Procreate for Creators: Design Merch & Marketing Materials - Beginner Friendly

1. Intro to this Course: Can you really go from crime scenes to creating beautiful designs? Keep watching, and I'll show you how. In this course, you'll learn how to turn your ideas into powerful visuals for your business, clients, personal brand or hobby, whether you're crafting your first logo or refining a full design system. Here's what we'll create beautiful logos for brands and personal projects. Marketing content like social posts, posters, flyers and banners. Graphics for merchandise, apparel, and products you sell, Infographics to simplify complex ideas, patterns for wallpaper, textiles and products, and plenty plenty more. We'll start right at the beginning, and I'll take you through everything step by step in easy bite size videos. Hi. I'm Tim. I live and work on a beautiful barge traveling the canals around London with my wife, Allie and our cat, Fuji. So, what about the crime scene thing? Before becoming a professional designer, I worked as a CSI photographer for Scotland Yard in London. Since then, I've spent over 30 years working with design software and have trained some of the world's top companies like BBC, Disney, the Times newspaper, and many, many more. This course will help you bring your ideas to life through visuals that inform, inspire, and express your unique vision. What are you waiting for? Start right now, and let's get creating together. 2. Create a Document: So as I said in the intro, if you are fairly af with Procreate, feel free to skip this whole section because this will be going through the basics. But if you're not, well, let's get going. Now, the first thing I'm going to do is I'm going to go along, and this is the Procreate gallery area. But I'm going to click the little plus at the top to make a new document. So we click on plus over there. And with all sorts of different sizes in here. If you want to make your own size, we click the little plus over there. There's a little icon. I don't know what it's supposed to be, but we're going to click that icon anyway. So we click on that, and this then allows us to make our own canvas size. Now, we're going to make something for Instagram here. So I want it to be 1080 pixels. By 1080 pixels, the DPI doesn't matter. I know it sounds really weird to not worry about resolution, but when it comes to things for screen, the resolution doesn't matter. It's really only for print that it's important. And I'll be talking about resolutions later on in more detail. And then I'm just going to click on Create over there, and that will make my document. Let's have a look around the interface. Starting on the left hand side, we've got some sliders over there. I'll explain those in a moment. There's a little button in the middle, and we've got some bits along the top. So on the right hand side, if you've played with this, you'll know this already. You've got your brushes, and we've got brush libraries in here. Now, depending on which version you're on, you might have just one brush library or with the new update to procreate, you'll have multiple brush libraries. I'm just using the standard brush library for now. Past that, we've then got a little smudge tool. We've got an eraser. We've got the layers, and we've got the color that we can use. Your color might not look like mine, and you can see you can look at colors in different ways by clicking the buttons at the bottom. And then on the left hand side at the top, I'll just click to make that go away. On the left hand side at the top, we've got a number of just different drop down menus. So the little spanner at the top has got our actions in there, and once again, we've got different areas that we can go to in there. You'll find you've also got adjustments over there. And if you use things like Photoshop or any application which does pixel based editing, you'll recognize a lot of those. And then over here, we've got some sort of selection type tools and also the move tool or scaling tool. And we will run through those in different ways throughout this course. Now, what are these two slides over here? Well, if I go to one of the brushes, I'm just going to click on the brush over there, and I'm just going to choose this brush that I've got here. Now, you'll notice that I'm in Tim's brushes. You can make your own sets of brushes in here. It doesn't matter. When you're trying this out, just pick any brush you like. So you can go to sketching and you could pick a brush in there. But basically, when we're painting and I'll just choose a color over there, you can use this to just change the brush size. Now, you'll notice that my brush size, if I hover because I'm on a later iPad with the pro pencil, it'll actually change the brush and I can see what I'm doing. The slider at the bottom here, this is to do with the opacity. So from 100% opacity, right down to something ran minimal in there. Lastly, this little button over here allows us to click and sample colors. Have a bit of a play with that. As I said, if you've never used Procreate before, have a play. If you have, and you're just checking out to see what's in the video, jump straight in to the next one. 3. Brush Basics: Now, I'm sure you've had a really good play with that and made a total mess of your screen, so we're going to go and clear it by going along to layers, and we're just going to swipe left. By doing that, it'll give you a little red button which says clear and that will clear everything off that layer. Let's have a little bit of a look at some of the brushes now. So what we can do is we can go along to any of these sets of brushes that we want to use. Click on them. If you want to get deeper into the brush, you can click on the brush itself and go in and change all the settings. Now, we're not going to go down that route much. In this course, we'll have a little bit of a look. But if you want to get in, have a play, by all means, do so. I'm going to go along to my sketching brush brushes over here and I'm going to choose this wet acrylic brush. Now, as before, it works with a little slider for size, and as you can see, mine is changing when I hover over it. And that's because the iPad Pro pencil that I've got has got a hover feature, but that honestly doesn't matter whether you can see it or not. Now, if you do have an iPad pro pencil and you can't see that hovering, there's a setting that you can go to. So you have to go along to the little spanner at the top, and we're going to go to the advanced cursor settings and make sure the brush says show while hovering over there. And then make sure that your brush cursor is switched on over there. Now, when I'm painting with this, and I'm going to go over to my colors over here and choose a color, so I'll just pick sort of a bluey green color in there. And I'm painting, of course, we've got pressure sensitivity. I'll just take that right up over there and a number of other features which change depending on the brushes settings in here. For the moment, let me just choose a simple little brush. I'll go over to this pencil. I'm going to make that a dark gray color, and once again, I can just paint away. Now, if I then decide that I want to erase something, I go along to the erased tool. And I can erase from there, but have a look at that. It's got a completely different brush. If you click in here, you can change the type of brushes that you're using to erase. I'm just going to go to the sketching, choose the pencil, which is that one there, and now when I'm erasing, I'm erasing with a pencil. There is a shortcut for doing that that I'll show you later on in the course. Once again, click over here, swipe over to the left hand side, whoops, and choose clear to get rid of what you've done. Anyway, have a go with some of those basics while you're doing that because I'm not going to go through it separately and you've painted a little bit in there, do try the smudge tool, it enables you to take something and just smudge it around really quickly. Have a go, and then we'll have a quick look at the basics of layers. 4. Layer Basics: Let's have a look at the basics of layers. When I go along to my layers, I've got the background color there, and I've got layer one over here. When I'm painting by default, it starts off by painting on layer one. If I then want a new layer, I can click on the plus over there. Let's do this in a different color, and I'm now painting on that second layer over here. We can change the stacking order of these layers and I'm just going to do that with my finger by just clicking and dragging down underneath that layer like so. What about the background color? Well, if you click on the background color, it allows you to change it to any color that you like, so I can just pick a different color in there. Now, you can't actually get rid of the background color that always remains that background layer, but you can't switch it off. If you don't want to see it, you switch it off by clicking on that little icon over there. Now, I'm going to just click on the background color, go back to white, and let's go along to some of these layers here as well. So starting starting with this layer here. The first thing is, if you want to name the layer, just click on the layer and go up to rename at the top. I'll call this blue. If you want to hide the layer, you click on the little tick on the right. If you click the N over here, we get some options over here for blending, and we'll be looking at some of these blends later on with photos. And you can also just click on the layer itself and get the menu down here. And there's a number of things that we can do in the menu that we will actually be doing throughout this course. If you want to delete in a layer entirely, just scroll over to the left and it says delete. If you've only got one layer up, it'll just say clear. So I can just choose delete. Now, I'm going to just undo that last layer that I got rid of, so two fingers down. And when I close this down and I'll click on Gallery to close it back into the gallery over there, it remembers all the layers. There's something to be aware of, and that is that the things that you are saving into the gallery here are saved onto your iPad. If you have your iPad stolen and things are not backed up, you might find that you will lose all of your work. So always for an important piece of artwork, I will always then take these and save them out again, but more of that later on. Let me just click on that to go back in. So do have a bit of a look at this. Go into your layers, add some more layers, rename them. Just have a quick look to see that there's a few items down the bottom there. Scroll over to the left to delete. And if you're on a layer, you can then use this move tool over here to move the object around on that layer. You can scale it and you can rotate it as well. There's no kind of okay button, but when you click back on your brush, it sort of okays it. Try that out. 5. Social Media Project - Intro: In this section, we're going to be creating something for social media, and we're going to create something along this line over here. Now, as you can see, we've got text in there. We've got shapes. I want to show you how to do interesting shapes using a brush this time, although we'll do it differently later on. And we're going to be bringing text into that. We're gonna be making things black and white from color and all sorts of really good things. So let's get started. 6. Document Setup - RGB & CMYK: For this particular project, let's start with a brand new document. I've gone back to the gallery area. I'm going to click on the plus over there, and we're going to go to this little plus at the top. Now, if you're making something for screen use, we're going to be using the RGB color mode. If you're doing something for print, we use CMYK. If you go over to the left hand side, you'll see we've got color profiles there, and you can choose from either RGB or CMYK in here. Now, if you are doing something for print, you would choose one of these CMYK profiles. You might want to talk to your printers about which one to use. If you're not sure, just use the generic CMYK profile. It'll be fine. If you're doing something for screen use, then we go over to RGB. Now, we've got a number of different profiles in here, and one of them, which is very popular is the Display P three profile. And if you use that, you're going to find that the colors tend to be very bright and very vibrant. However, they might look great on an iPad, but when you put them onto a different device, you might find the colors don't look quite as good as they looked in the first place. So I'm going to recommend that you actually just go to RGB, which is standard RGB in there. And that way, the colors that you see on the iPad will be very similar to the colors that you'll see on an Android, on a normal computer, laptop, et cetera. So we're going to stick with RGB and SRGB as the profile. Let's go back to the dimensions. And once again, if you're doing something for screen use, you use width and height in here. If you're doing something for print, then instead of using pixels, we would be using a physical size like millimeters or centimeters or inches. So if I was doing an A four size page, I'd go to millimeters. I'd put in the millimeters that I wanted, and I'd also put in the DPI in there. Now, the DPI generally that you'd use for print is going to be about the 300 range. We're doing something for screen at the moment, so we're going to work with pixels. We don't need to worry about the resolution in there, and the width and height that we're going to put in Sorry, I have a cat wandering over my screen, so I'm going to remove him. Come on, you. Let's go. So I'm going to put in a width and height in there in pixels. And although they change ever so often, if you're not sure of what size to use, just ask Google or chatGPT or something like that for the size. I'm going to go with the square for Instagram, so I'm going to use 1080 By 1080 pixels in there and click on Create. Right, if you'd like to get your document ready, and this one is going to be for screen use, and then we'll start to put some content in it. 7. Add a Photo and Make a Hard Brush to Clip Photo: Let's go and find a picture. I'm going to use my browser over here to go and find an image, and I've gone to a website called unsplash.com. Now, the reason I'm using them is because the images that they give you are mostly free, and you can see very quickly at a glance, I've just typed in business meeting in the search, and I can see that some of them say purchase. They've got a little cross on the side if they are to buy. The other ones that don't have that cross are free to use. Depending on the use that you're going to be using them for, it might be an idea to check the fine print in here. But generally, you should just say thank you to the photographer by giving them a bit of a credit, but you don't usually have to. Anyway, I'm going to go and find an image that I want to use, and I'm just looking for maybe some people having a bit of a meeting. I like that one, so I'm going to click on it. And then at the top here, I'm going to go to the drop down, and I'm just going to choose a medium size in there. It doesn't have to be the biggest one. So we'll just go medium size over there, and I'm going to download it onto my machine. Now, let me go back into Procreate. And I want to bring that picture in. It's going to come in as a new layer. So I'm going to go up to the little spanner, the actions. And over here, along this little menu, I'm going to go to add, and I'm going to say, add a file. And I'm going to go and find it. Now, this is actually downloaded into my Downloads folder. Yours might be set to download to different areas. So don't just assume that it will go to the Downloads folder if you've changed it. And I'm going to go and find that image now. I can't remember what it was called, so I'm going to have to do a quick search in here. There it is. Now, you can see the image has arrived in here and it's got a little box around the outside. So if I want to, I can actually just grab a side and scale it up and down. If when you're scaling things, they don't scale proportionately, make sure that in the bottom box that comes up here, instead of in free form, you're in uniform. This is what will happen in free form if you do that. So onto uniform and you're good over there. I'll just make it roughly the size that I want it to be something like that, and you can see I'm moving it around. And I'm in this little arrow, the move, and the scale tool over here. Once I'm happy with that, I just click on one of these tools like the paint brush, and it's now locked into place. Be careful when you do this, because if you move something, it cuts off everything that's on the outside. You'll see if I go there again, even though I sort of pushed it over, it's cut all of that off. So I'm just going to undo that and change back again to my brush. Now the next thing we're going to do is we're going to create a mask so that we can put this picture into a circle. And we're going to do that by actually using a round brush. I'm going to go to my paint brush over here, and I'm going down to the airbrushing. So this gives me a whole lot of different brushes. You can see I've got a hard brush over there, and if I paint with it, I'll just put a new layer on there. So I'll just click over there, paint with it. You can see I've got that huge brush. Let's make it a bit smaller. Like that. I'm going to be using this brush to just click once to make a circle and I'm going to make it rather large. But let's set the brush up properly first. I'll just undo that. I'm going to go to the paint brush and I'm going to click on the hard brush. You see how this brush sort of fades in slowly. I don't want that, so I'm going to click on the hard brush. And in this area, this shows me what the brush will look like. If I just paint like that, I can sort of see how the brush works. I want to be able to just click once to get a very solid circle. So I'm going to go down to the Apple Pencil options, and where it says flow, I'm going to take that back to zero. So now when I just click, I will just get a solid circle. See, now, if I go and make my brush bigger, so I'm making sure that I'm on a new layer there. I'll make my brush bigger. And in fact, if I hover now, this is where it's actually quite useful. I can go, Oh, yeah, that's the size that I want. And I click, it will just give me a circle like that. Let me undo that again. So just take the opacity right up. Let's go with a black in there and a click down to put in my circle. Have a bit of a go with that. The settings here, there's plenty more that we can actually use over here. But for now, we're just going to go in and change the flow in there and set the flow to zero, and the flow is within the Apple Pencil. If you want to play with the other settings, by all means, do so, there are ways to reset the brush if you make a mess of it. All you have to do is to go up here to where it says drawing pad, and we can clear the drawing pad over there. We can also reset all the brush settings in here as well. I'm just gonna leave mine like that. So try it out and get to this stage. 8. Make a Clipping Mask: Now what we want to do is we want the picture inside the circle. So we need to change the order of these two layers. So I'm going to click on the circle and drag it underneath the picture. This is the magic part. All you do is you click on that top layer on the picture layer and say Clipping Mask over there, and you can see how it sort of automatically popped it in. Let's go back to the move tool over there, and I can then move around the picture inside the mask. I'm going to move it across like that. If I want to move them both together or just the mask, if I go to there, I can just move whoops, move the mask by itself. Or what I can do is if I click on one of them, and then I just very quickly flick across like that with the above layer, both of those are now grouped or locked together. So if I use this move tool, I can move that up to the right position that I wanted to be in which is up there. 