Procreate for Beginners: Draw a Cozy Tea Scene

1. Introduction to Procreate: If Learning Procreate feels really overwhelming with so many tools and so many gestures and confusing tutorials, I get it. But what if I told you that this collection of cozy Tim tips was made with just some basic essential tools and one simple workflow. I'm Peggy Dean, and in the next 2 hours, we are going to create this adorable tea collection while mastering all of the Procreate fundamentals, starting from scratch. And more importantly, you will discover the gestures and the tricks that are going to save you hours of frustration and the professional workflow that I personally use every single day that separates hobbyists from competent digital artists. No overwhelm, no confusion, just you and me and some cozy creative time. So if you're ready to go from Oh, I really hope this works to I know exactly what I'm doing. Let's start with your first professional quality artwork right off the bat. And yes, by the end of the class, you will know exactly why I call it professional quality. Let's start with a simple teapot and then we'll add some cozy tea motifs, and then we'll bring it all to life with some steam, and by the end, you'll have this beautiful piece of art, and you'll have the confidence and the skills to tackle any Procreate project. So let's brew up some creativity. You get it? 2. What to Expect: We dive into creating, I want to paint a picture of exactly what this learning experience will look like and why it's going to feel different from other Procreate tutorials you may have tried. Most Procreate tutorials dump features on you one after another. Here's this tool. Here's that tool. That's where that is without showing you how those tools actually connect and when to actually use them, which is an approach that I think leaves people feeling very overwhelmed and very scattered and it doesn't stick. Instead, we are going to be learning through creation. Every single tool that I teach you will be learned while making something beautiful. You'll understand not just what each tool does, but how and why to use it. I don't want you to have to try to memorize every feature without using it when I can actually guide you through the full process to build efficient workflows that let you create smoothly and confidently. Here's exactly what we're going to accomplish together. By the end of the class, you will have a darling T motif illustration that you'll actually want to share. You'll master the core Procreate tools that handle 90% of your digital art. You'll have a systematic workflow that will apply to all of your future projects, and you'll have the confidence to explore Procreate without the fear of breaking something. We'll start with the foundation to get you set up for success in each piece of your artwork so that you don't find down the line that you didn't have the right settings getting started. And then we'll create a Teapot together. Trust me, it'll be easier than you think. And most importantly, I'm going to teach you the gestures that are going to speed up your workflow and give you some aha moments even before you realize that you needed them. These are the things that people always tell me, Oh, I wish I would have known this a year ago, two years ago. And then we'll dive into some color strategy and learn to create some cozy cohesive palettes. And then finally, we're going to add those atmospheric details like steam and lighting that really make your art come alive. And the best part is that every technique that I show you will work for any style of art that you want to make later, whether that's botanicals or lettering or pattern design, even portraits. So grab your favorite tea. Get cozy, and let's turn you into a Procreate artist. Is that cheesy? 3. The Foolproof Canvas Setup: Before we start creating, let's set up our canvas the right way. This setup guarantees that your art looks Cris. Whether you're sharing on Instagram, making a print, making cute tea items for your kitchen, greeting cards, you name it. I'm going to give you a canvas setup that works great for most of your art so you can guarantee that you don't run into a pixel problem later. Is probably the most technical we're going to get this entire time. So don't let this part overwhelm you. But basically, when you open Procreate, you have your full gallery. I have mine set up in a way where I can visually see stacks. I'm just going to explain this very quickly because you might be wondering, Hey, what's go put you on here. So let's say I have a canvas and then another canvas. And then another. Like, let's say I have a bunch of projects going on. So to make this as easy to explain as possible, you can make stacks, and that kind of works like a folder. Every time that you do that, you'll see it says stack, and then it tells you how many artworks are inside of it. If you want to do this, you just tap Select and then tap on the artworks that you want to stack into a folder. The first one that you tap will end up being the cover. Now, let's say I named this already art one. Notice, I can press Select. This is the first one I selected, so it'll be the top and then tap the rest of them. When I stack, it then makes it say stack. So I'll deselect that. The reason why I don't rename that part is because every time that I create a new piece of art and I want to put it in the stack, I'll select, tap the stack first so that the cover remains the same. Then the artworks or, you know, whatever, and then stack. But I've created covers for them all so that that name, I don't have to keep renaming it over and over and over. And it's also easier because it's not distracting to me. So that in a nutshell is the gallery. So if I open this up, I see all the art I've created within it, but then this is front the first piece, and that's why that shows as the cover. You can also rearrange, let's say you accidentally did it, and this was at the bottom somewhere. You know, you can also drag that, tap and hold, and just drag it back to the top. It's There we go. And if you ever want to take something out of a group, you can do that by hovering over stack and then it brings it back out here. Can bring them in by hovering as well, so you don't always have to stack. It's very gestural. When you want to delete an art from your gallery or let's say, a stack altogether, you can swipe to the left and say delete. That's the same way you would also duplicate a piece of art or a stack. But are sure are you sure you want to delete the whole group? Yes. Okay. Oh, when we create a new canvas, we're going to tap this little plus symbol on the top right. You'll see a bunch of default Procreate canvases. I don't use those. I use my own. The reason for that is because I want to make sure that no matter what, this is the most important thing I'm going to tell you is that you want your canvas to be set at 300 DPI. On the right side, you'll see pixels or whatever size you created, it might be in inches. But I do it in pixels, and then I actually name the canvases in inches because it helps my brain. Sometimes where I'm like, I don't remember what 3,600 pixels means. I know it's 12 by 12. So let me break this down. Let's create a new canvas together. So we taped the plus symbol. We'll tap New Canvas. There's a little plus symbol underneath that looks like a little folder. Anytime that you create a new canvas before we do this, it'll end up at the bottom here. So it says Untitled Canvas. I'll show you where you can rename that. You can rename it from here by swiping to the left, but let's rename it actually when we make it. So tap the plus right here. It doesn't look like it's renamable, but it is. So we can say tea party, how about? Because that's the project we'll be working on together. So this is where the dimensions are. You'll see width, height, you'll see DPI, and then your iPad is going to show you a different amount of maximum layers depending on the size of the storage of your iPad itself. So, if you are set to this exact measurement and your maximum layers are different than mine, don't worry about that. What this is telling you is the amount of layers you can have in a project before it won't support anymore. So if I was to go up to 10,000 by 10,000, I only have 14 layers left. This iPad is huge. So chances are it's going to say too large. I'm not going to work in 10,000 pixels, but I just wanted to let you know that's what that means. The absolute minimum that I recommend working in is 3,000 by 3,000 pixels at 300 DPI. What this equates to, let's say you work in inches is 10 " by 10 ". It doesn't show you right now because it keeps what we had in there, but ten by ten at 300 DPI is 3,000 pixels. So if you ever want to go larger than that, you're going to want to set accordingly. You don't have to put it in pixels. It's just easier because depending on where you live, not everybody works in inches, or not everyone works in centimeters, so I just go for pixels because it's more universal. I have a little cheat sheet that I have made for myself that tells me, Okay, if I wanted this larger, I could use, you know, 4,800 by whatever. And then if it's 3,000 pixels by 3,000 pixels, I could put in here ten by ten and then I know, Okay, 10 " by 10 ", 300 DPI. Okay. That is the size part of it. This is the again, minimum that I would recommend going. If your iPad supports it, see, I have 200 layers or so. I would go double this. It's going to give you a 20 by 20 canvas, but see only 48 layers. So let's not do double. Let's do just 4,000, just to go a little larger. Because that way, if it supports it, if it doesn't thousand pixels is plenty. It's going to be great. We're making smaller elements, so it really doesn't matter. But the larger you go, the easier it will be to take the elements that we create together and put them, you know, enlarge them or shrink them or whatever without pixelation because pixeled artwork is going to pixelate each and every time you resize it. So this is setting you up so that you don't run into issues later. So again, minimum 3,000 by 3,000. 4,000 If you have maximum layers of like 50 plus, then you're good at 300 DPI. 300 DPI determines printing. So if you're printing at 100 DPI, you're going to lose a lot of that quality. If you're printing at 300, you're going to have nice crisp lines and whatnot. Okay, next part of this, don't worry about anything else besides color profile. When you come in here, your default will probably be RGB Display P three. Don't use display P three ever. Ever, ever, ever. This will not go from one screen to another or from screen to print the way that you want it to. That's because this is an Apple display profile. It's beautiful. It has a lot of colors on the iPad, not necessarily device to device. So always just right underneath that, grab the first RGB profile for color, and you'll be set. One thing I want to mention that a lot of people will ask about is, well, when do we work in CMYK? CMYK stands for cyan, magenta, yellow, and K, K meaning Black. This is a printing, a printing profile that a lot of printers will use, and there's an issue with Procreate is that this is a Procreate simulates CMYK using an RGB preview. So that means that you're still technically working in RGB, even if your document is set to CMYK. So Trust me when I say just work in RGB, and if you need to convert to CMYK at some point, you can. But 90% of the time, this is going to suffice and I've sent so many RGB pieces of work to printers, including printers who want CMYK, and my colors will always turn out better than if I was to use one of these profiles. They're not true CMYK, okay? Squash in that. So in a nutshell, minimum of 3,000 by 3,000 pixels, 300 DPI, color profile, RGB, not display P three. Simple enough, right? So go ahead and press Create. That because we did 3,000 by 3,000 or in my case, 4,000 by 4,000, it's a square canvas. This is editable later. We can change the size later, but for now, the square canvas will work just fine. Before we get started, I want to show you two things about your workspace, one of which is you can work on a light or a dark interface. If you go to your wrench icon right here and then you go to preferences, then you'll see a light interface. If you toggle that on, it's going to give you a light interface to work on if you prefer that. I'll turn that off because I like the dark interface. The other one in the same area, right hand interface. I thought this said left before, but I would think if I'm right handed, I don't want to accidentally bump stuff. But either way, these toggles are your brush sliders. I'll move them to this side. If you toggle that on, and then it'll move them to that side if it's off. Those two items to get you just a clean workspace that works for you, and that's it. So that's setting up your canvas. We will use those settings again and again just to show you real quick where that ended up. If you go to gallery, you see untitled artwork. Don't worry because I know we named that canvas. We named the canvas size and type, not the artwork itself. So if I go to my plus symbol, I see here tea party, and you can drag this up toward the top if you want to, and that's just going to allow you to repeat making that same canvas size. You'll also see if I make a totally new canvas, it preserves my last settings. Cancel. Okay, so let's jump right into the workflow. 