Noções básicas do Procreate: tudo o que você não sabia que queria saber | Peggy Dean | Skillshare

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Procreate Fundamentals: Everything You Didn't Realize You Wanted to Know

teacher avatar Peggy Dean, Top Teacher | The Pigeon Letters

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Get Ready!


    • 2.

      Set Up Your Workspace


    • 3.

      Get to Know the Interface


    • 4.

      How to Fine Tune


    • 5.



    • 6.

      Manipulating Selections


    • 7.

      Color Interface


    • 8.

      Working in Layers


    • 9.

      BONUS: Working With Color & Layers


    • 10.

      Blend Modes


    • 11.

      Demystify Masks


    • 12.

      Intro to Procreate Brushes


    • 13.

      Manipulating Brushes


    • 14.

      Brush Control & Grain Texture


    • 15.

      Brushes in Action


    • 16.

      Snag Your Free Brushes!


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About This Class

Procreate has been a game changer for designers, illustrators, artists, and hobbyists alike, and I’m bringing you all the info you need AND MORE so you can not only create incredible work of your own, but also use the tips I give you on shortcuts to take full control of your workflow.

I'm also giving you a TON of goodies, including:

  • a full guide book with cheat sheets on 70 Procreate gestures
  • blend modes cheat sheet
  • a custom brush pack of my favorite brushes (made by me!)

They can be found in Class Resources (under Your Project tab - must be on a computer to access).

In this class we'll cover:

  • the entire interface and really get familiar with the software
  • all the gestures and controls to optimize the easiest workflow that works best for YOU
  • working in layers and the isolated power this will give you
  • whoaaa brushes - Not only will we talk about the brushes, but we will also talk about how to create your own custom brushes
  • the absolute magic that is the color interface
  • demystifying blending modes, cuz what even are all those things?

Well no more confusion or not knowing what you don’t know. I got you. All of this is easier than you think.

Now, you might be wondering whether or not this class makes sense for you and where’s you’re at. Let me just say that it’s extremely beginner friendly, and along with that, there’s ALWAYS something to learn. So even if you’ve been using Procreate for years, so have all these people I’ve taught.

If you’re ready to get your hands dirty and REALLY get to know the software, then let's dive in. I can't wait to explore with you.

Meet Your Teacher

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Peggy Dean

Top Teacher | The Pigeon Letters

Top Teacher

Snag your free 50-page workbook right here!

Hey hey! I'm Peggy.

I'm native to the Pacific Northwest and I love all things creative. From a young age I was dipping everything I could into the arts. I've dabbled in quite an abundance of varieties, such as ballet, fire dancing, crafting, graphic design, traditional calligraphy, hand lettering, painting with acrylics and watercolors, illustrating, creative writing, jazz, you name it. If it's something involving being artistic, I've probably cycled through it a time or two (or 700). I'm thrilled to be sharing them with you!

Visit my Instagram for daily inspiration: @thepigeonletters, and head over to my blog for more goodies curated just for youuuu.

