Procreate Masterclass: Digital Drawing on the iPad

1. What you can expect from this course!: Hey, have you ever wanted to create awesome artwork on the go in anywhere? Then doing this course with me is just the right thing for you to do. Because this course is packed with information all about Procreate. And I will teach you as much as I can about the program. So what can you expect? Well, I will show you how to navigate, procreate, and interface, how to use all these gestures. I will show you how to use the basic tools such as the brush, the eraser, and the smudge tool, and how to get most out of it. You will see how layers work and the different layer options. So what exactly are these? I will show you. You'll see how to use the Select tool, the transform tool, and the Liquify tool, and what to do with it, how to transform objects. I will show you how to animate, how to 3D paint and also how to export your own time-lapse videos. And by the end we'll make entire illustrations from start to finish. And you will also see how I personally use Procreate to make really professional art works without any other programs such as Photoshop. I'll just use Procreate and you will see how I do it exactly. But who am I? My name is vanquish APA what? Online and mostly known as bingo. I have been drawing all my life and eight years digitally and three years in Procreate. So I kinda know what I'm doing and I've seen the different updates. So I really know how to get all of it out of the program. Right now. I'm still studying media and film. So I've learned quite a bit about design. I have also worked for an animation studio in the past. And right now, I'm working as a freelancer online for all kinds of customers. So go right ahead and enroll in it now and we will see each other in the first lesson 2. How to use this course: So before we get started, how to properly use this course, just wanted to let you know a little bit about how this all works and how it's all categorized. So a can, of course, just take the course and watch it from beginning to end. And also, don't worry, if you're a complete beginner in digital art and you've never touched any digital software before. We will really go step-by-step and go slowly. So there's nothing to worry about. But also, if you're an artist who is more advanced and you want to learn Procreate, but also want to learn something new. Then, don't worry, I will tell you about a lot of little tips and tricks that I use. So you can also learn something new there. There's also the option, of course, if you're painting and you're thinking to yourself, I really want to use my own brushes to do this. You can just go ahead and create your own brushes and then make the course with these. That's totally up to you. And also there's no need to dry exactly what I'm drawing, whatever motives I'm choosing. I simply chose them because they work best for me and they work really well to explain what, whatever I want to explain. But of course you can draw whatever you like to your heart's desire. So just take the course, maybe sit back relaxed. We're here to have some fun and to learn something new while we're doing it. So be free to just listen to it on the side and draw along in order to learn something new, we have to create it and we have to use our knowledge. So try and also do the projects. And if you have any stuff you want to know, you can always ask 3. Hardware and Software: So before we start painting anything, or I will show you anything in the Procreate app. Let's first of all talk about hardware and software so that you know exactly what I'm using and you can somewhat compare it to your setup just so you're not left clueless. Of course, this is a section that is somewhat free for you to watch if you want to or not. Because I'm simply going to explain what kind of setup I have. So what do I use? I have the iPad from 2020. So it's not the absolute the newest version. And it works pretty well for me. It also has the biggest one. So 12.9 " hope its interests in English, but yeah, 12.9, that's the one that I'm using. It works pretty well for me. It has the second gen pencil. So the one without the cab. I can definitely recommend it because you can charge it way more easily. And yes, so for Procreate itself, I'm using the newest updates, so 5.2. And I would also recommend getting the newest version. But yeah, of course, if you're doing this course, you will need an iPad. You will need procreate. You will probably have Procreate on the newest version anyways. But if for some reason you don't, then check your updates and get it upgraded. So that's basically the hardware. Also have 256 gb of storage. I can recommend it of course, because the more storage you have, the more paintings you can do without having to worry to put them somewhere else and you can just leave them on your iPad. That's basically the iPad and I'm using. And if you're a lucky owner of the 2020s one iPad, then while you consider yourself lucky because recently with the new update, you can now use way more layers than the rest of us. So you're pretty, pretty superior in that regard. So if you have any of the older models that don't have the M1 processor, then you're still stuck with the normal amount of layers. But if you have the newer one, then you can have way more layers on your program, on your Procreate app and on your projects. But if you don't know what layers are and if you're confused about what I'm saying, I will still explain it later on. Just know the newer version has a stronger processor, so more layers are available. Alright, so that's basically my iPad and the update version of Procreate. Now, let's talk about other stuff that isn't exactly irrelevant, but I would still suggest you hear me out for a second so you know, if you want to get it as well or not. So here, as you can see, I have a case around and you can get a case pretty much anywhere online, just order one. They are pretty cheap ones and expensive ones. And he got like a medium expensive one, so not too bad, not too cheap. And why would I recommend a case? Well, aside from the obvious logic of protecting your iPad, there's also the nice feature that your pencils, since it's kind of floating around freely. If you want to get your iPad and walk around with it, you have these tiny little case for it and it won't fall off so easily. And then also, which is way more important to me, if you have a case that has a lid, you can fold it up so that your iPad is in a slight angle. So the angle is definitely something you want to consider because while painting, if you're having it on a completely flat surface, than your vision will be slightly different because you will look at it and a strong angle. And eventually if you look at it straight on ahead, you'll see that you may be made quite some mistakes simply because your perspective is slightly obscured. So a case that can fold up like this and have like a tiny triangle pyramid is a really good choice. Because then again, you can just simply fold it up and it has a slight angle to you so that you have a better look on your iPad. Just, just going to place it properly bet here. And then the last two things you can get that aren't really necessary, but a nice thing to have is a screen protector. So here, my screen protector is paper like one. Maybe you've heard of it already or maybe you haven't. Well, as the name says, it's supposed to make your iPad paper like well, I'm not entirely sure if it's really like paper, but it definitely has a lot more grip to your pencil. So if you haven't had any matte screen protector so far, maybe you had none or you had a glossy one? You know that the feeling on riding on glass can be a little bit weird. Sometimes. With this matte screen protector, you have some more grip. The positive about it is that the feeling of riding is way easier. So if you're someone who wants to take drawing more serious, definitely something I can recommend. But if you're someone who only wants to doodle like now and then, and you want to watch movies and series on your iPad mostly. Then maybe give it a second thought of really getting one because it kind of changes the colors just a tiny bit. But definitely, I can say you can also do anything without the screen protector. I myself have worked on the iPad for years before even getting any kind of screen protector. And while I prefer it now, it's definitely also possible without There's also different kind of screen protectors. But I can say I recommend people like it's like the most known brand. And it's definitely most known because of a reason. It has really good quality. It's a little bit tricky to apply it perfectly, but once you have it on there, there really isn't much you can do wrong. And it protects your screen a little bit while keeping it a little bit mad and has a nicer feeling. Just know that since you will be drawing on it, it'll have a lot of tiny scratches. Probably you can't see it in this angle. But here if I look at it closely, I can pretty much see where I'm drawing like a lot because I'm just doing some tiny scratches inside D protect, dirty screen protector. It doesn't bother me. But if you're someone who can't see this kind of thing, then maybe just having the complete glass is the way to go for you. And now the last thing I want to just quickly talk about, but I can't really show it RD artists gloves. So maybe you've seen digital artists where these gloves, where they only have these two fingers on a glove. Well, yeah, of course you can get that one and it really helps because sometimes if you're laying down your wrist, it will activate the touched on your screen. And also it can get a little bit from degrees of your hand. It can get a little bit gross sometimes if you're touching it a lot. So the gloves helping with that. But I have never used it or I have used it but I never saw the necessity for it. So if you prefer to do it, of course you can get it, but there's absolutely no reason to get it. So if anyone tells you like, oh my God, this is super necessary in order to be an amazing artists. Know, it's definitely not. It's just something for personal preference. If you don't want detached to be activated easily or you don't want your screen to get greasy and dirty too quickly. Something you can get if you don't really care about all of these, you can just go ahead with your blank hand. So yeah, that's pretty much all I wanted to tell you so far. And now we can start to look at procreate 4. Gallery Overview: Alright, welcome to the Procreate app. You've made it to the gallery. This is your first step to becoming a great artist. So what do we have to learn here and how does it work? So first of all, your gallery, we're probably look a little bit different to mine since you haven't created yet or maybe you have. I don't know. I'm just assuming. So. What do you have to know and how does everything work? First of all, the nice thing about Procreate. You don't ever have to worry about saving. Whenever you create an artwork, procreate automatically saves everything for you. Even if you just make a small line Procreate, has it saved? The only way it can save is when it crashes, but it only happened to me like three times. So it should shouldn't be something you have to worry about. So that's already one problem out of the way. So next, what is it that you can do? The good thing about Procreate is that it displays all your projects as these nice pictures. So you already have a gallery of all your work that you have. Aside from using the photo app or anything, you can just simply open, Procreate and look at your artworks. It's really nice. And if you want to look at them a little bit closer, you can also just take an artwork and just by zooming it out, you can make it a little bit bigger. So that's nice. And then you can also swipe to see others. And if you're done looking at them, you can just pinch them back. So that's one thing that you should know. The top-left there. So procreate, setting stuff. If you press on Procreate, then you can see that you get this little menu here. You can restore example artworks. What does that mean exactly? Well, if you've opened it for the first time, you will see that your gallery is an empty, but you haven't created the artworks. So the artworks that you see there are the example artworks and you can restore you then start gallery recovery is something you could also do, but I wouldn't recommend if you have no way as if you have no reason to do it, don't press it. It will just restored a whole galleries, so just leave it as it is. But if you, for example, some of your friends came over and day painted over your example artworks, but you really like them and now they're painted over. You can restore them if you want to. Next up, we have the top right. You can do multiple things. You can select artworks, which won't be necessary. Now, you can import something or you can also import a photo. And then there's a little plus icon which will be more important. Because here you can create a Canvas. But before we get to that, a few more little things. So first of all, if you've created a canvas and you don't like that, it's horizontally, for example, and you want it vertically. You can just take it with two fingers. Then you can turn it around simply by pressing it and flipping and upwards. So that is one liter neat little feature that I didn't know about for way too long, could have saved me a lot of work. The other thing, pretty obvious. If you press on the name, you can rename it. And as you can see, I'm really good at naming something. Not, but you can be better than I am and just name your artworks. Definitely nice, but I just kept people on there. For now. That's pretty much all that's important. We will get a little bit more in depth about it later. But this is all you need to know for now. So next, let us create a canvas 5. Creating a Canvas: Alright, well then let's create a canvas so we can start working. How exactly do we do this? I don't want to bore you too much with the details, so we'll just go over some basics before, later on in the course, I'll explain it to you in detail. For now. Just press on the little plus icon in the top-right. And then you have some basic sizes. Don't be confused. When I first got my admin wasn't German, so you'll see quite a few German names, but it's the same as you have. There is some basic ones on top and then there's tons of different sizes that you probably don't have that I just created. Over time. It's nothing to worry about unexplained everything to you later on. For now, you just one of the normal sizes. I'm going to take a4, so it's a basic size and then I can press it. But before I do that, just a few things I wanted to let you know right away. Here on the top is where we're going to create a more advanced or more personalized Canvas later. But as I said, I'll get to that. Then there's also the option to name or edit your canvases. So if you want to name it differently, I could just press on Edit. And then here on top, I can change the name. Also, not something that we need for now. And you can also, as you see, if you have a size since you never ever need, you can also just take it and you can delete it, which I don't want to do, but you know how it works here. This one just deleting and it's gone. So pretty easy. So let us start by simply taking one of the basic sizes, a foreign, but you could also