9. Make Color Circles and Turn Image Black & White: I I like to put in some more circles in here. So I'm going to start off by making a new layer. I'm still on the same brush that I've got in there, and I'm going to paint in a new layer. So I want to find some colors in here. Now, you can, of course, go to your values and you can put in your hex colors if you've got some brand colors that you want to use. I think I just like to use different shades of something which looks gold. Now, to do that, I'm going to go across the sort of yellow orange and up to about down. I'm hoping that's kind of got a goldish color to it. Then all I need to do is to go to the middle and to click on over there. Let's try that again to make the shape on that layer. Now, I'm going to go and take that layer and drag it underneath the other two layers, use the move tool, and move that into the right position. And in fact, I might just make it a little bit bigger. Make sure you're on uniform if you're doing this, so we can get something which looks like that. And let's do a few more. Once again, I'm going to do another one, so I'm going to just go to my layers, add a new layer, click with a pencil over the middle to put the shape in. Use the move tool to move it and scale it to the size that I want it to be, so I'm looking for something maybe like that. I don't want another smaller one on top of that. Now, here's a nice little trick that you can do. You could actually just go in here, swipe this over to the left. Whoops, you don't want to delete it, but you want to use duplicate, so I can duplicate that and then move that Oops. Let's try making sure that I'm just on the one and then move that one across to wherever I want that to be. I can rotate it into the right position should I wish. I want a different color one over here, though, so I'm going to go back to my colors, choose maybe a lighter version of that, color, go back to my paint brush, same brush again. Make sure I've got a new layer and do a click in the middle and then move that and scale it to the right size Ops. I clicked twice by mistake, so that was my fault. Let me just scale this down and maybe place that in their o. Let's have one more. Once again, over here to the layers. Get my brush. I'll paint in the brush that I want, and I think I'm going to move this one across to there. Now that I've done that, I think this one should be lighter. So if we go up to the Adjustments menu, I'm going to just choose hue saturation and brightness and I can then lighten that layer up all by itself. When you lighten it up, though, in this case, it looks, I don't know, on my screen looks a little bit green. So I can actually go to the hues and I can adjust the hues in their little bit, as well, if it wasn't quite the right color that I wanted. Finally, if you wish to go to the background and change the background color, click on the background and pick whatever color you want to use for this. Maybe I'll go with a darker color like so. I don't like the colors on here. I like these colors. They may be the brand colors for the client, but I want to change the colors in there, and I just want that to be black and white. So really easy go along to your adjustments, choose hue saturation and brightness, and the easiest way to do it is take your saturation and drag it down to zero. Now, why hasn't that changed? Well, it's Because I've done a very stupid thing, and I've forgotten to change my layers and go into the correct layer. You'll do this all the time, but I didn't do that intensionally. By the way, that was a genuine error. Let me go to Hue Saturation again. Take the saturation right down, and you can see how the image goes black and white in there. Do try that out. 10. Add Text: I think we need a bit of text in here. So I'm going to go to the little spanner. I'm going to go and add, and I can just add text in there, and I'm going to put in the D return expert marketing Group. And we'll close that down. And of course, then I can use the move tool to move it around wherever I want. Now, you can obviously see the problem that I've got here. The text is the wrong color, and it doesn't really look that great. So to edit your text, go back to the layer, click on the layer, and in the drop down menu, you can see we've got edit text in here. Now, I want to select all my text so you can just keep clicking to select it all. There are some quick options along the top that we could use, but I'm actually going to go to the idle A over here, and that gives me lots of options down here. Now, I can change the type or the font, first of all, over here. You'll find that some people call these fonts. Some people call them font families. And some people call them typefaces. But we've got our fonts in here. I'm looking for something quite bold over there, so let's have a look and see what that one looks like or that. You can just flick through and decide exactly what you want in here. I think I'm going to use this din condensed and I'm going to put in a return, so I'll click between those two and do a return over there. Let's just select that again. Now, I want to change the color of that so I can go to my color up the top and just change that too. I want this to be black. Now, you'll notice when as you go round here, it's just like, how do I get to perfect black? Well, the easiest way is just double clicking near the bottom, and that will give you perfect black. It's the same as if you go towards where white is. If you double click up there, it'll give you perfect white. So you can see it jumps to these 45 degree points. So double click near the bottom, you've got perfect black in there. The second thing though, is that I want to adjust some of this text a bit, so I'm going to change the size so I can drag the size up. Maybe I want to see what it'll look like if all the text is closer together. Down here, we can go to something called leading and leading just adjusts the distances between the text. I can adjust it like so, and we'll make it a little bit larger in there. If I'm happy with that, I can come out of that. So I just go in here. Back to my layers, and let's have a look and see how that looks there. It looks okay. Could still do with a little bit more work. Let me double click on so let me click on there, click on Edit Text, and let's see what this will look like if we align it to the right. So we've got a left, right, and a center alignment in there. I think we're going to pop that over there. I think something like that might work. Let's move that to the right position. Remember, you can always still scale it up and down here. You can manually scale it as well. With your text, you can also just adjust individual words so I can take there, double click on there, and I'm going to go and just take it to some sort of dark gold color. I'll do the same with group. So we've got expert marketing in black and the rest in gold. It's entirely up to you. Try it out. 11. Add a logo With chatGPT and a Cat: Now let's go and get a logo. We're actually going to find one in one of two places. Now, you can either go along to a website called pixabay.com, and if you go to the top, you'll find that you can actually search things by vectors. So vector images, and then you can type in, in this case, I've typed in marketing logo, and it's given me, well, quite a few different logos. Maybe that one would work as well. You can click on that and you can then download these logos. From here. Now, I would actually suggest taking it as a PNG file, which will give you the transparent background if you need. The other way you can do it, and this is the way that I've done it is to go to Chat GBT. And the prompt I've put in is, well, it's misspelled, but it actually says, Make me a logo for a marketing business, simple one color black on a transparent background, and let me have it as a PNG file, please. And it's given it to me, and I did another one over here, and I said, and a white version as well. It's given me that. I can click on this and I can then just, um, get rid of that. And I can then actually go in here and I can just download this one to my Downloads folder. So over here, we've got a save option, click on save, and I can then download that. I've done that already with the black one. So let me just stop in there. So let's go back in here. So I just want to bring in the logo. I'm going to go up to the top. I'm going to go and say, insert a file, find that file, which should be my downloads folder somewhere. There it is. It's brought it in, I can then resize it. We need to a bit on the squiffy side there. Let's just grab that top. And on. There we go. Get that straight. And there we go, and here's the cat at the same time. Now, this is what I've got to work with. I hope you have an assistant who's quite as helpful as well. I'm going to leave that where it is. And I want to Seriously, Kitty. And I might have to actually come back and do a new video to show you how to save this out because he's gonna just have so much fun with my Apple pencil now. 12. Save & Export: Well, after that interlude from Fuji, the boat cat, let's carry on. Now, I was just thinking this marketing logo that I've got over here, I've already got expert marketing down there. I don't need marketing in there. So I'm going to go and get my ras tool, and I'm going to go along and just find a a nice big old eraser, and I'm going to use the same one that I did before. So I'm just going to go along to my airbrushing, and I'm going to use this hard eraser. Now, it was quite big. Let's just move that for a second. So I'll just make it a bit smaller like that. Make sure I'm on the correct layer and then just erase out this bit over here. It's quite a destructive process, but we can look into that later with using masks on objects like that. I think that's pretty much in the right place. Now, if I just go over here to Gallery, it closes it and it just saves it in this area over here. And as I said before, be careful because this is saved on your iPad. So you might want to make sure that you're actually backing up somewhere to the cloud or to another device. And we can do that by just selecting items in here, clicking on them to make sure that they're selected. And then we can say share. So I'm going to go to share over there. And then I can either save this somewhere else as a procreate file, so I can save the Procreate to back it up, or I can go along, and I can save it in any of these formats. Now, if you're using Photoshop, for example, you could save it as a PSD file quite happily. Of course, I'm saving this out for the web, so I'm going to save it as a JPEG in there, and I will just go and save it somewhere where I can find it, save to files over there, give it a name. This will be expert marketing. Click on Save and that's done, that's exported out as a JPEG file. Once you've finished in here, you can just click on that little X over there to close down the selected items. If you need to go back in, back onto the image in there. Do you have to go to the gallery? No, not at all. If you go along to the little spanner, you'll see there's a share option in there. You can share as Procreate, JPEGs, Tips, PNGs, whatever you wish. Once again, it's exactly the same thing. So don't forget, have fun and try some variations. Of 13. More Social Media - Intro: In this section, we're going to be taking the social thing a lot further, and we're going to be using paint brushes to make interesting shapes for the background. We'll make gradients, once again, using brushes. We're going to be looking at a few brush options as well. We'll also be going into text, but diving a lot deeper than we did before and looking at a lot of the typography options in there. And then I've got some effects to show you. We're going to be well, as you can see, with the images coming up here, there's quite a few variations that we'll do. I hope you enjoyed this one. This is one of my favorites. See you in a moment. 14. Cut Out Images: Now, we're going to use a cut out in this next example, and I want to show you two ways of doing it and why one, the traditional method is actually better. Now, I'm not an absolute heathen. I really do enjoy using chatGPT for so many different things, but I want to show you why cutting out is not one of its strong points. I'm going to take an image here. So I've gone into Unsplash, and I've put in women pointing in there, and I've downloaded this particular image over here. You can see she's on a background like that. And then I've gone in and I've opened this in chatGPT. I've asked chatGPT to remove the background for me. And there's the version. Here's what it gave me. And I've done the same thing again, but with a different way of doing it. I've actually gone in to a website called Pixel Cut. I'll show you all this in a moment. And I've got Pixel cut to do the cutout. This is kind of like a Photoshop cutout would be. So having a look at the difference between these two, what I'm going to do is I'm going to hide the top one, first of all. This is the one from Pixel Cut, which gets rid of the background. She is actually on a transparent background in there. And it looks okay. Maybe we've zoomed in a bit too far, maybe the quality is not quite right, but it's okay. It's not bad at all. This is the one that chatGPT did for me, which when I first saw it, I thought, Oh, that's a nice cutout. Then I started looking closer, and in fact, chatGPT has remade this person. And that's a different person over there. And look at the hair. The hair is actually different over there. The hands are slightly different. She's got nail polish on there. She hasn't over here. Look at the pattern on the clothes. It's changed it. Be very careful when you use chatGPT to cut things out and ask it to cut things out because it actually remakes the entire image for you. That looks like an AI image. That is a real image in there, even though they're very, very similar. Now, I did another version, and with the prompt for ChachiPT, I told it to make sure that the image remains unchanged and the background is transparent. And I've put the two together, one from ChachiPT and the original. And I'm sure you can guess which one is the AI, even though they are almost identical. Yes, I'm sure you're right. It's this one over here, which is the AI version. It's done a very, very good job, but it still doesn't look quite right. Even the clothing over here with the folds are the same. The pattern on the top, very, very similar, but it's not identical. The smiles are almost there. The eyes are almost there as well, but it's still almost. That's still real. That still looks AI. Now, I'm going to make a new document over here for this next project. I'm going to go down over here and find one that I've done before. So over here, you can see I've got one called square 1080, SRGB 1080 by 1080. I've actually got two more over there as well. I can choose one of those. If you prefer to click on the little plus and put in the sizes again yourself, if you can't see them here, that's fine, too. But I'll just use that one in there. Now, I'm going to go and get a picture, and we're going to go to unsplash.com there. If you do have an Adobe account, you can actually go along and use Adobe stock. Now, if you are using Adobe stock, most of it is paid for, but there is some free stuff in there have a look along the menu at the top, and you'll see that there's the option to download free ones. But you do need an Adobe, license to even get into them. W, I've just done a search for woman pointing over there. I'm going to use the same one that I showed you earlier. I kind of quite like her. It's an interesting background, but I want my own background in there. So I'm going to go up to the top, download a medium size of her, and I'll just choose Download in there and say thank you to IF Ebony who created it. Now, in order to cut this out, I'm going to go over to pixelcut.ai. So all you've got to do is search for Pixel Cut. Dot AI. And it's actually the free background converter. So if you have a look, it's pixelcut.ai forward slash Background hyphen remover that'll take you directly to the page that you want to be in. Then all we need to do is to upload the image into here. So I'm going to go to choose a file. I'm going to find the image that I want to upload. Let's click on open, and it just does it. It's really quick and shouldn't take that long at all. There we go. There's our image. Now, I want to actually download this, and I'm going to go to Downloads. If you are on a desktop machine, you could just go to Downloads, click on the free version over there and download it. On the iPad, though it gives you this do you want to download it? Well, yes, we do. If you click on Download, it might or it might not download it. On my machine, or on my iPad, it doesn't want to download it. I don't know why, but yours might work. But the other way to do it is to actually just click view over there to see the image. And then if we click and hold on it, we can then actually save that out. I'll just say save to photos, and that's done, it saved into my photos. Now I'm going to go back into Procreate, go along to the little actions option, and I'm going to say Insert a photo, which will take me into my photos library, find the picture and bring it in like that. I'm on the move tool, so I'm just going to move her down to the corner over there. Have a bit of a go with that. Get this far. If you want to have a bit of a play with the options cutting it out in chatGPT, by all means, do so. Just remember with chatGPT, sometimes even if you've got a paid version, you've just got to give it to it and then go make a cup of tea and come back and hopefully it's done by then. If you're on the free version, you can pretty much have lunch sometimes. Anyway, get this far and then we'll make an interesting background and some text for this. 15. Make a Background: Now, let's make a groovy background for this. What I'm going to do is I'm going to add a new layer in here and I'm going to use the pencil to draw a little swirly background on here. Now, I've gone to the pencil and I've been using that hard brush once again. And if I'm drawing with this brush, you can see it's okay, but that's still not perfect at all. If I try and be a bit more perfect, that's better, but it's still not quite there. So what I want to do is I want to show you how you can smooth your brush out. You see, when you're using a brush, it's well, it kind of follows your hand, and unless you've got an incredibly smooth hand, you will get a bit of a jaggy line. So what we do is we go to the brush, and we go down to stabilization over here. Now, let me show you how this works by just clearing that. So this is without any stabilization on in fact, I should make that brush a little bit smaller, but it gives you the idea. These lines are not perfect by any stretch of the imagination. If I switch stabilization on and go extreme, then when I'm doing this, you can see how it's just smoothing that line out. Now, let's take that down over there and you can see how both of them will smooth out with stabilization. I'm probably going to go just a little bit over halfway because I think that will work quite well. Let me just click on Done there. I've chosen a color. I'll use that yellow because it's there and I'm going to then draw in this little bit here. I'm going to zoom out a bit. What I want is something that comes round like that. If you don't like what you've done first, just two fingers undo it. Make sure that you've got a new layer up over there. I'm going to get my paint brush and I'm going to just paint something down here. I'm going to start right out over here and just do a little line like that. There we go. That's a really nice smooth little line. Over there, I just fill those bits in. And then I'm going to take that, and I'm going to move it behind my person. I think to balance it, let's have a bit over here, so I'll just do something like that. Oh, maybe just smoother. Sometimes, there we go. That looks a whole lot better on the once again just making sure that I'm doing it on the right layer. Now for the background, I'll just click on the background. And I'm going to pick a color, so I want something which is a pretty dark blue. So I'm kind looking for something like that. Anyway, do have a bit of a go and don't forget with your brush, click on the brush, go to stabilization and just experiment with the stabilization here. Clear what you see on the drawing board. Clear the drawing board, do some lines. And then make some of them smoother and some less smooth, and then experiment and see what happens when you drag this up and down to those lines. Have we go. 16. Add a Gradient Effect: What about if you wanted some sort of graduation effect in the background? Well, I just go in there. I add a new layer, and I'm going to go to my pencil once again. I'm still in airbrushing, and I'm going to use the soft brush there. And my soft brush, I'm going to make pretty big something like that. I'll just get black and I can kind of paint over here in there. Now that black doesn't look so good with the blue. I'm going to undo that two fingers and maybe I'll go with a dark blue instead, something along that line there. So it's still a little bit blue. There we are. And I'm going to move that below that layer in there. So you can just add more color as you need. I think a bit of lightness at the top maybe maybe down this side. So once again, I'll go to the blue. Now, I want to select that particular blue over there. So using this little dot between those two sliders, I'll just hold that down and go and click up there and that samples that blue in there. So I can then go, let's have a lighter version of that. Maybe I'll put the lighter version. On that side. Do play with that. Remember, it's not set in stone. You can always switch it on, switch it off. If you don't want, delete it, and try again. Have a go. 17. Add Some Text: Let's get some text in for this. So I'm going to go along to the little spanner. I'm going to add text, and my text is going to say City Women Network. Now, I can't see what I've done there because it's blue on blue, so I'm going to change it to a different color. And here, I'm just going to choose one of these historical colors, which is the yellow that I used down there. And let's continue on over here, sir. I'm going to move it across. So back over to my move tool and I'm going to scale it up. Maybe something along that line. But remember, you can always go back in and use Edit text in there. You'll notice sometimes I use my finger. For this. Sometimes I'll actually use my pencil. It's exactly the same either way. Have a bit of a go. Pop some text in there, and don't forget when you're doing your text, check out these options so make sure you know whether it's left, right or centra aligned, whichever you prefer. 