I'm the author of the best selling... See full profile

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1. Get Ready!: [MUSIC] Procreate is a beast of a program. It has been such an amazing inclusion to the iPad and for designers everywhere. There's so much to know about it and so much that we have left to discover and I want to welcome you into this course. It's going to go over all of the fundamentals to get you up to speed so that your workflow is nice, consistent, easy. You don't have to try to jumble and figure it all out. One one of those things that you can use for years and still never uncover all of its potential. So we're going to fast-track to get a lot of those things out of the way so that you can get rolling with ease in your workflow. I'll be providing you with all the tools that you need to create a more efficient workflow, optimize your potential within the program, and most of all, enjoy the discovery of it. You are going to be learning shortcuts and gestures to speed up your workflow, you'll discover the tricks about Procreate that otherwise can take a very long time to stumble upon. You will customize your settings, which is huge in optimizing that workflow. We're going to dive pretty deep into layers and blend modes. You're going to learn why and how working in layers will help your workflow and demystify all of those masking techniques. What they all mean. We'll be going over your brushes interface. We're going to jump into brush adjustments to render the exact results that you want. You'll get some of my favorite custom brushes that I've created that I use in all of my work. You'll also discover some brush hacks that will increase your productivity. So without further ado, let's just jump right in and do this. [MUSIC] 2. Set Up Your Workspace: Welcome to the first lesson in your course on Procreate Fundamentals. I'm very excited to go along this journey with you and introduce you to all of the interface tips and tricks to speed up your workflow. We're going to be going over these shortcuts and gestures that you can use along with tricks about Procreate that can take a very long time to stumble upon and I don't want that for you, I want you to get it right off the bat and then you're also going to be able to equip customizable settings, which is also going to really cater to making things streamlined for you. Let's jump on in. When you first open Procreate, you will see your gallery and this is essentially where all of your work lives. You can stack so that your projects if you have multiple Canvases they're all together, so you can see I've stacked these two. I have stacked this project and then you can have things live on their own. You can also label stacks so that they're easy to navigate. Now, the one thing to note is that when you stack, so let's say I wanted to stack these two, I will select, so there's Select button here, select, and then I tap those two. Whatever you tap first is going to be the top layer or the top image shown. But then when you say stack which is right here, it will then remove the label that you had, so you have to rename it. You can remove items from the stack by going into gallery and just dragging them out, so you could select a bunch and do it altogether, and then hold onto them and take them out of that stack and then place them where you want them to be in your gallery. You can also take a Canvas and then hold it on top of another one and then drop it where you want it to be inside of that. That will also stack them. You can also import images. The reason why you might want to import an image instead of opening a Canvas and creating one is just to preserve the actual image size. However, if you want to import an image into a Canvas size that's particular, you can create a Canvas first, just know that it might change. If you have to enlarge the image, it might make it a little bit pixelated. If you have to shrink it, that's fine. But to do those, you can go to Import, that's going to be file types that you can bring in. If you go to photo, it will bring up your photo gallery that's on your iPad. But otherwise, to create a new Canvas, you're just going to go to this plus symbol here and you will have options. If you haven't already, you can create your own Canvas sizes. To do that, you'll just go to this top plus symbol and create your own Canvas size. Oftentimes, let's say you want to make a repeat pattern that can be used for printing you could, this also is dependent on the size of your iPads. Sometimes you'll see maximum layers here. If I go 3,000 pixels by 3,000 pixels, and I want the DPI to be 300, which is dots per inch, it'll let me have 55 layers. That's something to keep in mind as well. Your color profile for the most part. I like to go with RGB and then I just keep it on Display P3, that should be standard of what yours will come up with. CMYK is more for printing. If you were to do something that somebody will require you to work in CMYK, know that that's a possibility within Procreate and you can totally do that. I'd say I've used that five percent of the time. [LAUGHTER] I like to keep to RGB the differences. You'll have a lot more vibrant colors in this setting. You also have time-lapse setting. Your time-lapse, if you've ever seen those really quickly done illustration styles or whatever Procreate projects that are sped up and it's just a screen that's showing it. That's your time-lapse and you'll see, we'll go over it in your actual Canvas so that you can see what that looks like. But your settings here, you can choose to have it be 1080. I don't see a reason for it not, I don't see a reason for it to be 4K, but if you so desire. Studio quality, I think that that standard, so it's going to have nice quality. It doesn't need to be gigantic unless you want it to. Canvas properties. You can choose to have your background on when you start. Once you're in a Canvas, you can adjust all of this too, but this is just to begin. That's to create your custom Canvas. The main area that you want to focus on is the size. Now, if I want to say this every single time you create your own Canvas, it's going to save in this area here. You can see I have some untitled Canvasses here because I had to work on certain dimensions but I didn't save them because I only needed them for that project. To delete them, you can just swipe to the left and say delete. You can also edit them, which is nice, but you can see what I have done is label them according to their size and I've done inches here. It's easier for me. But if you want to do, let's say we did the 3,000 pixels by 3,000 pixels, 300 DPI. What I would do here, so that I know, and I know that it says it right next to it, but it's just for my brain, it works better. I'll say 3,000 by 3,000 pixels, and I'll just do a comma and then 300 and I know it's 300 DPI, but I could also say 300 DPI "Create". Then that's going to open your Canvas. But if I go back to my gallery and I look at those Canvas sizes, it'll be at the bottom, so right here, 3,000 by 3,000, 300 DPI. Then the P3 CMYK. I didn't mean to open that. The P3 is just meaning that profile under RGB, so you can just be aware of that at a glance. The one thing it doesn't show you on the side right here is the DPI and that's why I like to say 11 by 17, 300. Typically, I stick with 300, but some people will go up to 600. You can go to web standard of 72. I just work in 300 to be safe. That is basically the gist of your Canvas in your gallery and all that. Once we're inside of a Canvas, so I'm going to say screen size because you're going to have that as a standard when you open Procreate, it's just going to be there. When you go to this wrench at the top left, that's going to allow you to look at all of these and we're going to go over what they all mean and you go to Canvas information, it's going to show you all of the same things. It's going to say pixel width, pixel height, and then it has actual inches and then the DPI, so your screen size setting is at 132. If you want to change that, you just create a new Canvas that is that size, but you can't edit it, at least that I know of once you're inside of here, there is though a crop and resize setting. Within here you can go to settings and oh, it looks like you can change it. I was wrong, but you can change it and crop and resize, and then change the setting and so sometimes what I'll do is I'm working on a Canvas, I want this size, but then I want to make it square. I've decided to make it square, so this is where I can come in and let's say I have, here I'll just draw a little square here real fast. Really good square. Let's say I have some artwork, I want it to be in a square and I go to Crop and Resize settings and then see this the lower number is the shorter width. I'll just match that and go 2048. Now it's going to be a square. But what I want to do is line it up so that it will be according to my artwork because I don't want any of it cut off. The other part about this that's cool is if I want it to be smaller, and let's say I go to 1,000, then it makes it like this. But if I had gone to this little link, it will make sure that each side sticks to whatever the initial ratio was. If it's not a square, let me show you, if I want to link that and then make this 1,000, see it makes it so it's the same ratio and then I can just adjust it like this as well If I don't want to put in a specific Canvas size. Sometimes I'll do this if I know that the work is just going to be digital or something that doesn't have to be a specific size for something and that way I can crop it without having to enlarge a bunch of my work because the thing about Procreate to note is that when you enlarge anything, it will pixelate it. It's really unfortunate. I try to only re-size something once, twice at the most so that I don't keep losing quality and so when I want to crop something, I usually crop it from the outside in and then you'll say done and then it'll crop that according to what you want it to do. That being said, we will get into some gestures in a bit, but I want to show you the overall interface, the light interface versus dark interface. Light interface is going to give you everything, just going to be lighter. Your layers are going to be light, everything's going to be light. Dark interface has more of a focus on the Canvas itself. Right-hand interface. I feel like this should say, well, I think it should be sloped. I'm right-handed, but I prefer my sliders to be on the left because I don't want to bump them. I just don't trust my palm resist all the time. I feel like I could easily just accidentally use a knuckle which isn't going to feel like palm resist. Like if I use [LAUGHTER] maybe it will. I don't know. I like it to be on this side, but if you want to switch your sliders to the other side, all you'll do is go to Preferences and then you can turn on right-hand interface and it'll pop it over there. Now dynamic brush scaling. What that is basically if I was to change the size here, it's going to go pretty fast. If I pull out, let's change the size and pull out. See how now it's slow. I can go up and down and it's going to go a lot slower, so that's going to give me a precise size. Pressure and smoothing. I don't touch this unless, for here, I touch it to my brush settings specifically so that it's not global and it's per brush, so we're going to go into that in a later lesson. But just as an FYI, it is here if you want global settings and then the toolbar here is for your size and opacity. I very rarely touch opacity because I'd rather play with opacity in layer settings. It's part of working indestructively. For example, if I was to use a brush, let me get a bigger one here. If I was to use a brush and put the opacity down, you can see that it's transparent, but I can never get that higher, like it's already done. If I go to that layer, there's nothing I can do, whereas I'll just do a different layer real quick. I'll tell you why in a minute. Well, actually I'll tell you why in the next lesson. That's the opacity low, whatever I can't do anything about it. The opacity is on the layer all the way up. This was the brush setting. If I was to make that all the way up my opacity slider, it's going to be nice and solid, but I can then change the opacity right here. The only time it would work in your benefit is if you had some paint type of effect you're going for because you can see, you can't see strokes here, whereas you could here. See, that's the difference. But that being said, I still don't touch it right here. I would still prefer to go into my brush settings, which we're going to do and actually change the opacity within the brush so that it has that effect if you want it to and then you can have, let's say two brushes, one of them that is more opaque and one of them that's more translucent. Then you can choose between those two, and that way, this part, I just like to have things too editable as possible basically. Something I want to share with you before we go into Select also is, you'll see these lines right here on my slider. This is intentional that I set the last time I used this brush. Let's say I'm working on a project and I have to leave it to work on another project and I want to know exactly what size I have that before I left it, you can easily whetever you set, like let's say I've been using this size and I don't want to forget, I can just tap it and then do the plus symbol and it's going to make a new line right there. When I want to get rid of it, I can just tap it and remove it with the little minus sign. I just hadn't done that yet, but it's nice because this didn't use to be part of Procreate and so the workaround I had was just like, oh, create an invisible layer and make notes essentially or just create one at the top. What I would do is be like, well I was using my mono brush at 81 percent. [LAUGHTER] These are terrible notes and then I would just turn that up the next time I go into that layer, I know. I do think that's helpful still because you can record what brush it was you are using if you forget or you work on a lot of things at once. A little tip that will help, but you can also use those selectors, which is nice. [MUSIC] 3. Get to Know the Interface: [MUSIC] As we get back into this wrench, there's a lot of stuff going on. You got your actions, in here you have add, so this is where you can also insert a file on top of the canvas that you already made. That's what I was talking about in your gallery. You can already have your canvas created and then insert the file. When I say file, I mean you might have an image or something that lives in your iCloud or lives inside of Dropbox or Google Drive or something, whereas insert a photo, pulls from your photo roll on your iPad. You can also take a photo, I've never done that, I don't know if you want to. You can also add text and you have your fonts to choose from. It's not super intuitive because you're like okay, but where are my controls. If you just double-tap here, you'll see this control setting right here and then you can click on the font and then make all of these changes here, including tracking, leading, and this is your line spacing, your letter spacing, so there's a lot that you can do with this. If this is larger, you'll see it better. You can also outline, so what that looks like without being highlighted is this versus that. That's just something neat that you can do as well with text. Then to show you right off the bat and we're going to jump back to here but since I want to clear this layer, your layers panel is right here. It looks like two squares on top of another, and this is where all your layers live. I'm going to delete the text layer that I just added. Note that it is currently a text layer so if I was to select it, it's automatically a text layer, I can edit it like so. If I was