take another one, anything you like. And let's get into it. 6. Procreate interface: You've made it into your first project. So now let's learn how to get back out there first. If you've created something and you actually don't like it and you want to get back to your gallery is as easy as tapping on the gallery and the top. And you get back out. Simply by tapping on the picture again, you get back in. So that's basically how you go in and out. Also. Yeah, again, you don't have to save your file, so it'll all be saved in Procreate special folder on your iPad. But if you want to be extra sure about not losing your files, I would suggest to simply save them in the cloud or something. But that's something also for later on, I'll talk about it in detail. So now let's look at the interface. What do we have to know and how does it all work? So here at the top rank gallery brings you back. That's kinda basic. And then we have all the settings and the more advanced tools on the top-left and all our basic tools on the top right. So if I just look at this, there's the actions which we'll look at in detail. There's tons of stuff you can do. That's the adjustments. Then there's your select tool and your transform tool. So a lot of stuff then we will look at, but for the beginning, only our actions will be more important. And only other stuff. We'll put it much comments we go. And then here on the top right is basically all your tools that you'll be working with non-stop. So your brush does much finger the eraser, the layers, and your colors. So it's pretty basic. And it looks like there isn't a lot to it. But I promise you there's so much you have to learn and so much you can learn. It's pretty incredible how Procreate and managed to keep the interface really clean. So there really isn't a lot that is distracting you. For example, if you've used Photoshop, there's a lot of stuff written all over and there's tons of things. You can immediately see that there's many tools. Project managed to keep it really simple. And just by going into the menus or the menu, you will see that there is more and more to discover. So we will look at it bit by bit. But basically that's only have to see. That's all you have to know. It's your special, your settings and all the special effects. Top-left, all the basic tools on the top right. This bar we will look at also n. Just a little thing for now before we get into all of the tools. If you go to Actions and here perhaps, then all the people who are left-handed can change like this little thingy and then the menu bar will go to the right. So the right-hand interface, you can change it to a left-hand interface. Just wanted to get it out of the way. In case there are some people here that are left-handed, they can change it right away before we start working. 7. Basic tools: Brush, eraser and smudge tool: Great, So let's actually start working with something. So we were going to start with the brush. I have to select another one. If I just start painting right away, it works, but it won't be the same brushes you have. So let me just quickly get to one of the basic brushes. Alright? This, This is gonna be good enough. So simply by pressing the little brush icon and just starting to paint, you can see you're already becoming an artist. It's amazing. Well now you can see that you're already painting. It's pretty easy, it's pretty simple. And if you have an Apple pencil, which I hope you have, because you're missing out. If you don't, then you can definitely see how easy the pressure sensitivity is reacting. So if you press lightly, it becomes a really soft stroke, and if you press hard, then it becomes a really dark color. So that's the basics for the brush. Press. It becomes darker, you press lightly, it doesn't accept it. We have another brush selected, then it has different properties. But for the basic brushes, That's how they should behave. Then you have the smudge tool right next to it. Or let's jump to the eraser first before we get to this much tool, eraser, erasers, it's as simple as that. Now the smudge tool here, you can really solidify some of the things you've drawn. So if you have some really hard edges and you actually don't want them, with the smudge tool, you can blend your colors together, but it should be used a little bit more carefully because new artists tend to overuse this much tool and then everything becomes one blurred mess. So use it with caution. It's a strong tool, but it should be used with caution. So these are the basics, but maybe now you have an eraser and you have the same struggle as I have. And it's super tiny and you can't erase it and you will spend 10 million h just erase all of it. Well, nothing to worry about. Because Next up here is your little settings bar. It's pretty basic. Just by taking these sliders and going up and down with them, you can change the size of your brush to smudge tool or the eraser you have selected. So if I ramp it up all the way here, I can just erase it super easy. You see that it's lagging a little bit just because it's such a big brush, but it still gets the work done. So that is this size one. And it also has this little plus button that's been added since the new update. If I press it here, then I get this little marquee on Install minus. And basically when I get back to it, near it, it snaps. So if I want to have it exactly at this percentage, I can simply press this plus. So if I want to have it at 20%, I can just press it here. And it will save it. And I can let it snap back to it without trying to search it every time again. And then on the bottom is the opacity. So let me just make a big mess again. And now with my eraser, if I have an add 100% and I erase, let me make it a little bit smaller. You see that it completely erases. Now if I change the opacity down, you see that it only erases like a little bit, although I use the same amount of pressure. So opacity and the case of an eraser changes like how strongly you erase, you can just imagine it. And if you would use your normal eraser with the pencil and you would press really hard, then we'll be like 100% opacity. If you only press lightly, you would only like take some parts of it away. You can also do the same here with the plus that you lock your opacity. And also if you want to remove it, you simply press on the minus and then you can remove it again. You can freely move it up and down. So the same thing works with your brush. You can also lock these here. You can change your sizes. And if you want to draw more lightly, so let me just erase part. If you want to draw like here, it's like super strong end. Now opacity is completely high. What if I put it down? It only draw slightly. And if I keep drawing on the same place, the color kind of builds up. You can imagine like that. It's definitely something you can use for your artworks. What I have, my personal opinions about it and I always keep it at 100%. But different people use different methods. I'll try and think about explaining it later. Why exactly? I don't prefer it that way. But that's just something for now. You will never really see me using the opacity slider, but that's a personal preference. So now we have the brush and the eraser What exactly happens if you change the opacity of the Smudge tool? Since there's smudge tool by itself, as you can see here, it doesn't have an opacity. It just simply as much as colors. So how exactly would you change the opacity? The opacity slider for the smudge tool is to change the intensity. So if I do this here, it's super-strong and it's munches a lot. If I change the opacity down, then you can see that it doesn't smudge as much anymore. So if I go really down, it only smudges a little bit. Just for example, 100 per cent as much as lot, 25 or 22% only smudges. So it doesn't change the opacity, only change the amount. But they still named it and pass it to you. So that's basically all you have to know about the tools. Now, there's gesture controls here and super easy and nice. So maybe you've already painted on your canvas and you did a lot of stuff and it's completely filled and you don't want to have it anymore. By just taking two fingers and pressing, tapping on the Canvas ones. You don't have to double-tap, just tap months. You can undo something. So now you could just go on and undo everything, but it would take forever. If you wanna do undo multiple things at once, like really fast, you can just tap with two fingers and then hold. And it'll undo like really quickly. But if you want to redo something again because maybe there was something you wanted to get back. You're not sure about undoing it. Just take three fingers and tab and you can redo something. If you want to redo multiple things, just the same your tablet and you keep it taps. So that's how you basically navigate two fingers. Undo three fingers to redo. That's the basics here. With four fingers, you can completely get your menu way. So it's like a really clear picture. If you're, maybe you'd like super into an artwork and you really, really want to do like this small little portion and you're completely focused and you don't want to have the menus, then this is one option. What I don't know if anyone ever uses it for it. Whenever I use this feature, I pretty much just use it when I want to show people an artwork. And I don't want to have all the stuff as destructions. So it's a little bit like a gallery view than I, how I use it. By four fingers again, you can get back to your menu. And you've already seen me do it with two fingers. You can completely rotate and zoom out and zoom into your artwork. It's really just, it works basically the same as you would do it on your phone. When you look at a picture, you'd simply zoom in and zoom out. The only nice feature here that you don't have on your phone when you're really zoomed in. For example, here because I've been working on this for hours, this little part. But now I want to see the whole picture again by simply squinting it really fast. The picture gets back. And by doing the opposite, sometimes it works, sometimes it doesn't. You can get back in. So I'm probably need some yeah, I need some free fingers without the pen. So if I'm zoomed in here and I pinch it, it goes out. And then you can get back into where you worked. So that's a really neat feature for just going in and out really quickly and looking at your artwork and then going back in. So you see there's tons of gesture controls and you will keep finding them. Along the way. It's something that's really neat and it makes Procreate so simple because there's just so much stuff in the gestures. But it also makes it a little bit tricky to learn sometimes because there's many features that are assembly hidden. So I will show you step-by-step where all of them are and how to use them. But for now you know how to use the basics 8. Picking colors and useing the eyedropper: Well, okay, Now we have a canvas with a gray mess. What if, for example, we don't want to have this gray mass anymore. And instead of just undoing everything, which is unwanted to undo everything really quickly. So one little small thing that you still have to add. If you have your three fingers and you quickly swipe across it, you can clear your entire picture. So now we have a beautiful wide plank Canvas. Again. Let's introduce some colors here so that it's not so sad. Here in the top right, you have this little small circle with the coloring it. By pressing on it, you're going to be here in the column in you. So the colors here, there's different options. For the beginning, I'm going to use the disk later. I'll explain all the different options in detail. But for now we only really need to disk and I'm going to explain you how to best use it. So picking colors is as easy as tapping on them. If I want to have this red, I just simply tap on it. And then if I use my pencil again, I haven't. It's really simple and easy. There are some tricks to it. Also, just a quick note, whenever something is blue, it means that it's activated. So if I'm here in the menu, It's blow. If I press on the eraser, it's blue. If I press on the brush, It's blue. So if you're not sure whatever the exactly you have selected, just look at whatever is blue and you know what's actually like active right now. So we have a red selected. That was pretty easy, but maybe now we want to have a green. So I can't really get to the green. So what you have to do instead is just simply go with the outer ring in here. You can change the color and in here, or you can change the saturation and the brightness. So you get to the green. You can pick the green in the same saturation and simply paint with it. So something that's really neat is, for example, you've painted here and you want to have a perfect white and you select it, but you realize on It's not completely white. And then you go a little bit further up. And it's also not completely wide and you're struggling to get a pure white is that you can simply double-tap in the direction and it will give you the perfect white color. Same with the opposite. If I double-tap down here, it'll give me a perfect black. And if I double tap in the top right, it gives me the most saturated green. Here, it gives me like a perfect mid gray. And if I doubled have in the middle, it'll give me like the most middle, these saturated brightness. So just the middle of everything. It's simply double tapping in and it will jump to where it has to be. So I struggled with finding wide, way too long with this circle and I didn't know about it. So keep that in mind. It's really, really helpful. So now you have all your colors here. They're a little bit ugly right now I have to admit, let's get a nicer color combination in here. Let's get a nice mixture of red and orange. Now, maybe you see that these middle color here is created. And it's really nice and you really want to have it, but you don't know how. Well then you can use the color picker. It's either activated by simply pressing on it. But the way I do it, instead, I press here on this little square in the middle of my menu bar. And it brings out the eyedropper. And then I can simply slide it across the whole canvas. And if I like the color I just simply need would be, at that point, I just stopped moving in and it selects my color. And now I have this orange selected. You can do the same again here. Just go over it. Then you can see the color change and then you have it selected. It's pretty simple, pretty easy, and there's different ways of using or having the eyedropper selected. Can do all of this in the settings which we gesture controls. We will go over that later. But if you absolutely hate any of the settings where you are, if you're really, really don't want your eyedropper to be wherever it is. You can already change that over here and actions and then perhaps what for now, this is totally fine. So that's basically the eyedropper. Here's the colors. Really simple, and then you have the history. So if for any crazy reason, you want to have the neon green again, you can just press on it and get back your green. We really don't want it here. It doesn't look good. Your history, your colors. Here's the ring. There's a different one we will look at later. And here's your eyedropper. It's also nice because you can always see the color that you had in the color you have selected. So if you only want to have like a little difference, can