18. Use Typography Settings: As you can see, I've popped in a little bit more text, and I've gone with a typeface or a font, which is a little bit more businesslike. If you think of things like the Times newspaper, this is the Times font. So I want to make a few more changes to that and show you a few more options. So I'm going to go into here. I'm going to choose Edit Text, and I'm going to select all my text and then go to my type options in there. Now, first of all, I think bold italic would work quite well with that. The next thing is, in this little area here, I'm going to go along, and we've looked at this before to my leading and just move those two slightly closer together. But then I also want to go to something called tracking. Tracking allows you to move the characters further apart or closer together in there. I'm just moving them just a little bit further apart like that. By moving the characters further apart, you get more of a cinematic feel to large titles. Be careful if you do it on body text, but for titles, it does seem to work okay. Another little option that we've got over here is this one, which is all caps. If you switch that on, everything goes capitalized. If you switch it off, everything goes lower case. So I'll just use two fingers to undo it because I wanted to keep it like that, and I'll choose done in there. And you can see I've just got a little bit more text over there. I think I'm pretty much happy with that, so I could either export it out, remember, up to the little spanner for the actions, and just go along to share and choose how you want to share it. Do you want to save it externally? Do you want to send it to Photoshop, or do you want to use a JPEG or a PNG for social media? Have a bit of a go, add some text in, finish that up, and then we'll do another one. 19. Adjusting Contrast Using Curves: We're going to be using some filters with this project, but to get up to this stage is exactly as we've done before. I went along. I found a picture. I downloaded it. I took it to Pixel Cut. If you can't remember where that is, just go along to the previous video or it's called pixelcut.ai in there. And I've cut out and I've brought it in. Now, the first thing is that this car is facing that direction there. For this project, I want the car to be going that way from left to right, because I feel that that would work a little bit better with the text that I'm going to be bringing in. So what I can do is if I click on the little Move tool up the top, down the bottom here, we've got all sorts of options, and one of them is flip horizontal, so I can just flip something over like that very, very quickly. We'll have a look at some of these other options later on. But I've got that like so. Now, the next thing is that I want to go along and I want to make it black and white. So I'm going to go up to the adjustments. I'm going to be using hue saturation, and I'm going to take my saturation down, which makes it black and white in there. Now, it's okay. I'm not really happy with the amount of black and white in there. So I'm also going to go along here and I'm going to be using something called curves. Now, curves are really interesting because they allow you to adjust the various parts of the image. You see, with this curve here, if I go to that, it'll dot at the top and pull this down. What it's doing is lowering all the whites to make them black in there. By the way, if you want a silhouette, this is a quick way to do it like that. If I go the other way, it's taking the blacks and making them white. In fact, if I pull that up there and then this one down here, you can see it actually goes negative, which is kind of a cool effect in its own. So I'm going to pull that up and then pull that down. If we click in the middle, we can actually move this up to lighten the image up or down to darken it down. So it keeps the white points white, the black areas black, but it's moving the middle points in here to the middle shades to make them lighter or darker. In fact, you could leave that there, and then you could go here and you could say, Well, I want the lighter bits to be lighter still and the darker bits to be darker still, which makes something more contrasty. If you go the other way and you take that down and this one up, you're saying, I want the darker areas, not the very dark areas, but the darker areas to be lighter and the lighter areas to be slightly darker, which reduces the contrast on an image. And although I'm doing it on a photograph, this will work on any particular layer that you want, obviously, text aside because, well, you wouldn't do it that way. If you've done this and you've made a mess and you've gone, Oh, let's pull that one up and this one up, that's actually looking very cool like that looks almost like it's chrome. If you've made a mess like I have, you can just click on the points and choose Delete. Over there, delete. And let's get rid of that one, as well. So I want to make the car look a little bit more interesting, so I'm actually going to click in the middle and maybe just darken that down and lighten it up, so we have a bit more detail in the car. But if you want yours to look like it's metallic, just go wild in there. Remember, once you've finished in here, you can then just click onto a different tool to okay it. Try that out. Have a little bit of a go. Do a cut out. It's exactly as we've done before. But most importantly, go up to the little adjustment option in there. Choose curves and have a play with this. Click, click and drag. If you want to get rid of it, remember, use your finger, click on it and choose delete. Like so. You can, of course, use two fingers to just undo as well. Try it out. 20. Adding Movement Using Blur: I'd like my car to look like it's got some movement on it. So I'm going to go along and just move it down over here. I'm making sure I'm not pushing it over the edge in there. And I'm going to duplicate this layer because what I'm going to do is destructive, so I want to keep an original of that. And the easiest way to do that is to slide it over to the left and just choose duplicate. I prefer to do it with my finger. Let's try it that way so you can see what I'm doing and then choose duplicate over there. And I'll just hide the underneath one. Now, to get some sort of Zoomed effect on this, I'm going to go once again to the adjustments, and I'm going to go down to Motion blur there. Now, I've gone to motion blur and nothing's happened. Well, all you have to do is to click and drag over to the right. And you can see, as I'm dragging around, if I drag up and down, it blows up and down. If I drag left and right, it blows left and right. So I'm going to put on a bit of blur like that, just to give it an interesting amount of blow. So this is one way that you can get things to blow. Another way that you can do it is to use a different option in here. Let's try and get that again called Perspective Blow. Now, perspective blur, I can move over there, and once again, if I click and drag, you can see how it's actually blurring the amount, but not so much there. So if I move this over to the front of the car, when I'm doing this, I'm getting more blur at the back. It's very, very nice effect, actually, because I could just keep going like that. But I do have to be careful because I want something which is going to be sharp, so let's go back a little bit like that. We have got some more options down here at the moment, we're on proportional, sorry, positional. I can also choose directional in there. But I'm going to go with that for now. Try that out. 21. Combining the Two Images: Remember how we made a copy of that layer? Well, I'm going to go to underneath layer, which hasn't got any blur on. I'm going to move it above the other layer and switch it on. So you can see we've got a hard version and then the blurred version underneath it. Then I'll use on the top layer the erased tool with a very soft brush. And I'm just going to erase some of that hard version away, which will kind of leave the movement on there. So I really just want this sort of blur going that way, but the sharp car in the front. I'm also going to go to the underneath layer and just erase the blur from the front so we get a really nice sharp version at the front there. Now, I'd like both of those to actually be on one layer, and we do that by pinching. So use your two fingers and just pinch them together, like so, into a single layer like that. Have a go with that. If you didn't get this, by the way, just watch this video again because there's a few bits in there that you might need to go over a second time. 22. Using Color: A now, the other thing that we can do is we can change the color of the car by going along to something called the Gradient Map. With the gradient map, we've got a few premade color maps in here as well. So you can see, as you flick through, we can just experiment with different colors. Now, there are ways to actually make your own colors in here, and I'll be showing you those later on. But if you do want to try out one of those, they're absolutely brilliant. I'm just going to go back to how I had this before. It might take a little while to go back to black and white. Here we go. Anyway, let's go and do the background, so I'm going to go to my background over here, change the color on the background to something else, a little bit more interesting. And the other way that we can work with an image is we can go to the modes and change the modes. So I'm on the image layer. I clicked on the N over the N for normal. And then I can just experiment with these different overlay modes in here. Multiply works quite nicely with black and white images on color as does screen where you get the lighter versions coming through. Screen the lighter pixels come through with multiply, the darker ones come through. But there's no right or wrong here. You can just experiment with different things. I quite like that. That hard light looks really good. That's the one that I'm going to go for and I'm going to move my car just down to the bottom over there, and then put in some texts. Now, you've seen me do text so much, so I'm not going to force you to sit and watch me do that. But anyway, have a bit of a go with those two options. One of them is changing the modes, the blend modes in there. The other one is experimenting with the gradient maps and just trying out a few in there. Then put a background color in for yourself and come back and I'll have the text done by then. 23. Text Effects: I've got a bit of text in here, and I want to say speed up your workflow really big and bold. I've done one text layer in there. I'm then going to move that across and duplicate that. Move this one down and change this to your, and of course, it's going to be a different size. So let's do that. Well we want all that in caps. I'm going to just adjust the size on that. So back to this ittle move tool, pull it out. Then we're going to have workflow at the bottom. Once again, I'll do the same thing. I'll go back to speed up, make a copy of that. I could have done it with your, but it's so big and I'll have the workflow small. We'll duplicate that, move it down, and I'm going to adjust that text. Like so. And that needs to come over there. Now, the W is on a different line over here, and by dragging this, I can't get that to go onto that line in there. So I'm just going to select the text again. So let's go into edit text. While I'm in the editing area, now if I pull that out, it'll flow onto that line in there. And you can see that this is just not not small enough. So I'll just select it, go in here and just change the size manually in there. Of course, we can always now go back to this little tool and adjust the size that way. Now, I've got this text over here. All I now need to do is to go to my car, take my car and drag it above the others, and we get a little bit of the car coming through on the workflow as well. Have a bit of a go with that, change your text in there, use three lots of texts so you can adjust the size and get them looking as you want, then move your car above the text layer. Now, if the text layer is black like mine, and I've chosen hardlight in there, if I'd chosen something like multiply, it actually looks like it's behind the text anyway. But some of them when you do this will look like they're in front of the text over there. That one there screens quite cool actually over there. But as I said, I like the hard light option for mine. Anyway, do have a bit of a go with that. If you then want to go in, you can go and export that out as a JPEG file ready for social media. Try it out. 24. Make Variations: Once you've created your work like that, maybe you want a variation on it. So all you have to do is to go along here, choose Select, click on the artwork that you want to duplicate, choose duplicate, and I've now got two of those in there. So I'm going to go to this one here, maybe change the background color, and let's go with a bit of a blue for that. Whoa, that really is in your face kind of kind of blue, isn't it? Turn that down a little bit in there. Maybe I can change the text, so I can just go along to my text. Change that to white. I won't make you watch the whole thing here, but I will just very quickly change one of them to white. You notice how I'm double clicking in there just to get it to jump to white very quickly. And of course, the other thing is with the car at the bottom, you could then go in to the car, which is actually on the top and try different blend modes in there. So this time multiply might look a little bit better on top of workflow. I'm going to change the speed up your to white, but I won't get you to watch that. Anyway, try it out and try some variations. 25. Crop & Resize, Copy & Paste: To going to make another copy of the yellow version. So I'm just going to choose Select. Click on that and duplicate it and stop the selected process. I'm going to click on one of them. And what I want to do is I want to adjust the page size over here. So I want something more as a banner for a website. So I'd like this to be 1,000 wide by about 400 high. So if we go along to the little spanner over there, we've got some options in the canvas, so I can choose Canvas in here. And I can just crop and resize a canvas. So I can actually pull this out to change the size. Now, as I'm putting it out, you can see my width appears just over there. So I can say, Okay, well, this actually should be 1,000 wide. Let's get to thousand there. You see, it's a little bit fiddly, and this one here should be 400 high. So I just keep going to 400 over there. And I choose done in there. Now, I'm going to go to the car and I want to move the car up. If I click over here, well, the car doesn't exist because nothing exists outside this. By changing the canvas size, I've actually deleted all those extra pixels in there. You'll notice that if I go to the text, the text is editable text, so that will go off the edge. But unfortunately, the car layer has lost the car. How else could we do this? Well, let me close this down and I'm going to delete the original over here, so I'm going to click on Select, click on that and then choose Delete. Right, so I'm going to do this right from scratch. So I'll click on the plus over here. I'm going to do a new screen size, and this is where I would put in my width. So let's make it 1,200 wide by 400 high. Once again, we'll click on Create for that. And then I can change my background color to whatever I wanted. Make sure I'm actually on the background before I change the color in there. And then I can actually go back to this one. Go in here. If I click on the car layer, I can go to the top, and I'm going to be using copy for this. So where it says share because we're going to be sharing it. So where it says add, we choose copy, and I can then go back into the other one and just once again, paste that straight in. And there's my car, make it a little bit larger, and maybe I'll move it across to that side there. Now, what about bringing in the text? If we go to the text over here and I'm going to start off with speed up. So same again. I'm going to go to copy, move over to this one, and I'm going to choose paste it will paste in the text over there. And when you have a look, you'll notice that it says inserted image. When you copy and paste text, it takes the text and makes it into pixels so you don't have the ability to edit that anymore. I can still do the usual things over here. I can move it around over there. Be careful. Don't increase the size too much because if you do, what you'll find is that it softens off the edge of that text. So I'll just do the speed up over there, or you can put in new text yourself. I'm going to go back to workflow, bring that one in. So workflow and speed up will be the text from here, non editable by the time I've finished. Let's go over there to copy. And into this one here and paste. Over there, so we'll have speed up workflow and go down there. And then lastly, what I like to do to put in your. But I'm going to do this manually so I can actually make it a lot bigger, and all we do is we add the text as we've done before. And I was using impact for that one. And I can then make that a whole lot larger in there. Now, that doesn't look so great, so I'm going to go into your here, click on the little N and change the opacity. And I think the car needs to come up as well. So let's take the car, move it above the other layer. Sometimes it's just easier with your finger. And once again, it's lost its blend mode, but I can go in there and choose the same hard light blend once again. So remember, you can copy and paste objects across, but if you do it with text, it will lose the ability to be edited. But of course, you can add more of your own text in there. Have a bit of a play with that. Try it out and see if you can create another version from an existing version over there using copy and paste. 26. Adding Text Effects: There's one more thing that you can do with text once it has been converted into pixels. Converting into pixels is called ruseization. So once it's been rustized so it's non editable text anymore, you can go in here and you can add some of these effects. I'll use the perspective blur again, move it onto workflow, and just drag across like that so we can almost get the blur blurring into the car in there. Anyway, do try that out and try some variations. This. 27. Find & Insert an Image: We're going to start this project by creating an image in chat GPT. And the prompt that I've given this is, can you create a flat style illustration? Those are the main words of three coworkers, which I've misspellt sitting at a desk with laptops happily talking, please. I put in some sizes in there, although that's not really necessary because it ignored it and did the incorrect size anyway. After a little while and a cup of tea, it came up with this. You can create your own, or you can actually go along to a website and I'll show you which one it is. It's called Pixabay, Pixa BAY. And in Pixabay, you can also search in here not just for free photos, but for free vectors over there or illustrations. So once again, I could go in here and say, people at work at desk. And once again, see what it comes up with. And after a lot of searching, I might find something that I kind of like. I should have used the word flat art in there. It might have helped with the search. But either way, we want something like this. I'm going to go into Procreate and I'm going to create a new document over here. I want my document to be 1,200 wide by 600 high. So 1,200 by 600, I want to make sure that it is in RGB mode and not CMYK, and I'm going to click on Create over there. And once you've created that, we've done this before. Once you've created it, download it and then go along to your little spanner actions and either insert the file or insert a photo depending on how you've done it. I'm just going to bring those in like that. They're not bad, but they don't quite fit. So I think I shall move this I'm actually making it a bit bigger, I think, and I'm going to put the desk at the bottom like that. So what I'm looking to do is to just get some extra space on this side so I can put in anything, any text and images that we're going to be using later on. Have a bit of a go with that. Find an image, bring it in. Make sure there's some space on this side over here, and then we'll move on with that. 28. Procreate Blend Image: My image doesn't actually quite fit. So what I'm going to do is I'm just going to soften this edge so it sort of blends out into the background. And I'll do that by using an eraser. I'm going to use a soft eraser. Once again, I'm in the airbrushing area. Soft eraser there. I'm not sure about size wise. Let's have a look and see what sort of size I've got, something like that might work. And I'll just erase out this bit over here to get that sort of soft blend out into the background. Now, I also want to get this color over there so it doesn't go to white. It actually keeps that cream going all the way through. So I'm going to put another layer in here. And I want to fill that layer with that color. So I need to sample that color. So I'm going over to the little square between those two. I hold it down and I click on there to sample the color. Now, it's not sampling anything because I'm on the erased to not on the brush. Let's make sure I'm on the brush first, on the right layer. Once again, I can now sample that color over there. There it is. And then because I'm on this layer here, I'm just going to use my paint brush, large brush to just paint it out, like so. Then, of course, I can move that one below that one. Now, we want these to be one layer, so it's one object together. So I'm going to use two fingers and just drag them on top of each other like that. Try it out. 29. Procreate Extend Image: If you're feeling brave and you want to paint on your document, so for example, here, I might want to sort of, that's a huge brush. Just make it smaller so that you can see. I might want to extend the desk area over to there. Once again, I would do that on a separate layer so I didn't mess up the picture, get my paint brush. I'm going to use a hard brush over there, and I'm going to make sure when I click on the hard brush that my stabilization is really across to there. So stabilization there all the way across. So when I do this, it will smooth out those lines. And then I need to sample that color, so I'll hold down that little button and go and sample that brown. And then I've just got to try and do this. I'll make it go up like that. And I'll paint that in with a few lines. Like so. It's very difficult to paint things in when you've got a lot of stabilization on there. Do the same with the bottom, so I'm going to hold down that button, click on the bottom over there. Once again, get my brush to roughly the right position. Now, this is a difficult one to get perfect. So what I might do is I might actually go in over here, do a new layer for this, paint that in, like so. And then because it's on a new layer, if there's any problems there, actually, it's worked pretty well. But if there were problems, I could go and get my rays to and just erase out the bits that I didn't want. Now, I'm actually quite happy with that, although I think I'm going to go back to this layer here, sample this again. Let's try that once more. Sample that. And I might just take that around a bit further. Like so. Trouble is, when you start going with this, you just keep going. I'd better stop before I go too far with that. Anyway, do have a play with that. If you want to extend that. If you don't and you're happy with the way it works or you don't like painting, absolutely fine. Just move on to the next movie. 