4. Smart Layer Setup: Here's where most beginners make mistakes, putting multiple elements on one layer or everything on one layer, and then you won't be able to work indestructibly. And what I mean by that is when you have multiple layers, you are able to go back and edit those. Maybe it's the color or maybe you just want to add to or remove from without messing with any of the other components on your layer panel. So the way that this works is allowing you full freedom in your artwork to treat each item as if it's its own element. We're going to organize our tmtifs so that they have that room to breathe and evolve. There are four types of layers that I want you to consider. Main subjects. In this case, we're diving into a teapot. So think about the base shape of our teapot, elements that are attached to the main subject. So those are things that might overlap it or you might want to separate from that base shape in order to make different types of edits. We'll get into that more. But I would call that like secondary main subject, let's just say for the sake of explanation. And then we have our special effects layers. In this case, we're going to be adding some steam and some highlights and some shadows. So those are our effects layers. And then I also want you to always consider adding a background layer. Procreate does have a background. This is not considered an actual layer though, and I like to be able to work on the background, its own layer so I can make adjustments to it. That's just a habit I have gotten into which I highly recommend doing as well. I want to show you a more complex example because it's going to help you understand why this is important. If I look at my Layers panel, you'll access layers panel with these two overlapping squares. I think about main elements, so we have face. We have hair, we have clothing, we have accessories, but these are all layer groups. I'll show you how to do this. We'll do it together. Don't be overwhelmed just giving you a visual example. And when I open the toggle here on this layer group, I see another layer group, but also individual layers. You'll also see I have head. I've labeled all of these so that they're easy to understand, and then all of these are clipped elements to this main shape. You'll see this little arrow right here and that's showing that it's a clipping mask. Another thing we'll go over in a little bit. But that's essentially going to treat all these effects being applied to a main shape. And then within there, I have this eyes group. The same thing, I have eyes, iris, and then I have a clipping mask that is this iris depth. I I make this larger and turn that off and on, you'll see that effect being applied. This is going to make it very easy when we're working. If we want to go to, let's say, oh, I need to clean up this hair part, I can just go to hair, and then I see hair highlights. See this. I can just go directly there and I know what I want to work on and how. So Layer hierarchy is really important organizing your layers, labeling them accordingly. It is helpful. Then a hot tip, you can use emojis labeling your layers, clothing, I could tap here. I can just go in here and find shirt, let's say, and just put a shirt here. It's just going to be a quick visual guide that's going to help me. That's an option. It's really helpful instead of having to read every name and game changer for productivity to move quickly. For this cute T design, we'll create each element in its own layer group. I'll break down exactly what that means, but that's going to allow you to move and make edits to color and whatnot without starting over. As we start creating, you will work alongside me as we build up this layer system. 5. Shape Your Teapot (no drawing skills required!): Let's talk about the core Procreate tools that you will use for 90% of your creative work. I'm showing you exactly which tools matter and ignoring the ones that we don't need right now. So I don't know where you're at with your drawing skills. And while this isn't a drawing class, I still want to give you the tools to create a really fun finished artwork. So we're going to use the tools that are built into Procreate to give you a finished product that you're going to be really happy with. And we're going to do this by identifying basic shapes within an object, and then using shapes and lines combined together in a smart way to create these objects. I'm going to be using a reference photo in Procreate itself. And you can do the same. So if you go to the wrench icon here and you go to Canvas, you'll see that there's reference you tap that, you have the option to reference your own canvas. That would work really well if you're really zoomed in, but you want to see the whole canvas, as well. You can do image right here where you can import an image, so that's what we're going to do. And I have a download for you of this image, or you can work along with me. It's not going to matter in the big picture. We don't actually need this reference, but I just want to share it with you because it's a Procreate tool that I think that everyone should know. So then you're just going to choose the photo that you want to bring in here. And then you have a reference photo that you can drag around. You can also resize it. Let's see. Resize the reference within it, but you can resize the box as well if you go to the corner, and this is always tricky for me. There we go. So you can make that larger or smaller, and then the actual artwork larger or smaller. So we'll use this. I'm going to make this about this big for reference, and then move our artwork over. I accidentally made a bunch of marks, so I'm going to show you a quick trick. We have one layer right now, and if you ever want to scrub a layer clean without pressing undo a bunch of times, we'll get to that. Just take three fingers and scrub, and it'll clear that layer. And not the whole thing. So ifever you make a bunch of marks and you're just like, Oh, I don't want to press undo 1 million times, but I want to start over on this layer, that's an easy way to do it. We're going to use a simple brush to get started. And if you go into your brushes, you will see that there are brush libraries. If you pinch them closed. You'll see Procreate library and classic library. Classic was before this update in Procreates. There didn't used to be brush libraries, and now there is. If you have done the update, if you haven't you go to the app store, you'll see an update option, and you'll now be able to do brush libraries. And this is something that I have not configured intentionally because I wanted to show you probably what you would be seeing. You're able to organize these pretty easily. You can pull a brush out of one library, put it into another one, to create a new library. You're in the libraries. Let's say you have one open, just pinch closed to open the brush libraries, and then you'll tap this plus symbol to create a new library. You could also import a library. Once those are open, you have brush sets on the left side. Create a new brush set by tapping the plus symbol here. If you pull all the way down, you'll have this search feature right here so you can search for a brush. You'll also see right here where it says recent. If you tap that, it shows all of your recent brushes so that if you switch brushes, and then you're like, Oh my gosh, what was I using? I need to go back to that brush. Just go to recent and you'll see whichever one that you were using right there. Now, if you wanted to pull outside of a brush set. So let's say I'm in the libraries here and I want to create some from my own brush sets. I can go to the brush libraries, create a new library, and I'll just call this TPL and I do a little bird emoji for the pigeon letters. Apply that and then I have this here. It starts off only with recent and untitled, so I have to pull my brushes in there. If I open up the classic library, which is where all of those are currently, all of these are my brush sets. I can take them and hold and then pinch close, and then I can open up that brush library and now they're inside of here. Then the other thing is that's really helpful, let's say you have to do a ton of those. If you grab one of them and pull it out and then just tap the rest of these, you can grab a ton at once so that you don't have to go through the process over and over because I have so many of my own brushes and I need to get them over two. That new library. Here we go, tap that and then I can just drop them in here and here they are. You can do that with brushes as well. You can tap and hold a brush and move it wherever you need it to go. There's a lot you can do with brushes, but the brush libraries are nice because then everything is nice and tidy and the search feature is amazing because that didn't used to be here and now I can just find my vintage monoline. Boom, done. Enjoy that organization. Going to go in here and grab a really simple, easy to use brush. And that's going to be under basics, and just go to this one. I don't know if it's pronounced Yager, but that's what I'll say. And just tap Yager. That's going to be a monoline brush, and you can adjust the brush settings, the size right here on the top brush slider. So we're going to have this be oh 60 ish percent. It's not going to matter because we're going to fill that color. But you can see that when I press down, there's no pressure variation. That's what we want we just want easy lines. Oh, the teapot is essentially basic shapes. We're going to have a circle right here. We'll have an ellipse right here. We're going to use we're going to draw this in together. This simple spout. We're going to use Streamline to make it nice and clean. So let's go over that. So Procreate has something called quick shape. So when I draw a circle, go ahead and draw a circle with me, and then hold your Apple pencil down when you close it. Don't lift it up. That's going to be a quick shape. So whatever we drew, it smooths that line out completely to make it a perfect shape. Now, if you wanted a perfect circle, while holding it down, you can hold your finger, your other finger tap to the canvas and you'll have a perfect circle. I think I was going to do a perfect circle, and I actually think that I like this oblong shape, so I'll keep it at that before I release two. You can change the size. And then you can see this little edit ellipse. If you tap that top menu before it goes away, you'll see little nodes you can edit. We're not going to do that. I just want you to know it's available up here so that you can edit that if you want to. If you drew your circle somewhere weird and you want to move it, you can tap this arrow. It's the move and transform tool, and when you tap it, it's going to select everything that's on that layer, and then you can move that around. If you notice there's this snapping involved. That is a setting within the transform and move menu. While it's active, it's under snapping. Let's say you wanted to center this perfectly, if you go to snapping and turn it on, and then you move this, you can see how it centers perfectly. You can also drag that down and see this horizontal gold line that's showing you it's perfectly centered. So that's a trick that you can use to perfectly center things. What magnetics does, if I turn snapping off, it could stay on, but I'll turn it off for now so you can see there's blue lines that will come and it's making it so that it remembers that it's exactly along the same plane, and you'll see that guide where your Apple pencil is. So let's say I wanted to move it to the right a little bit to allow for that spout, but I really like the baseline of where it's at. I can move it to the right a little bit and then make sure that it stays on that baseline according to the magnetics. So that's what those tools are for. And they can be very helpful when you want to have that precision. But we want this to be centered for now, and that's because of an upcoming tool. So let's go ahead and make sure it's centered. That's with snapping on. We have that gold vertical line. Now, I want to flatten this a little bit. Let's go ahead and use the warp tool. So keep it selected or re selected if you've already moved it, and we're going to go to warp. And that is going to allow us to move these pieces. And so we can move the middle or the sides, but just know that's also going to change your linework and make it skinnier. Doesn't matter in this instance because we're just going to fill this with color anyway. But that way, we can flatten that out a little bit, and that's all. So go ahead and deselect that. Now we'll go ahead and use symmetry to continue drawing. So we will utilize a drawing guide to do this. Procreate has a drawing guide within the wrench icon. This is your Actions menu. If you're under Canvas, Canvas is selected within the actions drawing guide. When we turn that on, we see a grid. The grid is really helpful for eyeballing and making sure that we're on a certain line. But if you go to Edit Drawing Guide, once you turn that on, it will up here, there's a menu at the bottom here where you can change what the drawing guide looks like or the type of drawing guide that it is. So, along the top, you see this color bar. You can change the color. So let's say you want it to be like, blue, it's easier for you to see and then change the opacity down here for how strong the drawing guide is. So that can be really helpful. The thickness of the lines and then the grid size, we're not going to use the grid, though. We are going to use the symmetry tool. So there's isometric, which is going to allow you to have these angled lines. Perspective is great because then you can tap and you have this vanishing point, and so you can move that wherever you want, just for future reference, but we are going to use the symmetry tool. That's going to create a line right in the center, and then you can also go to options and change it to horizontal or quadrant radial. We're keeping vertical, and then just press Done. When you enable Any drawing guide, it automatically creates an assisted drawing layer on the layer that you're on. However, we are going to create our next element of this teapot on a separate layer. So when we go to add a layer in our layers panel, we tap our layers, we tap this plus symbol. It creates a new layer. But see how this first layer says assisted and this one does not. That means that if we were to draw on this layer, it will only appear on one side, but since we have a symmetry tool and we want that drawing assist, we want this line to show up on both sides. Quick gesture. If you use two fingers, you can tap to undo. And then if you want it to come back, three fingers tap to redo. So two finger undo it will be your best friend