to rasterize that, it would turn into an image. Let's say I want to change the color of it, don't worry, we're going to go over color in just a minute, but if I wanted to change the color, I could do like that. But if I drag and drop a color on top of it, it will rasterize it. Look at this, text layers rasterize. It tells you that so quickly that you might miss it. If you end up putting a color drop into it and it rasterizes it, you will no longer be able to edit that text, it will now become an image. Know that before you change the color. If you do change the color, do it from within the text, so you'll just go into the text box and then you can change it from that instead of doing a color fill. I'm saying that now so that you don't make that mistake later, just getting it out of the way because I feel like the more information we end up digesting, those little things can be missed later on. If you like texts, you want to work with texts, you want to be able to edit your text, just know that. To clear layer, to delete it, I'm going to swipe to the left and say delete. We'll go over layer controls in a bit, but just as an FYI. Back to my wrench here, I've got all of those and then I have cut copy and copy canvas. I typically use gestures for copy, so we'll go over those two, but they are here so just keep that in mind. Your canvas size, we'd looked at, crop and resize, animation assist, your reference, we will talk about as well, I'll tell you all about it when we get into layers and working with layers. You can flip your canvas horizontally, you can flip it vertically, we already looked at canvas information. Your sharing, that's how you share your files when you're done with them, so basically you can share them as a procreate file. Let's say you wanted to keep all the layers intact, if you've ever used an editing software like Photoshop, this is very similar, so you're going to share with all the layers, maintain and then when you upload it again, let's say you're switching iPads, you can import that as a file and it's going to keep all of the layers, which is really helpful. You can also export as a Photoshop file, so PSD is Photoshop. If you work on the computer and Photoshop or anything like that, or if somebody wants a file in that form, you're able to share it that way, which is great. Aside, if you're looking for a vector-based file type to export to, procreate does not work in vector base anything, it is strictly a raster based program, so that's not something you will find here, just so you know right off the bat. You can export as PDF, which is your typical file. JPEG and PNG, those are image files so is TIFF. JPEG is a little bit smaller, it's good for sharing. PNG, it keeps more of the quality and you can also remove a background and keep the background out of it by exporting as PNG. Then TIFF, it's more of a large file type. Then you can share layers individually and that's where the animations really come into play. But let's say I wanted to share individual layers, you can do that as a PNG or as a PDF, which is really helpful if you want to continue working outside of Procreate, but not something really that you're going to need to know right now. Video, when I talk to you about time-lapse, this is where you're going to find that. In each canvas, it will have its own time-lapse replay. In this one, you're going to see what I did. I have that quick square that I made and then I had the text. That's all you see. You can turn this off. When you turn it off, you can say don't purge and that's going to keep all of that original work and then everything that you work on when you turn it off won't be recorded but then you can turn it back on. You can also turn it off and just purge everything so that if you want to start from a certain point and then pick up that time-lapse later, I don't think I've worked on it long enough, let me see if I can do it to this line. If I export time-lapse video, there we go. I can choose to do the full length, like where it actually goes through, it's still going to be sped up, or I can choose to condense it into thirty-seconds. It gives you that option then it's just going to share it as a video file, well you can choose where, but you can have it be on your iPad. From there, then we have preferences, and this is where we're going to spend some time and you will love this. Once you're done with the wrench, you can go into this little magic wand icon and this is all your adjustments. This is going to be really helpful if you want to adjust certain aspects. [MUSIC] 4. How to Fine Tune: [MUSIC] You can go into this little magic wand icon and this is all your adjustments. This is going to be really helpful if you want to adjust certain aspects. I'm going to open a piece of art I have already done once. If I work on this collage here, and this will be a good example. You'll see I have all these layers done, so I'm just going to select this cat layer as an example. I'll make this a little larger so you can see it. I can go into my adjustments. Here is saturation, brightness is what it sounds like. Here, I can change the color of this cat person. I can also boost the saturation to make it more intense. I can make it go down to gray scale. I can also make it lighter and darker. That's what all that is. Back in adjustment panel. I also have color balance where you can really adjust the color itself. More blue, more red, that doesn't do a whole lot to this, but let's see, magenta really makes it more vibrant. Green neutralizes it, but you still have some little hints of green, yellow to blue. You can tweak these based off of what you want to see. You can also do this with your shadows and your highlights. Oftentimes if you see something that's a little bit moody and muted and that's like shadows that are leaning more blue. See how the mouth here. Wait, let me get out of here. There. When the shadows lean more blue, it's just a little more like it has a different personality. That's where you can adjust all of those settings. When you go into curves, that's going to be your contrast. When you pull down, it's like an S curve basically. If you pull down, it's going to really deepen the darks. Then if you pull up over here, it really highlights the light colors. You can adjust that. It's not really going to do much to this in particular. Let me go to the one of the flower layers. This one here, let's see what that will do to this one if I pull it. Let's see how it just deepens it and then I can lighten it. That just adds a lot more contrast. If I de-select it, I'm going to use two fingers that's going to allow me to undo something. Undo. See now it's more neutral if I do the contrast, if I add the curves edit that I just did, I use three fingers just so you know, to redo. Come on. There we go. It just really deepens it. That's what curves will do. Now I can go to "Gradient Map" and this is going to give you a lot more. You're going to play with gradients here. It makes it so that it's an isolated theme. Then you can play around with the settings there, which is just fun. Not something we'll probably do. [LAUGHTER] I like that accident I did [LAUGHTER] get out of here. There we go. Your Gaussian blur, that is going to blur something. All you do is you select it and then you take your stylist, your apple pencil or your fingy, and you will drag it. This is nice if you have a situation where you want a blur a background or add some bokeh or something like that. Motion blur. It's a similar blur. It's just going to, so I'm only on the layer right now that you see this effect too. That's why it's only happening to that one in the layers panel. You see I'm right here, but that is going to get you set up to create that effect. Then on perspective blur. If I'm on that same layer, I can show you. Basically one of them, it play around with them. You have the option to create positional specific blurs and whatnot. You can see that one is going from a certain point. This isn't really something you're going to need a lot of when you're creating art, but it's still nice to know I've used Gaussian way more than I thought I would, but I don't usually use motion or perspective, but there is always a time and a place. Noise is what it sounds like. Let me focus on something that's a little easier to see. I'll go to this hand. If I go to noise, you can see that it just creates that grit. If I was to not push up all the way obviously, but if I was to just push it a little bit, you can see that it creates this almost gritty just old photo vibe or like something that was pixelated. You can do that with intention too, let's say it was with art. I'll pull up a different Canvas and show you something that was like if I was to pull up this guy and I wanted to add some noise. Here's all one layer, but noise. That would just create some texture. It's even know know that. I wouldn't say this is the best cheat sheet for it, but if you wanted to throw some in quickly, you could, then you have the option to change what kinds if I make this larger, you can see this is called clouds, this is bellows, this is ridges. You're not going to see a lot of it in this scale. You can also increase the scale. You can actually see that this is what the texture is that's happening. There's just little minor details and you can change the turbulence of it. You don't really notice it, you'd let me make this bigger. It just changes how fine the separations are between. Here it's like a lot wider and here it's a lot smaller. If you want to use that, it's there for you. There are those options. I have never used noise, but it is there. Sharpening. I will say I have used sharpen and it's usually when I have had to re-size something enough times to where it does start to lose quality, which I mentioned in the beginning try not to do that. I'll show you sharpen. If you just slide it up here, I'll make this bigger so you can really see it, slide it up. See how it's just, it's taking that blur and it's making things a little crisper. I'm careful with sharpen because you when things are too sharp, they just look a little bit and we don't like them, but sharpening a little bit can help you if you end up resizing something too much and then you didn't have a way or you didn't want to undo a bunch of things to get to the point where, you know what I mean. There's a time and a place. Real quick note. You saw how I moved to this, how I resized it, and now, it's coming off of the Canvas. Something that you will probably run into is, you'll notice, now it's gone. The rest of it's gone, where did it go? I didn't mean to do that. Why isn't it working? Especially, if you're used to using Photoshop because it doesn't do that, it just shows you your workspace and everything is fair game. That's not the case in Procreate, you have to have every single bit that you want included on the Canvas at all times. For example, if I'm going over here and moving stuff around, it's no big deal until I deselect it. Once I deselect it and re-select it, the rest of it's gone and this is all I have left. Let's say I just did a bunch of work after it was already at let's say this point and I just kept working on it and then I wanted to move it over and then I noticed that that's what happened. Maybe I've even exited out and gone to my gallery and then gone back in. This is where you're going to run into an issue if you don't know this ahead of time, which is, you can no longer undo. Once you leave the Canvas, you cannot undo anymore. That's one of the reasons you want to preserve that original layer so that you can still work off of it. You might have gone backwards a few steps, but if you were to let's say 15 steps from here, you really like how it's looking, just duplicate that one and make that one go away and then create on that new layer and continue to do that. That way, you're not going to lose that original work. [NOISE] You can also do this in the form of creating a duplicate Canvas. If I was to swipe to the left and duplicate that Canvas, I can leave this as it is, I don't have to mess with my layers, nothing like that. It's just a matter of having a whole new work project. That being said, I will get rid of that layer, get rid of that layer, turn this one back on, and we'll go back into the adjustment settings and you'll see there's a lot of fun ones. Like bloom is going to give you this glow and then you can change the transition and where that's coming from, change the size, change the burn. Just little things like that that are fun. Then there's glitch and halftone. Glitch is going to separate stuff and give you this, I think it looks like confetti. It's pretty fun. You can change the block size, change the zoom of it, you can split things like this, make things wavy, this is fun if you do it to text, change the zoom of that one. You have signal. This is the same, but it introduces that color back in and then diverge. You can change the shift. If you go up close here, you can see that it's shifting off of the original one. You can change each shift, blue to green to red and whatnot. That's just fun to play around with just for added effect. Then half-tone. I like this one because it's like that old pop art style. You get to go from screen print, newspaper, and full color, and make that pretty small, pretty large. You can do this with brushes because there are halftone brushes, but if you wanted to apply it overall to a background or some shape or something, this is a quick, easy way to do that. Chromatic aberration. This one is my favorite of these techniques because it separates the primary colors. You'll see the blue and the red and the yellow and then you can see this transition that you can adjust and the falloff and adjust that. You can also change the displacement where that makes it look like it has a glow too. But the perspective part is very fun, especially if it's a basic shape or something to play with. Liquify. Liquify is what it sounds like. You can move stuff around changing the size of the brush, you'll see the brush here. What this does is it lets you nudge things. Let's say you wanted, instead of having to erase and move and do a whole bunch of stuff and let's say you have a bunch of layers that are applied to this face and you don't want to have to adjust every single layer, you can group them. I'm not sure if you can work in groups with this, but I would probably just duplicate the Canvas and flatten those layers and then I can come in here and change the size and nudge the face where I want it to go. Then I can make those edits without having to work on all those layers. That's nice. You can change pressure, sensitivity, momentum. You can also have things twirl. If I press down here, we can't, can't tell right there, here. Press down, it'll twirl. I can change the size of that. Press down, spin. That's really fun with different effects, texts, and whatnot. Twirl right, twirl left. Pinch, that's where it's going to pull it all together like this. Just fun. Expand does the opposite, it blows it out. Crystals. See how that just turns it into those little crystals. You can change the edge. You can reconstruct, which is going to put things back to where it was before you applied liquify. But you can do that only in certain areas. Like let's say you made a bunch of liquify effects and then you didn't want to have to undo to get to one part, let's say you made these adjustments here, but then also these adjustments and you didn't want to undo those even though you had just done them, but you want to fix this one and make it go back to normal, just reconstruct that area and then it goes back to normal. Adjust the strength, and then you can also just reset the whole thing. There we go, and we're back to normal. That's liquify. Then clone is where you can, let's say, I love this dot so, so much, let me make this larger, I can