30. Procreate Using the Gradient Map: I want to change the colors of these, so I'm going to go over here to the layers, and I'm going to squish all these layers together into one like that. So once again, I'm just tweaking them together, pinching them together. And then I'm going to go over here and I'm going to use the gradient map. And you can see, as I go through the gradient map, I've got the different colors in here. I'm just looking for something that I think would work really well. I really like that blaze. Now, I clicked on Blaze over there, and actually brought in the colors in here. So I can actually move these around and go actually let's lighten up those colors there, get more orange in there and maybe the background. Color, we can make that even whiter. Like so. You can just play with these colors and lighten and darken them or move them across, if you like. Once again, there's still a lot more to this, and I'll be showing it to you properly later on. So I'm done with that. There's my background ready to have some more content on it. Try it a gradient map. 31. Copy Canvas: Now, let's bring in the bits that we want to show on here. And I want to use this to show the content that we've created already, or at least one of them. So I'm going to go to my gallery, and I want to use this one here to show off that piece in there. So I'm going to copy it up to the little spanner, and I'm going to say copy canvas. And that copies all of the layers and flattens it all down. So when I go back in here again and I paste it, it'll paste it in, and that's one layer over there. You'll see if I do that. It's just one layer in there. So have a go and bring in one of the pieces that you've created already. 32. Using Selection Tools: I've gone back to unsplash.com, and I've searched for a phone. It took me quite a lot of scrolling to get to the one that I want, but this is the one that I'd like to use. So I'm going to just download this one, and I'm going to use this 1920 by whatever it is and download that. And I want to separate it from the background. So I'm going to go into Procreate, and I'm going to bring it in over here. So let me go and import the file, find the phone. There it is. And I will just make it fairly large, fairly large over there, like that. And then I want to get rid of this area around the outside. So I'm going to use a selection. We've got a selection tool here, and you'll see there's free hand, rectangle, ellipse and automatic. With the automatic, I'm going to click on that outside area over there. And when I change over to these tools here, and I'll go over to the arrays tool, you can see that certain parts have got these lines through them, and certain parts don't the parts that have got the lines through them are protected. So that's the best way to think about it. This messes with your head if you've used photoshop, but think about the lines are protection bars if you like. So I can now use my raised tool, and I'm just going to erase out the bits that I don't want over there. Now we can just switch off that selection. There is a little bit left over here, so I'm going to make the brush a bit smaller and just erase that bit off there and that bit over there. And then I can move this into the right position. Over there. Have a bit of a go. Get a simple phone. This one's a perfect one to try out on and then use that erase tool on a selection. So it's this selection over here. Make sure you're an automatic and just add, and then you can erase out the bits that you don't want. Try it out. 33. Add Some Text: I'm going to change the layer over here, so I'm going to pull this one below that one, and I'm going to move my phone into the right position, and then I'm going to move this one over here. Let's get the Move tool. Wow, that was almost a good guess. Let's make it a little bit smaller so it looks like it's actually on the screen. Over then I'm going to just place it right in the middle. If you wish, you could go and get a screenshot of maybe the social media platform that you're putting this on. Or what we're going to do is we're just going to put in some text over here, which says awesome ideas and the phone number down the bottom. Over to the text tool. And this will be awesome. I'm going to have that separate, so I'm just going to get that to go in there. I'm going to make a copy of that, drag that across not too far to delete it. Duplicate it, and move that one down a bit. I'm going to edit that and this one will be the word ideas. Now, I'm not going to get you to watch the rest of this. Have a bit of a go, put some text in and the phone number at the bottom or a number or anything you like at the bottom. Try that out and I'll show you what I've done. 34. Add Finishing Touches: Now, I've put in a little cult action at the bottom over here, and all I need to do is some sort of shape as a button, or as this is probably going to be on a banner or social media, they can contact us via the details below. Anyway, have a bit of a go with that. Try out some different graphics in here. You know, instead of using a phone, do a computer screen or absolutely anything, but just have a lot of fun with that and experiment with the different new areas that I've shown you in this little project. There it is nearly done. Maybe I can go and add a few more details in here or go and adjust the colors and see if it looks better a different way. Either way, you tried out yourself and have lots of fun with it and do some variations. Don't forget, as always, please share your work and show us. 35. Infographic - Intro: Businesses love infographics. It's such a lovely way to present data to people who would get very bored by looking at numbers. And Procreate can actually create some really cool infographics. We'll be using brushes, we'll be using gradients, we'll bring in pictures, so many things to create this really cool infographic. And if you can create this one, you can create so many different variations on it. Let's start. 36. Create Your Icon: For this, well, I'm going to do this Instagram post, but you can do it for whatever social you wish. I'm going to do a portrait. The first thing I want to do though is I want to create a little icon, or you can call it a logo if you like. But I'm going to do that on a separate file and then just copy it over. I'll have my logo still editable on a separate piece. I'm going to click on the little plus over here, and I want this to be a reasonable quality as well, because I can always scale it down. You can't scale things up terribly well in well, not just Procreate, but in most pixel based software. Vectors, you can scale, no problem. But I'm going to start off, and I'm just going to use one of these settings that I've got. I've got a square, which is, um, about 2000 pixels wide. We're going to start off by making a circle over here. So I'm going to go along to my brush. I'm going to go over to and you can use any sort of solid brush you want with this. But I'm going to go down to my airbrushing, and I'm going to use this hard brush in there. When you've been through your brushes, you might find that there's other brushes that you prefer to using a hard airbrush. It's entirely up to you. You might make your own brushes. If you are already experienced with brushes, I'm sure you've got some hard ones that you like to use anyway. So I'm going to click on that, and I'm going to remove any stabilization because I want to draw a nice circle over here. And let's close that down. Look at the size. You can see those are the size of my cursor, I'm just looking for something around that sort of size over there. On this layer, I'm just going to use black, and I'm going to double click near the bottom, which gives me pure black. And then I'm going to draw the circle in, so I'm just going to draw a perfect circle over here, hold and wait. Now, if you haven't done this before, when you are actually drawing something, if you just keep drawing, stop, but then keep holding the brush down, you can then get little snap to that particular shape. And that's what I'm looking for a circle like that. And then I want to put in some of the cross pieces over here. These are going to be the bits of wool or signify the bits of wool for this ball of wool. Now, I'm going to go once again up to the top, and I'm going to do it on the same layer. So not a new layer for this. Over to my brushes, I want something, well, which is less, perfect than that. So I'm going to go over to the inking, and there's a really cool brush here called syrup. There it is in there. You can use any other brush that you like, but remember, as you'll see just now, you can get a texture out of that brush, as well, which you might or you might not want. So I want a nice solid brush for this. So then I'm going to draw in the lines over here. So starting over there, draw something like that. You can see it's a little bit wonky. So if I go back to that brush over there, I'm going to go to stabilization, and I'm going to put in some stabilization on there. You could just test to see how it works. That's nice and stable in there. Now, let's try that again. So I'm going to start over here and just do one across the middle like that, maybe another one over there, another one over there. And I think we'll have another one that way. And then I want some going this way, as well. So I'm going to do the same thing. So I'm going to have some going to go that way there. And just that one, so we've got two at the top. Now, there are some of these that I don't want, so I want to remove them. Now, a quick little trick over here, which some of you might know if you're painters already, is if you want to use the same brush to erase with, if you just click and hold on that brush, you can see at the top. I'll just do it again. It just says erase with the same brush. So rather than having to go and find a brush, you're on the same brush there, and I can then just erase with that same brush. The problem with erasing with a brush, which has got a lot of stabilization on it, is that it, um you know, it's changing the brush as you go along. So if I were going to do that, let's go back to that one there. I would probably actually end up taking the stabilization off because it's much easier to erase without stabilization on it. And over there, I'm going to do the same thing, make the brush a little bit larger. Quite honestly, I wanted to use that technique to just show you about that holding. I'm actually just going to go back into my I can find it airbrushing, and use that as an eraser because it's nice and predictable, and I know exactly what I'm going to get out of that. So I'm just going to get rid of some of these. You can be a bit more accurate with yours. I'm just going to do them quite quickly because I don't want you to have to sit and watch every single little line that I make. Obviously, there's some other ways of doing this as well and other ways of painting it, but we're just doing this in a very simplistic way for the moment. Let's get rid of those, and that I see a bit of a wonky line there, but we'll pretend that it's perfect. I think that's pretty much it. Now, what I'm going to do is I'm going to then go to the plus over here to add a new layer, but I'm going to go down to the bottom layer, the one underneath it. Click on it, and I'm going to make it a reference layer. And you can see then it says reference on it. Now, it means that these layers here will look to that layer as the layer that will affect it. So I'm going to use a fill process, and I'll just choose a different color for this fill so you can see it nice and clearly. Let's go with a blue color. In there. And when I drag and drop, it will just fill those areas. Now, if you want to do multiple colors in here, that's absolutely fine. I'm just going to use the one color. So you drag and drop. We'll talk more about this at a later stage because there's a bit more control that you have over here. And that's filling those little areas in there. But it's filling it on this layer, not on that layer. So if I then delete this layer, I'm left with that little shape in there, and it's transparent around it. So that's what I'm looking at doing. That's going to be my little wool icon. It's supposed to look like a ball of wool. If it doesn't to you, well, try something slightly different. But that's what I'm going for with that, and I'll just put in some wool underneath it on the final piece. But have a bit of a go and make yourself a little icon. If you don't want to do the wool one, try something else using that same technique. I 37. Change the Color: I want to change the color of this, and there's different ways of doing it. But one of the quick ways, if I want to make it black is to go to the hue saturation and brightness and just push the brightness all the way down to black in there. I could also take it up there and I could change the hue on it to any color that I wanted. But I'm going to make that black, so I'll take it all the way down into there. Try that out and just change the color if you wish. 38. Create Your Custom Canvas: Let's go and make the final file. So back to the gallery, click on the plus, and I'm going to click the plus over there, and this one is going to have a width of 1080 and a height. Whoops. Let's try that again. 1080 and a height of 13 50. That gives us a nice portrait style for Instagram. But as I said before, you do it for whichever social you wish. Just check your profile and make sure that you're on SRGB as well while you're at it. And then we're going to build our infographic in here and we're going to do it using brushes and a number of other new techniques that I want to show you as we go along. Just get your document ready and then we'll get going. H. 39. Create Infographic Bar: Let's start making the little bars. So what I'm going to do is I'm just going to rotate this a little bit so I can use the direction of my hand to draw them. I'm going to go along and find a large solid brush, so over here into my brushes, and I'm going to, of course, go back to the airbrush, the hard airbrush in there. But I will put on a bit of stabilization again, should I need it. And then I'm going to draw in the shape that I want. Now, because I want to change this later on, I'm just going to pick any sort of brightish color in there. Remember, we can always go and change the color and the lightness using that hue saturation and brightness option that we looked at before. So it doesn't matter what color you choose. And then I'm looking for a brush probably about that size over there. So if I just do a little line, you can see it. That's what I'm looking to do. So what I'm going to do is I'm going to start drawing across here, but I'm going to keep holding until I get that perfect line. And while I'm doing that and I'm still holding this down, I'm going to put my finger down, which will then give me the ability to do it in increments. So I'm just looking to create something along that line over there. So I've got a long one over there, and then I'm going to have copies of that, which will be in different colors. But I'm going to finish this one first before I actually make some copies. The second thing I want to do is I want to cut out a circle over there, maybe probably about that size in there. To do that, I'm going to go along to the eraser and just hold it, and that picks up the last brush that I had. So let's go and make that the right size, and I'm going to click over there. And just click in there. Now, unfortunately, I've just missed it, so I'm going to do this a little bit larger. So that's what I'm after a little shape that looks like that, and we're going to have three of those to signify the different levels of wool sales over the different months. Try that out. Make the shape. Make sure obviously it's on a layer by itself. You can see over there, we can move it around there, but that's really is what we're looking at creating for now. Try it out. 40. Add Color & Effects to Bars: Now, I want to have two more of these. So I'm going to go along here and just duplicate the layer twice. And then we'll use the move tool to move them along. Now, just be careful. If you move it too far in and you kind of okay it, you will cut off that little bit over there. So we need to kind of get an idea of where these are going to be going before we start to change them too much. So we're going to be having this one here, which is going to be um Winter, then spring, then summer. And these are going to be the sales. So we'll have winter over there. Summer up here. No, winter there. Spring over there, and then summer is going to be down here because people are outside, they're not buying quite so much warm yarn. I'm happy with those. Oh, that one has got a bit missing out there. So I'm going to just go back to the move tool, go to that layer and pull it down. Oops. Pull it down just a little bit. Over there. I've just made sure the gap is similar. I think that's absolutely fine. Now, I'd like to change the color of these individually. So let's go along to one of these ones over here. I'm going to go up. You know where I'm going, hue and saturation, and I can go to the hue and just adjust the color. We're going to have some really vivid colors for this. So that's going to be green, blue, and I think this one here, the short one, which is that one there, I'm going to make that more of a purple color. And I think the middle one actually could be maybe a different shade, as well. And while you're here, if you find that they are too bright, you can just adjust the brightness in there, see if that would work with a yellow. No, I think that blue is good. It just needs to be darkened down a little bit. Anyway, play with those colors. When you're happy with those, if you go into the layers panel and you squash those layers together, you won't be able to change them individually. So before we do the next step, make sure that you're feeling happy with how they are actually looking. So once you're good with those, you can then go in and just pinch them together into one layer. Now, we're then going to take these and we're going to duplicate them again. I'm going to switch off the top one and go to the layer underneath, and I'm going to make them all black. You'll see why in a second. So take the brightness down to make them all black like that. And then when we switch the top one on and we move the bottom one, you'll see that we've kind of got a shadow. Going under there. Now, that doesn't look very shadow like it. Well, it's harsh, really. It does look really harsh. So what about if we went up to the adjustments and went to Gaussian blur. Now, to use Gaussian blur, you just choose gaussian blur, and then you click and you drag over to your right to get the blur coming in. And what we've done is we've just blurred that underneath layer like that. Once again, it's still too harsh, so you can just go in there and reduce the opacity to get something a lot more subtle coming from behind those brushes. Have a bit of a go with those. Make sure that you're comfortable with the height of your three little bars. Once you've done that, put them all onto one layer and duplicate them. The underneath one, make it black, once again, using the saturation, et cetera, and then you can use the gaussian blow to blow that layer as well. The top layer over here, I hide that while I'm doing it so I can see what I'm actually doing below. Try it out. 41. Use Alpha Lock: I now, to make this look a bit more interesting and also so that I can show you another effect, I'm going to go to this layer here, and what I'd like to do is I want to put a line across those at the bottom, the same color all the way through. So I'm going to paint it on. I just use a paintbrush and basically just do that over there, to be honest, I'm going to do that, wait, and then hold my finger down to make sure it's perfectly parallel. But in doing so, I want to actually go to this layer and I want to use the Alpha lock on that layer. What that'll do is it'll lock down any transparent pixels. And remember, all these pixels around here are all transparent. So we go along there, we switch on the Alpha lock in there. And now you see, when I paint, it only paints where there are actual pixels. So I'm going to make my brush a little bit smaller over there, and I'm going to go with, let's have a let's try with white and see what that looks like. No, I am going to go with black. So double click over there, and then I can start over here, drag across, weight, put my finger in there, so it's going to be perfectly horizontal. I'm going to do another one slightly smaller than that. So over here, click and drag over there, do one last one between those two. So you can just create different effects with these. Oh, that last one was a bit wonky. I must have let go of my finger or this before I actually made it into straight line, so I might have to just redo some of those. But you get the general gist of this. In fact, I tried a thick one down the bottom over here, draw it across. Wait until you get the straight line, put your finger down. Oh, that's better. That's sort of more what I had in mind. Anyway, do try that out, and don't forget you are using the Alpha lock in there. And 42. Adding Effects to Text: As you can see, I brought in a little bit of text over there. So can we use that same drop shadow effect on text. Absolutely. But there's something else that you need to do. So I'm going to take the word summer. I've got it in black over there, and I'm just going to duplicate it. So I've got two versions of it. Let's hide the top one. We go to this one here, and if I go over here to my effects, I'm going to go down to Gaussian blur, and you can see the text layers will not be blurred. So if I do that, I can blur it, but it converts it from text into or from editable text into a normal layer over there. So that's the only difference between those if you wanted to actually take something like a text layer and just convert it into normal pixels so that you could paint on it or erase it or something like that, you can actually use rasterize. Rasterize means that it takes something which is editable or vector based, and it converts it into pixels. But that did it automatically when I went up to that setting. So now I can go to the top one. Oops, over here, switch on the top one. I'm going to change the color on that, I won't do the other ones for you. You've seen how this one's done, but I'm going to go along to it a text in there, and I think I want to use a darkish green from my text, and then I'm going to go along to the shadow and just change the shadow and maybe move it over a little bit. To get something along that line. I'm just ready. I might have to change the text again, looking for something which will kind of stand out, but won't be too over the top. I will just try and change that text color one last time, and we'll see how that's going to look. There we go. That's the sort of thing I was after something lighter like that. You know, I'll do the same with these two, as well. Although I won't force you to watch me doing it. Just remember, make a copy first, go to your underneath one, put on some blur. And while you're there, you could also try out using some different effects in here. Multiply usually works quite well to blend the color with the background. There we go. That's just what I was after. Anyway, have a go with that one and do all three of them. I'll see you in a moment. 