be really helpful to see just how much you call us have changed. Same here with the eye dropper. You can really see just how much they have changed. So that's a really nice way of selecting your colors. For now should be enough to know. So let's try and get something on our canvas that we can work with 9. Create a sketch: So if the course has been helpful so far, then maybe do me a favor and leave a positive review. I love to help you and you can help me out by leaving a nice rating. So police go ahead and do just that if you haven't done it yet. Well now we have this beautiful mess of colors, but I want to start with a simple sketch. So I will do a little trick again, use my three fingers and erase the whole canvas and clear it. If you don't want to let your colors goal and maybe you're super attached to them because you already created an artwork. Well, it just feel free to tap on gallery and create a new one. But in my case, it's fine. I can let go of it. So now let's make a sketch. First of all, we have our brush here selected, maybe have another one. But this isn't exactly a perfect sketching brush. As you can see, it looks a little bit weird whenever a stack stuff on top. So I don't really want to use it for sketching. So what are we doing is tapping on my brush and it opens up my brush library. In here. I have all these different categories. Brushes and yours will probably go up all the way until sketching and then it'll stop and don't be confused. Then I have way more here. There are many brushes that I imported, some of them I bought, some of them are for free. I will also tell you some that you can get for free later on. And if you're super stoked about getting your own brushes, you can also of course, just try and get us some of them right now or go to the lesson later when I talk about the brushes and import your own ones. But for now, I'll be using the Procreate default brushes. And you can see that there are default brushes because they are the only ones that have special icons. So up here, you can see that they're all have the same icon. And that's because they are important ones. And these ones here all have different needs. So here I'm sketching. I just go in and I can simply use, for example, the peppermint one. I also hope and I'm pretty sorry if some of them have different names and you're confused. As I said again, when I got it, it wasn't German. So there are some here that unlike pencil and then some are like, I don't know what Procreate exactly dead. Some of them are named and English, some of them are named in German. It's a little bit of a mess, but I'll explain it or show you exactly which one it is so you can see on your app which one I use. So I hopefully you don't get too confused. So now we have our peppermint brush selected. If you scribble around with it a little bit, you will see that it has really different properties. So if I just make a little mess here, it really looks different from when I would do the same with the airbrush one here just as an example. Same size, different brush. Or even if I make it smaller, it just looks pretty different. If it's small. Not too different, but this one has a lot of texture and this one is super solvent. So for sketching, I would recommend to use a brush that has some texture to it. Normally does wonders for sketching and you'll have way better outcome. So now that we have the peppermint one selected, we can start sketching right away. And I'll be sketching cute little leaf. So just going at it. Pretty simple. 3d doesn't have to be perfect. And if you make it a little bit thicker where the tiny branches meet, then you'll also have a more natural looking outcome. And then just let it get soft towards the ends. And it'll look really great. So we have a little branch sketched easiest that can also make the stem a little thicker. And then let it get smaller towards the top. But now it's pretty bare and we don't want it to look so sad. So I'm going to add some leaves. I'm also just going to simply add them. And maybe we could also add some berries to it. Get some variety in there. Just really do whatever you feel like. Maybe you have a completely different idea. When you despise plants, then try something else. But for now, this is a nice little thing to start with. You could also just change it up depending if it's winter and you maybe you want to make it a little Christmas card, then these barriers could be really pretty unhelpful. Or maybe it's autumn, then you could make another big leaf. For now, just let your creativity roam free. I will also insert some more sketches that you can look at to, to get inspired. But this is a nice little thing to start with for now. If you have a sketch, your content width, we will start going more into detail about some other features that can help us get this sketch to we call it version 10. What are layers?: Now that we have the sketch completed, I'm going to talk a little bit about layers. Layers are maybe a bit abstract if you've never worked with them before. But they're such an essential part of digital painting, if not one of the most essential parts. Because layers allow us to work in the front. Well, you can sit layers. So how exactly do they work and what do we have to know? If I press on this little square boxes here on top, then I get to the Layers menu. And while it looks simple now, but it also doesn't really explain us a lot. So what exactly are layers and how they work? We have layer one. If I tap here, I can rename it to plant. And if I press on the little plus icon, I can make a new layer. So it now it says Layer two. Well, what happens if I keep sketching? While it doesn't really seem like anything crazy happens. But what we just did is creating a new layer. So if I press the little check mark here, it disappears again. Because how you can imagine layers is that you have different like translucent papers that gets stacked on top. So with every little plus today, make it's a new translucent paper that I stacked on top. And now if I just take my airbrush pen and I take a color and I start painting on my translucent paper. It doesn't get like not translucent anymore obviously. What if I press on it lightly? You can really see like the way it behaves like a translucent paper. So it gets stuck on top, but it doesn't immediately has high opacity. So only if I like, make it really colorful or non translucent than it completely covers it. So if I don't want to have this effect and maybe I want to paint it green, but I don't want to go over it. Well then you can also just change the way they are arranged. So just how you could just take your translucent paper and you take your colored one and put it all the way down. It works the same here. So you just, just take it and then you keep pressing on it in by pressing on it selected. And then you can put it all the way under planned. And now you're translucent paper with the color on it is all the way on the bottom. So now the layer with the sketch shows again. You really have to imagine like this, It's the easiest way. They will also be layer options later. But for now, this is a really easy way to imagine layers. It's a simplified version. So to save. So now if we wanted to paint our plant, we could just go in here on this layer. I'm going to clear it. And we could just start painting in, all in. But as you can see, it's a little bit hard to get this stuff here exactly. So there are easier ways for Definitely we will look at it in a bit. One more thing before we go on. So just to recap, you can turn it on and off without deleting it. You can place it wherever you want. You can also delete the layer simply by swiping from the right to the left. You can lead the layers. So if I don't want to want anymore with the little leaves, I can just swipe deleted, it's gone. And if I double-tap, I can get it back. So don't be afraid if you deleted one by accident just to tip with your two fingers and you'll have it back. But that's the way you can delete it. And then you can also change the background color. So if you have painted your leaf and you don't want to have it on like a white background. You can change your background color in here. I'm going to leave it on white for now. But that's an option as well. And it's a little bit confusing because in Photoshop, maybe you've worked with Photoshop before, but it doesn't have a background color layer. So to say, there's always just like the background and you can work on it the way you want. But here you can draw on the background color. So if I press this one, it only opens up the color, but it doesn't open up a layer because technically they don't have it as a layer. It's really just the color. So if you want to have a background color that you can paint on, you have to make a new layer. And then you would have to fill it with the color you want. And so you could just use it as background. But like this, you can change it whenever you want. It's pretty neat. Neat, and it's a little bit confusing at the same time because it can't happen to you that you paint on the background. But you also you can also just changing it whenever you want. And if you turn it off, it becomes translucent. So maybe you want to have a PNG file, then you can just turn off your background. And it works pretty easy like that. But now, let's look at ways to paint this whole leaf a little bit more easily. And let's look at some brushes 11. Blocking in colours: Well now let's look at what we can do to quickly fill in colors. I already told you, if you want to have a background that you can paint on, you have to fill it with the color. Now you're thinking want It's so annoying I have to take my color and fill it all in. Of course you don't turn the quick way. The way to fill in colors and procreate is as easy as dragging your color on your canvas. You simply go to the top right where you have your color and then you just drag it wherever we want and just let go and it will just drop it in for you. It's pretty simple. I'm going to show it with another color so it doesn't have the same green. Drop it in, it's done. It's pretty easy. So how can we use this to help ourselves with our leaves? I'm going to clear it again, the layer just going to clear it again and again. Sheesh, sometimes I'm on the wrong layer. That's of course helpful. Okay, This one is cleared. So now let's see how we can have this feature help us with painting our leaves a little bit quicker. I'm going to select the nice green color puzzle one, not too green or too blue. And now if I like, I'm just going to show it next to the leaves so you understand a little bit easier even going to make this form. And I drag it in here. It fills it. It's pretty nice, pretty neat. And there's a few different chicks trypsin, tips and tricks for this you should know and look out for. So if I do this, you can see that there's like this little small white halo. And if I were to paint the leaf with even lower opacity and do the same. And you can see that there is like really strong halo effect here when you pass a T is smaller. And if I would just pursue, pursue politely, then it can happen that our whole canvas gets filled because the Color Fill tool doesn't really recognize these little lines as like blockade anymore. They're so soft that it thinks it should fill out everything. So there are different ways to approach this. Basically, if I have this one, let me see if it fills. It doesn't. But there is the color dropped threshold. Going to see if it works here. The way the color drop threshold works, instead, I just take my color and I will also place it in here, but I will have it. And we'll keep pressing it. Then the color drop threshold menu opens. And what it does is basically you can look at the sensitivity of it. The further it goes down, the more it recognizes these faint lines as like close lines as well. And the more I push it up, the more it ignores them. So it can be really helpful if you have like super soft lines or maybe you've made some line art and there's just a tiny, tiny, tiny opening somewhere, then the color drop threshold can be your best friend because you can just turn down the sensitivity and it won't recognize these small little openings as openings anymore. One more thing to know, if you have, for example, the sketching brush, and it's really super structured, it could also be that it won't fill it. So here the threshold is super low, so it works. But with some brushes, they are so textured that you can't really fill them in easily. So if I take a texture brush and I make the same here and as you can see, it's super textured. Filling it in will be super hard to near impossible just because of how textured it is. But the color dropped threshold and also works. It's just something to keep in mind. But now we still have this weird effect where we have to strange rim. So what can we do against that? If we want to, for example, fill our leaves, I can go to the calligraphy one and then just choose mono line. And if I choose this brush, it has a special property. So basically, whenever I, whatever I press, if I press lightly or if I press really hard, it always has the same thickness and it always has the same opacity. So it really is just when it says it's a mono line doesn't change. And if I draw a shape with this brush and then I fill it in, you can see that there is simply no line. And that's because the opacity is completely 100% everywhere. So it doesn't happen if I do the same here with less opacity. And then I fill it in. You can see that there's this really soft difference. Let's make it more stronger. Fill it in here now you can really see that there's the room again. But if I have it at 100%, you won't have anything and it will be completely solid shape. If you want to fill out something without any weird halos or rinse or edges, just take a brush that has the same opacity for any kind of pressure level and you will have an easy way to go. So let's actually use it. We will have to take care that we're on the right layer. Because if I just start doing it on plant, I will paint over my sketch. I don't want that. So I'm going to look at what layer I'm here. There's layer three. Let's see if there's anything on this layer. Nothing. So I can use it and fill out the leaves. Now I'm really just going to follow my sketch work and fill it in as easy as you see, it's way easier than just fill everything in by hand to simply draw the shapes and use this tool. So a neat little trick here that I use, for example, for the berries. Instead of just outlining each berry, I can save a little bit of time and completely just outline the whole package, so to say. And then just fit it in that way just a little bit quicker. Of course, for these barriers, it doesn't say if too much time. But depending on your artwork, just outlining whatever edges you have can definitely be way quicker than to outline each element. So if you have an entire character and you want to fill it with one solid color, definitely just outlined the whole character and everything. Instead of just trying to outline each element like the clothing and hair and the skin. Brooks way quicker that way. And you can see that we have our first little branch graded. It already looks great, but there's still some depth, depth missing. But we will look how to get the depth in the next step because there's tons of brushes we can explore. So let's see what we can do