clone that whole area basically by using that as a guide. [LAUGHTER] Just a fun little thing you can do. Then that's it for the adjustments. You will use adjustment panels so much, so that's great to keep in your back pocket. [MUSIC] 5. ALL THE GESTURES!: [MUSIC] Quick tip that I wanted to share with you as far as gestures go. You can set it up where I believe it's not set up this way already, so let me show you how to do it. But if I hold down the middle square in-between my two sliders like this, and then I hold my stylus or Apple pencil over a certain area, you can see that it's going to pull up the layers that are right there. Then I can select which layer I want based off of where my pencil was. In this case, I want this red layer here and I don't want to have to go through and sift through all my layers and find it. I can just hover and then it will select it if it's only one. Otherwise I can hover and select the layer I want, and then it'll be on that one already, which is really helpful. To set that up, you'll go to your actions, you'll go to Preferences. We didn't go over preferences, so I want to do that, but you'll go to gesture controls. This is where you can enable, disable. All of these things, make these adjustments the way that you want them to be. I have to tap the middle there, which I believe to start out with is like a color sampling, if you will. But for me, if I tap this, my quick menu comes up, that actually might be standard, but if it's not, I recommend having it set up that way. Going back to Preferences, Gesture controls. Finger touch will invoke quick menu. I don't have that on because I touched my screen and use the pencil and I don't want to have to think about any of that. I don't have any of these set on, but you can look at them and see if that's something that you want to do because everyone's workload or work process is different, so those might be handy for you. Eye dropper, that's where you can pick up a color that's on automatically. What that means is you hover over something and you can grab that color from it, which is really helpful. Then what's the other one I wanted to show you? Layer select. This is the one where I have. It's selecting, holding down that little square that's in-between my two sliders, which you use software that was, and then using the Apple Pencil, and that's going to invoke layer select. You can decide what you want to use for that, but I highly recommend using one of them because it will speed up your workflow so very much. It's incredible. Then of course you can go in and change the settings here as well. Like a finger will always erase. You can set things like that if you want that just are going to make your workflow easier. I do recommend looking through all of these. Quick shape is another one. You can decide how that comes up. I will draw and hold and that will make that shape. So hold, and then it locks in place. If I touch my finger to it, here I'll do a square. It will. Maybe that changed. I think I changed it. No it's working. It'll just make it more effective for that shape. The other thing that's new, I'll do this one, say it makes it a perfect circle versus just a perfect line. The draw and hold is your perfect line. Draw and touch is your perfect shape. That goes for lines too, so you can draw and hold. Then if you tap, it will let you do 15 degree increments, which is really helpful. Back to this part, I'm going to hold that and it'll get on that layer. I'm going to go to, I can choose it like this if I want to, those flowers. Now, this next thing I want to show you is having to do with color and with the quick menu is why. We're going to get into color, but for now this is regarding the quick menu. You saw that if I tap here, which you saw in settings, how to change yours? How it pops up. You will see your quick menu. Quick note. This will pop up wherever your Apple pencil was last. You can see now it's over there. I think that's annoying. I wish it always showed up in the middle, but just so you know that if you're like, "Whoa, why is it cut off?" That's why. Pulls up, you'll see I have re-color here. The reason why I want to really call this out is because this tool used to be used by everyone so much. Then in an update, which it may, by the time you watch this, it might change again, but you will have access to it in quick menu. So that's where you can put your controls that you want, where you want them and all that you need to do is enable quick menu like you saw and hold down one of the controls, and then you can choose what you want that to do. When this pops up, you can go down, find, re-color, and put that in as a control which is awesome. Actual size makes it so that you can see the canvas' actual size. Just play around with those. You're going to see how that will work. Now, re-color. The reason I love this so much is because you can see this little cross here. Since I'm on the flower layer only in the base layer, so there's texture layers over that, but I'm on the base layer. This is letting me re-color in live time. If I go to my color wheel, anything that I do will reflect in live time. Anytime I deselect, by the way, it keeps on that last color, so just know that. But if I was to turn off the texture layers, then I'm going to really be able to see these colors that I'm playing with. In this live color, recolor is my favorite thing ever because I feel like I end up creating something, not really worrying about the colors and then isolating what I want later. It's just like a workflow I've adapted to or adopted or put it in. I don't know. [LAUGHTER] I think that that's going to be really helpful for you. Just as a quick refresher, if you want to enable quick menu, you're just going to go to your tools, go to your preferences, go to gesture controls, go to quick menu and decide how you want that to come up. I have the top one, which means I can just press that button there and it will come up to set your quick menu. You just hold down on one of those controls and decide what you like. You can even do this for brush settings if you don't want to have to go through all your brush settings, you can select the brush that you want. It's really handy. I haven't used it except for re-color [LAUGHTER] because that's like the one thing that I constantly want access to, but I feel like that's a missed opportunity and we should take advantage of it. That is that. Now, we are going to go on to the Select tool. [MUSIC] 6. Manipulating Selections: Let's do selections now. I just want to identify what layer I'm on. I'm on only the base flower the flowers. This is going to let me move things around, adjust them in size and whatnot. I'm just going to explain. I'm going to actually, before I do that, I'm going to go to a new canvas, and I'm just going to draw a simple shape. This is not so confusing. A color drop, just an FYI, you pull the color from the top right and then just drop it in. You'll also notice a color threshold when you do that. In a circle it's no big deal. If it was like a grittier piece of art or something with more texture, you'll see a threshold once you drop. It looks like this, and you don't see it until you pull it down. You're still holding onto it, and then that's when it comes up. Color threshold 100% is going to fill entirely. Then if you go down more, it will only fill little bits and pieces and you'll see what I mean as you get into creating. This shape, I select it with my selection tool and this is my menu that comes up. Snapping, what that means in magnetics is that as I move it, it's going to snap and be a magnet to the original line. That's really helpful when you want to center things, like super-helpful. You're not always going to want that. You're going to want to be able to nudge things where you want them to go. That's under snapping and just turn those off, and you're going to have a lot more freedom. There is a time when you're going to want it, and a time when you're not going to want it. Then you can also adjust the distance. If I wanted that to be on, if I meant that go way down, it's going to allow me to do smaller spacing. But still, I would rather either have freedom or I have really concrete, like I know this is going to be centered. The other part is this is uniform right now. That means if I was to re-size it, even if I go up or around or down or whatever, it's always going to maintain the original size. If I go to free form, it will not happen that way. It will happen in this warping weird way and it will not maintain. It used to be that you could put a finger down, it would adjust. But now it has its own little friend and it's uniform and that is that. You can go to distort, and that's going to allow you to move things up and down around the corners and along the sides. But you can also do this in free form. If you just take one of these little blue nodules and hold it down, you can do that in a free form. I never ever used to store it. I just do things in free form. Then I can hold down a corner and move it how I want it to. It's on snapping. That's not going to give me that free form. I want to turn that off, but there we go. I can do that with that or I can go to distort. It'll just automatically do it without me having to hold it down. Then warp. That's where you have even more control over specific areas within something. That's really handy as well if you want to do something like that. Back to select. You can fit to canvas. If your canvas is a certain size and you want it to fill the whole canvas, just hit that and it's going to get as edge to edge as it can while maintaining its shape or maintaining its art. Nothing's going to get distorted. You can also rotate. I can show you, add some colors so you can actually see what's happening here. Color, another color. Oops, I don't know. Color choices. I select that and I can say rotate 45 degrees. That's going to give you angles along the planes. You have your x plane and your plus plane, and it's going to hit all of those points. You can also flip it horizontally, flip it vertically. All those things are really helpful. That's basically your select tool. Let me see. I wanted to show you what the color drop looked like when it was applied to only a certain part of something. Let me go into these friends, and this one here. Let's just make sure. The recolor or color drops, same thing will apply. If I'm going to pull this down, see how it covers basically everything. If I was to pull it down, see how it stops selecting everything. This has a lot in it, so it's going to be hard to apply as a whole, but that's all I wanted to use that example. You can really see what the color threshold looks like. If I go all the way up now, sometimes you'll go all the way up and it doesn't actually fill all the way. It means I just [LAUGHTER] ran out of space. I'll undo and it will remember the last place that I was. When I do it again, see it's at 58, and I can just bring it all the way up. This is the same with recolor. If I get my quick menu going, recolor. The reason I like this too, is because I can decide where exactly I want it to go to affect it. If I apply it to like a darker area, it'll get that color. The darker area enlighten everything else, but still change the color. But let's say I only wanted it to be this little blushy area. See how sometimes if I hit it just in a certain spot, it affected everything else. But let's say I want it to only affect that blush spot down here. It's called flood. It's the same thing as your threshold essentially. I'm just going to pull it down. You can see now that it's really only affecting that blush spot instead of the whole bird. That's where your color is going to be a lot more manageable and customizable based off of what you want to do with it and the controls that you have over that. [MUSIC] 7. Color Interface: [MUSIC] Now we're going to move into more of the color options. Well, first we'll go over what these tools are, but you're going to spend most of your time in this area, and your main brush setting your layer panel and your color panel. Let me quickly tell you what these two mean. Your brushes are going to be here. We're going to get into all of that, but what this is here is your blur tool, so you can blur with any brush that is in your brush panel. Same thing. You'll find them all here and same with your eraser. You can use your eraser with any brush that you want. This is nice because you're able to apply these effects with the same style brush so that you don't have something super textured or pretty or like transparent and then you take a harder eraser to it, so that's going to be really helpful. The my layers panel is here. We're going to go over all things layers in a different lesson but not this one. I'm very excited about [LAUGHTER] that lesson. But for now we'll go into colors. Just quick gestures. If you pinch open, you're going to see that you have a larger view of this color panel. It makes things nice and handy. Right now, it's docked up to the side, but you can actually, there's a little line right here, and if you take that line and pull it down, you can move your color panel anywhere that you want it to go so that you don't have to keep opening it. Just a little cheat. You can also open your pallets from there, go to your color wheel and more, but I'm going to click the "X" and show you what everything looks like on this larger scale. You will have history right here. I did get feedback when this first launched that some iPads were not showing the history a certain size of them. If you're not seeing that bar, just make sure that you have the latest updates otherwise, it's probably I don't know why they would do that. The size of the iPad, whether that be storage or actual size, it doesn't make sense to me. But either way, what this does, it's just like this addition they had in a mid update where you can see like well four times ago, what was the color I chose? It was this green. Cool, I can get back to that green now. Just a little cheat, but if you want to remember the colors you're using, you can just create a new palette. To create a new pallet, you'll open the color interface and you'll go to palettes, and then you'll see that you have all these palettes procreate comes with some, but you can do your own. You can just tap the plus to create new palette. You can also do it from a file or a photo, but I'm going to say create new palette it's going to automatically be selected, so when I go back to my desk, it's right here. Let's say I love that color. I just tap the square and it will save it for me. You also rename your palettes within your palette space. Just go to these three dots. No, that's to share. You just tap the actual title and you say new palette. That's how that works. You can also see them as cards, so if I go to let's say, this one here, I'm going to select it. If you select any color in the palette, it'll automatically select it and then it will come up here. You can also view them as cards, and it actually says the name of it, vibrant yellow, green, which I think is really fun. But the other parts are, if you ever see a hex code or anything like that of a color that is the color identifier, you can go to value and enter that code here. This also works for like the classic RGB or excuse me, I guess it is in here where you'll see, right here, it's really dark. [LAUGHTER] Let me turn the light interface on and see if that makes it easier to see. Cool. You can see 226, 212, 201. That's also a color code, but typically it'll be on a hex code which you can enter right here. Like if I go to f's, or f it's going to turn it white. There's always six digits. That was only five, 1, 2, 3, 4, 5, 6 there. See how it turned out white. Hex codes like I think if I do like before, before before is a gray. This one is a whole bunch of different things, but [LAUGHTER] yeah, so you can use hex codes. You can go to the class. This is just going to show you a classic color picker versus a disk. I like the disk because I'm able to play with cues as well as shades and, as well as everything there, but then there's harmony. I love this one so much. The one thing about this is that it's not intuitive that you can change underneath what kind of color harmony disk, because you can't tell that it's a select. If I tap whatever word this is, it's tetrarchic. I don't even know how to say that on mine right now. Yours might say complimentary, it might say something else, but if you tap that word, you have all these options. Complimentary colors are fantastic. I love them. They are directly across each other on the color wheel. Whatever color I have selected, it's going to automatically select the other one on the other side, and this can be, playing with shade, playing with hue, up and down here, playing with tint, so really helpful. You can do split complimentary. What that means is it's the color opposite of the color wheel, one over, so it creates three colors and that's split complimentary. If I select this, then I can also select this and select this and use split complimentary colors, so it's pretty cool. Analogous is my all-time favorite because it's going to pull colors that are next to each other on the color wheel. If I show you an example, I select this one. I'm going to get a brush that you can see better. Though I'm not used to this light interface, it's throwing me off. Here's this color. I go to the color wheel, I select the one right next to that one, and then I select the one on the other side. This is an analogous color palette based off of the initial color that I had chosen, which is very fun. You can also do triadic, that's perfectly dispersed into three areas on the color wheel. Basically a perfect triangle and then tetradic, I don't know how to say it, is perfect quadrants. You'll see no matter what you do, you have those perfect quadrants so you have the complimentary of each depending on where it is. Very fun, I highly [LAUGHTER] recommend playing with color. I have a whole thing on color that I'll actually link for you. Because it's going to be an added bonus. Just bonuses on top of bonuses where you can really identify color and how you want to use it and how and where and when with a file I have, so very fun to play with. I want to go over the gestures that you can use to make your whole process so much faster. [MUSIC] 8. Working in Layers: [MUSIC] We're going to play with layers. I love working this way. I remember when I first got Procreate, what I would end up doing is using Alpha lock for everything. I'm going to show you that first and only so that you know it's there and then show you why we're not going to use it. We're going to use other things. I'm just going to collapse this so that I have a nice clean layer. I'm going to turn that off. To toggle layers on and off, you can just select this square on the right. When I open this up, I've grouped all these. I showed you how to do that in the last lesson, but just in case you don't know, you're just going to select a few layers and then you're going to say "group," and it'll create a new group. You can name those groups, collapse those groups, turn them all off together to select a group and move everything together so that makes things nice and streamline for you and clean so that it's easy to work with. I'm going to turn that off and show you what Alpha lock is. Let's say I have a brush and I have some artwork. That's what's on this layer here. I'll turn this one off so you can see that that's it. This is what's on this particular layer. If I turn Alpha lock on, I go to my Layers panel, I take two fingers, swipe to the right, and release, you'll see this checkerboard grid. Might be a little hard to see, but you'll see it on yours. Then basically what that means is anything that I do to this layer will be only applied to what is actually already on that layer. For example, if I go to this red color and I'm over here, nothing's going to happen until I start to get over here. It's only applying to that layer. Now, the reason why this isn't great is because anything that you do, it's not easy to toggle off and on you, it's done. It's basically a flattened layer. To work with layers independently so that you can then change your mind later or decide what you want to keep and what you don't want to keep or change the opacity, let's say of an overlay, something like that, instead of using Alpha lock, so I'm going to turn that off the same way, two fingers swipe and then make sure the checkerboard and the background is gone and it is, what you can do instead is what's called a clipping mask. I'm going to create a new layer on top. Make sure it's on top of the previous layer, directly on top too. If you have a whole bunch of layers, you want to make sure that whatever you're going to be doing that will affect only the layer that you want is directly above it. Then you're just going to tap it and say Clipping Mask. It's the exact same thing. I can come out here, nothing's going to happen until I get over here. That's essentially a clipping mask in a nutshell. That's all that you need to know about it. You can stack clipping mask. If I have this layer, I can create another layer on top of it, select it, say clipping mask, and then same thing will happen. If I have another color or a texture or something that I want to use, it will apply only to the layers below it. I say layers because depending on the order of this is in, see the orange is on top of the red, it'll clip to the black, but it will also cover essentially whatever is underneath it. If I wanted the orange to be underneath, I can drag it underneath the red, and so it will affect it in that way. Now, you will use this so much when you're applying different kinds of shading and whatnot. I'll show you what that looks like. If you want to delete a bunch of layers at once, I usually just merge them together and then delete. I'm going through and doing each individual one. If I turn this on, I can see that there's a lot of these types of layers. You can see this little arrow, that's going to show that it's a clipping mask. It's also slightly indented. Then select this one, is affecting the stems. If I turn that off, solid color. So it looks a lot more detailed than the actual color is. It's just this really simple shape that I applied a technique to. It looks like, let's see, so clipping mask here, a clipping mask here, a clipping mask here. This one, it looks like I ended up using Alpha lock. I'm not sure why I did that. It might be the file size wouldn't allow me to have as many layers as I wanted. That could be it or I just knew that's what I wanted. But the other thing about it is if you know it's just a quick edit, saving layers is something you might want to do depending on your iPad storage size. For this example, if I wanted to revert it back, all I would need to do is make sure Alpha lock is turned on, select the color that I want, and you could do that in the color panel to tap it and say Fill layer. As long as it's either Alpha locked or selected, it'll fill that solid color. That's a little trick. If you know, it's a simple edit you don't care if you revert it, you could use Alpha lock. It looks like I've done both here. The other cool thing about using clipping masks is, yes, I can toggle the effects on and off, but I can also change the blend mode, and so that's what I want to talk about before we get into other types of masking. Blend modes are a lot of fun. I'm going to use this one as an example because it'll show up more. I have two different colors on this clipping mask. I'm going to turn this off and undo the clipping mask just by selecting it, tapping clipping mask again. This is what that actually looks like. You can see I've got some orange and some pinkish red in here. That's what's affecting this underneath layer and it's just clipped to that beneath layer. That's what that looks like. Now, I can change the blend mode by tapping the end. A lot of times when I do a clipping mask, I will just adjust the opacity because maybe I don't want it to be so intense. Maybe I just want it to have a little bit of, man keep doing that. Maybe I just wanted to have a little bit of effect. If I tap this and just go down, it's just a little bit speckled but not crazy intense. I like my texture to be intense so I keep it, but this is pretty light for me actually. But if I go to all of these different blend modes, I have a cheat sheet for you so you can see exactly what they look like and you can download that. It's going to tell you what all the blend modes mean, and we'll also cover a bit more at the end of this lesson. I am going to approach this in a way of experimentation though because I think that depending on if you're using a light color against a dark color, or a dark color against the dark color or any of those variables, it's going to significantly change the effects and it's so easy to just play with seeing how this is going to affect changes in what you're doing. Like lightning, it's only picking up the lighter color and it's not really picking up that darker color that I used. That will help you get the actual so you know exactly what's going on there. But overall, I just want to see if there's something that I like more than what I had when I just did the normal blend mode. If you don't like any of these, just remember that if you go back to normal right here, that's what all this N means here. That just means it's on a normal blend mode, but all of these will change things. Like vivid light is going to really enhance saturation there. Hard Mix, it really isolates the lighter color and just makes everything a lot more vivid. There's just a lot to play with. I like that one too. I typically stick with normal, but I really like Multiply for a lot of things. I want to show you, let's say I wanted to add shadows. I'm going to do a clipping mask on top of this. I'm going to select a new layer, tap it, Clipping Mask. That's going to do the same thing. It's going to affect everything underneath it until there's no clipping mask anymore. Just a quick note, if you wanted to sandwich a clipping mask in-between this layer and the main one, when you tap a new layer because it was already underneath- Real quick, whatever layer you're on when you tap a new layer, it will create it directly on top of the layer that's selected. When I do that, because it's in between a clipping mask, it'll automatically be a clipping mask. There's no way around that because this clipping mask was- I mean, there is. You could turn off the clipping mask right here, but when you click off this clipping mask, it's going to make it so that all of these are then de-selected as clipping masks and so you don't want to break that, so just know that. But I'm going to do it on top of there and I'm just going to go to black and I'm going to choose, let's go to inking, just studio pen. It's just a basic procreate pen. Maybe I want to create some shadows. You can see it's already a clipping mask, so if I draw outside of here, nothing's going to happen. Something to remember. Let's say I draw this line and I'm like, okay so that's all I wanted to know you think you could color fill. You can't without it affecting the whole thing on that layer because when you turn off this clipping mask, this is what it looks like. If you want to do something like that without having to color, you would want to, I'll do this and then I'll show you what it looks like, you'd want to create the shadow that you want and then connect the two. I guess you wouldn't go that far out. [LAUGHTER] Create the shadow and then connect the two and just make sure it connects. What that looks like without the clipping mask is this so that when I go to fill it, it will actually fill only that area, and then the clipping mask is back on. There we go. Let's say I wanted to create these shadows, and I know it's black right now, so you're like, this is not looking good. This is terrible. Yeah, but we're going to make it not terrible in just a moment. I'm just going to do this loosely, and I'm going to do this hollow because I want to show you how you can continue your color fill without having to do it individually, just as a sped-up workflow. You can just assign where you want these to be. Just know it's not the whole layer because the only thing that this is affecting, this clipping mask, are the orange stems. Then when you want to fill everything, if you color drop in here, I'm making sure the threshold is up and you'll see continue filling. If I do this, I can say, continue filling, and then when I tap, it just lets me continue filling everywhere that I tap and then you can exit out of that. That's just something that's really convenient. From here, I think I want to add just a little guy right here. [MUSIC] 9. BONUS: Working With Color & Layers: [MUSIC] Essentially, what I love most about working in layers is that you can make all the effects that you want. Let me show you actually this. I ended up taking that artwork and I wanted to share certain brushes that I had put into this brush pack and it shows it like highlighted those same textures, but I changed the colors so they would show up more true to what they were. All I did was just go in and change the hue and saturation and all that. I did end up compressing or merging some so that the whole thing would change color together because otherwise it's going to change independently and then you might have like hot pink texture on top of the shape, which is fine because I think that's actually better because then you still have full control. But if you're happy with the texture overall, if I was to go to hue, saturation, brightness and move this around, everything will change together and same with re-color. If I toggle on re-color and come over here, find the area I want it to be effecting. If I go darker, I want it to get in there on one of these areas. There we go, on one of the darker areas so that the lighter areas pop still. Because if I go with this darker color on top of an area that's light. It's going to make everything pretty dark and it won't stand out as much. If I hit one of these pixels that is already pretty dark, I still have that nice contrast. The opposite goes for if I have a lighter color, I'm going to want to hit the lighter areas instead of the darker areas. That can be hard when you have fine texture. But anyway, I'm in re-color. I can move the re-color around, which is awesome. It makes things really handy if you love a color and you're like, wait, I wonder if this could be applied in this way. That way you can see it as a whole is what I'm trying to get at. That's pretty fun. That's going to allow you to play. If I had those separate layers, then I would be able to work with that more. This is a separate layer. If I wanted to change that one, it wouldn't change everything like it wouldn't change this part that's underneath the mushroom, it wouldn't change the top of it. I could just change that color. Let's say I wanted to pop a color, then I go to re-color and make sure that it's over what I want. I'm going to make sure that the flood is up so that it gets to everything, to all the lines. Then I'm going to go over here and maybe I want it to be lime green or maybe I want it to really stand out with a bright blue or something. That's where I have that control and that's the control that you want. You want to be able to control everything on its own. I think this might, I hope it's not flattened. It is flattened. If something is flattened by the way, if you want to unflatten it in some way, you possibly could, if you go to your selection tool, go to Automatic, you could freehand this too, but I'm going to try to do