anytime that you create. And when you go back to analog, you're going to start two tapping your paper. It's just something that happens. So on our layers, we also have to turn assisted onto each layer we want it to apply to. So if I tap this layer, the new one that we made, I can go to Drawing Assist, tap and then you'll see Assisted is now on. And when I draw a line, it will appear on both sides. So I'm going to undo that because I don't want that line. But now all I have to do to make this little lip right here or whatever curve is draw it on one side, and then it will show up on this side as well. If you like really smooth illustrations, I'm going to show you another trick. So see how this looks a little wobbly. You can use that same method that we did with our shape with an arc. So if I curve up like this, and then I hold it, see how now it's snapped, undo, we got that rough wobbledge redo, it is that nice clean line. So so I can draw that in, hold it in place, and then go to Edit Arc up here, and then I can take that node and just make sure that's a nice clean connection. And then I'll tap editing to be done. And then I have that nice lip, if you will, in place. I'm not worried about what this bottom part looks like because that is going to be all covered. Now, between you and I, I didn't actually want this to be a separate layer, but I did it on purpose because I want to show you how to merge layers. So we have these two layers here. We can tap a layer and go merge down, which will merge them together. Or we can pinch them. Pinching is hard when there's only two layers, but if you can manage it, it will then flatten those two layers into one, and then we can add the lid, and I'll show you why we want that separate when we add effects and shadows and whatnot. So go ahead and create a new layer, and we'll use the ellipse tool again, where we just draw. And this can be really shaky. Watch how shaky this is. If we just draw that ellipse around and then hold it in place, do you see how much it cleaned up? And then I have another trick before we let go. If you use your finger and hold down, do you see how it's snapped horizontally? When we do this with lines as well, if you draw a straight line, if you want it to be perfectly horizontal, just tap your finger down. And then if you rotate with that, it will snap into 15 degree increments. So there's a lot we can do here. I'm a little off center, so I'm just going to make sure I'm small enough and then I can select it and move it. So I'll select by tapping the arrow key. Oh, remember how we had warp on before. We have to make sure that we go to free form or uniform, but not warp because otherwise, we won't be able to move this. And then if you want to turn snapping off, make sure that's off within that menu, and that'll give you a freer adjustment. So I'm just going to put this right here. I want it to be a little larger. When you resize something with these nodes up and down, every time that you do it, it will pixelate your art a little bit, and the edges get softer and softer, more pixelated and more pixelated. It's just a honor thing about Procreate, but if you do it once or twice, you should be good. But I just want a little bit of a hangover on the lid, and so that's why I'm choosing to do it, but no more than like once or twice. Don't worry if lines are overlapping because we're going to get to that later. But right now, we're just forming this shape. And then notice that when we drew that circle, we didn't have it appear on both sides. Even though we technically have our drawing guide on. That's because that layer did not have layer assist on. Alright, I know this is a lot, but essentially, we just have quick shapes, and you're learning about layer hierarchy. So let's start naming these before we get out of control, okay? So we'll go to layer one. We'll tap it again so this flyout menu comes up and we'll tap rename. Let's go Teapot. Teapot body. I mean, teapot or teapot body. And then this one we'll name lid. And then let's add this tiny little lid handle. We'll do that on a separate layer as well. So new layer. It's above the lid layer because see how we see that on top of that lid layer. So we want that to be more visible. That's why it's on top here. Tap layer. Let's go rename. And then we can say lid knob. That sounds fine. And then we'll do a perfect circle for this. Okay? So we'll just draw a circle. It's on its own individual layer. And we want that kind of in the center of our ellipse. So about right here. And it's a terrible, terrible circle. I know it. And then I'll get that the size I want and also tap my finger down for that perfect circle. And then if it's not centered and you want it to be perfectly centered, tap the transform tool. It's going to select it. Make sure you're on snapping so that when we move it, it's going to snap to the center. And if it's feeling like it's going all over the place, you can turn the distance down and it will be less aggressively snapping. Okay, deselect. There we go. Now, we have the base of our teapot, and all we need to add is the spout and the handle. So we'll do that in the next lesson because this is where we start to change our brush settings to make this a little cleaner and easier to manage. 6. Perfect Curves with Streamline Power: Okay, now that we have our base shapes, we're going to want to add our spout and our handle, and we're going to draw this in not using a shape. And so what I want to show you in our brushes, you can change brush settings so that your lines are smoother. The first thing, though, before we do anything is we want to make a new layer because I can't tell you how many times I will accidentally draw on a layer that I didn't intend to. So let's just make sure we're in the clear. So add a new layer. Rename it, and we'll go spout. So we'll go to our brushes. And when you tap on a brush, you have all these settings. Now, before you touch any of them, these are Procreate brushes, and that means that you can restore them to the original setting. But I always like to make a copy of it if I'm going to mess with any brush settings, and that way, I have the original preserved. Let's go ahead and copy it first, duplicate the brush, so swipe to the left and duplicate it. There we go. Yager two. I feel dumb if it's called Jagger. But here we are. Go into the second one that we copied. Tap it again, and we're going to go to stabilization. And I want to recommend using Streamline. So the difference between having Streamline low and having Streamline higher is the amount of wobble it has. So if we are about midway, it's not so bad, but if we are higher, let's go ahead and clear our drawing pad by going to drawing pad, clear. And then see how if it's a little higher, it's a lot smoother. I don't usually have this above 30, but since we're doing more of a geometric type art piece right now, Streamline is going to be helpful. You also have stabilization, which is going to help with that. But just know this is going to help with wobble and if you don't want wobble in there, this is what I recommend setting. So again, just to get to this so that you understand you're going to tap a brush. It brings up the brush studio. Go to stabilization, and that's where you're going to see Streamline. So from here, we can say done. The settings are saved in there for us, and now when we draw, it'll be a little bit smoother. So let's draw our spout. It's about halfway down, and it's this S curve. So we're just going to S curve up like this. Doesn't have to be exactly like it, but it's just going to give us the shape that we're after. The second one is tapered in, so it's going to be a little bit wider, and then there we go. And it's a little bit shorter than this. So I'm going to take my eraser and clean up this part. Now, I have something to tell you before I get to my eraser, which is. Let's say the last time I used the eraser, it was on airbrush or it was on some textured brush. You can actually make it so easy to select the same brush that you're using so that your edges remain the same and you don't end up airbrushing away and then having to deal with all the texture, all the gradient. Instead of tapping the eraser to get to the eraser and then finding the brush, if you tap and hold it, a very quick menu just came up that said, erase with current brush. And that means that now when I tap it, it's that exact same brush that I was using. So that's a quick tip, but we're going to want to bring this oh, about here. It doesn't matter if the edges are perfect because we're going to draw that ellipse on top of it. I want to put this actually underneath the main base shape because I'm not going to have this one come in front. I actually want it to go in the back just for ease and to show you how to reorder layers. So we're going to go to our layers panel, tap on that layer, and drag it underneath the teapot. And then we are going to work smarter not harder, and we'll add the spout to either the knob or the lid, because that way, we're not using a ton of Tana ton of layers, and it's not touching any of those elements, so it's okay that it's on the same one. So let's go ahead and rename this quickly, I'll say on lid, lid, and spout opening. How about? Then I'll just draw that ellipse in here. You can also move it. Now, when you move it this time, you can't just tap the transform tool because that's going to grab everything on that layer. What you have to do instead is go to the selection tool. The selection tool is this little ribbon icon looks like a little S. You'll tap selection and it will bring up the selection menu. You want free hand selected. Free hand means you can draw around something, anything that you want. I'm going to undo that real quick so I can show you what automatic does. If I was to do automatic, it's going to select based off of the pixels on that layer. Since I selected outside of it, so it's going to select everything outside of those lines and whatnot. We're not doing that right now. We are going to free hand selection so we can freely draw around it. Don't worry about any other elements because we are on the layer of the lid and the spout opening. So all we need to worry about is that our selection doesn't go into the lid, so we're good to go. Once we have our selection, we can tap the transform tool and move it where we want it to go. If snapping is on and it's messing you up, you can turn it off. But that seems fine. Don't worry about overlapping lines. We're going to clean those up. And then deselect. Now, you can add all these elements and go crazy with really ornate handle. But I'm just going to keep this really simple, and I'll go ahead and go to the layer where the lid knob is on and just rename that and add it to this layer. So I'll say lid knob and handle. And then I will turn the assisted layer back on so that when I draw, it actually meets in the middle. So it's nice and clean. So I'll go to that layer, top drawing assist, and then just come from the side here and come up and in. And if it's not super smooth, don't worry about it. You can always use the warp tool. You can also just redraw it. You can go to your eraser and just clean up any lines that don't look quite right, and that'll be good. And if you want to make that thicker, so it feels more like a seamless handle. You totally can. And there we go. So we have our base shapes in place. So what we want to do now is add color to this and make these solid. So I'm going to share something with you, and we drew it this way on purpose because I want to show you what could happen if we hadn't covered our bases. So in this teapot layer, we can easily go in and drop this color. But if I go to the spout and I want to drop color into that, do you see how it fills everything? The reason why this is happening is because I'm going to tap undo. If I only look at the spout layer, I'll go ahead and turn these off real quick by tapping this arrow check on the layers so I can only see this one. It's all completely open. You have to have a closed shape for color drop to not spill outside of it. So that means, I'll turn these back on. So that means what I want to do is on the spout layer, go ahead and draw a closed point. And then right here, I need a closed point. So you might not see it because of the layer on top of it. But if I turn that spout off, spout layer off. Now I have a closed point. I'll clean this up just because it's bugging me. But that closes it, okay? So even if it's underneath something, it still needs to have a closing point so that when you fill it, it actually gets filled. So going back to the teapot layer, we also need to fill in this part where it goes upward. But remember, it is not closed, which means it's going to go everywhere. So go to the teapot layer and add that closed connection. So I will I'll just follow this line. It's not going to matter if it's perfect because it's going to be underneath. The lid, but just to make sure it's closed so that it fills completely. And don't worry about the color choice right now. We're going to be changing that in the next lesson, but right now we're just filling, okay? So we're filling these shapes. So go ahead and drag and drop, drag and drop color, and then go to the next part and this part, the circle is closed, but the handle is not, so I need to go in here and just close that close that and then fill. Okay? So now we have a silhouette, which is great. Our next lesson, we will go into bringing this to life with color. But you can see how simple these very simple shapes can create these really cute illustrations. So let's bring these shapes to life with color that'll actually give it that comforting vibe that I know we can't wait for. 7. Color Strategy (Cozy Vibes): Going to be really hard for me not to jump way into the nerd out color fun because this is my favorite topic to talk about. But color always and forever will set the mood for our art. And since we're going to want to set a cozy aesthetic for our tea scene, I have a little cozy formula. As we choose colors together, I suggest focusing on some warm base