, right? The sky's the limit kind of with you. You know, what do you want to do? What's the impact of your color? You can see there's different ways that I could finish this piece up that can look pretty, pretty cool. But that's kind of the art of a colorist is choosing which directions to push and pull. Little word of advice, though. It's almost like baking. Don't overcook the cake. Don't over baake it. You know, don't over ice it. Don't overflourish it and stuff like that. Sometimes simplest is best. Let's see what you guys come with your final projects, send them in, and I am super, super curious to see what you got. Can't wait, guys.