it in automatic. Your threshold works the same. Let's say I select this and it's like this. Well, you can select it and move your threshold up. see the thresholds coming up and it's going to select more. You don't want it to select everything. Then I can come back down. When you have texture, it won't grab everything, but it will grab enough so you don't want that so I'm going to undo. Oh, that's the background. That's why [LAUGHTER] undo until that goes away. Select this part. It's going to continue to select as you tap. I can tap that area, tap this area, tap this one. You might need to adjust the threshold here and there as you go. Make sure to check your previous work because what you do here for some reason could affect the other, which is just annoying, but it is what it is. Let's say I wanted to do that and then this area here, I can adjust this flattened, but I could also create a copy of it. With the selection here on this bottom area, I also have the option to copy paste. I could cut and paste where it takes it away from that layer and puts it on a new layer but I'd rather not, I'd rather just copy and paste it. Now, I have it on its own layer and that will separate things and then I can go here and change the color of just that part without ruining the actual layer. That's another way to work and destructively, especially if a layer is already flattened. There's a lot there, but the main part, and this is probably, I mean, it's my favorite thing to teach because it's going to help you so much in the long run. So much and you're going to be able to do anything that you want without ruining anything, which is huge [MUSIC] 10. Blend Modes: [MUSIC] From here, I'm going to go into my blend modes on that layer particularly. I like to go to Multiply and then I like to decrease the opacity quite a bit and that is going to let me just see a nice drop shadow. You can do this with darken color burn. It's not going to create that much of a difference between these, but you can just see this one allows for that texture to show up more than let's say, dark and white, but multiply you can see it's still affect, it's still in there, it's just darkening things. This is a mess. There we go. It's just darkening things, so it just depends on how you want that to show up. The color is burning through it whereas these ones will still show the texture underneath that, but because it's on the top layer, it's going to have some coverage. Now, Lighten, you're not going to see anything happen because the black that I added is darker than everything here. If it was lightened, if I was to choose a white and make sure that whole layer is white and had the opacity up and then brought that down, it would act like a highlight if I go to Lighten. Now, if I go back to Darken, nothing's going to happen because it's lighter than the color that I chose. I'm going to undo that and get it back to black. Blend modes are very fun for that. Essentially, is what I'm trying to get out, but I would go Multiply as my favorite to use for shadows. Sometimes, I don't even use it sometimes, I keep it on a normal blend mode for shadows because it doesn't really make a difference either way, but just play with them is what I'm trying to say and you'll get the effects that you actually want to get from there. If I wanted to do that to all of them, I could just go and create. Let me show you what it looks like when we do it in between layers. If I added a shadow here, let me make sure I'm on the right layer. Always make sure you're on the right layer because it can hurt when you're moving so quickly if something's not working, just check your layers and make sure you're on the right one. If I want to have it in here, you can see that now, it's underneath all that texture, which is fine. It's totally fine. I think it looks good like this, but if you want it to be more prominent, you can have it beyond the top. If I don't do a blend mode or if I don't decrease the opacity, this is what it's going to look like. If I had a purple that I chose instead of black which, by the way, you can do. Here, I'm just going to color drop that in. You can do that, if you want it to have a certain effect, you can use blend modes basically is what I'm getting at. See when I multiply with purple, color burn with purple, it will have a different effect when it's not black, it'll be a lot more prominent. That's also fun to play with a darker color of the version or of the color that you're using. Then you can decrease that and it looks pretty cool and just bring in different shading. Now, let me show you what that looks like if I move that layer to the top. Here, on top of everything, see how much more intense that is. I can decrease the opacity and then it's just more uniform and instead of having those really, they're speckles, like confetti sprinkles but instead of having those be so prominent like they were when it was underneath, they then go into that blend mode as well so options that you can play with. As a summary, this is going to help you work in destructively as far as when you're adding techniques and whatnot or techniques, shadows, shading, effects of any kind. Now, when it comes to, let's say you want to make something. Let's say you want to make this skinnier for some reason or you want to shave some of that off, instead of going to that layer and taking your eraser to it just right off the bat, there it's gone and you can't bring it back, what you can do instead and this is often when you have other working elements that are communicating with that piece. Let's say you have some words and you're drawing flowers around those words and you want some interwoven some things. This is where that can come in handy. [MUSIC] 11. Demystify Masks: [MUSIC] When it comes to, let's say you want to make something like, let's say you want to make this skinnier for some reason or you want to shave some of that off, instead of going to that layer and taking your eraser to it just right off the bat, that's gone and you can't bring it back. What you can do instead, and this is often when you have other working elements that are communicating with that piece. Let's say you have some words and you're drawing flowers around those words and you want some interwoven somethings. This is where that can come in handy. It'd be behind this stem. Because these are on the same layer, if I was to move it under, it's also going to be, this is on a different layer, but let's say these were all the same, it would be under that layer too, and I don't want that. In this case I can do a regular mask, not a clipping mask, a regular mask on the layer right here, which is this pink layer to hide this area which is not going to erase it. To do that, I'm just going to, instead of creating a new layer, I'm going to tap this layer and select mask. This, you have to only work in black and white. This might seem a little bit strange because we're used to using black for putting things on and then white is like, that's my canvas so it's erased, but it's actually opposite. To hide things, you're going to make sure you're on black. If you want to bring them back, which I'll show you after, you're going to go to white. I'm going to just grab, the studio pen is fine and I'm going to start from the middle so that I don't go too far over, I'll make that larger. I'm on black right now and I'm just coloring over the pink layer and I'm hiding it is what that means. If you have this issue and you keep running into it, you don't want to keep doing guesswork, all that I end up doing is going to that initial pink layer. You see I'm on the pink layer and it changes my color back to normal. If I go to the mask layer it goes to black. But if I go to this layer and just decrease the opacity, I can see behind it and then I know what to take away in my mask. Going back to my mask layer, making sure it's on black, I can get rid of the pink layer. Another way to do this is to go to your Selection tool if you're on free hand, and you can just go along here, and then you can fill this layer with black. I'm going to actually come up and come right to the edge here. I'm going to have to do this to the orange layer too because it goes behind there, but that's okay because I can just do that quickly afterwards. I'm just making sure I'm just slightly inside because I don't want it to have that white space if I hide too much. From there I can close the selection but anytime you don't close the selection, it will close automatically depending on where it is. If It's way over here, it's going to chop this way, but if it comes all the way here, it'll close right there and I don't have to close it. To close it, you just tap that square or tap the circle and then it closes it. But I could just keep it open and do a color drop. Because that's closed, It's a selection, if I drag the black inside of it, it's going to hide everything there, which is great. That's what I want. I'm going to deselect. You'll see there's an area that's not done too, that's because those are different layers so I would have to go to those other layers and create a mask and just hide that, I'm not going to do a great job so I just want to show you quickly so you can have a full vision. Now, these lines are showing up I saw that that's because they're not a clipping mask to the bottom so I'm going to clip them. They're going to skip the mask because the mask is just applying to the layer below it, so we're good there. Then the last one is, I'm going to tap that layer, say mask and the last one is just this orange. Not sure what that little guy is, but that's okay. See how now if I turn the opacity back up, and nice and solid, now it looks like that's behind that layer. It's not, it's just that all of these masks are making it so that those parts of the front mushroom are hidden so that you can see it reveals what's underneath that layer. Let's say I have a tweak I want to make, let's say on this layer, the mask, I did go too far and I didn't realize it, we'd have to do a whole bunch in order to undo it, all you need to do is switch from black to white. Quick tip, double-tap the white area. It'll give you a true white, which is the FFF value. You'll see it right here. That's your true white. Because if you come up here and you try to guess it, guess it's not going to be true white, ever see f8f1, whatever, just double-tap true white and then I can come in and quote, reveal the masked layer to bring that back. That's how you can work indestructively and it will save you so much woe. Woe in the sense of, let's see, W-O-E. You can also toggle masks on and off. Let's say, I don't want these masks anymore, but I'm not sure maybe I will. I don't want to have to erase or go to white and color them back in, you get what I'm saying. I don't want to have to do all that, so I'm just going to turn them off and they work the same as any other layer. You just go to the mask layer and toggle this little switch off and they're off. That is what masking is. In a nutshell, it seems really difficult because it's like we're going to apply masks. What does that even mean? It's that simple. You have clipping masks, which anything on top of a layer is applied to the layer below it and then you have your mask, which affects the actual layer in taking away and revealing. Now, I just want to show you what happens if you do go to a different color or whatever on a mask. You can see I went to a different color and then it actually made it gray. What layer am I on? This one. When I work with gray, it's not even hidden, because it's hidden. Let's see. It looks like I rebuilt, that's okay. You can see that it's not fully getting rid of it. There's some transparency there instead of being white for this white background. That's because it's working in grayscale. Grayscale is not going to be pure white, pure black so it's not going to fully erase something. It acts like an opacity instead. There's a time and a place for it. But overall, just make sure that when you're working in masks, you're either all the way black or all the way white. Then that trick I showed you with tapping to white will work with any colors if you're in here and you want the most pigmented red double-tap here. If you want black double-tap, usually this whole area is going to give you a nice black so it doesn't matter. But if you want the center, double-tap the center. That same thing works well for all of these areas to get the colors that you're really looking for, when you want them to be true colors. Then one thing that I had forgotten to share, I just want to show you if you go to canvas under your wrench, you can turn on drawing guide and that's going to give you this grid. You can adjust the drawing guide because once you toggle it on you'll see this part, edit drawing guide will reveal, and you can click that, change the opacity, change the thickness, change the grid size. Up here you can change the color of the grid itself. Let's see, I've made it like a reddish color. You can make it large and small, and that's really helpful. It reminded me because I have these words here and so I used the guide so that I made sure I wrote as much as I could on a straight line, but we all know how that goes sometimes. That's helpful. This is also where you would go into to start your assisted drawing, where you do symmetry and all stuff like that. But we have too much to go over to get there and there are resources for it. I will make sure that by the end of this, you will have everything that you need to continue. But for now, this is what layers is all about. It's straightforward once you know and understand the terms. I know that the last lesson was a lot and I know that this one was probably even more so, but I hope that this stuff clicked for you and I hope that you really take it and use it to your benefit because it really will help you save so much time. It will help you in your entire workflow in keeping things clean. [LAUGHTER] I'm not always clean with my layers, but it will help you keep those things independent of one another to really allow you to edit and move and make adjustments because we want things to be able to have a flow and just make things easier overall. I wanted you to really get familiar with that before we dive into brushes. I know that's something that you'd think that you would go over first. But I like to be really particular with the way that I deliver information because I think that it will build that fundamental foundation that you need in order to really take all these next steps where you want them to go and you may or may not use them, but if you needed to, they are there, those tools are there to help you. In our next lesson, I will be introducing you to the brushes interface. We'll be going over brush adjustments, how to render the exact results that you're looking for. You'll get my favorite custom brushes that I use in all of my artwork. You'll also discover some brush hacks and tweaks that you can do and use to continue to increase your productivity. I'll see you in our next lesson. [MUSIC] 12. Intro to Procreate Brushes: Welcome back. In our last lesson, we went over layers masking that whole interface, and how you can really use that for upping your productivity and making sure that you have a nice clean workflow altogether. In this lesson, we are going to dive into your brushes interface, we're going to be able to edit things, particularly so that you can render the results that you so desire. There's a lot to know about brushes, I have a package for you so that you can grab my favorite brushes that I've created and used in almost all of my artwork. Let's jump on in. As we went over just in case we skipped a section or maybe you just want a refresher. Your brushes are obviously found in your brush area here, so you have your brushes, your blur, which is also same brushes