exactly and how they work. 12. Different types of brushes: So now that we have our little plan created, let's look at different types of brushes. Of course, I already opened the menu, but there is definitely a lot to know about brushes, and I don't want you to miss out. So in order to show them to you all in a nice way, I'm gonna go to a new canvas. So tapping on the gallery button brings me back here. Then I'm going to take this one and I'm going to switch it to a horizontal layout. And I'm gonna go in here. It's just a normal basic size and just simply flipped it. You can do the same if you want to, and go along and try it out. I'm gonna go in here. I have Drawing Assist. Okay? So I'm gonna go in here and look at different brushes. So exactly what brushes are there? How can you use them? Yada, yada, all of it. So there's not really an official way to categorize brushes. They somehow A's, but not really, there's 3D blurred lines between different categories. But in order to make it easy, I'm going to show you some basic brushes and how they work and what they worked for best. So let's dive right in here. When I opened a brush library, you've already seen some brushes. You've seen the mono line here. Just a basic line that's completely solid, same thickness, nothing else. Then you've seen the airbrush? I would put the airbrushed like the hard brush. Here it says like in German but in English should be hard brush. If I make another line here, it changes the opacity. But then again, it's also just a solid line. And religious hands a different, just different property when it comes to the opacity. And then there's a lot more of these solid brushes. So here in calligraphy, there is also this kind of brush pencil. I hope it's a brush pen. Pencil and English bear with me. It's the second one from the bottom or a third one. And if I use this one, you can also see it's a solid line, but it changes thickness depending on how I press on it. But it's also just a solid line. So you see there's different types of brushes that all have just one solid line. And if I zoom in, you see that it's a solid color, nothing to it. So what is the opposite of that? What exactly do I mean with solid one lime, blah, blah, blah. What does she mean? Well, the other ones that are, exists, our texture brushes. Here, this textures. And if I press on this, and I select LinkedIn or flight one. And now I also make a line here, don't make it too big. You can see it's a completely different type of brush. Suddenly it has a lot of texture to it. There's no real solid line anywhere. And also depending how you press, you can make it more darker and lighter. And it just really has a pretty strong texture. When you zoom in. There's tons of texture brushes all over Procreate. So here are some in the texture file, but the Texture tab, but not only here, so there's different ones. I would suggest you just try out some really cool ones. But also, if you go to abstract, there's some here that have pretty crazy texture. And in others, like painting, there are some pretty textured brushes here. And they all have their different properties. And if you go over it, you can see that you can really start painting along. And it has a lot of liveliness to it because of the texture. While if I would do the same with a solid brush, it would just simply be one solid color in here at all hands, this fine little texture in it. So these are texture brushes and they're really good if you want to just bring some depth to your paintings, while the solid ones are really good. If you want to have a solid, solid shapes, obviously, if you really want to block in colors quickly, do some exact lines. So just imagine me trying to draw an exact cube with one of these. It will be pretty hard here with the solid ones in works pretty easy. So different brushes for different reasons and effects. But there's even more brushes here and procreate. Then I want you to take a look at. So for example, if I go to the textures tap again and then you go on down. Here is like this would in cube and all of it. And if I press on like victorian, I hope it's Korean English. And if I press on it and I paint with it And let's do it a little bit bigger. Then you can see that you're basically revealing like a pattern. And it's a bit like a stamp. So instead of just being like a texture and having some depth to it, It's basically just revealing a pattern. And there's different ones like this. So if you go to organic, for example, then there's rain forests, no gum or something. And if you press on paper daisy, you can really see what I mean by stamp. Because if you just press on it, once, it basically stamps this one leave for you and if you paint with it, it just stamps it a bunch of times. But by the end, it's just one stem of this plant that just gets put on the canvas again and again. There's different ones here. Also, if you go to elements, not on elements, if you go to where it wasn't, industrial for example, then there's also like your stone. Sorry not it's in German. And if I just paint it, it looks like I am just revealing photograph of Stonewall. There really are different special thing is that you can print on and it has a bunch of them. So here, just like crystals in the elements tab the second from the bottom. If I press it, it just shows me a crystal and prints it on there. There. Some of them are really let's just say it's oddly specific. So I have never really had a proper use for the crystals brush yet. What Procreate has it and it kind of just shows you what's possible. If you're an artist who keeps using the same form again and again, you can definitely make such brushes that just stamp it on there for you. So now we have two solid ones. We have textured ones, we have photographic stamp ones. And then there's also some brushes that have a special effect. So for example, if I put the water one not too much, it just looks like a water texture, which is nice. But there's some that look way more like a special effect. So if you go to luminance and then you have the light brush, the third from the top should be the light brush or something along those lines. Then you can see it and it looks as if you're painting with a neon pencil. So it has a layer option inside the pencil. It's a little bit, sounds a little bit abstract, but it's something you have to worry about for now. Just know that it's here and you can easily paint some light effects on it. They get more impressive if I make the background darker color. So now you can really see, let's make it blue. Now you can really see that it looks as if I'm painting with neon pencil. And then there's different ones here. Feel free to try them all out. They're pretty fascinating. With the bulky. It makes different color versions. And also there's different effect once hidden all over. So here in artistic, for example, if I go to the old peach one, it also gives a special kind of colors and a special kind of rim. So there's really, really cool ones in here and I would suggest you just look at a bunch of them. Wasn't an abstract here. Here's like storm Bay looks kinda similar to all peach, but it just makes these crazy colors when you paint without me changing the color up here. So procreate is full of different kinds of brushes. And it's just good to know that there are many and that they really are. Some are really working for special situations. And you kinda have to know your way around in order for it to make it work. But it's definitely a lot of fun to try them out. And if you want to just go through all the different tabs and try out all the different kinds of brushes. Then reading is a lot to explore and it's a bunch of fun to sometimes find the strangest brushes in Procreate 13. Quick Shape: Right, I hope you had a fun time exploring all the different brushes. Once you're done, Let's look at another great feature that will help us along our way here in Procreate, I'm going to turn off layer with all my brushes. I'm going to make a new one. And now I'm going back to one of the solid ones. So back to calligraphy and mono line. I'm going to choose a nice red here that really shows perfect. And now let's look at a feature called quick shape. So what is quick shape and how can we use it and what can we use it for? So quick shape basically lets us make all kinds of lines in a really easy way. So what do I mean with it? I'm going to paint the grades wriggly line here. And yeah, that's not really a solid line. Of course I could try better. It's pretty solid, but you see it has a slight slope and it's not a completely straight line. So what can we do to get a completely straight line is as easy as dragging your paints and lacrosse the canvas and then hold it. And as soon as we did this in a quick shape is going to be created. So now I can put my line wherever I want. I can pinch it back down to make it really small on drag it out. But as long as I have my pencil like held on the Canvas, it'll stay as a solid line. If I let it go, then the line is done here. But if I still wanted to change something, I have the option to edit the shape. And then for example, I can take my entire line and put it somewhere else. I can also press this little anchor points and drag it around so that the line is exactly where I want it to be. So that's a great line and all, but for example, I want to put the line exactly horizontally to the Canvas. How do I do that? If I want to make a perfect straight line across the canvas, I simply hold it. Let's make one that is tilted on purpose. And now if I press my finger on it, it will snap to perfect angles. So you can just rotate it like a clock. And it will always have like these exact angles. So if I want to have a completely horizontal, I press my finger. If I lifted, I can rotate it freely. If I press it, it has these snipped angles. I can of course also put it perfectly To top, vertically and horizontally. It's simple as that. You can see it's snapping back-and-forth. Works really simple. So that's the line. But there's of course more than just the line. So for example, if I want to make a square, I can also do that. Here. You can see that it's not a perfect square. It's a quadrilateral. Alright, Procreate, I learn something new here. And if I press my finger, then it will make a perfect square for me again. Because you can really see how it corrected. And it's really neat if you want to have just great squares. Just be sure because if you make a really long rectangle like this and you press it, then it also creates like a perfect rectangle. So it can be really great feature. And you see that it also immediately snaps it to the angles you wanted to have. So if you want to have it like slightly tilted in this perfect angle, what you want to have a rectangle then you have to tilt it first and then press it because otherwise it will snap. So for example, I make this one and then I have want to have it tilted a little bit more. I can edit the shape again and just tilted however like here you see that there's a lot more anchor points. And that's because there's a lot more points where we can change it. So for example, here we have the option on the top with the rectangle, a polyline, and the quadrilateral. So if I press this, it goes back to the shape that I had in the beginning for the rectangle and changes to the perfect rectangle. For the polyline. It removes all the anchor points in the middle because it doesn't recognize it as a rectangle anymore, but instead just a free line. So here you can see I can move the line because it things now that instead of it being a closed shape, it's really an open shape. So if I go back to rectangle here, I can change these different anchor points. And you see that it immediately jumps here because it's not a perfect rectangle anymore. If I want to have it back, I can go up to the rectangle and press it. It's just a little bit hard to change it to a longer rectangle and keep it a perfect rectangle. I would suggest to simply draw a bigger one than it's easier. And if you press it and you're done with it and you press anywhere on the canvas, it's fixed. And now I can go back to the menu anymore or do anything I would have to completely redraw it and orient to change it. Again. That is something you should keep in mind once you press on the canvas, it's fixed. And if I go back and just can undo the rectangle, but I can't get back into the menu. So we have a rectangle. Let's keep it here so that we know what we already looked at. We have a line. And then of course there's also the circle. Now we have an ellipse created and same with the others. If I press on it, it creates a perfect circle. So let's just see what we can do here. I'm going to edit the shape. It says lips when it's really just a circle. And if I make an ellipse and I don't press on it, I can also edit it and then make it an ellipse. There has to be a little bit more than like a circle. So here I can edit it and make it a circle. If it's just a little difference, if it's too much of an ellipse, procreate won't recognize it as an ellipse anymore. So here I can make a circle. And if I want to make the circle bigger, instead of pulling on the anchor points, I have to pull here on the line, doesn't have one. And if I want to drag it around, I have to either press outside of it or inside of it, but not on the lines. So pressing the lines that don't have anchor points, bigger and smaller, pressing the anchor points, changing its form, and pressing anywhere else is changing its position. So we have an ellipse. We have the circle, if the line we have to square. Now there's also arcs. So if I make this round like this, I can create RX and I can also edit it. And I have three anchor points that I can change to our acquit. So pretty simple. It doesn't really if I do the same and abreast with my hand, then it doesn't really change it into like a, like a half circle or something. It really just snaps to the different angles. So that's something you should know. So if you want to make like a crescent moon, I would suggest to draw two circles and then erase the part that should be opened instead of trying to do it with an arc, because you can't really get that perfect circle arc shaped thing. So that's something like this. And then of course there's also the open shapes that you can make. And if I keep pressing it, then it will also make such perfect lines here. And when I edit the shape, I can drag it around as much as I want. So quick shape, really super-helpful when it comes to easily creating some perfect lines and circles. I would really suggest to make use of it. And we will make use of it right now because we're going to keep only a circle in the middle. So drawing as closer circles we can go pressing or finger. And now filling it in with red and tau, we have a red moon or sun. And now let's look at another new feature 14. Alphalock: So we have our red moon. What can we do with it? And how can we make it into a proper mood? Right now it's just a red circle. But we can change them if we want to put some shadow on it. Of course, I could just go to the airbrush and select one that is a little bit softer. So softmax, probably in English under the hard brush. And if I select a darker color and I want to draw on it. Well, yeah, you've guessed it. We will draw outside of our quick shape. And it's really a bummer because come on, we created it. It's perfect now we don't want to destroy. So