colors. Cream or soft peach or warm brown. And then an accent color. So this could be like a dusty rose or sage green. We'll also have the depth, the shadows in our piece. I would choose a color like a dark charcoal, which is going to be a little softer on the eyes than a pure black wood. And then we'll need some atmospheric tones, so like a really pale, like, bluish gray or lavender gray, something really light and pale like that. And this is the perfect opportunity for me to show you the color interface and how to build and organize palettes. We can go ahead and get rid of our reference photo. So if you have it open, you can tap that reference photo and just tap this X, and it gets rid of it. You could also, if you just go into the actions, turn that off and it goes away. So there's two ways because in Procreate, there's many ways to do many things. So we have these layers separated. We can easily apply color. I want to turn assisted layers off. I don't want this guide anymore, so you can tap layers, tap drawing assist, so that it's no longer applying. You can go to your wrench icon and Canvas, turn drawing guide off. It can be distracting. We don't need it anymore. So let's look at these layers. Apply color to them. What I usually do is determine what I want the main color to be. So let's import the color palette that I created for us so that you know how to do that. If you go to the color panel here, you can import new palettes by going to the plus symbol, which is also how you create new palettes. You can create them from a file, from photos, which is actually pretty cool. So if I was to pull that teacup in here or the Tupot rather, it will pull in colors from that image. In which case, this one was pretty neutral. So I'll tap these three dots to delete that palette, delete, and then we can pull in this teapot one we'll be working with together. So the plus symbol, and you can say new from file. You're going to find where you saved that file and then tap it, and it's just going to import. Now, you can also do that from your files and push it over to Procreate because it'll be an option, but this is an easy way to do it. So now we have this in here. I'll delete my second one because I not need to. So I'm going to grab this light, kind of dusty rose pink color, make sure that I'm on the layer that I want teapot and drag and drop to fill with color. From there, I want the rest of the elements to be separated, even if I am going to add shadows later. So I'll usually go in with the color that I already have, and I'll go to disc, and that shows me the full disc here. Little tip. If you want a better visibility, you can pinch open, and then you have just that hue, pinch closed, you see the full wheel again. If you want a classic view, you have all these views down here. Classic. Same thing. It's just in the square form. You also have your sliders instead of having that wheel. We'll get into these in just a minute, but right now, let's just bump this down a little bit, so it's slightly darker, but not too much. It's very subtle. When you do that, when you're hovering, you will see the current selection with the new selection. So if you need to compare colors and you just want to subtle, you'll be able to see the subtlety right there in your picker, which is pretty cool. So we'll go ahead and take that new color, go to the spout layer and drag and drop that in. As we're doing this, before we get too ahead of ourselves, I want to show you something that you might run into. So I'm going to undo this. And let's say, when you fill, you have these weird lines and it's not filling correctly. So I'm going to show you how to avoid this why it's happening. I'm going to tap undo. And when we color fill, I'm going to color fill and then not lift my Apple pencil. So I'm filling, not lifting. There's something called a threshold right here. If this is low, chances are it can show some of this, where it's not grabbing the color fully. So while I'm still holding it down, if I pull to the right, see how the threshold increases. And if you run out of room, like I just did, you can just press undo and fill again. I will remember the last place that you were. So I was like, at 50 something percent. Now I can go all the way up. Now, if I'm too high on the threshold, it can fill the whole screen. Usually, it doesn't if you're using a brush like this because it's opaque. But if you had any kind of translucency in your brush, then it could spill over. So the same thing applies. You would just drag that down or drag it up so that you get the most fill that you need. Let's use that same color now for the knob and the handle. So I'll go ahead and drag this in. Now, let me show you. With the threshold, 98%, see how it got the handle, but not the knob. You can drag that up higher, and it's going to grab everything on that layer. So that's pretty handy with the threshold. And then, lastly, we have the lid and the spout. And I'll just shift this a little bit. Again, I don't really care the color it ends up being because we're going to really bring that to life more with shadows and highlights, but now we can differentiate it, if you will. When it comes to color harmonies, I know that I gave you this palette, but let's say you're creating your own. Let's say you really like this pink and you want to create a palette from it. So you're going to go to your color wheel. You'll go to palettes and you'll tap plus. Then you can say create new palette. We can name this tea party. And then from there, anytime you select a color on any of your palettes, it will automatically choose that as your current working palette. So that means when I go back to disc, it's selected right here. From there, you can grab whatever color you're using and just tap one of these squares to save that color in there in your palette. To remove it, you can tap and hold, and then it'll say clear swatch. You can also drag it to another square. It can be finicky when there's a lot of colors in there, and it might reorder them weird, but you can. And then let's say you're five steps ahead, maybe your color history is missing and you don't know what you just used, but you loved it, and it's on here. You can use your eyedropper. So by tap and hold, I can hover over anything and grab that color. Now, I don't remember what Procreate's default is for eyedropper, and if it's not what I'm doing, you can set your controls by going to the wrench icon, going to preferences, going to Just your controls, and then you will see Eyedropper, and then choose how you want it to appear. I just have touch and hold, and then you can choose the delay as well. So the amount of time it takes before it actually grabs the color. So I can do that, and then it looks like that's the same one. If ever you want to replace, it looks like that's the same color. So let's say I want to grab this one. I can tap and hold and then set current color instead of deleting it. So that's an easier way to replace the color so you don't have to go through two steps. It's not really necessary because it's so easy to add a new one, but I just, you know, the more tools we have at our disposal, the better, right? Okay, so now that we have these two colors in, I want to show you what the power of color harmonies are in Procreate. So if we go to harmony, this doesn't look clickable, but it is. And before we get to that point, do you see how right now, we have the color that's selected. It's a little larger with the opposite color on the color wheel. And it's the same distance from the center. So this is the exact complimentary color. You can tap that directly and see how it selected that. But I'm going to go back to my main color, tap complimentary, and you have the option to go through split complimentary, analogous, triatic, tetratic. And I'm not going to go over all of these right now because this is more of a Procreate class, less of a color theory class, although I love it, it's really hard for me not to. But if you tap these, you will see that you have these split. And then we have analogous, that's going to give us our colors that are close to it. So if you want to change the hue slightly, let's say with this color, instead of all pink monochromatic, you can go in and change the spout, let's say. So see that's going to give you the same value, but a different hue. So I'll press n but then when you're in here, you can change the value as well by using this slider. So that's pretty cool. So this is a very powerful tool when it comes to grabbing colors that work really well with your piece. Let's say you need something that's complimentary to this color, but you don't want it to be the same value, you want it to be lighter or darker, so let's say darker. I can drag that down, and I still have this perfect complimentary color that I can add as maybe the background color. So I'll just add that to my palette. And that's how you can build your palette, and it is very, very helpful. I am very meticulous with the way that I set mine up and that's why I wanted to provide a palette for you. I'm just going to go back to any color on there to set it as my default, but you can, of course, build your own and that is how to do it. Now, if you ever want to share a palette, you can just go to your palettes and tap these three dots and say share. You can also duplicate palettes that way. Now, I have one tool that is so imperative that you have set up that I will not let you leave this class without. Here's how it works. Let's say you don't love the main color here and you want to change it. So you keep going to your palette and you drag and drop, and you're like, No, that's not it. No, that's not it either. And you just keep going in and you keep trying to change it, but it's just not quite giving you what you want. You can change the color in live timeme so you don't have to keep trying to guess. And so to do this, you need to know how to invoke quick menu, and then you need to set quick menu with something called recolor. It's hidden. It didn't used to be. But in this current version, it is hidden. So what I want you to do is go to your wrench icon, go to your preferences, and go to Just your controls, and quick menu. This is how you will decide how your quick menu appears. I have it to where if I tap the square over here in between my brush sliders, that's how I invoke quick menu. So if you want to do that way, great. Choose however you want. Press done. And then if I tap here, quick menu comes up. What I want us to do here, Quick menu lets you have these quick actions. Tap and hold any of the outside little they don't look clickable, but tap and hold one of them. It's going to set the action. So you can go through here. It's alphabetical, find recolor, tap recolor. And now when you tap on quick menu, recolor will be an option. I'm going to show you how this works. Tap recolor. There's a little cross hair here. If that was off to the side off of the because that was the main pixels on that layer, that was the main shape on this layer. If I'm off of it, it's going to fill everything. If I bring that cross hair over the actual shape, it will fill that shape with the current selected color. Now I can come in here and I can tap through and change it in live time. I can change it from the slightest hue, the slightest value. It is the best tool. Then we also have a flood down here. This is the same thing as the color threshold when your color drop and it's not filling or it is. You just change the flood of how much that's filling. Right now, it's not going to be too obvious, but that is the same control there. And so this is a game changer. You want this invoked. Put it in your pocket for later. It's so helpful. We'll get to adding a bunch of details to this, but what I want to do now in the next lesson is show you some selection tools that are going to help you so you don't have to go and erase every little thing that has a mistake in it because I guarantee some of ours look like that after considering that this layer is on top. So I'll show you a trick to fix that in the next lesson. The cozy color palette works beautifully for this project, but there are so many more advanced color psychology techniques that make your art feel exactly the type of vibe and mood that you're going for that you want to feel in your art in the finished pieces, whether that be peaceful or energized, nostalgic, whatever serves your art. And if color harmony feels tricky to you, and it does for a lot of people, Procreate color palette Builder class is the place to go to find so many of your own signature color palettes, because it dives deep into creating cohesive color stories that really feel like you and evoke the specific moods and emotions that you are going for. So I will link that should you be interested because it is a fun one to go into when you have some spare time. Alright, let's keep going. 