you have access to and your erasing brushes. In your regular brushes that's where you're going to spend most of your time finding exactly what you want to apply. We're going to go over everything inside of there. First, I will show you. All of your brush sets will live on the left, all of your brushes within those sets will live in the right. This will toggle each of those open so you could see exactly what's going on. If you want to create a new set, you will just tap the plus symbol here, you can title it, new set. I have that as an example before, new set and within there if you select it you can add new brushes. This is what your brush interface will look like, we'll get into it in just a minute, but for now that is how you will set that up. You can also import and so surprisingly it's not at the top it's actually at the bottom. You'll see your imported brushes. That's not where you're going to actually import them, you'll open them in a file wherever they might live. Let me show you an example. At the end of this lesson, you're going to get a brush set from me. What you're going to do is go into that folder, you'll see I have two and here one is a sampler and one's an actual brush set, but I'll show you the full brush set. This is all banners. Actually, that's confusing, so I'm going to show you actual brushes. You'll see something that looks like this and it's dot brush set, that's what you want. If it says dot brush that's an individual brush, if you see dot brush set that's like a folder brush set with brushes inside of it. I'm just going to click the three dots right here and I'm going to say Open In, it's going to download that and then open it in "Procreate". I'm just going to swipe through this section here, "Procreate". It's going to import to Procreate, you're not going to see anything right away. I must have done that accidentally. Then I go to my brushes rather than having it be under important because it wasn't a single brush, it's going to be at the top. So don't let that confuse you but you can now see I have my vintage texture brush set, and you'll see all of those brushes that live inside of it. It's really simple to import and I'm going to delete it because I already have it right here. To delete a brush set, you're just going to Tap and Delete, and then it'll ask you to confirm. If want to delete a regular brush, you can just go to a brush and swipe to the left and say Delete. This is handy because it's also, let's say you have a brush that you like, but you want to apply a different setting to it without ruining an original brush. You can create a second copy of it, so you can see I have three versions of my brush pen. All that I need to do is swipe to the left and say duplicate, and then I can make adjustments according to it without affecting the original brush. The difference between a Procreate's original brushes, I made a little folder of my Procreate favorites because I don't really use a lot of these, but there are some that I love that I use, so I recommend doing that too. You can create duplicates of these by doing the same thing, but you can see where it says reset here. That is because, you won't see that on regular brushes, so if I go to a different one it'll let me delete it but not reset it. The difference between Procreate brushes and others is that instead of deleting them, if I make any edits to this, so I'll show you what that I'm not going to do a whole lot, I'm just going to move stuff around and I say done. That totally changed the studio pen, if I want to reset it to it's original settings, I'm going to swipe to the left and say reset and done. If I loved the edits I made though I can always duplicate it, do it to this version and then I can delete that one because it's the duplicate. But the original brushes will always have their like reset spot. One of the cool things that you can do with the brushes that you create or that you import or any edits like that, you can under About, you can create a new reset point. If I was to make edits and I wanted to make sure that I had a reset point, I can say create new reset point. That's going to happen right now as it stands, and then we're good and now you see reset brush. If I was to make a bunch of edits to this, I can say reset brush and it's going to reset it to this. You do have that option, but I always recommend duplicating brushes if you're going to make any edits at all, that way it preserves the original one you don't have to worry about it. When I'm on a brush, we'll go over editing in just a minute but basic settings here you have your slider. I mentioned this in a previous lesson but in case you missed it or want a refresher. This little line right here is there because the last time I use this brush, I set it so that I wouldn't forget some project I was working on or something. Something so I wanted it to be that size. The way to do that is simply you have your size, you just tap this plus symbol. Now I have a line there. If you toggle in between sizes, that's going to remember your size on that particular brush. It won't happen to the rest of your brushes, just that one and it'll remember it which is really helpful. You can delete them just by tapping and then selecting that Minus button, so then it's gone. Then the other thing I like is that if you want a specific number, and it's like you're having a hard time getting just right there because of how quickly it goes. If I select and tap this and hold down and bring it out, notice how slow it goes now so I can get those precise percentages, those precise numbers. Also a helpful deal. Your opacity slider for brushes, some people love it, I don't use it at all. I like to use opacity in my layers panel and if I want opacity in a brush, I set it in my brush settings. But if you do like it's something you want to use it's this slider here, it's going to change the opacity of that brush. Just know it. Now we're going to move into brush settings. Real quick to share a brush or a brush set, you're just going to swipe to the left and say share, and then you can put where you want to share it. You can also tap a brush set, say share, and then go with that. That's how you also rename brushes so if I tap this, go to about this brush, I can rename it up here. We'll go over all these settings but rename it there, and then the brush set you just rename by tapping and saying rename. Let's move into what brushes are all about and how they come about and all the things that have to do with it. [MUSIC] 13. Manipulating Brushes: [MUSIC] Let's move into what brushes are all about and how they come about and all the things that have to do with it. I'll do my ink scratch, that's a good one as an example. Now, I don't know if I'm going to mess around with this, so just to be safe, I'm going to duplicate it so I don't mess this one up. Then, I'm going to tap it to go into my brush studio, it's what it's called. This is my drawing pad. I can sample things here. I don't like to. I don't like to because to me that looks nothing like how it comes out here. I mean, I guess a little bit, it's just for me isn't my favorite, I don't know. It's good for a quick test but I don't really base anything else. Before we get into stroke, there's two main elements that make up your brush, that is your shape and your grain. What the shape is, is basically if I was to take any pen or marker or whatever and just put it down on paper, that's the marker it would make. The grain is when you actually draw what texture, like what comes out, does it have some opacity, does it have some grit, does it have rough edges. Well, edges is a different setting but roughness on the inside of the stroke itself. Shape is going to be your door so you can see how that's coming about and then grain is what's inside of that shape. Those are your two main elements. I wish that those were at the top like it was an order. But that way, you have the base of your brush and how that foundation is built up. When you see stamp brushes, this is what you're seeing is the shape source, and you see like the repeating brushes. Let me show you that real fast. If I was to create a new brush, I have this working folder and I recommend creating a working folder, it's just going to help so that you know like okay, I'm in the middle of this, nothing's actually done yet, but these are things I'm working on and I'm editing and playing as I go. Basically what I do is, when I create a new brush, I use it, and I use it until I'm really happy with it. If I feel like there needs to be a tweak, I'll just go in and edit the tweak, but I'll be using it, and then when I feel really happy with it, that's when I make it an official like, okay, this is a brush I'm ready to put into a brush set and build from there. I have a working folder. Now real quick, I also want to talk about organization just because I feel like it's going to come up. I'd like my brush sets that are under my name, then I have Lisa Glanz, I have Lisa Bardot, I have Liz Kohler Brown, Trailhead. You can see that they're technically in these folders. The folder icon is just two separate sections. If I click that, nothing is actually inside of it, all the brush sets are underneath, but that's just for my own brain. These were the ones I imported from her, from Lisa Glanz, but I create a new brush set, I just go to emojis and I go to folder, and then I select the folder icon, you see it popped up here. Go back to my keyboard. Come on. Rename, go back to my keyboard, new set category, whatever. Then you can see new sets are there, so I'll do this news sets plural. Then you can see new sets boom. You can adjust these by dragging them wherever you want them to go. Just as an FYI, it might help you organize things, like all of my brush sets have this little pigeon the front of it because I think it's fine, and that way when people download my brush sets, they see this little pigeon in their space so they know it's ours. Going back to here, so if you want to create a new folder or anything that you work within for working brushes, I recommend doing it. But I'm going to do my plus sign here, and I'm going to go to shape, it's a circle, I'm going to keep its shape. I'm going to go to grain, keep it grain. This is going to help you really understand the process of the brush studio. So the shape itself, you can edit this. We're not going to for this one, but if you want to edit it, you just are on shape, you go to edit, and then you can import, and you can use their source library, so they have a ton of different shapes here. They did separate it. They didn't use to separate shape source from grain source but now they do. Basically, their grain source goes edge to edge and the shape source doesn't because the shape remember is like the dot from the top of a pen or whatever, so these are shape sources. But we're going to stick with the circle. For now, I just wanted to share that. You can also import a photo, so let's say you created like an ink swatch on paper, took an image of it, made it black and white, you can import it there. You do want things to be black and white. If you ever import an image and it's turning out incorrectly like backwards, it's two fingers, two finger tap, and it inverts it. It's that easy. Just know that the part that shows up is the white part. Just as an FYI, just know if anything's not coming up the way it should, just invert it and see if that works and solves the problem. Grain, same thing, your settings are there as well, you can edit them. You'll see import, source library, the grain sources are all here, which is nice. Now to create the actual movement of this, we need to go to our Stroke Path. Our Stroke Path is the spacing or the spacing is basically how much space there is in-between the repeat of your shape of that initial dot. On a straight line, how many times is this spacing out? Here, it's next to nothing. If I was to make this go up, you can now see that there is space in-between all of those initial. I'm going to clear this. If you want to clear your drawing pad, you just tap it and say clear drawing. That's going to show you how it repeats, and you can have this be pretty far out or close together, however you want that to be. This would create a fun little edge. Now, the other part of this, that is fine, because that's spaces it out on the line. For example, on the line that's spaced out. I'm going to make this closer together for this next example. Let's say I wanted it to be spaced out this way, so coming off of the line so it has some jaggedness, that's going to be jitter. You can see now it's spreading out. Jitter is awesome, even if you have a straight line that has no spacing changes to create rough edges. This is one of the things I have in a lot of brushes to make that organic ink-looking texture, especially on pressure-sensitive brushes, and it creates that nice textured edge and then fall off. What this is, is basically in a stroke, if it has any opacity fall off. If I put this up, you can see that it starts to fade away. I don't usually use fall off because I prefer to have that physical power over it with my pressure sensitivity, so this one doesn't have any pressure sensitivity yet, so we're going to apply that together. I'm going to clear my drawing pad. I'll just have this line so that we can see the sample, stabilization. We'll go into the rest of these. Actually real quick, you don't have to do this if yours is anything, but this is just going to let you see it better. Your streamline, so see you when I do this, you can see wobbles pretty easily. If I was to have these imperfect edges when I turn streamline up, it's going to smooth that out, smooths out with pressure. It's not set, but stabilization is another one where it just gets even more fine tune. Streamline, it doesn't take it completely away, stabilization really smooth things out. There's a time and a place for a streamline for sure. I'm not a huge fan of anything being all the way up on streamline, I usually stick around 30-40%, that way, you have that hand-drawn element. If you're trying to do something more geometric, for sure, this is great for that, and then you have those controls, which is fantastic. But just know like that's what streamline is. You could totally keep it up to 20 ish, and you can still see I have this nice flow here. But you can still see what I'm doing and it's not like, boom, we are a magnet, [LAUGHTER] we magnetize to what we're doing. Like if I have this all the way up, look at that, it's literally a magnet. What I actually did was this, so that's the reason, I just think it interferes with our organic process. Your stroke if it's slower, is what I'm trying to say, it will maintain it better than if it's fast. [LAUGHTER] Just know that. Taper, if you were to edit this area in the beginning of a stroke or the end of the stroke, it's going to allow you to taper the top. This is also something I prefer to do in my pressure controls rather than doing it automatically because then no matter what, it's always there and I don't always want that. Sometimes that will serve you depending on what you want to do. You can also adjust the opacity, so you see it's getting lighter at the beginning, that's also something that you can control in your pressure. I like to do it that way but play around with this if it's something that sounds enticing. Let's go to shape. We'll go to that pressure what I'm talking about in just a bit. But shape has scatter. This will apply more to when you have a brush. I'm going to just go to one, duplicate it first, go to one that has more of something you'll see as an example when I do this. The scatter, what that does, I'm going to clear the drawing pad. If I was to just stamp down once, stamp down once, you can see that they're all in different directions. If I had both of these turned down, it would all come up