what do we do? Luckily, there's an easy solution. If we go to our Layers tab and if we press on the layer, just tap on the layer two here. Somewhere in the middle. Not on the little n, not on the checkmark, just somewhere in the middle, then we can find Alpha Lock. And if we do this, we see that nothing has changed. It seems, but if we do the same thing again with shading it, well now it's locked to whatever we have and we have a great circle already. So what exactly does Alpha Lock do? It's really simple, and it just locks whatever you have put on your layer. So if I turn it off again, then I can draw wherever I want. And if I have it turned on, I can only draw on whatever I've already put on the canvas there. So if I want to add more, I can unlock it. I can take a brush and make another little circle here and then I could lock it again. Now, if I want to give it some shading, then once I log in, I can also draw on this one. Really simple, easy to do. And something that you should definitely make use of because it's just much more easy to draw perfect shapes and not go out of your boundaries if you have alpha lock. So now that we have this one, There's also quicker ways to do it. If I remember correctly, it was just having two fingers swiping across. So I'm working. Now. It's working. Yes. Sometimes gesture controls are a little bit hard to use, but just swiping with two fingers and you can see you get the check, checkmate pattern. And if you do it again, then you can unlock it again once it's not behind there anymore. Once it's solid background in layer, you don't have an activated. And once you do this again, you can alpha lock it, but it's really just not reacting. Sometimes I prefer to simply press on it and press Alpha Lock. Would maybe you're a little bit better with gesture controls and IM and also clumsy, then it's definitely a quick way to do it as well. So what can we use Alpha Lock for exactly? Well, you've seen it already. We can draw within the shape that we want. And I would suggest to now make some use of the texture brushes that we saw earlier. So maybe I'm going to take off like 1011. And now with the color drop tool, I can select the colors that I have and I can go over it. So we'll just using the brush tool and using a texture one, you can see that you can really easily make some great shapes and put a lot of texture on there. And it already looks like I'm having some kind of planet or something. So it's super quick and easy to do. And it gives us a lot of freedom in our design choices. So let's pick a color that's a little bit tighter and go over the brightest part here. The texture. You see, it looks so good already and you don't have to do much. It really is just picking the right brushes and going across whatever you've drawn. The quick shape already made the circle for you. The brushes texture. And you have an object that looks really threatened. Three-dimensional can impress all your friends. And you really say that it's super easy. It's digital art. That's what makes it too beautiful. So make use of it and try and explore what you can do. You'll see that it's as simple as selecting the right brushes. So now that we have this, you can work on it until you're satisfied with it. Try and see if there is maybe different textures that you like more, the better fit, whatever you have in mind. I'm going to put a little bit more here. And now I'm going to create a new layer and put it behind. And I can see if I like illuminance, if I like the nebula one, I think it's nebula in English. And maybe try another color. See how it looks like. It has this crazy galaxy kinda effect to it. Maybe it's a little bit too bright. So let's choose a darker color. Maybe also a blue. I'm going to color pick the blue and then go to a more saturated purple and put it behind here. And it's easier said we have some planets and space 3D. That's important. And if I turn down the opacity, maybe a little bit, then changing the opacity isn't something I've talked about yet. What if you press on the little n? Then you have to opacity slider. And you can change the opacity of whatever is on your layer. So I'm going to put it down a little bit. And I'm going to darken the background. So probably have to disk. I'm just going to darken it here. And now all that's missing, or just a few stars, I could use this one that's above the nebula one. But I don't really like the look of it. So it's easier if I just use like the spray paint. And then the third one from the bottom. I'm sorry that it's in chairman, but you'll bear with me. It kinda looks like some star pattern already. And now if I make a new layer again, which I did, and I go to a nice bright yellowish color. Then I can put some kind of stars here around the canvas. And it's super quick and easy. Now here is still Alpha locked. So I'm going to maybe put here the medium nozzle. Going to choose the color again. I'm going to make it even darker here. Now some little bit more texture again. We already have some planets. You see it's really simple and you can do a lot with it. I'm gonna make the background even darker. I think it looks great. And you can just explore what you can do with these different types of brushes. Because there really aren't a lot of limits to it. And there really are quick ways to go about creating something if you just know how to exactly make use of these tools. So just try it out. Alpha shape is going to be one of your best friends. And we're gonna make more best friends along the way, I promise. So let's try and use the knowledge we have on the painting that we already did. 15. How to use brushes effectively: Alright, we finished our little planet drawing and we learned more about brushes. So now that we know how to use the Alpha Lock and we know that there are different brushes existing. Let's go back to our little cute plant and try to use our knowledge here. So first of all, let's go to the layer where we have our colors and Alpha Lock it. Easiest that. And now with maybe again the kirwan brush, I'm going to color pick the green that I have. And I'll go down a little bit towards the blue and a little bit less saturated and bright, or a little bit more saturated but less bright. So down here, I'm going to choose the color and then make some small. I have to take care of that. I don't draw on the berries and make a small gradient. So from where the leaf attaches to the stem is going to be darker. And then it's gonna get slightly brighter towards the top. And I'm going to make some gradients here. Pretty simple. Don't have to be perfect. Just to give it some depth. Can also make some completely dark. Maybe they're facing away from the light. Alright. Already looking a lot better. And we're gonna do the same for the little berries. So let's color pick the retina we have, and choose a darker one. And also give it some shadow here. And always think that the sun is shining from the top. So the shadows should be on the bottom. And if there's different shapes overlapping, then it creates shadow as well. So we have this. Now we can put some small highlights on the berries. I'm probably going to use the airbrush and the hard brush. I'm going to color pick the right again and take a bright color. And then just place a little highlight on here and give it more dimension. So this is basically where the sunlight hits and it gets reflected, is where the highlights are supposed to be. And now you see that the various already three-dimensional already. And for the leaves, I can also call a pick and go a little bit more towards the yellow because sunlight mostly yellow. So when it hits the leafs, it should create a brighter green that has more yellow in it. And now I can go over these again. And given the illusion of some sunlight hitting leaves. Pretty simple, yet effective. Alright, great. Well now we still have some lines that are here near that aren't really matching. So what I'm gonna do now is go to the plant layer. And for safety, I'm actually going to duplicate it. So I'm just going to swipe to the left and press Duplicate. Now I have two plants. If I turn it off, you see that nothing changes and if I turn this one off, it disappears. So I have the same line work twice. And if both of them are active, you see that it gets darker. And it's just because of our translucent layers. Just think about it again. If I put to see me opec things on top of each other, then it gets darker. So that's why if we duplicate it and it doesn't have 100% capacity, the lines get darker. But for now I'm going to turn one off and work on this one on top. And I'm actually going to erase some of the lines. So in here, I don't need these lines and I don't need the lines that are on the top. I'm only gonna keep the ones facing the bottom so that I have more depth here. But I'm going to erase the ones facing the top part. This way. It also looks a lot more like there's actually something, some sunlight hitting it because it wouldn't create a dark line on the top. And I can do the same with the leaves here. And you see if I get rid of them already, gets a lot more realistic. Alright? This one is still a little bit messy. So I'm going to clean it up just a bit. And now I can also take the sketching brush again. Color, pick the brown that I chose. Maybe get a darker one. And then really get a connection to all the different elements here and darken them up a bit. And can also be the darkest where it attaches to the leaf and then get gradually lighter on the stem itself. If you invest more time, it becomes more and more detailed. So if I go back and I choose an even brighter highlight and just going to go to the calligraphy and choose the mono line. I'm just going to place a tiny.in here, just one small, tiny dot. And you can see that it also becomes really three-dimensional. Because suddenly we can see like the sun reflecting. So this one here shouldn't exist. Only one on the top here. The one that I'm doing the switching around. I'm going to show it to you later. It's, for me, it's a quick shape function that I have added. And the problem is that I'm so used to working in Procreate. It just automatically happens is like a habit, a flux shake off, but it's not something that you have to worry about now. Just know that it exists and if you really, really want to do it now, you can do it here in the actions canvas and then flip it. It's a really nice way to see if something is incorrect or not to flip it. But for me it's just second nature to flip my canvas like every five-minutes. So excuse me if I have to do it by habit. But eventually you'll learn to do it too, and you'll learn approximate. So we have our planned, we have it pretty much finished. We could still go here, choose a small brush, maybe not the mono line. Let's see what I am going to use. Maybe here a little pine and I'm going to use a pretty light green. So pretty passable one. And then has to be pretty small. And choose a line here down the leaves. Normally people draw it in dark color. But if you look at leaves, the line in the middle, it's mostly lighter actually then darker. Again, the beauty of digital art is that we can easily drawn lighter colors on top of darker ones. Unlike with watercolor, where you pretty much shows what you've done in the beginning and there's no turning back. Now, even if you want it to be even more realistic, you can call it up the darker one and put it right next to the line that you've created. It's also casting a tiny shadow that's like pretty advanced already, but if you want to push it to the next level, so to say, it's really a nice detail to add. And you see, I already have a pretty realistic looking leaf. And it really wasn't that hard. It's just knowing where to place your shadows. So it's been demonstrated. Here. The berries are touching. So I'm going to place a darker shadow. For example, this should be really dark because it's in a bag. And if you ever don't like something, you can simply undo it by double tapping. So as easy as that, we have our plan finished and it already looks pretty solid. This is basically already the second artwork you've finished. In the next week, we're going to see how you can properly arrange them in your gallery. 16. Arranging your canvases in the gallery: Perfect. We've already created some artworks, and now we want to properly arrange them in our gallery. Or at least maybe you want to arrange them properly, or you want to know how to do it. Maybe you've already created 15 artworks and you want to categorize them. So how can we do it? It's pretty easy and simple. Procreate method, pretty basic again, with the whole features. So if you want to arrange your artwork from one place to another one, you simply drag and drop it. So now it's down there. I can push it back up. It really is that simple. Again, if you want to rename it, you just press on the name. You can say like plenty plant. And now you've renamed your canvas. And then again, also, if you want to create stacks, for example, here like this, then it really is as simple as stacking your paintings on top of each other. It didn't work. Of course. Lines are blue. You have a stack created. Now if you press on the stack, it opens up and it's like a little folder. Basically the folder feature in all your other devices here in Procreate, It's called stacks. And if you go out, then it's closed again. You can also rename the stack. So like projects. And if you don't want to have a stack anymore, you can take your artwork and you can go out. And then just let it drop somewhere. And the stack is gone again. Don't worry, it's only like little glitch that it doesn't show, but it's still here if you press on it like this. So now, if you have, for example, you have a stack. Let me make a stack please. If you have a stack and you want to add something to it, then as you see, just pressing it, it doesn't work. It just lights up blue. What? It doesn't go inside. And that's because it's already a stack and there's multiple things in it. So if I just press this one on top of another one, it works like it's no problem. And lighter blue, I can stack it, but it doesn't work if I want to do the same with already existing stacks. The reason is because I have to please work with me here, procreate. The reason is that I have to keep pressing it until like it has like a blue flashlight. They don't know how to put it. So if I press and I keep holding it, then it just flashes up. And then it's opened and I can place it in. Same with the projects if I press on here and it lights up quickly and then I'm outside again. So that's something you should keep in mind. Always wait for it to flash. And then, you know, you can put it outside somewhere. Pretty simple, easy way to stack your artworks and to categorize them. You can categorize them further. So for example, if you've made tons of artworks as I have, then you're pretty much left with a tons of stacks. But you can make like a big folder and then it's like 2015 and something. So you either have these small stacks or you have them open. But since it works like a gallery and really isn't much of a problem. And least for me, it hasn't been one of them. So now the next thing, if you want to quickly stack multiple things, you can also select them and then just tap whatever you want to have stacked here, press on stack, and it does it for you away quicker. So that is one way to do it. Hearing. I can select them again. And