43. More Reference Layer: Now, I brought in my three bits of text in there, and I put a shadow underneath each one of them using that original technique. What I always want to do, though, is I want to make a new layer right at the top over here. It doesn't have to be at the top, but I'm putting it there for the moment. And I'm going to go down to my layers, so layer one over here and make it a reference layer. So you can see, I've switched on reference in there. Now, this means that on this new layer, if I want to go and change any colors, so for example, maybe I don't like this little black bar, and I'm thinking, you know what? What about making it slightly darker purple? All I need to do is drag it on there, and that goes onto that top layer. Now, it would if I was on the right layer, so that's my fault. Let me just undo that. So let me try that again properly. So I'll go to this layer here. Remember, that is the reference layer, so I'm filling this layer, drag that on and drop it in there, there. Now, when you're dragging these colors in, so for example, here, I want to drag onto that one, and I've chosen, I don't know, a dark color of that. When you drag it, don't let Let's try that one more time, making sure that we're on the correct layer up the top there. When you drag it on, if things go wrong like that, just don't let go. You can use your threshold over here to just affect different parts. So as I go up, the threshold is increasing until it gets both of those. If you go too high, it does everything. Oh, that's a horrible color. I'm going to go with a lighter color. I think a lighter blue. Let's try that one. That looks a bit better. I've done this on a separate layer so I can always delete it if I don't like it. And one more over here, this is going to be with that bright green color that I had. I'll make that even lighter still, drag it onto there. And if you're too far back, you can see a little black line around the outside. So just pull that forward until it looks okay. If you go too far, it might get absolutely everything, so I'll just do those like that. That's looking quite good. I'm happy with that. 44. Add Icon & Edit Background: Let's bring in our little wool logos, and I'm going to put them in the little circles up there. So I'm going to go back to this one. I want to copy just this layer, so I'll go up to the little spanner, and I'm just going to say copy from there. It's going to be huge when it comes in, but at least it means that I can scale it Whoops. I can scale it down. So over there, pasted in, it comes in really large. I could just scale it down to the right size, and I want that to kind of go just in there like so. Once I've done one, don't do it again. Just duplicated, duplicated twice more, and I can move those into the appropriate areas over here. Right, we need a background now. So I'm going to go along to the bottom here and I'm going to just make my own background. So I'll do a new layer. I'm going to move it right the way to the back over there. And I'm going to paint in some colors. So this is entirely up to you, but I'm going to get a brush. I'm going to use a very soft, very large brush in here and just pick some colours and paint them in on the background see if I can start with something like that. And then we'll just add in some brighter areas. I can sit and play with this for hours, so I'm not going to do too much over there. I'll stop there. But if you are painting things and you find that it actually looks too harsh, the edges, go up to here and use something like your Gaussian blow and just click and drag all the way across to blow those colors. You can see how it's blurring them together there. You can even do stripes or something like that and then blur them together as well. Anyway, I'll make an interesting background while you try that out. 45. Change Icon Color: I painted a few colors in there and got that sort of gradient effect going on. But I'm thinking that these little icons are just totally vanishing now. So what I'm going to do is I'm just going to go back here and just make them white. And we can do that in two ways. We can either click on that and choose the alpha lock and then pick white as my color or any other color you like. And you can just paint them like that. Or I'll do it on this one now. You can actually go in here, go to brightness and just increase the brightness, as well. Whichever way suits you. There are just so many ways of doing the same thing in Procreate. I'm going to use that same one again, brightness and just push the brightness up like that. There we go. That's actually showing up a whole lot better now. Try that out. 46. Edit Text: I brought in some text. I've just got three individual layers of text saying the wool Emporium. And what I like to do is to see what it'll look like if I changed the two O's in wool to these little balls of wool icons that I've got over here. Now to do that, I'm going to make a copy of the word wool, so I'll duplicate it just in case I make a mess of it, and I always do this just in case. So I'll hide the underneath one and go to this one, and I want to erase out those two little O's on there. So I'm going to click in there and I'm going to choose to rusterize it so it makes it into normal pixels. So you can see now it says wool in there. And I'm going to go to my eraser, maybe use a smaller brush. Over there, and let's just get rid of these bits in here. I think I'll leave that little line that a bit smaller. So something like that. And then all I've got to do is to take one of these duplicate it, move it across, make it a lot smaller so it kind of fits into there, and we'll have that one there, and we'll duplicate it again and move that one across. To there. If I like the look of it, I can keep it. If I don't haven't lost anything because I can just hide that one and bring those two back again like that. So experiment with it. Try it out. Remember, if you have done something like this where you've got almost a logo if you like, on multiple layers, and I want to move them all across, I can just select one, swipe over to the right quickly, and I can move all of those at the same time when I'm moving them around, like so. Have a go. 47. Blend Modes: If I want to put some texture onto this because this is very, very flat. This is almost like vector art. But if I wanted some texture in the background, maybe a photo, what I've done is I've gone along to Unsplash and I found a picture of some wool that I want to bring in. I want to use that texture. You can choose anything you like. I just went and put in the word wool in there, but you can try yarn or whatever works for you. I'm going to go and bring that image in, so I'm going to go and insert a file there, find the wool picture. I think let's rotate it round. I'll go over to there and rotate that around to there. That's right. Let's pull that up. L. I'm going to move that below all the other layers. This one here is going to move down so there. Now, that actually looks quite interesting by itself, as well, with that nice texture in the background. But you could also experiment with different blend modes. So if I go along to the blend modes and see what it looks like with some of these blend modes in there. There's no right or wrong here. You just go through until you find something that you like the look of. Hmm. That's an interesting one. Um, quite frankly, I really like the, the normal like that with the wool in the background. But it's entirely up to you as to what you want to do with this, but that gives a nice blend of realism with graphics, as well. If you don't like that, though, just stick with the gradient on the background there. Lastly, you could put the gradient just above that layer over there. Change the opacity so you can whoops, wrong one, and change the opacity of this so you can see some of it coming through underneath. Anyway, have a play. See what you make of it. Try it out. 48. Finishing Touches: Now, lastly, sometimes when you have an image and you have text on tap, especially if it's a photograph, it's very difficult to read some of that text. So what I'm going to do is I'm going to go up here just underneath the text, and I'm going to put a new layer in there. And I'm going up to the selection tool and I'm going to use a rectangle. So I'm just going to draw a little rectangle in that area there. Now you can see with this selection, it's very difficult I know, but you've got these stripy bits over here. As I've said before, the stripy bits are locked. They cannot be changed and the non stripy bits can be changed. So if I got a paint brush over here and I got some black text, sorry, some black paint, let's make that brush. Sensible size and painted, it will only paint in on that area. As soon as you click on that, it just deselect it again. So I tend to do something like that, and then just reduce the opacity so you've got that type of effect where you can still read everything below it. And once again, if you're moving them around, don't forget to move that black item, as well. Anyway, I hope you've enjoyed that and that you can put all these effects into your own really cool infographic. And when you've done something, if you want to show it to anybody, show it to us. We love seeing what you've done. And yeah, we'll comment, and I only ever say nice things about people's work. So, have a go and create some really amazing, awesome stuff. I'll see you in the next video. 49. Create Carousel - Intro: Let's create some carousels for Instagram. And what we're going to do, as you can see on the side, we're going to create one long document and then slice it up into appropriate parts. We're actually going to do that on the web, and I'll show you a website that will slice it up for you. And then, obviously, we can put that into social media and you'll see it as one long document. But in the document itself, we've got so many things to do, as well. We're going to be looking at blends. We're going to be taking a brush and looking at some smoothing on the brushes. We're going to be bringing pictures. We're going to be changing the colors, so many new things. And I hope you really enjoy this. And once you've created this one, create all sorts of other carusels, they look really, really cool. 50. Set up Carousel Canvas: I'm creating a new document for this, and it's going to be one long document because this is going to have six individual pages, which are together in a carousel, but we're doing it as one long panoramic, and then we'll split it up afterwards. So I've gone to my width here, and my width is going to be 1080 times six, which is 6480. My height is going to be 13 50, and that should be perfect for Instagram. And I'm going to click on Create in there. And you can see that gives us this really long thin page. Now, we need to figure out because obviously we're going to be seeing each one of these pages 1 to time. So we need to figure out the size of each page. And we can do that fairly easily. I'm going to go along to the spanner and I'm going to go along to Canvas, and I want to switch on drawing guides, but I also want to be able to edit the drawing guides in here. Now, you can see that at the moment, it's just a great big gridded effect. So I'm going to go to the grid size here and I'm going to change the grid size and keep going until I get six of those in there. So it does require a little bit of fiddling to get it right. I think that looks okay. So I've got this divided into six. Don't worry about the line through the middle. We want those six in there. And I'm going to click on Done now. So now that I've got this grid, well, I can't see it very well. I'm just going to pop back in there again back to the Edda drawing guides, and I'm going to change the opacity to make it really solid and maybe make the lines a bit thicker. It'll be easier to see exactly what I'm doing. Like so. Right, that's ready to go. Now, I'm going to bring in the background picture, and that's going to go across all of them. And I'm going to use the same will that we did earlier. If you want to do something else different absolutely fine. No problem at all. You just choose a different subject. But I'm going to go up to the little spanner. I'm going to go and add and I'm going to insert my file. There it is. I'm going to click on that. I'm going to make it larger, so I'm going to put it all out across all of those. Make sure that when you download it, you download quite a high resolution file for your background. I can just move this to wherever I want to. I kind of like having this wooden background in there with a few balls of yarn in the top there. So I think I'm going to go with that. I'm happy with that, and once again, I just change to a different tool like so. It's going to be quite dark at the moment, so it looks very, very dark. So I'm actually going to go and I'm going to add another layer in. And I'll just fill that layer with a color for the moment. So I'm going to do the usual thing that I do, and that is to go along to a large brush and just paint over that area with a big brush, like so. Now, we can mix that with the layer below by either changing the opacity on there or by going to any of these options in the different blend modes. And it's up to you what you want to do with your colors. So at the moment, I think I will try something like an overlay. It's probably very, very bright, but I will change that as we go through. If you'd like to get to that stage there where you've got this long panoramic divided into six and you've got some sort of background picture in there, you don't have to put a color overlay on if you don't want to. It's up to you. Have a go. Okay. 51. Overlay Color: If you put a layer over the top, should you wish to experiment with different colors, don't forget you can go up to your hun saturation and you can just adjust the colors in here. You can adjust the amount of saturation, and you can adjust the brightness as well. So we can always change this later on, so don't feel that you have to choose something correctly right now. 52. Set Up the Front Slide: Let's do the front page. Now, I'm going to have the wool logo over there, and I also want to have an arrow to show people that they should swipe over to the left. Most people, you know, know that if there's three little dots or five little dots or whatever it is, they swipe. But it's also a good idea to just, you know, help to remind them with a little arrow. And I'd also like to have something. So as they go from page to page, I want the whole thing to look unified. So I want something which is going to flow all the way through. Now, of course, we're dealing with w here. And so it'd be really nice to have a little sort of line running all the way through the whole of the project, almost like it was a piece of wool. If you want to draw in your own will, that's absolutely fine. I'm going to do mine as a simple line there and a little arrow. Now, I'm going to do this on a new layer. And I'm going to take my paint brush. And remember, we're working with a paint program, so we may as well use its best features, which could be one of these sketching brushes or I particularly like an inking brush. I like this Ika brush in here. And I'd like it to be really smooth, this sort of line, and it's going to go up and down all the way through. So what I'm going to do is I'm going to make sure that when I go to the brush, I click on the brush and I go to the stabilization, and I push the stabilization amounts up. In there. Now, I want to get a nice sort of flow across. So I'm going to move that to the right position. I'm going to start off with something like that make it a little bit smaller. I just want something like that, which is going to flow all the way through. Now, I've put that on that layer. If it's not in the right place, I can just go and move it down because it's on a separate layer, maybe to something like that. Of course, if you don't like that, delete it, add a new layer, and try it again. I'm going to do this with a slightly smaller brush this time over here. The other thing that you can do is once you've created this, if you think, well, that line is pretty good, but I really want to push this around or move that part of the line, if you go up to your adjustments and down to Liquify, there is a brush here that you can use if you go to the push brush, and this will enable you to just push things around as well. Just be careful. When you push a brush from there, you might find it actually squishes it together. So you want to actually go on the brush and just do it in small increments if you want to move it around. But I think that looks alright. It's got a nice texture to the edge. You can try it out with different textures. Have a bit of a go with that. Once you've done that, we want a little arrow down here as well. So once again, back to the brushes, I'm just going to do it on the same layer. For now, I'm going to have a smaller brush over there. I'm just going to draw in a little arrow. A bit thicker than that. A little arrow like that, and put some bits on. Just like that to give it a bit of a hand drawn type of feel. Anyway, have a play with that. Create something interesting. 53. Import Logo: Just redrawn mine because I wasn't entirely happy with it, but using exactly the same process. I'm going to go to this first page over there or first slide for want of a better word. I'm going to go to the gallery, and I'm going to go and find the logo that I had on this wool emporium Instagram post. Now, what I want to do is I want to take the wool emporium over there with the black background. So I'm going to hide all the other things that I don't want. So over here, let's get rid of all of these down to transparent. So that's all that I want, and then I'm going to go and copy that. So I'll just copy the canvas as it stands. Now, I'll just use two fingers to show all those things again. And close it. If you just leave it like that and close it, that's how it will be seen in the gallery, and you think, What an earthsat. It's just a logo. Let's go back in here again, and I'm then going to paste it in. So up over here, let's use paste. It's coming over there, and I'm going to just scale it up a little bit like that. I think that's what I want just in the middle over there. Have a go and get that far. 54. Add Text to Next Slide: For the next two slides, I'm going to bring a picture into the background to say, see the new brands, and I'm going to have a photo in the background there. But obviously, I want some text. I'm going to go in and add some text into here. It's exactly as we've done before, and I'll just put in new brands. I'm not going to spend too long getting this right while you're watching because you've seen this done so many times before. Just pop in your text in there, choose a font or a typeface. I've got something in here. It's an interesting type face, but it looks like the wool in there. If you want to find your own custom typefaces, if you've downloaded something, you know, there proper websites where you buy your fonts from or if you go to one of the free ones, like, for example, DFont, you can then go and import that font directly into Procreate in there. So have a go, get some text in over there, placed in the right position. So that's going to sit down over there, I think. And then we'll also want to have two more versions of that, but we'll just copy that one across in a moment. 55. Add Image to Next Slide: For the picture in the background, I've already downloaded something from Unsplash, and I'm going to go and get it, so I'm going to go and insert the file and find the image. I've just got some wool in on a shelf. Let's pull that out a bit. And I'm moving it across two of those slides, wrong ones. This one here. So you have something like that? I might zoom in a bit so I can sort of see exactly where this is going because I wanted to go from that side there. Through to that side there. And this is purely by coincidence. The edge of the wool things fits right into the size of two of those slides. So find a picture, bring it in. But then go and move it below your text and also below the orange line. You might find that you can't read your text and you're going to have to move it somewhere where you can actually see it. Alright, so if you still can't see it, try elsewhere. 56. Blend Image: I'm going to insert another file over here as well. So I've got somebody doing some knitting, I believe. So I'm just gonna go and find her Now, I brought her in. She's kind of looking out of the screen. I want her to be the other way around. So while I'm still in this move tool, I'm going to go and say, flip horizontal over there. So we've got two screens here. We've got this one in here where you can actually see her knitting and this one, which is just her arm, and we're going to be putting some more text in there. So it doesn't matter that it's just her arm. Whoops. I will just zoom in a bit there so I can get that into the right position over there. Now, if I thought that this edge was a bit harsh over here, what I could do is I could just take an eraser. I'm using a very soft brush for my eraser and just erase out that edge to soften it down or use a bigger one and gets much more of a softer edge. So we've got this blend really nice blend between the background wool and the woman's arm. Once again, if you thought, Oh, you know, we don't really want a shoulder in there, we're concentrating on the hand over there. So maybe I could just erase out some of that top section. As well. And you can just blend things really nicely by using an eraser on a photograph. 