8. Transform & Position Like a Pro: Now let's talk about moving and adjusting elements. This is about making those intentional creative decisions with your composition. So I'm going to show you the selection and transform tools that really give you the power to manipulate your elements in the way exactly the way that you want to, without losing quality. Let me show you what I mean. So we'll make some adjustments just so you can see how this might work. So, let's say you have this much drawn and you need to fix a few things. So what I'm going to do first is show you a selection trick. It's a little more intermediate, but I think it's a good place to start because you'll understand how selection works. So you'll see here that this little bit overlaps the main shape of the pot, and we don't want that. We want it to be nice and smooth. Yes, you could erase it, but I'm going to just show you a tool that you have at your disposal. So we'll go ahead and go into our Layers panel, and we're actually going to go to Teapot. And instead of going to our selection here, you can select a layer directly from the layers panel. So I'm going to tap that layer and tap Select. What that does is it selects everything that is on that exact layer. You might be wondering why I wouldn't have just selected it with the move tool because I don't want to move that. I just want it selected because I'm actually going to apply the selection to a different layer. But because I already have the selection made, it will hold in place. So you may see it or you may not on my screen. But there's these little horizontal lines that show everything that's not selected. Because I want to remove the part that is overlapping the main pot, I'm happy with that being selected because I'm going to cut that away. We'll go to the Layers panel, see the selection stays intact. We'll go to lid the knob and handle layer, and we're just going to use the cut menu. So that is three fingers down and you'll see all these options. Cut, copy, copy, all, duplicate, cut and paste, paste. We'll get into that, but right now we just want to cut, cut it away. Now we don't have that overlap anymore because it cut the selected area away. The only thing from this layer that was selected was the overlap there. That's why that worked well for us. That is a very handy tool when you know you need to do something like that, rather than cleaning something up. If it was more intricate or something, it will help a lot. Now, another thing I want to show you is, let's go right here to the spout opening. So we're going to go to this layer. That's where this lives. And we'll go ahead and grab our selection tool. We can do a selection with the free hand. We can also do a rectangle or an ellipse, automatic, you know, grabs everything. But I don't love this because it keeps these pixels in here. Even if it has the threshold, it's still a little pixelated. I don't use that unless I absolutely have to, which is very rarely. So freehand, I'll just grab this. Remember, because this is the only thing on this layer with this lid, it's okay if that overlaps. I'm just going to show you a quick way to resize or rotate once something already is in existence. So we've selected it. I'm not worried about closing the selection, because it's going to close automatically when I tap Transform. If you want to zoom in and out, just make sure you're not inside the box. Let's just say, though, I'm going to give you a tool. If something is selected and it's taking up a lot of canvas and you don't have the option to zoom outside the box, what you can do is tap and hold the arrow and zoom. Otherwise, it's going to resize that piece. So that's a little trick. There are nodes right here. With the nodes, the green one here will allow you to rotate the yellow one here will allow you to change the center part, and that's going to be really helpful when you're resizing. So let's say that it's showing up like this, and that's going to make it so that the center is kind of wonky. So if I wanted to resize, if I want to just smush it or something, it's not doing it perfectly centered. So if I change that to be at the bottom here, and, you know, center, when I go up and down, it's going to be a lot smoother of a shape. It's going to make more sense. So that node is really helpful, and then this one's going to be your rotation. This tool, while it's great, we'll make it so that every time you rotate, it pixelates more and more and more. And it's really frustrating. There's a menu item in the selection tool right here. It might say something different, but it's the one just next to the far right. It's either nearest bilinear or bicubic. I think I've heard from everyone different thoughts on what their favorites are. I typically like nearest neighbor. I know people like bicubic, but it will make it more or less pixelated. But do you see? Do you see? Look at this. So I just don't love rotating. So I'm going to undo what I did, and I'll select it. You can rotate it once, and it is a little messy. It's because of the canvas size. If you really, really need to and you want to make sure that that shape is nice and clean, you can always go in with your brush and just get to the right color and just clean that up. I mean, I have done that before where it's like, I just need to clean that up a little bit. Then you can be fine. But I just wanted to show you that you can indeed rotate and just because that was so pixelated doesn't mean that the piece always will be, but helpful tools. Okay. I wanted to show you how you can transform this too. I know that we looked at warp, but I want to look at liquefy. I don't think that a lot of people talk about it. If I go to Spout and instead of selecting and warping, you can go to the magic wand icon, which is adjustments. If you go down to liquefy, you can change the size and the pressure. If you have hover on your iPad, if that's something that it supports, you can kind of see how big it's going to be. But I'll go about midway. And if I wanted this to be like indented more, you can indent it more because liquefy is going to just, like, push and pull. That is pretty cool that that's a feature that we have in Procreate that's underutilized, I think. You also can expand, pinch. So let's say you wanted it to pinch in more. If I go to pinch right here, I can just tap and hold, see how it pinches in, or I wanted to expand it, maybe. I can just you know, wherever I put it, it's going to start expanding. So there's little things in the liquefy menu that are going to be really helpful that just don't get used very much. So that's in there. And real quick, I'm going to show you we'll use this little knob. We'll go to the selection tool, make sure it's on free hand. I'm going to grab that and tap the transform, the move tool, the arrow, so we have it selected. While it's on freeform, you have to make sure it's on freeform. You can tap and hold a node and change distort just from an edge, which helps a lot if you want something to, like, have a certain perspective, or you can tap and hold and, like, angle it more. So that can be really useful. The other thing is, when you are on freeform, you can drag up and down and change the ratio. I'm going to tap undo, so it's circle again. If I tap uniform, if I drag up or out or anything, it will never break the ratio. It will always be that perfect circle so you won't change the shape. So that's really helpful to know when you are moving things or resizing them, to be able to have that be like, Okay, don't change the proportions. Alright, we're about to get into our next steps where we actually bring this to life. We've gone over a lot of fundamentals, so let's keep going. 9. Bring Your Tea Motifs to Life: Details are going to bring so much personality to our te motifs, and the secret with detail is knowing when and where to add them and where not to when to stop because it's very easy to overwork a piece. Trust me, I know. Don't ask me how. We want details that support our cozy tea story and not compete with our main elements or distract from it. So let me show you a few tricks. 10. Lighting Effects: Cozy & Dimensional: I hope you are ready to jump into some fun because this is where we are bringing this thing to life. We have our layers here and what we're going to do is apply some effects to these layers. This is where we start to look at clipping masks, this is where we look at layer blend modes, all of these things and they are much easier once you understand how they work and why. We are going to start off with just adding some simple shading and we'll do that to the main part of the teapot. Tap the teapot layer. The reason why we do this is because anytime we create a new layer, it creates it on top of whatever is already selected. Teapot layer when I tap new layer on top of the teapot. We want this to be a clipping mask. Let me explain what this is before we get ahead of ourselves. I'm going to draw all over Everything. Right now, it's all over the edges. It's going everywhere. But if I go to this layer and I tap it and I make it a clipping mask, it's clipping to the layer directly beneath it, clipping mask. Now, that means that it's showing up only over the pixels of the layer beneath it. The artwork is still intact. If I get rid of the clipping mask, it's still right here. You may have heard of a tool called Alpha lock. I will tell you to use Alpha lock seldom, if that's the word. That's because I always prefer a cliving mass to keep those elements separate so we can work indestructively, so we can always go back in and make changes to each individual layer. I'm going to delete this. I'm going to show you what Alpha lock does and then I'm not going to keep that. Don't even do it. You can if you want to, but we're not going to actually do this. You can turn on Alpha lock by tapping a layer and tapping Alpha lock or you can use two fingers and swipe to the right. This is taking up this space pretty well, so I'll apply it to the one above it just so you can see, there are these checker it's like a checker board that shows up. That's showing you Alpha lock is enabled. I'm going to go ahead and remove that. From that one, it is on Teapot. That is going to make it so that transparent pixels cannot be drawn on at all. I can do Alpha lock or I can draw all over and it will draw directly on that layer and there's nothing you can't edit it. You can't edit them independently. It's just there. Also, there's nothing you can do with the exterior. Let's say, I'm going to undo that and turn Alpha lock off. Let's say I have this clipping mask, new layer on top of the teapot layer. On that one, I'm going to make a clipping mask, I'm going to draw all over. Let's say I have all this texture and I want the texture to actually move a little bit. Well, I can take that clipping mask layer, select it, and move it a little bit, and it's not going to chop it off. I couldn't do any of that if I was using Alpha lock. So that's why we want to make a clipping mask. Walking through that one more time. I have the teapot layer selected. I'm going to tap the plus in the layer panel to create a layer directly on top of it, and we'll go ahead and name this shadows and then we'll make it a clipping mask to the main teapot shape. Go ahead and tap that layer and tap clipping mask. Then there's little arrow that comes up showing us that this layer is clipped to the layer beneath it. Now we can work in a darker tone. If I go to my teapot colors, I could do this plum color or this darker mauve color and I can add some shadows in there. If you go to basics, you're going to see under the same brush set that we were under. We had the Jagger jigger brush that we were on. There's one underneath that called mint brush, which is a pretty standard easy shader and it works pretty well with pressure. I I press down, it's pretty solid, but if you go a little lighter, it does a pretty good job with shading. So what we want to do is add some shading to this that is nice and natural and make sure you're on the clipping mask. I'll go ahead and start on the outside. I always start outside and bring this in so that I can see what it's doing to the edge. And it darkens mostly at the edge the most. You can do this really harshly or just nice and soft and it can be really subtle. I also like to come in and do this underneath the lid, and I usually start darker on one side, a little lighter toward the middle, and then a little darker just toward the edge. It just feels a little more organic with the shading. Then I'll make this a little smaller and darken just the edge. Whoops. Not that heavy. But I always go on the outside, it's a nice soft. You can always pull in, but that way you have more control over how that shows up. Then I'll just do a little bit on this edge, but not as heavy as this on that one. Then I usually find one spot, especially on a round object. I'll put the brush size up a little larger and just create a little piece here that looks like there's a little bit of depth, the lights catching it just so we're going to add some highlights too, but that's giving us a a good idea. Looks like I have a stray dot on a layer above it, so I'll find that. I think it's on this one, and just erase it, get rid of it. Now I'm going to do that same thing to the rest of these pieces. One of the things that I'm noticing now is that when I've added that shadow right here, this lid color is getting lost in it, so I can lighten that a little bit and this is where I'm going to show you the adjustments panel. Rather than working in our color, interface. I'm on this lid layer and I go to the magic wand icon, the adjustments, hue saturation brightness, I'm just going to it has three simple sliders, the hue will change the color itself, the saturation will change how vivid it is and then the brightness. I think I just want this to be a little brighter so that it has more of that separation. That works. Okay. Now that I'm on that layer, what are we going to do? I know I can't hear you. We're going to create a new layer and then tap that layer and clip it. See what's happening here. We have our teapot with its shadows. We have our lid and spout with its shadow layer. We'll go ahead and name that shadow. We have this darker tone and we don't have to have this same shadow tone for everything. We can see what color this main shape is and then go a little darker than that. What we're going to do with this is actually instead of doing the very edge is we'll come in and just create a little separation with the edge. See how it makes it look like there's some movement there and then maybe on this side, just a little bit and then underneath that knob. Maybe not quite that big. We can just concentrate it toward the base. And I'm going inside of it so that I can see the shadow popping out from under that gives me more control, and then I might make this a little darker at the base. There we go. Now for this piece, this is showing the interior. I'm going to show you a little trick that I like to do. Instead of having a whole new layer, I'll just do it with shadows. I'm going to have just some shading just in the middle here. Then I'm going to take my eraser, which is still on the main eraser and I'm just going to create this hard edge that just comes through right here and then it