then I have all of them selected at once. And I can put them outside here. So that's a quicker way to do it. And also, if I draw something and maybe you want to keep working on it, but you don't want to lose your original file. You can also swipe from the right to the left. In here you can duplicate your art work, you can delete your artwork and you can share. For the share function, we will look at it in detail later. For now, if you've, maybe you have drawn your little leaf and you really like it and you wanted to try out something new. You can duplicate it. And it's exactly the same. You just have it twice. So if you want to delete again, you can just press lead, but just be sure that there's no double tapping getting back your deleted artwork. So we really sure if you want to delete it, that's why it also asks you a second time, right? Because this cannot be undone. So just be sure that you don't delete something by accident if you wanted to keep. But otherwise, have fun stacking all your different things in your gallery. Maybe you want to put all the example artworks and warm stack. That's something you can easily try out right now. And otherwise, we will continue with everything we want to learn 17. Canvases in detail: So we've already briefly talked about canvases before. So let's talk about them again now in detail. How exactly do they work? What do we have to know in order to create exactly the kind of Canvas you want to create. So again, let's press on the little plus button. And this time instead of choosing one of the default sizes, we're going to press on this little plus again, new canvas. And then we get into this menu. Don't worry, it looks a little bit more intimidating than it is. So really, there's these different tabs here and then there's different settings for them. And we're going to look at them bit by bit. But there isn't too much and you have to worry about it all make sense once I explain it. So first of all, we have the dimensions. So how big is your canvas supposed to be exactly? So here we have the width and height. And you can just put in the numbers. So you can say like 5,000 pixels by 3,508. It's oddly specific, so let's just say 3,000. And then there's the DPI and it's set to 300. You can change it, but I would suggest to always keep it at 300. It basically is the dots per inch. So how many little pixels are being displayed? And if you have less than the quality of your artwork becomes worse. But there really isn't any need to make more than 300. Of course you have a little bit more dots, but it doesn't really make much of a difference. And it just makes the file larger. So that isn't really necessary. So just keep it at 300 and it always has quality that is good enough for printing and easy to work on. The next you see the maximum layers. That isn't something you can change. It's something that is being calculated depending on how big you make your canvas. So you can also do it in inches. So if I like 2 " already too big, I don't know much about inches. One by five, super tiny right now. So if I do 20 " by 12, for example, then I get 26 maximum layers. Same with X centimeters. If I type in like 30 cm by 60, then I only have 22 layers. So depending on how big you create your canvas, it locks the amount of maximum layers for you. If you have an iPad from 2021. So the newest version, and you've got the 15.1 or 50.5 Update for Apple and the new five-point to update from procreate, then you are lucky because you have a lot more layers that you can actually use. Since I have 22021, I can't use as many. But it's just something that some people can make use of, some canned. Even if you only have the normal amount and not the advanced bone, it's going to work just fine. I haven't really had too many struggles with it yet. But the reason that they are locked as basically that the procreate is calculating or like telling you how many layers you can have without the iPad struggling too much to do all the calculations for it. So if it would allow you to have 100 layers with this kind of size, you would have some intense amount of lag pretty easily. And in order for you to not have it and Procreate to avoid having any struggles with it. These maximum layers are locked. So this is not a struggle if you're, if you were a PC user before on Photoshop, then you didn't have this kind of problem. But now, if you're here on the iPad, then yes, this is something you have to worry about. And it can get annoying sometimes, but mostly it's pretty alright. So for anyone who doesn't have any idea, what amount of pixel size is a good amount of pixel size. You can pretty much look at your screen resolution. And you'll see it has like around 2000 by 1.6 or something. I'm not exactly sure on 900. So we're not too big. This is like way, way bigger than the normal screen resolution size. And the reason why I choose the files that are, we're going to have this many pixels is a pretty basic reasons. So let me just show you an artwork that has 600 by 300 pixels. I'm going to create it really quick. And now if I make a brushstroke, you will see that you can really start counting all the different pixels. So that's not something we want. And if we want to go in and paint details, well, good luck with that. You can paint different pixels you see it's horrible. It really doesn't work. If you zoom out, yeah, maybe it works. But as soon as you go into detail, it's a complete catastrophe. So now if we do exactly the same, but we go 66000 by 3,000 and we go in and create it. And we do exactly the same. You see that is super, super, super tiny line because I made it so small. But if you make a normal brush stroke, It's completely sharp. And you have to really dig in there before you start seeing pixels. And if I zoom out now you see how small Exactly it worse. So you have way more space to paint on it. You can go way more into detail. Like if I make this really dark and then I make a tiny brush stroke here, I can really look at it and it's still completely sharp. And only if I go this close in, our start seeing the pixels. So it's always something between not making it too big for your, for the Procreate to still have enough layers, but also not making it too small for you to have the problems with your pixels. But that's about the dimensions. Normally, I will choose something around like maybe 5,000 by 7,000 pixels only have 15 layers. I'm used to working with it. Maybe that's too little for you. That's fine as well. But I just prefer to have it pretty large. I'm pretty big so I can really go in and do some tiny little details. Because otherwise it just won't be possible. But that's about the dimensions. Now, the color profile here, you can see this like RGB and CMYK. Then there's the sons of options. If you press on them. And you can even import your own color profiles. If you look at it and it doesn't say anything and you're just completely confused by all of this stuff and what it means, then you don't have to worry about it because then it's just not relevant to you. And if you look at it and you immediately know what's going on, then you can use it however you like and it will be necessary for you. But just for your normal everyday use, this is not something you have to worry about. For RGB, just use the Display P3 for CMYK, the generic CMYK profile. But now, what is the difference between RGB and CMYK? Rgb is basically the color profile you should be using when you're working on it digitally and when you want to display it mostly digitally. So if you want to post it online or you want to set something as background picture, use the RGB one, it's the default one, so to say. And the CMYK profile is for files and projects that you know, you want to print. If you, for example, make a postcard you want to send out for Christmas, and you want to print it and send it to everyone. Then I'd suggest taking a CMYK profile. What exactly is the difference between those two? It's the way the colors are, like the way you can choose colors and the way the colors are put on the paper and mixed. So for CMYK, it calculates pretty much what kind of colors the printer can print out. Because it's just sticking the colors on top so we get darker. And for RGB, it uses the way of calculating the column is with the light spectrum. So if you, it's pretty advanced. I don't have to explain it too much, but it's basically RGB is for colors on displays because these plays are lit from the surface, they're bright. In CMYK is for printing because a paper isn't lit by itself. So two colors behave differently. If you want to know more about it, I would suggest looking at it in detail somewhere on the interwebs. There's tons of stuff for it. But for now, RGB for digital stuff, CMYK for something you know you want to print doesn't mean that you can't print RGB files, just that the colors might be a little bit different if you print them out. But that's all about the color profile here. Now, the time-lapse settings, you don't really have to change much about this yet. If you want to record your artwork, it'll automatically do it for you. You just have to leave it checked on, but by default it is checked on. And then you can change the resolution, the quality. And then there's this new format which is not checked on. It's a better compression, but it's not as common. So many programs won't recognize it, so I would leave it unchecked. But if you know a program you use recognizes it and you can definitely check it. And then you can, you can choose how good the quality of your video supposed to be and what resolution. Pretty simple. And the bigger, of course, the resolution is, the bigger the file is going to be. So if you want to save some space on your iPad, I suggest taking like smaller resolutions. And the last one is Canvas properties. It's pretty simple. You can choose the background color. So the default color that you have when you open this kind of canvas that you created. So if you want to have a canvas that always has a blue background, you can change it here to blue. If you want to have the background hidden always, you can turn it on. But both of these options can easily be changed within the artwork when within the canvas. So I would leave them too wide and two hidden, like not hidden because it's just really one-click in the artwork and it's just simple and easy to have it like this. And, um, yeah. Then once you have the size you want and the DVI want, you can just press Create. It will create it for you. Again. If you want to name it, you can just swipe to the left, added. And here on the top you can say new canvas for Procreate. If you save it like this. Now, you have your special personalized Canvas and you can always just use this one again whenever you start drawing 18. Apply your knowledge (pineapple): All right, Well then let's lose. Alright, let's use our knowledge and create a first, lets say more complex artwork. I'm going to use the 5,000 by 7,000 pixel canvas that I created. I'm going to go in here and I'm going to start sketching. So let's go back to our sketching brushes. I'm going to keep using peppermint and I don't want to use a dark brown. And what are we sketching is a pineapple. And to make this all a little bit more simple, I'm going to start with some quick shapes. So I'm going to edit it, make it a little bit more, smaller. And then let's make a big triangle form. This doesn't have to be great. I'm just trying to make it easier for you all to get this done. Now this doesn't look much like a pineapple, and we have our raw form. So now I'm going to pretty much flattened out the bottom because it's not an egg, It's a pineapple. And then going to do some rounded edges on the top. I can erase the other one. Are already looking way more like a pineapple. And then some more flat. And then it's rounded towards the bottom. So now we already have this kind of pineapple shape. And now to the top, just taking some leaves here doesn't have to be amazing. It's just a sketch. Sketches. They are to be sketchy searches. Try and figure out some shapes that you like. It's also really helpful to look at a picture of a pineapple. I'm not a magician. I'm also doing the same using references. Don't ever be afraid of using references. The only way you can learn something new and you can improve is by learning from references. So don't have the wrong sense of pride and don't think that you have to do everything yourself and that it's cheating to use references. That's just complete nonsense. You can't learn new stuff and you can't get better if you don't get some input. So use references and you'll see that you can improve way quicker. Ended your artworks are going to look way better. Because you're going to train your skill of perception. So references or your best friend. You can see already starting to look a lot like a pineapple. Now I can erase my guidelines up here. You can either try and follow the form that I have or you can try and paint the pineapple that you see. Just try and simplify it for yourself with these quick shapes. And that way you'll have an easier time painting the pineapple. Alright, so now what I'm gonna do next is I'll create a new layer. And I'll be drawing on the shape that I have here. And I can make it a little more easy for me. So if I draw on this kind of pattern, I can, just, in the next step, I can show you how you can fill it up more easily so you don't have to draw the entire pattern by yourself. So when you're done sketching your pineapple as a rough shape, I can show you what to do next also. Since it's a little bit framed a little bit off, I'm going to press the arrow. And the arrow selects everything I have here. We're going to look at the arrow in detail later. For now, I'm just going to take the pineapple and drag it down. You see that there is a lot more stuff. Don't worry about it yet. Just going to drag it down. You can do the same with this layer. Just drag it down. And then we have it framed way better. And don't worry, what else you can do. I'll show you later. For now. I just wanted to have it framed a little bit better so that I can get leaves that are a little bit elongated here on top. Alright, so in the next step I can show you how to make patterns way quicker with duplicating layers and what kind of tips and tricks you can use 19. Duplicate lock and naming of layers: Hey, have you already left the review? If not, then go ahead and do me the favor of leaving a positive rating. If I helped you out so far, helped me out and go ahead and do just that. Okay. You already know that you can duplicate your layers. But aside from it being a safety for your sketches, what else can you do with it? First of all, I'm going to name the layers so that I don't get confused. This is like the base sketch. And here I can name it details. So now if I duplicate the layer, then here again with the arrow, I can drag it across and you see I can easily make a pattern that way, just duplicating it and dragging it on around. And then another nice feature is that these layers, if I pinch them together, I can merge them. So now all of these different details here you see that there's other stuff in here that I don't need, so I'm going to erase it. You see that now these are all on one layer. And I can do the same again, duplicate it, and just drag it here. And then also, if I don't want to do the pinching, I can also press on it again and then there's Merge