57. Sample Colors: Now in this mid section here, we're going to have the new colors. So we will have some text which says new colors. So I'm going to zoom in a bit over there, and I want the new colors to be up the top. So it's going to be the text is up there, then it's going to go down, then it's going to go up to give some variation. So as people flick through, they're not just seeing the same text in the same place. Now, because we're working with a drawing package, well, it would be wrong not to actually use an interesting brush to do the colors. And I think I'll try one of these ones over here. So I'm going to do a new layer. Let's zoom right in. Go to my brush, check the size. It's a little bit on the small side. So let's make that tiny bit larger. I don't actually like that brush, so I'm going to undo it. And I'll probably, to be honest, go back to this Inca brush because I really like that one over there. You can see as I'm doing this, it's having trouble keeping up with my pencil, and that's because there's a lot of smoothing on there. So if I go into my smoothing and stabilization, I will just take those off, and this way now it will do exactly what I want. Then I'm going to just start to sample colors over here to put the new colors in. So I'm going to go over, press on that little button there, sample a color and paint it in. Sample a color. We just work through a few different colors. Like that. Now, those colors, they're okay, but I want to give them a little bit more depth. So I'll use the same technique that we did before. I'm going to make a copy of the layer. So we'll duplicate that. Go to the underneath one. Let's hide the top one. I'm going to paint those black. So I'm going to just click on there. I'm going to say Alpha Lock, so it locks the transparent pixels, and then I'm going to go along to my paint brush, choose black, and I can actually paint over them in black. Now, this is one way to do it. The other way that I showed you was you could actually just go over to your hue and saturation and take your brightness all the way down to zero. So just two ways to work. Let's show the top one, go to the underneath one, and I'll just move it out to give those a little bit of depth like that. If you wish, you can still go in to Gaussian Blur and put some blurring on there if you feel did it work. Now, look at that. The blurring is not working, and this is why I wanted to show you why is that not happening? Well, remember when we went to this layer and we locked the transparent pixels, while I'm trying to blur it, it's not going to allow me to blow because it won't allow me to blow onto those locked pixels. If you switch that off and then go to blurring, it'll work absolutely fine. You can see how easy it is to blow those like that. I kind of quite like that harsh shadow that they've got over there, so that's how I'm going to leave it, and don't forget. You could always blend it down if it's too hard. Anyway, once again, have a bit of a go with that. 58. Add Some Text: I've made a copy of new brands, moved it over, called new colors, and I'm going to do another one, so I'll make another copy of that, and I'm going to move this one over to the end, and it's disappeared. Where's it gone? Well, what's happened is it's actually underneath this layer there. So I just need to move it above that layer and it will come back. I'm going to move that up to the top and change the text on that to just say contact us. Right, have a go. I'll pop on some text. 59. Add a Map: Now, why have I got a picture of a map up over here? Well, what I want to do is I want to bring in a map to kind of show where this shop is. And I've just zoomed into an area of London I live near London, and I've actually got a three D map in there. This is just the Apple Maps. And all I'm going to do is take my finger and swipe up from the left hand corner, and that will do a screenshot of that. Let's pull this in a bit. That's really the bit that I want. And then over here where it says done, I can then go and copy and delete the map. Now, if I go back into Procreate, I can then go up to the little actions menu and click Paste and paste it straight in, so I'll say Allow paste in there. And here's my map that I can then move across and resize. I'm going to place it. Up there. Obviously, we want a little arrow on there, so I'll do a new layer once again and just draw in or paint in a little arrow I want a white, I think might show up okay, and maybe it's over there, like that. Now, when you're actually looking at your project, start from the beginning and try and visualize how people are going to see it. So that's going to be the first one that they're going to see. Then it's that one, then it's that one. Then they're over to there. And when you're doing this, also look at the out. Does that look right? I think the word the new colors is slightly too far over to the right. So I'm going to go back over here, go into new colors, and just move it over slightly. Like that. Once again, onto this page here, that looks very, very dull that map. I'm not that happy with it. So what I might do is just go to the maps layer and I'm going to go over to Adjustments and just increase the saturation to brighten it up a little bit like that. Change I don't want to change the color really, maybe that saturation to get a bit more color in there. So that's that one there. And then finally, we've got the contact us Page over there. Right, have a go with that, get everything ready, and then we're going to save it out and we're going to take it, and we're going to cut it up and then put it onto a phone as a carousel. 60. Animation - Intro: Procreate can actually do some really cool animations. If, however, you want to go really heavily into animation, then I'd suggest using another Procreate package called Procreate Dreams. You can find it on Procreate's website. But within Procreate, we'll do some cool animations, once again, lovely stuff for social media and we'll animate some little bits like suns. I'll show you how to animate text, and we'll also take as you can see on the side here, the infographic that we created and put a little bit of animation onto that, as well. 61. Intro to Animate Assist: I've got a blank document here. You can see this just layer one over there, and I want to do an animation. So what I'll be doing is I'm going to go along to the little spanner actions, and I need to go to Canvas and switch on the Animate Assist. Now what happens with the animation assistant is you have a little bar along the top, which says play, settings, and add frames. So the thing you need to know about animation is that each layer is a frame. So if I were to take a little shape, so I'm going to go to my pencil tool, and I'm just going to draw a little squiggle in here. So there we go, one squiggle there. And then I added a frame. Now, you can still see that one. That's called onion skinning where you can see multiple layers at the same time. And then I drew another one over here, and then I added a frame, and I did another one that went like that, added a frame like, so I'm not actually doing anything particular here. When I go back to my layers, you can see each one of those individual brush strokes is on a separate layer. So now all I need to do is click Play and I'll play those one at a time. That's quite cool, really. If you find it's too fast, go to your settings and you can change the frames per second. I could take that down to four frames a second, or I could speed it up to 60 frames a second, but then the animation doesn't really work. So that's how animation works. It really is just a matter of doing a number of frames. Let me do this again, so I'll just pause that, and I'm going to get rid of these layers here. So let's do this again with some circle. So I'm going to start off with a small circle over there, add a frame, make it bigger, add a frame. You do these in different colors if you wished, as well. Just change that too. That, add a frame. I'm going to stop at any moment now, but let's add another frame and do one more color. Oh, I missed that frame. If you miss one, just go back over there. And I think for the last one, which is this one here, I'll just have it exploding. You see, this is pretty rough and ready the animation that I'm doing. When we play that, those come out and explodes. But when it gets to the end to this one over here, I want that to stay on here for a number of frames. So if I click on that, I can go to the whole duration and I can say, I want that to hold for another, oh, ten frames, and you can see how it's making those extra frames in there. Let's play that. There's so much fun that you can have with this frame by frame traditional style of animation. So do have a bit of a go with that and create something really wild and wonderful. 62. Animate Your Name: Now a really fun one is to try your name. So once again, I'm just going to go up here, go along to Canvas, switch on Animate Assist, and I've got a small pencil over there. I'm just going to do W. Then I'm going to add a frame. Now the problem with this is it'll just play one at a time like that, which is fun. But what about if I wanted the name to slowly build up? Well, what do we do then, and I'm just going to undo those? Let's just get rid of that last frame, as well. So here's my first frame. Then instead of actually adding new frames, I'm going to do it from here, but I'm going to actually just swipe over to the left hand side and say duplicate and then put in the next one. You can see where this is going here, and we're just building this up really slowly. So W dot, and then I'm going to keep going. And let's have another one here. It's always trying to remember how to spell your own name. And one more. My name there. And then I'm going to have another frame over here. We'll duplicate that, and this is just going to have an interesting line underneath. I'm going to go to my settings and just take down the frames per second, so it's a bit slower, and let's play that. And, of course, at the end, we want to stop there. So we'll go to the last frame over here, and I'm just going to take the duration up quite a lot, add a lot of frames. So it'll just sit on that last point for quite a long time. And anytime now, it should replay itself. So start at the beginning play, and it waits there for a while. Anyway, have a bit of a go with that. It's all fun at the moment. This is not terribly useful for business yet, but there's some fun stuff that we'll be able to do soon. If you want to get really into animation and do quite a lot of it, I'd suggest rather than actually using Procreate, I'd go with Procreate dreams. There's more options in there. H 63. Animate Hand drawn Graphic: I'd like to make something for social media, I'm going to click the little Plus button over here. I want this to be Instagram portrait. So at the top here, the width is going to be 1080, and the height is going to be 13 50. That's perfect for Instagram. And I'm going to click on Create over there. I want to bring in a picture in here that's going to be my background picture. You can choose any image you like. I'm not going to give you this or say use this one. Just pick anything you want. And I'm going to go to add. Find the image that I'm looking for. So insert a file, and I've got a surfer over there. So what I'd like to do is like to animate a hand drawn son over here in the corner. Now, this is going to be a problem because if he's on the first frame, then how do I get him onto the next one? Well, one of the ways I could do it is I could just keep duplicating his frame with a picture on it. It's not ideal really. So instead, what I'm going to do is on the first frame, and let's go and switch on Animate Assist on the first frame here, I'm going to click on that first frame. And I'm going to say, make that the background. You can see I can switch on background there. I'll just show you again, background there. And that means that this frame will always show. Now I can go in and do my son. So I'm going to pick a yellow orange over there, and let's add a frame. Even though that frame hasn't got the picture in, they will both show at the same time. So I'm just going to go and find an interesting little brush. Let's try this one here, and I'll start off with a little dot. And then I'm going to just add in more frames over here. Now, I can either do that by layers or I can do it by adding frames over there. We'll make that a bit bigger, a frame. We're there. So I've now got that happening there. So there the sun is sort of suddenly exploding in the sky. I'm going to stop there, so you can get to that point there just with a picture in the background and then do some little dot which is animating out. And then what we're going to do is we're going to put in some sun rays around here and we're going to spin them around. But get to that point first. M 64. More Animation of Graphic: Now, let's look at this top layer, go to the very top layer over there, which is the last one. I'm going to duplicate that layer and I'm going to draw in my little sparkles here, sunrays, I suppose, they're called. There. And then I want to take that and spin it around. So I'm going to pull over and duplicate that, and then I'll just use my rotation tool to rotate this around. Use my finger to do that just a little bit. And this is where actually using those the onion skinning really helps because you can see exactly what you've done. Let's do a few more of these once again in there, rotate that a bit further. Duplicate that again. I think this will be the last one that we'll need and rotate that further round as well, like so. And of course, we want to stay like that. So we're just going to once again go down here to the last frame and just hold on that for another nine frames. Check the settings. I'm going to go down to ten frames a second and let's have a look at that from the beginning. It's fun, and it's just a bit eye catching when you have something like that on a social media post. You could bring that in and then bring in some text after that, as well. Anyway, have fun with that, and then I'll take you a little bit further on with this in a moment. 65. Export Your Animation: Now, how do we export this? Well, if we go along to the top to the spanner, we go to share. Then we've got some ways of sharing it down here. There's an animated gift, which is great if you're putting it onto something like a website. Unfortunately, things like Instagram don't use animated gifts. So what we have to do is have an animated MP four file for Instagram. Now, the problem with Instagram is it won't recognize a file as an animation or it won't allow you to use it unless it's at least 3 seconds long. So just be aware of that. You might have to animate a lot more or add a lot more frames at the end to get your full 3 seconds in there. Anyway, I'm just going to choose animated gif, sorry, animated MP four over there, and you can see it shows me how it's running. I could actually even slow down the frames per second in here. Okay, it looks better when it's faster, but then I'll just export that out and I can save it wherever I wish. Once again, try exporting that and changing the frame rate, but just be aware of using at least 3 seconds for Instagram. It's got to be an animated MP four. Otherwise, if it's just for a website, an animated gift is perfect. 66. Make Background & Add Text: I've gone to a blank document again, still the same 1080 by 13 50 size. And I'm going to go and bring in the same picture once again. So I'll just go to my ad and add that file in very quickly. Now, what I want to do is I want something else in here as well. So I want to bring in a piece of text that I want to be on the animation permanently. So I'll go up to the top, add text and put in surf shack. And I would actually like to just adjust that text. So we want something a little bit more groovy in here. As I said before, just in case you missed it, you can import your own fonts in here. You just click on Import Font, find it, and it's done. I've got a really wild one over here that I'm going to use, and I'm going to make that text a bit bigger, and I think I'll just change it to interesting color like so. Okay, so I've got my surf shack text in there. Now I just want to animate a little squiggle over here maybe going across. So how can I do this? Because I've already got two layers on there. If we go up to the top and switch on our animation assistant, I go to my first page here and I say, this one here, I want this to be the background. Only that will be the background. The text will only appear on the second frame in there. The way round it is to actually group your layers together. If I take this one and I'm going to just click this one, flick this one over to select it and then say group. That is now a group, and those are both in that same frame if you like in here. I can go to this frame and say this one is just going to be the background all the time. Both of those bits will always be there. And then up here, I'm going to go and add another frame in there and just put in my squiggly line. So I think I will then duplicate that, and you can see it's made a new frame in there and maybe just go wild with it. Anyway, you get the idea you don't have to watch everything that I'm doing over here, have a bit of a play with those. But the important thing is using that last setting, which is actually going in and grouping them together. So when we play this, those will be there, but that will be on a frame by frame basis. Try it out. Two. 67. Animate Icon & Export: I'm going to go back to something we created earlier, which is this one over here. You can see we've got tons and tons of layers in here. I would like to animate a little ball of wool with some knitting needles going round in the corner. So because I've got all of these, if I were to just go into my animation assistant, you can see if I played that. It's just showing them one to time. So, as I said last time, what we need to do is we need to go and select all of these items in here. And group them together over there. And then I can bring in my shape that I want to use. So that's going to be this ball here. And while I'm here, on that same layer, I'm just going to draw in some knitting needles on there as well. So we'll just use some black over there and draw in a little knitting needle which is going to go there. And another one. Oh, let's do it here. So it looks like it's actually sticking into the into the ball itself. I'm going to copy that. So over to here, once again, I'm going to go and copy, so it's add, copy that. It's just that layer that's selected. Now that I've copied it, I can actually use two fingers to undo that just in case I want to get back to the original again. And let's go back to this one now. Now remember, I have grouped all those together so I can show and hide that group in there. And then I'll paste in this little shape. Make it smaller. Now, I want that to be white. So let's go along and have a look at our hue saturation and brightness. Can I pull that up to make it white? Yeah, there we go. Really easy and simple like that. This is going to go in the corner over there. We'll just scale it down a bit. And the rest is simple to do because all we have to do then is to animate that, so it's there, duplicated, rotated a bit. Let's try that again, duplicate, rotate. And I'm just gonna cut the spit out because it's gonna take, you know, you don't want to watch me going all the way around it. Right. I think that's just about it. You can see I've got lots of players in there. And on the last one, I just wanted to stop, so I'm going to hold the duration in there for a number of frames. Let's just go with 20 frames over there. Let's play it and see what we get. Now, why is this going backwards? Well, it's to do with the settings in here. This is set to Ping Pong. If I choose that way it'll go forwards and then backwards while you're watching it. If we just go to loop, it'll get to the end and it'll run round again and stop. Once you get to the stage here, just remember you can go up and go to your share, choose animated MP four or animated gift. And one last thing, when it says web ready, don't worry about using that one. The quality is really low. Always go with Max resolution in there and export it out. I hope you enjoyed that. Have lots of fun doing different animations. It's a great thing to do and sit if you're sitting watching something on screen, and you can just fiddle with the animation and create some really wild things for yourself. But most importantly, have fun with it. 68. Making Things Look Realistic - Intro: If you're working with products in procreate and you want to cut them out and put them onto other backgrounds and bring in texts and all sorts of things, very often what you want to do is you want to add shadows or reflections into the image to make it look that little bit more real. And of course, that's what I want to show you how to do in this next section. We're also going to add some liquefy so you can see how that works beautifully while trying to make something look well, as realistic as possible. 