looks like that shading is on the inside of the spell. You can also do that where it comes up more and then it's going to look like it's inside of the edges more. That's a little trick we can do. As we move into this final layer, I'm going to show you a different way to apply shadows. Rather than grabbing the color, according to what is already here, we're going to use blend modes. We have this spout here. We can go ahead and add a new layer above that to create the shadows, go ahead and new layer clipping mask, rename that shadows then what we'll do instead of using color, we'll just go to pure black. So drag it all the way down. We've got the clipping mask, we've got the brush we want. I'm just going to create a little shadow. I'm going to make this a little larger, come out from the edge, a little shadow underneath and then in this little dip, I'm going to go a little bit larger and then a little larger just toward the very very bottom, then maybe a slight amount just at the edge so that we can see that a little more. Then maybe a little larger just to bring in a softer shading above that so that we have that Depth. Cool. Now, with the blend mode, what we do is we go to our layers panel and there's this little N that you'll see on all of these. That is because it's currently set to a normal for normal blend mode. If you tap that N, you're going to see an opacity slider which just turns down that particular layer's opacity so the transparency. But then we have all these modes down here. What I like to do for shadows like this is I like to do them in black. Everything. Then I'll go in and go to overlay. Do you see how nice that is? It's pulling the color from beneath it and giving that nice soft shading. There's also soft light. It's a little more subtle, these larger, you can see, but overlay Soft light is always a smidge softer and more subtle. Depending on the color that's underneath, you might want that, but then overlays can be really strong sometimes. It just depends on the work you're doing. And you can of course, go through here and see all of the options there are. Multiply is one that a lot of people use and then they just decrease the opacity. It pulls the underneath color, but I actually prefer overlay. So I wanted to share that with you because it's so nice to be able to apply that and see that color underneath pull out. Now, let's say you wanted to change the entire color of one of your texture layers. Since we have these separate, it will be a lot easier to do this because otherwise we would use recolor, we would drag and drop, but this is where we can go and fill very, very quickly. If I tap shadows and tap Select, it's selecting all of that texture layer. It's going to be hard to see because it's all these little bits here and there. But then we're on the color we want and we already know that we want black because we're going to change this to a blend mode. I'm going to tap that layer and I'm going to say fill layer. It fills everything that was selected. Now I can change this blend mode to overlay. The reason I made it black first is because let me show you what happens if I don't change the color. If I go to this shadow layer and I just change it to overlay, it's just not strong. I can select and then go back and fill and now you can actually see it. How you choose to apply your shadows completely up to you. There's not a right or wrong way to do it. It creates a different vibe. I like the vibrancy of doing this with black and then a blend mode. It also is just such an easier way to work. Let's go ahead and do that to this final layer. Tap above the knob and handle, clipping mask, we're on black. We're just going to create some depth underneath here. I'll make this larger. It's a little softer and then from there, I'll do the side of the knob. I want to make some of these areas a little more concentrated so that it doesn't look seamless and then maybe even some on the outside, so it looks like we see the edge and maybe the lights coming from one side more than the other. Then this is cylinder. I'm just going to come around here softly, bring it in a little more and I'm loosening up on the pressure of this brush because it is a pressure sensitive brush. Then I'll go ahead and apply that blend mode to go to overlay. There we go. We don't even have to add highlights, but just for funzies, let's go ahead and look at what that looks like. Go to the spout and create a new layer. Now, the layer hierarchy here, notice that it created a layer on top of the spout, but because of that, it sandwiched itself in between the shadows layer and the spout. But since the shadows layer is a clipping mask already, when it did that, it automatically made this new layer a clipping mask, which is what I want. That's perfect. But something to note is that the clipping mask layer hierarchy is still the same as any other. Let's say you wanted the shadows to be underneath the highlights, you would have to arrange that so, which is fine. But the reason I did it under the spout is because I'll delete this to show you. If I did it on top of shadows, it doesn't automatically make a clipping mask. Part of my workflow has just been to go to the source, create the new layer and I know that it's going to automatically be a clipping mask. Then if I need to arrange it or rearrange it later, I can. I'm just going to rename this highlights, and I'm going to go to pure white. A trick in the color panel is if you double tap to the white area, it creates your true white. You don't have to go into value and put in a hex code or do anything like that. You you don't have to guess right here, just double tap true white. And we're good to go. I'll just use that same brush, and I'll just create a little concentrated highlight here and then maybe here, and that's it. Very simple. That looks good as is, especially if you like a good amount of contrast, which I do recommend, but I want to show you what it would look like if we applied to blend mode. There's a few that work really well. You see how lighting takes a bit away. Screen is good. Add is going to be really dramatic. I almost triple quadruples it seems like. Lighter color is nice. Soft light will give a very soft light as it says. When we talk about, what's the best blend mode or what's the blend mode you use for XYZ? It's the one that looks right to you. It's not necessarily like, oh, I always use soft light. In fact, I'm going to keep this at normal and I'm just going to turn the opacity down just a smidge so that it pulls the color underneath and that's it. We'll do one more. I'll go in to the teapot, add a new layer, and then make this a little larger and just put in a little highlight. I like to put in my highlights right next to the shadows because I think that's where it pops the most and I'll just create this little bit of interest here. So that is good to me. Of course, you can add it anywhere you want, anywhere you want. I'm going to get out of control if I keep going. But you get the idea. It's that simple and then it brings it to life even more. Then we can go and adjust the opacity so it could be a little less strong. I'm going to keep the strength on that one. And then of course, you can go in and clean that up. Now, the last thing I want to show you before we move on to our next step is we've got a lot of layers going on. Some of them are layered layer ten because I didn't write highlights. Highlights here, rename highlights. Now, this is shadows. That's clean, but this is a lot. There's still a lot going on, how can we clean this up? This isn't a ton. It's not like you can't figure it out, but I really like layer groups for this reason. Let me show you how to do that. You can go to, let's say, these three are the spout. If I highlight one of those and then I swipe to the right and swipe to the right again, all of those are selected and then at the top of the layers panel, you'll see group top group. Now I see new group right here and there's a little toggle arrow. If I toggle that, it collapses the group, but all the layers are still intact. Now I can rename that to spout and now I have a little clean version of that. It depends on how meticulous you want to be with your organization. But if it helps you, then this is a great way around it. I'll go ahead and group those two. Rename, and what was that? That was the lid and spout opening. Sure. Then the knob and handle. I tap one, swipe to the right, swipe to the right, group, and then I can rename that by tapping the group, rename, and I can go knob and handle, not cob. Knob. Then I have a nice clean workspace. The next lesson, we're going to add some steam here and I'll get to show you a few more fun effects that Procreate can do. 11. Steam & Masking: Add Life & Movement: To add some steam and this is going to be very fun. We'll start easy, grab whatever color. I'm going to grab this really light grayish blue that's in the teapot, color palette on the bottom left. I'm just going to make sure that I'm on that main brush we were using before, which was the Jagger jogger. Make sure you're on a totally separate layer here. We'll rename that steam, and then I'm just going to create this flowing situation. I usually do this a few times to see what direction I want that to go. I think just something simple would be fun like this. Then from here, I usually go from the top and then something like that, and then we'll color fill and clean up any weird edges. Cool. Steam. Done. Although, while that may seem done, what I want to do instead, create some transparencies. This is going to be a technique that you can use for a lot of different things like smoke or clouds or any flowing element or transparent element that you want to have a little more life to it. Before we do that, let's say you get to this point, you're like, I'm off center. Now, we weren't before, but now that we've added the steam, it's just it feels wrong. I want to show you how you can move everything together. If you go to your layers panel, groups will select all layers, so that makes things easy because you've grouped everything now. I can swipe to the right to get all those selected and then go to my move tool, the arrow and you can just move that where you want it to be on your canvas and then deselect. Easy way to move everything. Then just make sure you go back and select only the layer you were working on. We talked about clipping masks and now we're talking about something that is a very big hesitancy for people to look at, which is masking. A lot of people don't talk about masking because it seems really intimidating, but I'm going to make this so easy for you. So what a mask does is it hides a piece of your art. Let's say I wanted some of the steam to go away, but not actually go away. I still want it to be there because then I could bring it back, also known as revealing it. When we apply a mask, we're going to go to the layer and then tap it and you'll see mask. We want a mask. Then creates a layer mask. We can still work on the steam layer or we can work on the layer mask. Notice, when I'm on the steam layer, I have that grayish color selected, but when I go to layer mask, it changes to black. Masking works with black and white. If it has a color selected, it will just be grayish, which is going to work as a transparent pixel instead of actually fully hiding or fully revealing, which could be helpful depending. But let me explain this. I have a regular brush selected. I'm on this layer mask. It's black right now. When it's black, that means it's applying the mask. If I go over this, it erases it. Only it doesn't because it's the layer mask that's hiding it. If I'm still on the layer mask and I go back to true white by double tapping, if I color that back in, or it's what it's doing is erasing the mask, revealing the art. Basically, black hides and white reveals. I want to reveal this back, I can come in and do this. Knowing that, we want to go to pure black. I'm just going to walk through this again in case you didn't do that part with me. I deleted it. I'm on the steam layer, I tap the steam and then go to mask and then I'm going to work on the layer mask. That's the main selection. It's the brighter blue. I have black selected and I'm going to go to that texture brush, the mint brush and then we're going to hide some of this. I will start on some of the edges and just come in and soften it and you can go real small just to break up that hard line without getting rid of the main shape and then a little larger just to blend it out a little. See how that just makes that airy flow. Now, yes, you can absolutely do that with that brush without having to remove some of it for the hard line. But the reason why I wanted to show you this way is because sometimes what I like to do is keep those hard edges because I like the appearance. I think it looks cool. So I undid the mask so far and I'm actually going to apply the mask to the inside just to create a little bit of transparency so that it feels like it has more life to it, but I still keep this illustrated shape that I like. I'll come in here and just do it enough to where it's nice and soft, but there's some areas that are pretty pure white, and this is going to make a difference more so when I have a background color because you're going to see the background color through it while still keeping that nice fun shape. Basically, I'm erasing. But if I erase too much, let's say right here, I'm not erasing it because I can just go to pure white and with that same brush, I'm bringing it back. That's why I love a layer masking and that's why it can be so helpful. Let's go ahead and add a background layer to this so that we can actually see how this will work. If I go into my background color, I don't like to do background color. I like to have a separate background layer. Let's create that background layer, bring it down to the bottom. And then I will color fill that with let's say this one. There we go. Now I can really see how this steam is working and I can go back to the layer mask and get that with the effect that I'm going for. I'll clean