Down. And that way I also have it merged. And I can quickly create a pattern and don't have to draw everything myself. That's a really easy way to do it. And now for the rest, I'm going to draw it again by hand. But this way, you can do this way quicker than drawing all of them and it's just one way to use them. So also realized that down here, it has two shape in a little bit. Then go out again. It's just small details that make it more believable. Okay. So now I'm going to fill in the rest of them. Towards the top-down, we'll get a little bit more curved. Because perspective. Also here towards the sides. It'll look a lot more curved because it wraps around the pineapple. You could also do a simplified version where you just, I have the same size all over, works as well. Then it just looks stylized. I'm trying to make it look a little bit realistic. So while actually consider the curves. So here it's just some perspective in here. Looks worse than it is really. One. If you've never done anything like this, then maybe just use the simplified version. What if you want to push yourself a little bit? Then you could definitely try and go for new perspective. All right, So on the outside, you can just imagine them in the middle. You kinda have this shape. And that's when you look at it from the front and from the outside. It's the same shape, but it's pretty much squished. So it looks a lot more like this. And it's gradually becomes more like this form that way it looks like it's bending around the edges. So that's something you can try out, just have it gradually squished more and more. The more it goes around the form. And you can see it already looks like it's curving that way. So that's just a quick tip for something. You want to learn a little bit more about drawing things more 3D looking than this is something you should definitely try out. Alright, now we have the base sketch and we have our details. And maybe now you want to start coloring it in And sometimes it happens that you just forget that you're actually on a layer with some sketch already on it. And you already took your color and you painted on top of it. And actually it was the same layer as the sketch. So if you're someone who tends to do this sometimes maybe or it happened to you in the past and it just, it's really annoying. I think every digital artists went through it at least once. Then here's a quick tip for you. If you have your sketch done and you don't want to change anything on it anymore. You can swipe to the left. And then there's the lock feature. And by unlocking it, you can't paint on it anymore. It will say Locked layer selection. So you can either open it or you could unlock it. But as long as you have it locked, you can't change this layer. You can only turn it on and off, which you can draw on it. So if you have your sketch and you don't want to accidentally paint on your sketch layer. You can lock these layers and by swiping to the side, you can unlock them again. As you see, you also can delete them while they're being locked. So this really is a way to kinda keep your layers safe without having to worry about them too much. So now we have the base sketch and we have the details. I already showed you how to rename them. You can also rename locked layers. You can hear rename them. And yeah, you can delete them so you can duplicate the lead rename and lock your layers. That's the basic features. Later, I will explain layer options, but for now, that's all you have to know about these things for layers. And I'm going to fill in the pineapple with a base color. Also, if you want to see I have this kind of orange desaturated color picked and I'm going to use it for the base of the pineapple. And then again, I can go to calligraphy mono line and just fill it in. And I'm also going to make another layer and use this layer for the base layer of my green color. Since later on, I want to have an easier time shading them and everything. So putting them on different layers makes it a lot easier for me to do that. You will see what I mean pretty soon. Alright. It looks kinda like a pineapple. That's great. So in the next step, let's see how we can do them even more. And we're going to learn about clipping masks. So stay tuned. 20. Clipping masks: Great, So now we have our base colors. And of course, I could just go ahead and lock them again and then go in with my airbrush and just softly shade them. So here, just a slight gradient. Looking great, looking great, stronger yellow. It looks pretty promising. Bond. There's some ways to shaded that are really convenient that aren't with alpha lock, but they work really similar to alpha lock. So let me just show you. I'm going to create a layer above the layer four. Let's just rename it to green nursery. Yes. And then we're going to name it to base colors. That way we don't get too confused. Now I created a new one above. And now, instead of doing an Alpha Lock here, I'm going to go ahead and to create a clipping mask. And what is a clipping mask? If this happens, you see that? First of all, and nothing happens except there's this tiny little arrow clipping to it, like pointing down to it. And clipping mask are I wouldn't say they're the advanced alpha lock because there are different. But they work pretty similar. It's just that you don't have any loss when you're doing clipping mask. So let's talking, we're showing otherwise it's just confusing. So I'm just going to use the green and I'm going to turn it down a lot and then go to my heart brush. And now if I paint and I just got to make stroke, you see, I can't paint outside of them again, it's just the same as alpha lock. You think? There's differences? First of all, yes, it's on a different layer. So it's not here. If I turn it off, then this layer is completely blank again. But then again, I said it's also without any loss. So if I turn off the clipping mask, you'll see that there's these lines outside. While if I use alpha lock and unlock it, the lines outside won't come back. So if you have maybe a pattern somewhere, let me show you quickly. If I have this kind of pattern. Let's make a really ugly pattern really quick. And you want to keep your pattern, but you also want to apply it somewhere. You could just put it on top here. And then alpha locket, no Alpha clip, clip it. And then you see that it's applied to whatever you have underneath. But if you want to use it for somewhere else in a picture, you could just turn off the clipping mask again and you would have your full pattern. So it's really nice if you want to maybe attach images somewhere, but you don't want to destroy the original image. You can just clip it to whatever you want to do. And if you think otherwise and you want to change, then you can still do that easily. So now let's create a clipping mask and clear it. And this way, I can really easily shaded here without having to worry that maybe if I'm not happy, I can't change it anymore because they can just easily turn it off. And that way you can draw on layers without having any compromises. Just know that it's one more layer and that you're using up and eventually you won't have any more lawyers left. But if you're someone who's maybe a little bit afraid of experimenting or you're not sure, then you don't have to duplicate your layers to infinity. You can simply use a clipping mask and try out different techniques that way. And it's really convenient features, so to say. And I would definitely suggest you start using it. So let's just use the clipping mask, start shading away on leaves. So one thing that I could also do now is go here to the greenery and alpha locket and use a soft brush and use a pretty dark color and shade it that way. And now if I go up here again, I can color, pick the lighter color here to the hard brush, and then draw in again the parts that are light Digital artists really just all about making proper use of your tools and finding an easy solution for whatever problems you might have. Because whenever you have a problem, there's probably a solution for it. You really only have to worry about learning the fundamentals, but not about solving these kinds of issues. Now we're going to use an even lighter color. I'm going to put in some highlights here. You can see that the pineapple really starts coming to life. All right, That's looking great. Alright, so now I'm just going to go here and choose a color that is even more yellowish, even more yellowish green. And I'm going to softly paint over it because I feel like it could use a little bit more of this. Yellowish green. Looks way better. And now I'm gonna go to my base color and I'm going to again make a clipping mask and then go to my textures and try and use stuff like maybe now I'm going to choose and darker, desaturated green. And I'm just going to go lightly over it. It might look irritating now. But pineapples have quite a bit of green on their skin or whatever you wanna call it. So I'm just going to keep that as a base and then go over it later. So you can see what I mean in a bit. And now we already have a good base for it. And the next tip, I'm going to, next lesson, I'm going to show you some tips to also help with the shading by changing this much and eraser tool, solar. Now, let's look at that now 21. Changing the eraser and smudge tool: So what exactly do I mean by changing the Smudge eraser tool? It's a really neat little feature because if you, for example, let's duplicate the base layer and honored to have it safe. And now I'm going to uncheck the bottom one, so then I don't have it double. And now if I have the doth layer selected here, I can press the eraser and if I haven't selected, and then I press on this, select the eraser. I have it. I press it and it changes over into the other tool. So if I go over here and I choose to have this Melaleuca, that's quite the name of this one. Then I press on the eraser. It says erase with current brush. So now I don't have to manually go in and select for the, select the brush exactly that I want. I can simply go in and tap on it and it'll change to whatever brush I just used. So let's undo this again and use the I'm not even going to try and say the name. And now if I press on the eraser again, it's going to erase with the current brush. And I could like, make this kind of pattern in here if I want it to. So it's really nice and easy if you just want to erase and just change a little bit more quickly without always going into the library in searching it, you just simply select whatever brush you want. And then you press on the eraser and changes. It doesn't change. If you're already on the eraser, that's a little bit confusing. So just go to the Brush and click on the eraser and then it changes. And the same goes with the smudge tool. So if I have this texture selected and now I press on the smudge tool, it's lunches with the current brush. So that's also a really nice if I just want to go and change that a little bit quicker. And it goes, it just helps to keep a coherent styles. So I'm going to turn off the green so you can see it a little bit better. Because now it's the same kind of brush that I used. So the style is a little bit more easy to keep coherent and sometimes can be really helpful to erase with surgeon stamp brushes because maybe they are crucial for your painting to kind of add up. So in my case, I can use the smudge tool and smudge a few of the harder edges here. Also gonna go down with the quote unquote opacity so that it's not as extreme. And then I can smudge some hard edges. What always be sure not to overdo it because if you smudge too much, it'll just be a blurry mess. So I would suggest to only do the roughest part smudging and keep the rest as it is. Now you see that I have nicely shaded final poll top. And I didn't have to manually change whenever I change something. So I can just press on it and it goes away quicker. So that is definitely something I would suggest and you can make some really cool effects with it. But for now, let's go back to this layer. Use a good painting brush, probably here. And let's try going to use the stuck one. I hope it's stuck in English, could be because the one underneath is oil paints. So hopefully it's in newer one that's an English. And then I'm going to color pick this yellow. I'm gonna go to a desaturated one and start drawing in some light parts on these little. I don't know which one to call them scale-like structures of my pineapple. Also want to change the overall form. It's a little bit wonky. And it's locked. Now. Seven. And with softer. Alright. Keep going with my little detainee. Have to turn up the opacity again. That way, it'll be a lot easier Okay, great. It's looking more and more like a pineapple. Now, in the next step, I'm gonna go to the base colors again and make a new layer. And for my base sketch, I'm going to unlock it and put down the opacity so that the lines aren't showing as much. And I'm also going to do the same with the details so that I can really see where the contrast is still lacking in the painting. So for example, here on the top, there are some pretty clear contrast and the form is easy to read. But here on the bottom without the sketch, It's really still lacking a lot of contrast and focus. So I'm gonna go here in this layer and then I'm going to select someone over a smaller brush, so maybe calligraphy one. And then this one, I'm so sorry that it's in German. It's should be the third one. From the bottom. It has this slight texture to it. And I'm gonna choose some pretty dark green. And then I'm going to do even more detailing. All takes awhile, but it's definitely going to change a lot in doing it in order of the three-dimensional look of the painting. Alright, and then I'm not gonna do it everywhere just to keep a proper three-dimensional look. So you can see that this part of the paintings gonna be pretty dark and this is pretty light. And I didn't make any of these lines here just so that it becomes a lot more convincing when it gets to two dimensional, three-dimensional form. Because the shadow over here is gonna be a lot stronger. So it's going to be, the darker parts show a lot more than in light region. So I would suggest to kinda just let it fade away. And that way you get a lot more convincing look. And I can still choose like a pretty saturated dark orange brown. And just give it a few details here on the bottom because it really isn't green anymore, but rather brown. And then that way it also looks a lot more like it's standing on the ground. And then maybe add some stronger yellow highlights. Don't hear. Pineapple has quite a few colors in it. You could definitely try and make here just another kind of gradient because right now it's kinda dull. So maybe just a little bit more saturated orange. I have to alpha lock it again. That way it looks a little bit more saturated, maybe even more orange. For the bottom. Less saturated and darker. Yeah, it looks pretty convincing. And then I have all of these kind of layers here all around. So trying to make a little bit more organization in here. So in the next step I'm going to show you how to properly group them so that you don't lose track of all your different layers. 