69. The Power of Composition: I now, let's do a new image, and this is going to be for Tik Tok. So I'm going to click on the little plus over there. I'm going to make a new document which is 1,000 wide by 1,500 High. This is the two by three format. And I'm also going to check my color profile to make sure I'm on RGB and SRGB down there. And I'm going to click on Create. And I want to bring in a picture, but just before I do that, I like to just talk about positions on a Canvas. Now, when we go to a Canvas, I'm just going to choose a smaller brush. Over there, when you go to an image, whether it's a canvas or a photograph or whatever, there are certain parts of the image which are more powerful or they draw the eye in more than others. One of them is actually to make something right down the middle there and use symmetry. So you've got the same thing on both sides. It's not free down the middle. There we go. So you've got the same thing on both sides, and that's a really lovely composition that one can do. The second thing is you can have symmetry across the middle like that. However, if you're doing something across the middle, I would suggest that you never put it right in the middle. Put it just a little bit above the middle. This is known as the optical center. This is the true center. Well, as close as I can get, but that's the optical center. When you look at an image, your eye naturally sits just above the center over there, not too high up, but just a small amount above that. Once again, it's used for composition and it's called the optical center, so slightly above the normal center line. But the other things we've got are things called the magic third. This is where you divide an image up into three. Like that, and let's have thirds going that way. So when you look at the composition, these lines here are the most powerful lines on the image. So compare that to something alike there, we've just got sort of two lines in there. It looks okay, but having those other lines in there, the thirds gives it a lot more power. Now, there are even more powerful positions on this image, and this is obviously where you want to put your brand, your image, the main focus of the image. And that's where these two thirds cross. Nops, let's go back to that one. So it's kind of there, there, there, and there. And those areas there are the most pleasing areas on the image, and they are where most people's eyes will gravitate too. We'll talk a little bit more about composition later on in this course. But if you'd like to get your image up or get your canvas made, then go along and find an image to go in there. I'm using this image over here of a water bottle, and you can see right in the middle there, that's very, very powerful over there. The horizon is slightly above the middle. So it's not quite in the middle. It's just slightly above. As I said, that's the moth optical. In fact, if we did that, would be closer to the optical center going that way as well. But another way to put this image in would be to actually have it on the third over there, which gives it a lot more power being on that third line in there. Yes, if you move it across to that side there, you got lots of room for text, but it loses the power that it has when it sits on that third line. Anyway, as I said, find this image and bring it in. This one came from Unsplash and we'll move on. From there, get your image in and put it on the third and don't forget to leave some room at the bottom because we're going to do a reflection down there. 70. Create Reflection: Now, sometimes when you have an image, especially if you're making it up yourself, you might find that you want to have a bit of a shadow or a reflection in the image. And I want to have a bit more of a reflection of this bottle down here. So let me show you how to make them. What I'm going to do is I'm going to use the selection tool, and I'm just going over to the free hand tool over here and I'm going to basically cut a little bit of the bottle out like that. Now, let's just look over there to oate. So what we've got here is all lined areas the protected area, and this bit here is selected. And I don't think I got everything in there. You can see there's some lines going on over there. So I can go to add and I can add this in over here. It's just go. Add that bit in. Now, I'd rather have too much than too little because I can always erase it later on or put a mask on when we do masks later. I'm going to go along to edit and copy, or the free hand tool, you can just say copy paste in there. And that'll automatically, if I just hide that, just copy and paste that section straight in there. Now, it does look a bit rough and ready. So I'm going to take my erased tool over here with just a standard brush maybe a little bit softer than that. So I can go in and just change my settings over there to soften it, or I can choose one of these other brushes. I think I'll actually go with medium hard blend in there. Take the size down a little bit, and I'm just going to erase out some of this over here. As I said, this is a little bit rough and ready, but don't worry too much about it because you won't actually notice when we finished what this looks like. I'm just going to take that and once again, erase out this bit over there and this last bit. Down here. So now that I've got that on a layer, what I want to do is I want to flip it upside down and put it underneath the bottle. So I'm going to go over to my move tool, and down here, I'm just going to say flip vertical, and I don't want to push it down there yet, because if I do, I will lose the bottom section. But that's going to go down there. You can see it looks rubbish at the moment. I will show you how we can fix that very shortly. Anyway, do try that out. Get something on a separate layer. So you've got the bottom section on a separate layer so we can then adjust that as our reflection. 71. Using Liquify: Now, I'm going to use the move tool once again and I'm going to just push this down to there and maybe move it up a little bit like that. What I want to do now because the reflection shouldn't actually go over like that, I should actually go around and follow. You move that down, you can see it should just follow the base of that. It shouldn't sort of go over there, I should go from there round that way. So I'm going to go along and I'm going to use the liquefied tool. The liquefied tool allows me to push things around. You can see I've got a very big brush there. You can change the brush size down here, and I'm on the push option. So now what I can do is I can just push with this liquefied tool to kind of move those bits down. If you use a brush which is too small, you're gonna get something which looks really weird like that. So I always go with a big brush, probably bigger than I think I need, and I can just push those down. To this doesn't have to be perfect because nobody's going to look too closely at it. It's just got to look vaguely like it's correct. Let's move that down into the right position. So roughly about over there. That's great. Now, all I need to do is to change the opacity of that, and we'll have our little reflection over there. There we go. You can see it looks like the reflection. If I switch it on and off, you can see before and after. As I said, it doesn't have to be perfect. It's just got to give the impression of it being a reflection. Do try that out. 72. Add & Adjust Text: Let's bring in a bit of text. So same again as per usual, add some text. I just put in the word hydration in there. I think I'll just select it, change the color to maybe a white. And over here in my settings, after I've made sure I've got the right font, I would just go over here to the tracking and just adjust the tracking slightly. I think I want something a little bit bigger, like that. I don't want it too close together. Over there. Let me move that down into the right position over here. Now, the other thing that I want to do is I want to get more of a liquid feel to that word hydration. And if I go along and I'll go back to my adjustments down to liquefy, I can then liquefy text, as well. So I'll just make this brush a little bit smaller and I can then start to pull it Put that H out a little bit. So maybe the N can come in. Over there. I'm happy with that. Come out of that. You'll see what's happened is it's taken the editable text and made it into just normal pixel so I can treat it like any other pixels as well. I'm going to just take the opacity down on that bit of text. At any time, you can just go back in there again and we can continue so make that H come in a little bit more like that. There we go. Have a bit of a play with that. Use the Liquify tool on some text. 73. Add Animation: I like to create a bit of animation now, so I'm going to go in here and I'm going to take all of these three layers, select them all, and group them together. And those which are all grouped together are going to be when we go over to our animation assistant. Those are all, if I click on here, going to be the background, so they'll be there all the time. And then what I want to do is I want to sort of have a painted area, so it almost looks like somebody's painting this whole background picture in. So I'm going to go and add a new frame over here, so let's click on the plus over there, and I'm going to fill this frame with well, whatever color you want, Tele, I think I might go and choose an interesting blue but make it a bit brighter over there. And then I'm just going to paint use my standard brush. And fill that whole thing like so. So that's the first frame over there. So even though we go back to here, that will still be the first frame of there. And then I'm going to slowly start to reveal this using the erased tool and making copies of that layer. So let me go and find an interesting brush that I can work from. And I always like these ink ones. I think they're quite interesting. So that one, you can see if I erase it, we'll get something like that. So I need to have one or two frames over here so this can sit for a moment in there. So I'm just going to say hold that for five frames. And I've then got the five frames over there. Then when we add another frame, I'm going to go in here and I'm going to duplicate that frame. Now, this one here is also holding for five, so I'm going to click on that one and just say, that's going to just be one frame in there. So do watch out for those hold frames because it's easy to then just keep repeating the one that you've done, and then it's really slow. So with this one, what I'm going to do is just very simply take my brush and start to erase like that. And I'll do the same thing again and erase a bit more. And the same thing again. And erase some more of that. And I can just keep going until I've erased all the bits that I want to reveal that picture. You can see that my brush is not taking through 100% of that or appearing not to, but it's actually not the brush itself. It's because of the onion skin that we've got in there. You'll see it will actually look okay later on. So let's duplicate that one, take out a bit more. Duplicate again. I'll just leave a few little bits in there to give it that interesting look. Let's do that one. Over there. And one last one. Over here, we can get rid of that and most of that as well. And then that's pretty much it. But this last one here, I'm going to have to hold on that frame for a while so people can see how an amazing image. So for 30 frames in there, let's have a look at the settings, and I'm just going to take this down to ten frames a second for now and we'll play that. There's a bit of a funny jump. Over there. I might have to go back and have a look and see why. I've got a frame that seems to hold on itself for a moment. Maybe I'll have to remove that. But do try that out, and you'll find you can do all sorts of really interesting effects over here, start from the middle with the spiral and just keep working with the spiral and you can get this image to undo itself in there. Anyway, I'm going to sort mine out. You have to go with that experiment with it and see what you can get. 74. Experiment: Now, I've done exactly the same thing, but I just started with a small circle and got bigger and bigger and bigger all the way out. Of course, you could do it the other way around where you could actually start with painting it in and just start to paint and then paint more and paint more to get something to cover up. But you'll see there's my layers in there with small circles getting larger. So try all sorts of different experiments. If you want to try with a brush that's moving, you can do a little bit more of a brush and then some more and then some more and then some more to get an interesting effect from that. Remember, when you want to export this, go along to actions. We're going to go along to share, and you're going to be using animated MP four. You can animate it out. Have fun with that and try some other versions. 75. YouTube Splash Screen - Intro: Let's create a YouTube splash screen. Now, when we do this, we're going to be looking at cutouts, but we actually want to take the cutout on a little bit further so I can show you how to tweak it, especially hair, which is always a bit of a problem. And then we're also going to look at creating this sort of custom frame using a brush, which is quite a cool technique that you can use on so many things. Of course, all the techniques that we look at here, you can use on socials, you can use on printed materials as well, obviously. 76. Set Up Document: Let's build a YouTube splash screen. So I'm going to go and make a new document over here, and for YouTube, the width is going to be 1920 pixels. This is for HD by 1080. Or you can go with four K a lot higher than that. But for the moment, let's do 1920 by 1080. Once again, check the John SRGB and click Create. Now, for this example here, what we're going to do is we're going to use the idea of a journal and how to write a journal or how to create a journal. So we want a journaling picture in the background. We're going to have some text. We want the person's face because we want to personalize it quite a bit. We're also going to look at the composition of this as well as a number of other things to do with cutouts. Anyway, I've got that. I'm going to go and find my journal picture, so I'm going to go and add it in but and there's my image. I do want to make it a lot bigger because I'm really actually only interested in this little section over here where her hands are as the background. So if you'd like to get that far, find an image, bring it in. And if you need to, you can change it by going to your settings and you can use your adjustments to lighten up or darken down or change the color. For the moment, I'd suggest not doing that until you've brought the other images in, and then you can kind of see the relationship between all of them. I know mine looks dark, but it's deliberately so. Doctor. 77. Bring In Cutout Portrait: Now, I'm going to bring in an image, and I've used the same technique that we looked at earlier in this course. So if you can't remember how to do it, go and have a look at one of those previous lessons. I'm going to go up here and I'm going to insert a photo. So I've got a cutout photo over here. Remember we did this with the car and also with that person. So I brought her in, and I want to have a look and see where to place her. Now, remember what I said in the previous video about having things on the magic third or golden third. You see, if I break this down into thirds, that's about the third. So if I move her across, in the middle, it's very powerful. But if I move her across there, it's much more powerful, much more pleasing to have her there than, for example, just right on the end over there. The other thing is her eyes are really important. So I want to put them also on a third, so I'm just going to make her a little bit bigger. So she's going to go on, let's see. The third is there. And I think that's on the third that way as well. If it's not quite perfectly in the right position, it's not the end of the world, but get it as close as you possibly can. So that's what I'm looking for. Something like that. So she's her face is pretty much the most important part of this. Once again, bring her in and place her wherever you want. Unfortunately, you can see that the edge of her top is kind of out a bit. I'm going to cheat here. What I'm going to do is I'm going to go in there, and instead of actually being able to put that back, I'm going to use an erased tool, and just with something as simple as the airbrush, softish airbrush, I'm just going to go down like that to make it look almost like that so shoulder. Oops, which is going in over there. Have a ga. 78. Tidy Up Cutout: Now, when it comes to hair, let's have a look at her hair, you'll see that there's some white areas over here. It's not so prominent on here. But if I were to put in a background, for example, you'll see this a lot better. So I'm just going to temporarily put in something behind her. I'm going to make it very dark. And just kind of paint there. So you can see those little bits of hair are very, very light over there. So if you've got something against a white background which has been cut out, it's absolutely perfect. Against dark background, not so much. So how can you get around the problem if you do have a dark background? Well, if, for example, I had taken this background here, I'll just get rid of that one that I've just done, and I'm just going to go and flip it horizontally. So let's see if that's going to be a problem. I'll have to bring my background in again. Yeah, so that's fine. I really just I'm doing this to show you the way around the problem. What I'm going to do now is I'm going to go along to her layer because I want to paint those little hairs much darker. I'm going to use a paint brush, and I'm going along to my airbrush, and I'm going to use a soft airbrush up here, not too big a brush. You can see it's quite small. Now, if I were to on her layer, just paint. You can see that's a nonstrter over there. But what about if I actually went in here and I clicked on there and I said, Lock the Alpha Lock the transparent bits. When I paint now, you can see it only paints where there are pixels on that particular layer. I'm going to take my brush opacity down a bit, so it's not going to be quite so dark, so let's go and reduce that a little bit there. And then when I paint, it'll only paint where there are pixels, and I can just darken those down. Same on this side over here. Now, I don't want to go too far in or I'll end up painting straight on her face, and a few of those around there, just to darken them down a bit so it's not so obvious on that background. Actually, that looks quite good with that, but the writings the wrong way wrong way around. Anyway, do you have a little bit of a go with that. If you ever have those white pixels around the edge, you just click on there. You go to Alpha Lock to lock down the Alpha, and then you can use your paint brush and just paint in those pixels very, very carefully. Don't go onto the face. Don't go too far into the hair because others will just go flat black. You've got to be delicate with it. I'm going to put my other background back in now. 79. Add a Frame: Let's give the image something a little bit more interesting to bring the eye in. I'm going to go to my paint brush and I'm going to choose a bright color. I'm going to go with, say, for example, this orange color there, and I'm going to do a new layer over here. So layers, add my layer in. And then I'm just going to paint in something. Now, what brush should I use? Well, once again, I'm going to go with the inking ones in here just to get some interesting texture like that. That doesn't look very orange. Let's make sure that we are on orange. And I'm just going to paint something on this side here and maybe something on that side to balance it. You'll notice when I do something on one side, I generally tend to do something on the other side to keep that balance. Now, what else could we do in here? Well, I think I'd like to have another layer. And when it comes to color, at the moment, we've got some skin tones and we've got some orange in there. I want to use a complimentary color, color which is opposite the orange on the color spectrum or close to opposite to help balance out the colors in this image. So I'm going to choose a different color. So here, I'm going to go down to the blues, and I'm going to pick a blue. Now, it's given me this blue over here. I don't actually like that, so I'm going to go with a slightly more greeny blue, I think. You can see I've actually got a green blue right next to orange, and those two just go beautifully together. So although technically it's not complimentary color. It's actually closer to complimentary than not. And I want to just make a little line or paint a little line around the outside on my new layer. So I'm going to go and I'm going to use a selection tool and I'm going to use a rectangle. And I'm just going to draw a rectangle from that side down to there. That'll do. So you can see here that we've got the lines on the outside, and on the inside, we've got the unprotected area. So if I went to paint, what would happen is when I painted, it would only paint up to that line. Now, that's not really what I want. What I want to do is the opposite. So I'm going to go over there again. I'm going to put in my little shape over there. And here, I can just go in and invert the selection. So now the center is protected and the outside isn't if I took my paint brush over here and I just did kind of like a little line up there and a little line over here. I'm looking for sort of a painted effect, but the middle is going to be absolutely smooth and straight. I don't like that top line. Let's try that again. Doesn't have to be perfect. We're just getting something painterly. In there. I think that will do. Let's go over here and just move that below. Now, I don't want to put it below the yellow layer, but I do want the person above that layer. So I'm going to take my person and drag her above that layer over there. I switch off that selection in there. Lastly, we just need some text in. But if you'd like to have a go and get up to that stage over there, then we can bring some text in. You don't have to use the shapes that I've done here. You can use any shape you like. I just wanted to show you some tools working with the shapes themselves. M 80. Add Finishing Touches: I've brought in some text over here, and I've got my two lines of text in there saying journal basics, and I'm going to just change the size over here. But I want the two of them to be closer together. So I'm going to change the leading because the leading allows you to move the lines of text closer together, like so. And then I also want to go to my tracking and just change the tracking and pull it out just a little bit in there. Now, if I click between the J and the O over there, and let's just go back in here again. I can use Kerning to just adjust the distance of individual characters. So urning allows you to just individual characters, whereas tracking changes a whole lot of characters. I think I want to actually change the color of this, and I'm going to make it white, and hopefully that will be seen. Well, not quite so much. Let's move that up a little bit to this side. Now, how can I make the text stand out a bit more? Well, what I could do is I could actually go in here and put a layer underneath the text. So I'll do a new layer in there, get my paint brush, and I'm going to sample some dark brown from this underneath picture. So I'm going to hold down the little square over there and click, and that will allow me to sample that color. Using the paint brush, I'm going to go along to my airbrushing, use a very soft brush, and I want that brush to be slightly bigger over there. Let's make it a little bit harder. And then I can sort of paint over there. Under that. Now, if that looks a little bit too harsh, just go back to the layer and first of all, change this to multiply. You get a better looking shadow that way. And you can then just adjust this until your text is visible, but you can just about see the image underneath. Don't forget if you move your text around, you need to move that shadow as well. So you could then just select both of them, so slide over to the right and group them together. So that way, they will actually move together as one in there. I'm going to pop that at the top, like so. Remember, you can always size them both together as well. Have a bit of a go with a simple shadow like that. Once you've tried that, you might wish to try a shadow behind your person. So I can go and do that. Same principle again. I'm going to go to my brushes. I'm going to use a larger brush this time, and maybe just put a bit of darkening behind her and exactly the same thing go in, change it to multiply and reduce the opacity in there. If you get to this stage, you might look at your picture and go, well, you didn't actually really want anything quite like that or you want to change the picture. Because everything's in layers, you can then always go and change that picture to something which is more suitable. It's up to you. Anyway, have a lot of fun with that. Once you want to save this out for YouTube, just go along to your export options, and we want to go to share. And we're going to export this as a JPEG file over there. Have a go. 81. Monograms - Intro: We're going to be looking at monograms. Now, monograms are like logos, but they're with letters, and all of a sudden, you're going to start to see monograms all over the show. Every time you've thought of a logo before, it might be a monogram. Now, we are going to look at monograms and look at the history of monograms, and after that, we're then going to go in and we're going to create some of our own monograms. So you'll be able to do the letters of your name or something like that as a monogram, should you wish. Let's start. 