up the edges right at the base, and then I like that hard edge, but I do want to bring some of it back so that it has that contrast that I want that hard line. I like the hard line personally, but you could do this anyway that you might want to. Then if you have some that are faded, it's faded weird, you can always blend that out just by going in between white and black. And see how that cleans up for you. But see, it just looks fun and it creates that energy and I just love it. Another one that I want to show you, maybe we like the texture on the teapot, but not on the steam, but we can blend it more by applying the Gaugmblur. If you go to your adjustments panel, it's the magic wand. You have this Gaugenblur. Now, nothing's happening when you tap it. That's because you have this Gaugmblur 0% right now. But if I tap and drag up, I'm going to make this large so you can see it. See how it's going to blur that. You can blur this quite a bit and take a little that texture out of there if you wanted to. I wouldn't do it to that actually. Let's look at what that looks like I undid that. Let's look if we did it to the spout because I think it'll give a better example. Not the full spout. I'm going to open that group, go to highlights, and then I'll go to the adjustments panel. And go to Gaugmblur and I'm going to drag my brush upward and you can see how that's breaking up that texture. There's texture and I'm just pushing it upward to two or 3% and it's going to make that a lot softer. The more you go, the more it blends out. I personally love a good textured chunk, so I'll keep it at 4%, but that's going to give you a softer glow or a softer effect. Another one that you can use is the smudge tool, which we haven't gone over yet. You can use any brush with the smudge tool. Now, when I see people use this, I'm going to go ahead and select the same brush that we're using, so we want to make sure that before we tap it, we just tap and hold smudge with current brush. What I see with people using this is coloring over it like this. But the best way to use smudge, I'm going to just do it to this knob so it's easier to see. I'll open that up and go to highlights the better way to do this is to go along the edges. Look at the difference between the edge here. It's just a nice soft change versus an edge like this. It just creates a hard edge and you can see some weirdness. Right here, it's not that big of a deal, but sometimes it just looks it looks like a bad photoshop job. With respect, I say it. But smudging by tapping is going to give you a lot more of an organic effect. Little tips for you to put in your pocket, and then the other one that I wanted to mention is adding a different hue for atmosphere. If I wanted to create a highlight on top of what's existing for a glow, let's say we wanted to feel more warm, but we want these cool tones on our actual illustration, what we can do is I'm going to collapse all this so it's not distracting. Go to the top layer so that when I create a new layer, it's on top of everything. So what we can do, I'm just going to do a very basic example. I'll go to the main basic brush, the monoline, and then I'll just use a golden color. So let's just go and create just some standard easy shapes right around the left side. We're still keeping all of the shadows and the lights, everything that we've put in here, but we want to also add in just these main shapes. They're not going to overlap. If they do, we can clean them up and then also here. Basically, anywhere that's to the left, that's going to give a better example of a light source coming from that direction. Then I'll clean this up right here. Then we could even have it going through the steam a little bit. This is really basic. And then on the left side of the handle right here. All right. Then we can go to Gauge and blur and just blur that out a little bit. It's okay if it spills over a little bit because we can clean it up if we want to. But let's just see how this works with blend modes because it just depends on the blend mode we choose. One of them that I like is pin light. It often pulls all those shadows well, and then we can turn the opacity down quite a bit. Another one is linear, and then you can go through here and see you can go to color. It's going to bring that color out a little more. Pin light I really like, but linear hard. All of these are going to give a little bit of a different impact as far as the lightness and whatnot. But when you change the blend mode, it's actually communicating with the layers below it and the color below it rather than just being a solid color covering everything up. I think linear burn is pretty good for this. But then if you wanted to clean any of that up, I can go to the eraser and go to mint brush again and I'll soften this side because I feel like it's a little too dramatic and then soften edges a little more. See how the spillover didn't matter. Yeah, that's a way you can just warm something up, simply and quickly with the shading. Then if you wanted to pop a shadow underneath, we can create a new layer, drag it to the bottom, but just above the background layer, I'll go base shadow. Then I'll go to black. We can create a flat shadow just underneath and it's going a little more to the right and that's because the light source is coming from the left that we made. Then we can change the blend mode there as well to overlay it's going to be real subtle because the background is really dark anyway. But there we have all these fun effects that bring it to life even more. Now of course, you can go in and change the contrast and make it pop even more and you don't have to do anything extra in order to do that as far as drawing anymore. You can go to shadows and change the blend mode. You can also duplicate a shadow layer and see how much stronger that has become. On the duplicated layer, I usually turn the opacity down, but look at the difference before and after. If we did that on the pot itself, duplicate. See how much bolder that is. You can also change the blend mode of the second one so that it has a different effect or you can just turn that down but see the difference is quite large. Again, it will depend on how many layers you have available to you and all of those things. But these are all things that you are able to do within Procreate that will bring your work to life more. At this point, we have all of the workflow that we need to apply these techniques very quickly. So we're going to do that together next, and this is the part where it all comes together. 12. Let’s Create a Scene!: We dive into completing our project, I want to talk about file management and what better way to do it than to also talk about importing Procreate files, and what even are Procreate files. So let's talk about file types. When you save artwork as a PNG or JPEG, you're losing all of the layer information. It's flattening that image, which is great. That works. We want to use that for multiple reasons. But if you ever want to return to a piece, Procreate files themselves, dot Procreate. So you have dot PNG, dot JPEG, dot PSD, if you're ever working in Photoshop. All of those file types, we also have dot Procreate. Those will keep all of your layers intact. So if you were to ever remove it from your iPad or you got it crashed or you had to get a new one or whatever the case may be, if you back up a Procreate file, you can import it to any iPad and have all of those layers intact. And we're going to do that together. Hold, please. The reason why I always recommend backing up your Procreate files is because it allows you to continue to preserve your indestructible workflow. You'll always be able to go back in and modify elements and change colors and create variations without starting over. So since we've already covered creating a drawing together, I'd like to cover more tools with you. That's why I have drawn some tea motifs on a layered canvas for you that you can import and work directly within. So I'll walk you through importing this layered file and also show you the workflow for organizing multiple projects on different canvases within one project, including moving them between each other. Sometimes when you're building collections, you need more space than one single canvas layer can give you. So let me show you a few tricks. 13. Import & Build Your Tea Collection: To import a Procreate file, all we need to do is go to Import up here. You can import a photo from your photo gallery, but you can also import a file. Depending on where you save a file, that's where you're going to grab it from. In this case, I have mine just under recent to make things easier. But within your file system, it might be in a cloud, dropbox whatever the case may be. You're just going to tap Import from your Procreate gallery and open up that canvas. Now, it should open automatically. If you've imported it a different way, let's say from your files and then it pushes on over. Let's say you already have a canvas open, go back to your gallery and it should just be right there for you. Let me show you this file that I have provided. I've actually created different objects as groups instead of having them be all for one object. Right now, you can see what's visible is this teacup. If I turn that off and the next one on, we have a honey jar. That off, the next one on, we have a tea bag and then this one doesn't need a group, it's just leaves, it's flat. So we're going to work on these and apply those same techniques. You know how to create these basic shapes. You can see that there's a cup shape, there's a T shape, it's just an ellipse interior, and then the handle and the base. We'll start here. This canvas size is 3,000 by 3,000 pixels, so it's the base size. If you have an issue with layers, you can see how many layers you have available to you within a canvas. You can go to the wrench icon here. Go to Canvas and then Canvas information. From there, you're going to go to your layers and you will see layers used and layers available. Your number is going to be different than mine, remember. It just depends on the storage of your iPad. If you are finding that you have less than ten layers available, what I would recommend doing is going to your gallery, duplicating this project, swipe to the left and say duplicate. And then on one of them, go in and just while these are down, delete two of these groups, and then you just have two of these elements. Then on this one, I can go in and delete the other two groups. That is a workaround, when it all comes together, we can make it work even without having to use all of these layers. Yes, you can combine elements into another canvas. We will get there. Right now, we want to apply the special effects that we did. This is going to be a lot faster because we've already done it. I'm going to just do a demo. With reminders on what each step is, but I am going to go a little faster for the sake of time. I'll go ahead and select the cup layer, create a new layer on top of that, make it a clipping mask by tapping and saying clipping mask, and then I'll label this shadows. I'm on black. I'm going to go to this mint brush and I'm just going to add to the bottom right since that's what we were doing before, I'll add some shading. In here, just along the bottom, and then I'll go in a little tighter so that we have that edge that's really popping. Then along this lip here, I don't know if it's a lip, but there's a little edge where the cup is coming out or I'll add one to right there, so it feels like there's more depth and movement, and then maybe a little more of that shading on the right side. And then I know it looks weird right now because it's black. But we're going to apply that blend mode from N, go to overlay, and it's pretty light, so I'll go ahead and duplicate the shadow, and then I'll just turn that second one down a little bit. Then I might even go in and add a little more so it looks a little more contrast. Okay. Now remember you can make groups within groups. If I go to cup and then highlight those shadows, I can group those, collapse that and name this cup. TCup open that up, and then I have Cup layer, T layer interior, just depends again, how much detail you want in your organization. Handle, I'll tap the plus symbol, make that a clipping mask, rename it to shadows and then go in and add that depth in here. I think what I want to do here is create this separation right here, it feels like, there's this shadow here. But then right here, I can have a nice clean line. Go ahead and make that my monoline brush to have this nice clean line that rounds out, it looks like it has some depth to it, it comes out more and then cuts inward. I always like to do that because I think it adds so much to it. I'll do it here too. Basically, the whole shading and then just go in and round that out nice and smooth and then get rid of all of this. Then maybe even rounder. There we go. Then it looks like it actually tucks and comes out and you can add shadow to this as well, even if you go over that spot because it still has a hard line in place, makes it very fun. I'll do the same thing just right in this spot. Just a little shading and then clean that up. Okay. Then we'll go to the blend mode and change that to overlay. I like that, and then we can go to the interior and do it there if we want. I'm going to keep it as is the T area is pretty dark. Anyway. This is going to be small in the long run, so I feel like the cup is done. I'll collapse that and then I'm going to turn that off and turn on the honey jar. Do the same thing. Go to the jar, tap the plus symbol and rename this to shadows and make that a clipping mask. I know I'm going fast, but it's all the same steps that we've already done. And of course, you can draw these elements at your leisure. Anything that you want to go with your T collection. Okay. I know this is pretty dark and don't be afraid of making it really dark because remember, we're using a blend mode, and so we're just getting some shading in here and I'm going to make this shadow here so that we have some depth. Go