exactly the way it's showing here. If I turn on scatter, it's going to disperse that, and then if I turn on rotation, it's going to make it so that these are all coming up differently upon both the flow and the stamp, so that they're not all showing up the same. The count depends like it just changes how much it's going to repeat the shape in one stroke. If I do a ton of these, it's clearly very condensed. They count jitter, if it's on one, you're not going to see a difference. If you have it on more than one, you're going to see how it can also jitter similarly. That's going to depend on the type of brush that you want to use. Moving into grain. [MUSIC] 14. Brush Control & Grain Texture: [MUSIC] Moving into Grain, this is where if it's just plain, it's not going to make a big difference, but let's go into Edit. You can revert this to this plain white background when you have finished here, but it's right here blank. But let's say I want to go into Grunge, okay that's say done. Then you can see it creates this whole textured finish, which is really fun. With movement, when this is not rolling, it's going to have more of a smeared effect, so I usually keep that up when I want to maintain the texture. Scale is going to basically show within the stroke, so this is all pretty much together. If I had just this, you're going to see the difference here as well. But the scale is going to make the effect larger and smaller within the stroke. You can see this is bringing it down and this is bringing it pretty large, so that is your scale of a grain source within Zoom. It basically, no matter what size your stroke is, so let's say I have this all the way up and I create stroke and then I go down. Do you see how the grain is staying the same? The grain itself is not moving with the size of the brush. There's a lot of times where I have a lot of texture and I want to go down in my brush size, but also go down in my grain. That's what Zoom is. If it's all the way up to cropped, it's going to stay the same size no matter what. If you want that to move with your brush size, pull it down, and then it will. If I go back here, now you can see that the size is moving with the size of the brush, so that if it's really small, I'm still going to have that grain. Whereas if it was cropped, I won't change that brush size. If it was cropped, you're not going to see as much texture because of how large the grain is within that shape source, so that's what Zoom is. That was a real struggle for me when I first would like buy and import brushes that didn't have that variation. I like the variation, so I usually turn that down. The rotation is going to rotate the grain, but it also blurs it so I don't usually turn that on either. What the depth jitter does is it actually switches between the depth of your stroke and the color as you create. I don't actually use that, but it might be worth playing with. Then blend mode, similar to what we went through in our last lesson. This is going to apply the grain behavior to the shape, so you can see I usually always have mine on multiply, but it will change it quite a bit if you want to explore those. But multiply is going to give you your truest grain to shape that you would want. Then you can also adjust the brightness of the grain and the contrast so this is just like really enhancing that a lot. Then filtering, this is also in your shape but none doesn't soft. It just basically doesn't soften the edges, classic does a little bit improved does even more. 3D grain behavior. Basically in a nutshell, it means like if you have a 3D object, the grain can go with something around a corner or around a curve like brick wall or something like that, so it'll go with it. If it's off, then it'll just go right over it so something like that's the best example I have. You can definitely look into that more in the handbook. I don't do any 3D art, so we're going to move on. As we get into rendering, this is going to basically control how brushes show up and interact with each other. Like if you were to paint on Canvas, like diluted, like watered-down paint versus a nice thick stroke. Light is going to be your lightest uniform. This is very similar to how Procreate structure is. Intense is going to be really vibrant. Heavy is going to be just a little under that uniform also similar to how this is uniform blending versus glaze. The glaze is like the application, the blending is blending together and then intense blending is even more so. You can play with how you want that to interact. Some of these will be a lot more prominent in different types of brushes, but what edges can soften the edges. Brown edges can apply some texture. You're not going to see it a lot in this particular brush and then you have your typical blend mode controls here. When I'm creating brushes, I don't usually touch the rendering mode. I don't really need to or find a reason to, but know that it's here so that you can make these little tweaks if you're like, gosh, I wish that this rendered or blended a little differently. Just know that this is here in you're rendering. We'll go to these ones in just a minute. That's under Apple pencil. You can see opacity options here are all the way up. I want to turn them all the way down. You can see in the preview, there's no more transparency on any of those your size. Do you see how some of them are getting smaller and larger? You can turn that up if you want the stippling brush to have that effect, usually, I just keep it at one solid spot, but this is just dependent on your pressure. It doesn't change what size it's going to be used at. Let's say I have it pretty small. It's not going to change that at all, it will just change depending on the pressure that I put down. Let's see, I'll make this even larger so you can see it better. Pressure, less pressure, you can see the difference here. If I make that larger, you'll see it even more. [LAUGHTER] Light pressure to heavier pressure is going to make a difference there. But if you don't want that or you want it less, so just turn that down or turn it off. That's your pressure sensitivity. Then flow is the same thing that we talked about already. This is just dependent only on your pressure. This is really helpful when you're doing drawing or calligraphy brushes and things like that that makes a huge difference in the pressure. Then opacity as well. Like for example if I go into my brush pen, make this larger, I have this nice tapered. If I go heavy pressure, light pressure, it's going to have that effect. I'm going to go back here. You can see this is big. To adjust that, you're going to want to go to Properties and you're going to see preview size right here so that's what that is. I'm going to turn the preview size down and you can see there. So this might actually have to do with the maximum size here and minimum size, so I'm going to turn that down quite a bit. There we go. Now that's looking normal and now it's acting normal so it's not huge. You can adjust your minimum and maximum size and have your stippling brush work beautifully. If I go back to stroke path, I can turn my jitter up even more. That's going to create even more of that effect. I don't love the previous still I want it to look even more like stipplings. I'm going to go back to Properties and I'm going to make their preview size smaller if I can. That's okay. Let me turn the minimum size down. That looks better. Now it's more of a stippling brush. If I turn that way down, then it's going to work well, then I can layer over that. It's going to work great so there's your stippling brush. Pretty easy. Now, you can do this with a lot of different things. Like here's specs that I created that will create more noise and so that's just as you get more familiar with adding different grains and textures and whatnot and playing with the options here. I'm going to go into a different brush to show you the rest of what these are here. Dilution, this is what makes dilutions going to, as you can probably guess, dilute it and make it so that it doesn't flow as intensely charge is going to affect the dilution. Like how much is going to go into that initial part that you lay down. It's going to get less and less, but the initial part can be pretty heavy attack. You can see that that's going to adjust overall as well and that can have to do with pressure too. There's a lot of interacting elements to this. Pull is going to be one of those things that you can mix around your Canvas as you're working so it's going to help with interacting as well. It's hard to tell without actually using color, but that's what that'll do. Blur is blurring, etc. Color dynamics is a lot of fun. You're not going to see a great preview for this because we're working on this black-and-white situation. But basically, you can affect just the stroke. You can affect it in pressure. You can affect it in your stamp depending on what each of those is going to come up with, but you can vary the color. If I was to change just the hue, if I go to a color with that brush, it'll change depending on the pressure that I use. If I do that, you can adjust where it goes on like the hue. What am I saying? [LAUGHTER] How much it changes? If I had that down further, it's going to stay more of an analogous palette. Where less pressure is, a little tweak toward another color. This is great if you're doing something like, let's say you have a texture and you're putting in a lot of noise and bushes or something like that, and you choose a color like green, and then you want like some grassiness, it's great for that without having to change colors. Just fun. Also saturation, you can vary. If I turn hue down and just decrease saturation a little bit depending on pressure, I can have this go down and then I didn't do that enough. There we go. That was too much, but you can see what I mean, how it's going to take the color away and then brightness. You can imagine bright and dark. That's really fun and you can play with all of these depending on control. Again, you have stamp, you have the stroke. The color pressure is where I like to use it the most. Then tilt is based off of your pencil tilting dynamics. Speed. This is instead of pressure, it's like, okay, how fast am I going? Well, my speed can determine the size of how that works. If it goes down, I have this taper. If it's up more, it's more tapered toward the end instead of the beginning. Opacity, same thing depending on your speed, if you want that to be a control and then jitter, you can do based off your speed also. I don't do any of that. I like more control. I guess you do have control over it, but that's an option. Then we looked at Apple pencil. We know how that works. Pressure, you can adjust the flow with your pressure as well. Depending on how much pressure you have, you can have more flow or less flow, more opacity, less opacity. Your bleed, same thing. How much is that coming through? Tilt. If you'd like to have control based off of going on the side versus going up, you can do that. For this one, it's pretty standard, but I can change the opacity or the gradations like this is cool because it's going to have less. If I was to do it like this with the tip versus the side, it's almost more like shading. You can also change the size, so it's larger when you go on the side. That's how a lot of these pencils are created. The 6B is a good example that comes with the Procreate brushes. Let's see if I can find it. Sketching 6B, clear this, I'll go back to black so it's easy to see. The tip of it is like this. The side of it's just lighter and then you're in your properties. This is again your preview size. Smudge pull. This is where you're going to adjust your preview size that comes up in the brush library, your maximum size, minimum size, same with opacity materials. This has to do with your 3D, so you can sample things on these types of materials. Then about this brush is where you can set your own information. If you duplicate your brush, it's going to be their information, which is great, because that means that if someone duplicates your brush, it's still clear that it came from you. I can go to untitled brush and say stippling and then made by your name, sign it. Then you can add your photo, and then you can say create new reset point. That way, no matter what, it will always reset to where you are right here, and then done and then you'll see it like this. That's like brushes in a nutshell. So let's apply some of this. 15. Brushes in Action: Let's apply some of this. In this case, I'm going to get rid of these texture layers right here, and then I'm going to go to that main layer, create a layer. It's automatically a clipping mask because these two on top of it are. That's what I want to work on. Let's just say I go to a green layer and make this a lot smaller. I just want to add some depth here. I add this depth inside here, I'm not going to make this too fancy because I just want to give you an example. Let's say I want to adjust this brush because it's two powdery, even though I did make it that way on purpose. But let's just say in this case, I don't like how powdery it is, I want it to be just more. I have more going on. I can go into that brush, and instead of editing it, I can just duplicate it, and I can go and make some adjustments here. The first thing I think I want to do is increase the size of these specs. To do that, I'm going to go to my Properties, and I'm going to change the minimum size and make that larger so that it isn't that low. Let's just sample that real quick and see how that looks. Already that's a bit more textured. One of the things that I will do, especially if a brush is larger like this and takes up more space, if it ends up getting someplace that I don't want it to go, for example, up here, I'll just go in and just erase that spot. Removing some of it isn't removing because I have another layer of grid on top of this, but just so you know. Then one of the things I love doing is increases like this. If you make a nice sharp crease in-between shading, it just brings things to life a little more in a 3D way, which is really fun. Here I could do the same thing. I've got lots of resources that we go over like this type of lettering together, which is so much fun. But in this particular course, we're just going over these must knows because, gosh, I wish there was time for everything, but there's just not. If I make that even smaller, I can do it inside here, which is just fun, and then I can fade that out with an airbrush, blah, blah, blah. That just creates that pretty effect. Then if we go in and apply what we've learned so far, we can decrease the opacity, we can change that to darken color burn. Color burn won't do anything because it's black, but if we change it to re-color and change it to like a green or yellow or something, see how that just creates that natural element. It's just very fun. There's a lot to play with brushes and a lot to play with blending modes, and a lot over the interface, but hopefully this really gets you set up on that jump-start that is also important to be able to have these seamless workflows. [MUSIC] 16. Snag Your Free Brushes!: [MUSIC] As promised, you can grab all of my favorite custom brushes that I use in my artwork now. These are so much fun. You're going to get things from shading to particular unique edges as far as outlining goes. I've worked a long time on these because I wanted them to be exactly what I wanted. Now you have the tools to do that as well. I can't wait to see the brushes that you end up creating, whether it be for yourself or to share. I also want to give you an invitation to join me inside of one of my other classes because you never know what kind of creativity is waiting to burst out of you. Well, I've got a few to choose from. [LAUGHTER] So I will see you next time. [MUSIC]