82. Monograms: So what is a monogram? Well, a monogram is when you take letters and you put them together to make a logo. Now, there are all types of monograms, but let's have a look at the earliest monograms. Monogram started out about 350 BC. Yes, that is BC, not 350 years ago, but 350 BC. Some of the Greek cities used to use the first two letters of the name of the city on coins so they could distinguish where the coins had come from. And that was a monogram. So where are we using monograms today? Well, they are all over the place. And normally, if you look at a logo and it's made up of letters, that's usually known as a monogram. But they're used on clothing quite a lot. They are used on caps. For example, I've got an image here of a New York baseball cap with the NY, and you can just about read the NY and they're making a pleasant logo type of shape. So what things do we actually need to make a monogram? Well, obviously we need two letters, but there's certain things that we need to be able to see to make the monogram a good monogram. First of all, we need to look at the readability. Does it work when it's big and small? And you can see the New York monogram works even when it's absolutely tiny. Like that. Let's have a look at some other monograms in here as well. So I'm going to start off with the Chanel logo or the Chanel monogram, because it's just two Cs, one facing that way, one facing the other. Does it work? It's readable? Yes. Does it work when it's really small? Absolutely. Now let's go with another one, Volkswagen. Yes, once again, that's a monogram because you've got the V and the W in there. There are so many logos that you'll now start to notice and you go, actually, it's a monogram because it's made up of letters. Let's have a look at another one over here. Now, this is the Cellarin logo or monogram, and you can see the Y, the S, and the L in there. So what else do we need for a good monogram? Well, we need balance. And this little logo here, at first glance, you think, Oh, my goodness, it's just a complete mess of three characters or letters, but it is actually balanced. If you have a look here, you'll see the top of the Y and the L are absolutely in line with each other. The Y and the other side of the L are aligned. And then the S sticks out here to kind of balance the shape that comes out that way. It is when you start to really look into it, it's actually a beautifully balanced logo. Now, the logo should also be relevant to your brand. Once again, you've got the Y L, it's very delicate. It reflects a brand perfectly. Let's have a look at another one that will reflect the brand. For example, the EA Sports logo or monogram in there, the E and the A, it's got speed to it. There's a mountain to show achievement. It reflects the brand beautifully. It's thick lines, there's power, this punch to it. The other hand, I've got another logo here, and this is one of my absolute favorite logos. This is from the VNA Museum, which is the Victorian Albert Museum, which is a very, very famous museum in London. And this is such a beautiful logo because the letters themselves are so simple. We've got the V there. That line is reflected in the A over there, but the A is the whole of the A is not there. It's only that part of the A in there with the Amsan in the middle. And it just works really well because it's delicate, it's old, and it shows what the museum is all about. So those are the things you need to really look at when you're creating your own monogram. Is it readable? Can it work big or small? Is it balanced? Is it proportionate? If you flip it upside down, does it work? Some of them will, some of them won't. And most importantly, is it relevant to your or your client's brand that they are that they're using this for? Now, the last thing I'd say is when you're creating a monogram, always get feedback about that monogram because things can go wrong and you can't always realize it. I want to show you a little example here. So I've created a few little monograms over here, very, very simple bits just to give you some ideas. This little one here, this is M two initials. There's a T over there, which goes across there, and there's a W for Tim Wilson in there, which I've just put the T on its side and the W in there. Now, you might think, Okay, that's right. Nothing special about it. The problem with this is if this went onto a shirt, the moment that it went onto a cuff and somebody lifted up their arm, they would read it that way and they would read E T in there. So just be really careful with your logos and get somebody to feed back or a number of people to feed back on your designs because they might see something completely different. A quick little story, her personal story is that my mother was a potter. She used to throw a lot of pots on a wheel. She also used to create a lot of ceramics, ceramic dolls, ceramic, all sorts of things. And she had a little monogram that she did herself. Her name was Yvonne Pratt, so she used the Y from Yvonne and the P from Pratt in there. And she started putting this onto her products. And a little while later, her brother came along and looked at that and said, What's that? So she said, YP. And he said, Well, because I have to. And so it's things like that you don't always pick up yourself. So she popped in an M in between from her middle name just to get away from the YP thing. So just be careful of that. I'd like to show you another one over here, so I'm just going to go back to these logos over here. And this is quite a famous example that's come up recently. And this is when Kia changed their name or changed their brand, shall I say, to this one over here. So this monogram, and we've got the K, the I, and the A. Unfortunately, most people read that as a K and an N, so KN in there. If you see that in the review mirrors, well, it just doesn't make any type of sense. So how could they have fixed this? Well, one of the ways they could have done it was to just make sure that people did read that as an A. So if I, for example, went in with my pen over there, just make sure I'm on black in there, and all we need is a little shape over there like that, the bar of the A in there. And immediately it reads as KIA over there. Maybe they wanted the controversy around it. It gives them more free advertising. I don't know, but always get feedback before you give things to clients or before you show them to clients because they might love it so much, and then the feedback says, Oh, there's a problem and the client doesn't want to know about it. Anyway, I will stop there, and the next video, we're going to make a new we're going to make a few monograms. 83. Hidden Meanings: Now, let's have a look at a few easy to make monograms. I'm going to start with these ones down here. This is just a simple B that I've put in. And what I wanted to do was I wanted to take somebody's name. Their name surname was Brown and take the B and make it into some form of monogram. Now, when you're doing this, you need to think about what it portrays. So this one over here, and I'll show you how to do these in a second. But this one here, I've just taken the corner and cut the corner off like that. But what does that actually say about the person that they like to cut corners? I don't know. It doesn't work for me. Is this one, on the other hand, where I've actually put a cut mark down on the B and just extended that out. This is like a key line over there, or a stripe. It says that this person is upright. There's so many things that it can say, but for me, I'm thinking this person is upright. They are accurate. They're all the things that they might need to be for a business. So I would go for something along that line over something like that. Now, if you want to start cutting up your letters like I've done there, really simple to do, I'm just going to do those ones again. So I'll just go with the screen size over here. I'm going to put in some text, I'm going to add in some text, and I'll do the same thing that I did there. I'll just put in the B in here. You can change the typeface to anything you wish. I'm just going to take that and scale it up over there. Now, if I want to start manipulating that bit of text, what I need to do is to change it from a text layer into an editable layer, and we go along and we use rusa rise over there, and that just converts it to normal pixels. And this means that I can then go in and make any adjustments that I want. So I want to put a little bit of a stripe down over there, so I'm going to go along. By the way, I'm doing that, so my hand goes in the right direction. I'm going to use my eraser. In the eraser, I've gone down to calligraphy and I'm using the monoline over there. If you click on the monoline, just make sure that your spacing is fairly low there. The spacing is the number of little dots that make up that brush. If the spacing's too far out, you'll see how it becomes dots. If you want a dotted line, that's the way to do it, by the way, is just change the spacing. So I'm going to make sure those are really close together down there. I'm also going to go to the stabilization, and we can change the stabilization amount over there, and more subtly, we can change this streamline amount as well. I'm just going to leave those on there for the moment. Now, I want to erase across there. So I'm going to make my brush a bit smaller over there, so I'm just looking for a smalish brush. And I'm going to click and drag like that. I keep holding, and then I can drop that there. Now, I've dropped that, and it's not quite in the right position. You can see it's a funny angle. But you see here straightaway when I've let go, it says, Do you want that to be a line or do you want some other shapes in there. We'll deal with those shortly. I want that to be a line. And now I can grab this corner here and I can actually move it around into exactly the right position that I want it to be. So I'm looking for something like that. And all I've done there, you can see it is I've just erased part of that line over there. And it's a lovely way to just give something a bit of character as well by just removing part of it or expanding parts of it. Should you want to expand something, I would go to the selection tool over here. And, oh, by the way, if you're thinking, why don't you use the mask for that Tim, yes, you could do that. I want to do this simply for the moment. I'm going to use a rectangle, by the way, to select that little section over there. And I'm going to just basically manipulate that out, so I'll go back to my tool here, go over to free form, and then I can just grab a corner, sorry, a side and pull it out. As much as I need. But now, be careful because that now reads IB. If I take that to about half, now it still looks like it's part of the B in there. So do watch what you're doing with these. Have a bit of a play with that. Do some erasing on text, create something interesting. If you want to use multiple items in there, by all means, you know, put in two letters together and then start erasing with them. And then we'll take this a little bit further. 84. Join 2 Letters Together: Let's create something a little bit more complex by joining two letters together. What I'm going to do is I'm going to go in. I'm going to add some text in, and I'm going to take the letter J. And I want to have two Js in there. Maybe this is somebody called Jack Johnson or Joan. Jumper. I'm going to do a J over there. But I want this to be quite delicate. So I'm thinking about this person. They are very stylish. I'm thinking in terms of things like vogue, like the VNA, that feel. So I'm going to go and find a typeface that reflects that. Once again, if you don't have the right typeface, just find it and then click the Import font in there to bring in the fonts that you want. And I've got one in here if I can find it called I'm not sure if it's pronounced Dido or Dido or Didot, way it's pronounced. It's a really beautiful font, and it's the type of one that they use for covers of magazines like vogue, that sort of thing. And I'm just gonna make it a lot bigger. Over there, I'm going to say done. Now, I want two of those. So I'm going to go in here and I'm going to duplicate it. And let's have a look at what we can do with that because really it is a matter of playing. I could take that along there, and I could just put two of them together, maybe next to each other like that. I don't like that because these are touching. If you have an item, just touches another one like that. It causes a lot of tension in that area. So you either got to overlap it properly or you've got to give a bit of a gap between it. So we can try moving up. We could try overlapping it a bit over there. That's a funny little lump over there. Or what I'm going to do is I'm going to overlap it a little bit more. So I'm going to have those two. Oops. Could be careful when you're zooming in when you've got this selected. I'm going to move those until they match perfectly. Now, to do that, I need to zoom in a bit. And just move this around. Bear in mind, I'm having more problems than you might have because I'm looking at this at a funny angle because I'm trying to record it down as well. So I've got those two together. I might want to move them across just a touch. So let's see if we can move that across like that. I'll just make sure that those are perfect in there. And I've got these two coming together nicely. But what I have over here is this funny little lump. Do I actually need that? Will this still read as JJ if I got rid of that? Well, let's try that out. I'm going to go to this top one here, which is that one there. I'm going to rusterize it, and then I'll just use my eras tool to erase out this bit over there. I've got a really nice look of JJ in there. Now, a lot of monograms are in a circle. So let's put this into a circle. I'm going to go back to my brush, and I'm going to make sure I'm on my monoline, and I'm going to draw a circle in. Now, I'd like this to actually be on another layer, so it's easier for me to move it around later. I'm going to draw the circle in over there pretty roughly. Just keep holding it until it snaps to become a circle. Then when you let go, you'll see that at the top, it says ellipse. If I click on that, I could say, I want that to be a circle, and that gives me a perfect circle in there. Let me do that again. I'm just going to undo this. And this time, I'm going to make the line a little bit thicker. So. So once again, I'll just draw in the rough circle. Don't let go, keep holding it down until you get this shape over there. And then I'm going to let go, go to the top where it says ellipse and choose circle in there. And because I've done this on a separate layer over there, I can then go and use my move tool to just move it into the right position over there. You can see there's a little gap over here, but that won't take very much for me to just go in with my paint brush and just paint that bit in. Like so. So have a bit of a go with that. Maybe mixing some characters or letters together, erase, if you wish. Try to circle. You can also do other shapes as well. So for example, over here, if I want to square, I can draw a rough square like that, keep holding, and then go up to the top and just choose square from there to get my square size. Try it out. 85. Wrap a Letter Around Another: Now, as you can see, I've just done a little S and a put them together to create an interesting shape like that. Nothing special about that at all. But what about if I wanted an S and a and I wanted to wrap the S around the Well, let me go and do this now. I'm going to add some text. I'm going to put in the S in there. Going to select. I'll go over to my options, and I'm going to make it a lot bigger. But I also want a very simple font or typeface. So we could try avenir. That's quite a nice simple typeface. I think that would work really well. And I'm going to move it down and scat it up a little bit like that. Now, let me go and make a copy of that, so I will duplicate that layer. I'm going to go and choose edit text. Let's select that and make that at like so. Now, I want to just change the T and move it around. So I'm going to pull it down a little bit over there. So I want something like that. And you won't believe how easy this is now. What I'm going to do is I'm going to take the T and the S, and I'm going to rusterize them both. And let's go over here to the T because I want the the bar of the T to go behind the S. So if I go to the T layer, get my erased tool and I'm going to make sure that I'm actually on a monoline once again, and I'm going to have some streamlining and stabilization on that to keep it nice and smooth. And then I can zoom right in. Let's have a look. That's about the right size brush wise, and I'm just going to try that once more. Paint that bit. You like so. Same over here. Just going to paint that there. I'll give the impression that it's actually going on top. Now, there's a bit of mistake there. I need to undo that, and let's try that again, so I'll just paint that over. I think it's the direction that my hands going in. It doesn't want to create that nice curve. There we go. That's better. Then this one here, the middle one, it's going to be the opposite. So we're going to go along to the T and remove the S and remove part of the S. Let's go to the S over there, and we'll just remove part of the S over there. By the way, with this one, because it's straight line, you can just click drag and hold to get there to be a perfect straight line. Let's do that again. So, and one more at the bottom here, this is going to be the T that we're going to remove, so it goes behind that one. So onto the I told you it was going to be easy, and I will just pull this around so I can then start to erase that bit there. Look at that as simple as that. So, have a bit of a go with that, get some characters, put them together. You can always erase, you can remove bits later. If you look this and you thought, I wonder what that would look like if that bit there came down and erased part of that, and rounded that off. Like so. Might improve it, might not, try it out and see. You can always add bits in there as well if you thought it would look more interesting if I actually went in and maybe added that as an extra bit, I could just paint it in, use some black and say, well, what about here, if that went down, then the S kind of continued over there. We get rid of that and then using an arrase tool to just clean that up. A little bit. I'm doing this really fast and a weird angle, so apologies it looks a bit strange, and that looks horrible. So I'm going to undo all those bits that I did in there. Have a play with that, make some really interesting monograms, put circles around them. One of the things about a monogram is they are almost always in one single color. So although you can add extra colors in, you might want to just keep it as a standard color and check your monograms with other people and check it yourself, making sure that it's readable when it's really small. That one isn't the B is fine, the JJ is fine, and the S and the T work okay. Have lots of fun, try it out, create something wild and wonderful. But 86. Well Done & Thank You!: Alright. Congratulations. You've got to the end of this first section. Now, I'm sure you're creating amazing work, but obviously, you want to go on and take it further, so there is another course that you can go straight on to. Now, don't forget to leave us reviews. It really helps us to well, create more courses for you. Apart from Procreate, I have lots of other courses in Adobe, including Photoshop Illustrator in design, after effects, and Express. And in affinity, there is photo, this designer, this publisher, and I also do a course in Canva. To see more of my courses, if you search for my name, Tim Wilson and go along to my profile, you'll see them all in there. Remember to follow me, and that way, you'll get all the updates whenever I release a new course. And finally, get started with the advanced section of this Procreate course.