to N for blend mode and overlay. See what I mean? It's just this nice depth that gets added from the color beneath it. The cover, I didn't know what to call that cover, clipping mask, renamed to shadows then same thing here. I'll just go right underneath that string a little more toward the right, and then on the bottom a little bit. And then just some edges. I'll do it here as well because it's showing that it's coming back in. It looks like there is some overhang. I'm focusing more on the right side because the light sources from the left, but I will just put a little bit on that side so it brings it to life a little more and then just along the bottom edges. Mostly on the right side of those. Now go ahead and apply the blend mode. There we go. Then you can do the same thing to the string if you want to and the label here. What I'm going to do is actually make the ribbon look like it is coming up and off of the string, very lightly come in over the whole thing right here and then I'll carry that through a little bit so it doesn't look like it's just cut off. Then with that eraser, I'm just going to follow the ribbon itself. So that we have that hard line erase here and then follow the hard line here. So that is nice and clean and it looks like that is on top. Then when we apply the overlay, that's going to be too light. Let's see, because of the light color it is. Let's instead use a color for this instead of black. We can go to our recolor tool and then hover over there, make sure we're on Max flood and then we can just go and choose any color we want and I want it to be warm. There we go. I'm going to leave the rest and then we'll go to the T bag, turn that on and turn the honey jar off. This one doesn't need a whole lot. I'll just create a layer on top of all of the T bag elements instead of applying a clipping mask, we'll do a selection trick. I'll make this a little larger so that it covers more and see just over everything here. It's over the T as well. Then remember, if you select one layer, then you can cut away elsewhere. Before when we were cutting the handles away from the teapot, we ended up selecting that whole area and then removing what was inside of that area. We're going to do the opposite this time where we select this tea bag layer. By tapping the layer and then select. Now, everything inside of that is selected, but we actually want everything outside of it selected because we're going to cut all that excess away. All you need to do is with that selection in place, on the menu that pops up on the bottom, it says invert right here, invert the selection, and now everything except for that t bag is selected. Now we go up to the layer of the texture we just added. We're going to three fingers down and cut and now we have only texture over the coverage of that T bag, which is perfect. That's what we want. If you want to get nit picky, because you see there's a little texture on the string, but not the rest of the string, you can always go to the string layer, select that and keep the selection as is because we just want to cut away from the string layer and then go to that texture, three fingers down and cut and then it removes that from there. Little tricks. There we go. I'll just rename this as texture and then teabags done, and then leaves. If you want to add some details there, you absolutely can. These elements are to your disposal if you choose to use them, if you want to play with them. Otherwise, you can of course draw your own. Now I want to show you in the next lesson how we can actually take some elements from one canvas, get them onto the other one without worrying about layers or with worrying about layers. I'm going to show you two different ways. That's going to make sure that you can have all of your art in one place for your finished piece. 14. Arrange the Perfect Tea Scene Composition: Right. Let's say you have a bunch of elements on one canvas and you want to put them on the other one. I'm going to show you a few different ways you can do this because this is going to depend on your storage limits. Sometimes I work really large and I only have the ability to add four more layers. Let's say that we want to bring the T bag over into the teapot canvas. What we'll do is we have the T bag selected here, but I actually prefer to just select each individual layer. And then I'm going to tap all of them after they're selected. What I did was I grabbed one, swipe to the right to get them all selected, and then any of them, just hover and pull off. It's not taking it away, even though it looks like it is. We take that off and we just hover and then we're going to go to Gallery. See how our layers are still here. Tap the other canvas. Normally, you would open the layers panel and drop them directly in here. I don't know I just had a Procreate update at the time of filming this. The reason why we drop it into layers directly is because your layers will still be in the correct order. We're going to have to do it a different way right now because for some reason the update it's not registering that they're in the layers panel. Instead, I'm just dropping it directly onto the canvas. The reason I don't usually do it this way is because it completely reverses the order of here, I'm going to make a group out of all of my teapot. Elements so that I can collapse and turn that off. I reverses the order, so then I have to drag and reorder the whole thing, which isn't a huge deal, but it is weird, but it does that. I promise you, whenever they fix the bug, do what I said by opening the layers panel and dropping it in, it will insert it correctly. Maybe a future update will make it where you drop into the canvas and it doesn't happen, but I just wanted to share that with you so you don't get frustrated and you know what's going on. I'll group all of these, and this is the T bag. And then we have it all on one canvas. Now, you might wonder, well, this doesn't really fit and I know I don't want to move and resize a bunch. I would say always always preserve the original artwork by duplicating it before you resize anything, so you have the original somewhere safe. Now with this new one, I can change the size of the canvas from within it. I told you we were going to do it and we were going to. I'm going to tap the wrench icon, go to Canvas, and then we're going to go crop and resize. Within this, you can resize as far as making it a larger piece in general and resampling by going to settings, saying resample canvas and changing it to something larger. But you could also have that turned off and then just drag and change to portrait or change it to whatever. As you're doing that, in Live time, you see how many layers you have available. If you have only ten or something, you should be okay, but you wouldn't be probably if you wanted to bring in all of these layered elements, but you don't have to. What we can do instead, let's just go ahead and press done keeping it portrait. With the background layer, we can take that background and we can just fill it again, or what I usually do since it doesn't matter about pixelating because it's just a solid color is tap the transform tool and just swipe it larger so that it covers everything. And then what we can do is flatten these. Now, when we have blend modes in place, what I will say is that it won't flatten correctly. If I take this, usually, if you take a group and you say flatten, you're good to go. See how it made it overlay. You just need to change the blend mode. If you go over and change it to normal, you should be good. Another way to do this, I'll show you in a minute when we bring in more elements because you don't have to bring in all the elements. You can actually do this easily just by copying and pasting. Let me show you. If we go back to this other piece here and we're going to turn off the T bag and go into the honey jar, turn that on, you can copy everything that's being shown. We don't want the background color, so turn that off. But now we have nothing on this canvas except for this object. If we want to bypass taking all these layers and we're happy with what it looks like as is, if you take three fingers down, see how this is copy all. If you press copy, it's going to copy whatever layer is selected. But if you press copy all, it's copying everything that it sees on the canvas and then if you go to gallery, and then open the next canvas that you just created, three fingers down and paste. It's going to paste it in as one layer. Then you can position that where you want that to go. I think it would be cute, I'll turn snapping off to have that angle. Could be in front or next to it, or even a little smaller and I'll move this teapot so that we have some breathing room. I'm going to rename this because right now it says base shadow. Teapot. I'll rename this. It doesn't matter. It's very clear what it is, but I still want to for fun. Then this say background. Go back and grab the next element, so I'll turn off the honey jar, turn on the teacup, grab. You don't have to even grab the layer. We're just grabbing everything that's visible. Copy all, go to gallery, go back here. Three fingers down and paste, and there we have a cup. This would be cute on the other side of it. Now I want to show you something else we can do. I can move the honey up here, I think, I'll move this tea bag somewhere for now. I'm not going to rotate a lot until I know I like the positioning because every time you rotate it pixelates but when you move, it doesn't. I want to I want to make sure that I am being kind to my sanity. Just getting that out of the way. Let's say I wanted the handle to face the other direction. If I bring this down, I think I like it this way, but just in case with the move tool selected, I can flip it horizontally. I think I like that. Yeah, I actually like it this way. You can also flip vertically with the selection tool. You can also rotate 45 degree increments instead of rotating free hand, which will create less pixelation on the edges if 45 degrees works, just so you know. I'll deselect that. Then I think this T bag, I'll bring it over to about here and then I will angle that I think this much. And then the honey jar, I'll bring down here. Here's where if it does pixelate too much, it won't matter. That actually looks okay. But if it did, remember, we have the preserved artwork and so that means that it wouldn't matter because we could just drop it back in again. We're just positioning these to where we are happy with them. Then finally, we have leaves, which I'll go in here and copy those and bring those over with that sage color. I want these to be smaller, I think, because I just want them to be accents. When I say them, I mean, yes, we're going to duplicate and flip and rotate and whatnot. What I'm going to do is duplicate this first one and then drag it over somewhere, flip it, see how that looks, I'll rotate it because I only when I'm rotating this a bunch, it's not going to matter until I actually deselect and then reselect. As long as I'm only doing one rotation session, it'll be okay. But when I do it again, I'm going to go to this one again instead of duplicating this because this one was only done once it's allowing us to preserve the pixels. If you haven't already added those highlights and elements like that, do that and then we can look at how to export our work. 15. Export Settings to Share Your Art!: Look what you've created. A complete T motif collection using a professional workflow and so many easy to use Procreate tools. I promise you this will get easier the more that you do it, and your muscle memory will build up faster than you would expect because you have already mastered the essential Procreate techniques that you need to know. And you've adopted a workflow that will work for any subject, any style. So let's look at exporting your file. I know I mentioned Procreate files, but I want to tell you when to use each type. So a PNG. Is perfect when you want a transparent background. You don't have to have a transparent background, but it does support them if you were to turn your background layer off. And when you want the highest quality for print. This is also the flattened image file that I will always use if I am printing that artwork. Now, JPEGs are great for social media, A web use because they're smaller file types, but you lose a little quality if you were to upload a JPEG and get it printed on a T shirt versus a PNG. If you can just get into the habit of exporting as a JPEG when it's like a web graphic or you're displaying it online versus printing it, PNG for printing, JPEG for Webs. Webs. For the web site. Web use. For the worldwide web. TIF is a larger image file. PNG works just fine, though. PDF is going to create a PDF. You'll need it sometimes most of the time you won't don't want to get into all of that nitty right now. PSD file preserve your layers and import it into Photoshop later, should you want to. So that's what those do, but I would stick to your PNG and JPEG. Now, did you also know that you can export a time lapse? This is very fun to watch your creation go from start to finish. And just as a reminder, pro tip always export and save externally a Procreate file of your art piece. It's always smart to back up your work. This foundation of everything that we have gone over today unlocks so much more. I have a plethora of Procreate classes where I share even more advanced techniques and advanced workflow that turn this solid foundation into a lightning fast flow, including brush customization, advanced layer masking, complex selection shortcuts. I want to invite you into any of them. Choose your own adventure. If you're a handleter or you love pattern design. I mean, you can do so much in Procreate, and I nerd out about it. I get so excited. Trust the tools that you learned because you just consumed all of the fundamentals that are going to set you up for so many beautiful art pieces. Thank you for joining me. Spending this time with me. It means the world. I absolutely love being able to show you these tools. So I will see you shortly.