22. Selecting and grouping multiple layers at once: Great, So now in the next step, I'm going to show you how to organize your layers a little bit better because as you continue working with layers become more and more and more and eventually you'll just be confused about all your layers and what they are and why they are and everything. So let's try and group them. So grouping is as simple as selecting them and putting them in a group. But how do you do this? Selecting layer? You can just tap on it and then you have one layer selected. And now to select multiple, you simply have to swipe them to the right. And now you already see that there is a delete and a group function. And we wanted to group it. So now we have a new group and I can press on it and rename it and name it sketches. So now here if I have my group, we have this little arrow and I can close it and open it. That way. It's a little bit less messy. And I have this group and I can completely turn on and off the entire group. So you can't really see it that well with the sketches. So let's try it again with the pineapple. I'm going to select all of it that belongs here. And I'm going to press Group. And now if I press this little arrow on the top, I can completely close it. And then you can see with these tiny images that my group is in there. Now if I turn it on and off, you see that everything that's in the group is either being shown or not. So let's rename it really quick to pineapple. And if I open it now, I have all my stuff in here and I can work on it as normal. But otherwise, if I close it, I have it in a group. Now there's a few things for groups should be known. So for example, if I have the base color here, the doublet one that I don't need. I can also just drag it outside of the group. And it will just put it out here and then I can just put it underneath the group. Easiest that if I want to put it back in, my simply drag it in here and it appears on the bottom. So basically always the same for it. If I make another layer and I put it in the group, it always goes to the bottom. So if you put something in here and you want to have it on top, just drag it all the way up. Just maybe a reason why something you put in here doesn't disappear and appear because it always goes to the bottom. And again, if you want to put it outside, just simply drag it outside of the group. Now, you can have whole groups that you can delete. So if you want to delete multiple layers more quicker, you could just put them in a group and then delete them. You can lock entire groups. So if you want to lock your sketches, you can do just that. And then all of the layers inside the group are being locked. Then there's another nice feature for groups. So if you have your pineapple and you're pretty happy with it, but you maybe you, now you're like, Yeah, it's fine. It's great. I want to add some details now. I don't want to have them on different layers anymore. You can just duplicate your group. Just be aware that every layer is duplicated. So if you only have like a tiny amount of possible layers, it's going to fill it up pretty quickly if you duplicate multiple groups with a lot of layers. But what you can do now is that you can press on it and it says flatten. So what does it do? It just completely takes all the layers you had in your group and it puts them together to one layer. Whatever you had in there is now one layer. And you can just drag it around. And you don't have multiple layers anymore. So if you want to do this and you're unsure if you may have to go back to your individual layers later, just duplicate your group and then flatten it and then you can continue working on it. It's a really nice, neat feature because sometimes you may just want to have the backup without always just going to the different layers and then you just flatten it, have another one. Easiest end. So now that we've made all of this, I can just work on my now flattened image and get a new pencil. Maybe hear the hard one again. Let's try one with a little bit more texture. So calligraphy and then this one again, I'm so sorry for the name. And now I'm just going to choose a color that's pretty close to white. And I can also easily start detailing away. And if you don't want to draw on this one, you can also always make a clipping mask. Again. I'm drawn to clipping mask and draining is up to you how you want to hit blend. Now I'm just going to put in some details here to really push it even more I'm also going to put some darker shadows right on there, the leaves. Since it would be pretty dark in here. I'm going to do just that. And now I want to get a pretty bright highlight color and highlight the edges of some of the leaves. This way they're pretty distinct from one another. They look like they have a lot more depth. Now with the smudge tool, I can smudge these lines a little bit so that they aren't too harsh. Well then again, leave them pretty hard on some edges. Then you get a nice mixture around. Just a little bit more darker green. Now, to touch it up, one final step, I'm going to make a layer underneath the base one. And I'm gonna go with the airbrush and pick a soft one and choose a dark brown. And now I can simply add a really soft shadow so that the pineapple is actually standing on something and not just floating. And then make erase it a little bit. And we show to make it really dark where it touches the ground. Same here, I'm going to alpha lock it. I'm going to make a pretty dark where it touches it. And we basically have our pineapple finished. So I hope you enjoyed it. I hope you're proud of whatever you create it. And I hope you finished it to this point. Because in the next one we're going to make another painting to completely recap on what we've learned and think about it again. So the next step we're going to make one more amazing painting in procreate 23. Exercise: Koi: So I'm going to make a new canvas. I'll be using the same one again. Then you can misappropriate that I created with you guys together. So let's take it and now I will sketch a nice quiet fish. So basically, you won't learn anything new here. I'm just going to repeat and take all the knowledge that I already told you guys and reuse it so that you can really learn it and remember how it worked. So let's start. I'm gonna go back to the sketching pencil. And I will go to my background and make it darker. And now start sketching a coefficient. So it's really important that you get a good nice line of dynamics that the fish doesn't look too stiff. Again, you can be pretty messy in the beginning. It's just a sketch, doesn't have to be perfect. Alright, so let's try and get it going. A good dynamic and here can be pretty rough, pretty sketchy. Try and get tail in here. Probably going to make it a little bit smaller. And again, I can't stress that enough. Use reference. Because as I said, you can't really learn something new with no new input. So of course I could just go ahead and sketch a fish. But it definitely wouldn't be the same as if I look at a reference of a real fish and try and get as much information out of it as I can and make it that way. And thinking big shapes first, there's no use going in trying to draw all the tiny little details. Just make a rough sketch of the overall form. And then bit by bit, just add in the details. You don't have a way easier time than if I get lost and carried away and all the refining, although I don't need to get. Once you're happy with your sketch, you can then go on and again, make a new layer, put it underneath the sketch. And I'm going to choose a nice strong orangey red. And I will take my one line and then fill in the body, right? And make a new layer, go to a soft white color. Then also fill in. All the Finns think it is nothing the fins on the side, but, you know what I mean? Not a native speaker of struggle, if you know what, please correct me right there now that we have this I can go on to the rough shading, so I will Alpha Lock it as we've learned. And then brush. Go to a darker color and shade this side of the fish. Maybe that's a little bit too dark. And then slightly brush decide to darken it a little bit, not too much. Now we already have a way clearer picture of their three-dimensional form. And I will be duplicating this layer. And then put the opacity, not show it anymore. Go to my brush and slightly raised some way so that it looks transparent. Just when doing this already gives a sense of it being somewhat translucent. We can still knew more for that later. But for now, and this is like a really easy way to get this kind of effect. Ranges have to softly erase away while still leaving something intact. And I'm going to erase here so it looks a little bit more sharp. Alright. And then I also want to Alpha Lock it on a color, pick the color I have here. Choose something a little bit more pinkish. And then shade. Soil should be shaded where it attaches to the body. And then I kinda just let it fade out. I'm also gonna go to my sketch layer and put down the opacity a little bit so that I get a better overview for my fishy. And also make some clearer lines here. Great. And now I can go in, make a new layer, clip it, and find a brush that works for the scales. So on, can try this one here and then choose a color that is just a little bit lighter. And place it on here and you'll see it when it looks like there's some shimmering scales. So really that the brushes through the work for you. And also adding some bigger ones with brighter colors. And now go back into my airbrush, my heart brush, and get the form again in here. Maybe even darker. And then I'll color pick one from here and get some tiny scales going on back there. I'm painting myself. Maybe also over here You can always zoom out and see and look at the whole picture that way. It's way easier to spot mistakes and see where you still have to put in some work. In my case, I feel like it's mostly a matter of contrast. So I'm going to take the orange one that is in a little bit lighter. Kinda put it on top. Then slowly let it fade out. Then going dark orange. Put it next to this one. Alright. And now back here. Alright. Really in touch ID. Also want to see how it looks. If I turn off the sketch, looks pretty okay to me. Just some small things missing here and there. On a put back in the structure. By adding some lines again. How's everyone doing down here? Try and really shown form. So it means I'm going to pick a darker color as well. And just show how it wraps around. Right, looks pretty good to me. So now let's get darker color for the finishing touches. And just add more contrast wherever it's needed in order for it to read. More like a clear structure. So around here on the sides of the body to be pretty dark. So that you can really read the form. Also up here. I'm just going to pick a darker pink. Wrong layer. Yeah, I've been doing this on this layer. It happens. So picking the white rush super tiny and swine did show color. Alright, looks great. So just going to push the translucency even more by just slightly erasing an even more careful that I don't erase too much. And now I can also go to my background color, make it even darker than the way it appears even better. And now maybe another layer. And going to my spray paints and putting these little, tiny little dots again. And then just a white color. I'm putting them around somewhere. That way the Canvas isn't so empty. Just going to put it underneath my fish. The easiest step we have a fishy. The last thing I'm gonna do is going to be m brush. I'm going to take a really soft brush and then look for even darker color and kinda make a vignette around the painting. So what it means, just darkening the edges. That way my painting is centered and focused on the middle. And if I turn it on or off, you can see the effect. It just really focuses on our view on whatever is in the middle. It's a neat little trick to use. And that's basically how you can paint the COI 24. In depth lesson: Colors: Alright, now I want to talk colors, everything we need to know about colors. And it's a little bit more of an in depth lesson so that you get like all the different possibilities with color is and what you can do. And maybe you also have an easier time picking colors. Because I know it's a problem for many artists out there in the beginning, like pick the right colors. So maybe this will be helpful to you. So we've already looked at the desk, and it's the most common option to look at the colors. But it's definitely not the only one I personally prefer, preferred, but there are definitely different options. So for example, down here, we have this list and we're going to look at classic. Next. One is classic. It's basically the same as the disk. It just has a different way of approaching it. So instead of having this ring around it, you now have this bar here that you can slide on. And it shows you the different colors and different values. And now you can go with these different sliders to the saturation. So if you go all the way to the right, It's super saturated. And if you go all the way to the left, then it's just a gray. And over here, you can change the brightness. So you can really pick them specifically and just look and whatever you need. But of course, you can also just jump in here straightaway and pick it. And what I like to use this feature for is if you have something, maybe you've painted something down, Let's just say painted down a nice hard. And I really like to use the background with the classic feature. Because now I can simply add some saturation. And if I say it's a little bit too bright, and I can go down with the slider and if it's too dark, I can go up. While here, it's a little bit more tricky to really stay in the same situated area in here the situation stays the same. I can simply go up and down with the brightness or here changed, stay on the same brightness but change the saturation. It can be really helpful if you want to do change only one of these specifics and not changed both at once, then I can really recommend the classic feature. The next one we're going to look at it. It's not harmony. What value? Value is going to be for all of you that may work on projects with other people when you're doing a lot for the, for the web. And you need some really specific colors. Because here you can see the early hexadecimal colors. You can type in exactly the kind of color you need. So if I would just type in some random number, you can just see what happens. If you just type it in, then we get a green. So all of these specific numbers they are assigned to where it's supposed to be here. So whenever we look at it has a specific number. So each color can be like specifically found if you work on a project and you want to share and character design and it has a specific color, and this color should not be changed. No matter who works on it. Then you can share the hexadecimal color with other people and they can use it and have exactly the same one. Here. You can be really precise with what kind of color you want. So here you can see it says exactly how much percent on everything and it's really exact. And you can change the RGB. If you want more blue, more yellow, or red on green, you can change it really specifically here, but it doesn't really work for like an artistic workflow when it's definitely a good feature to have and to know about because as I said, work on projects that have fixed colors, then you can definitely work here and have all the colors you need and get them directly from this tab. So that's a really good one for this. And then here's also the Harmony feature, which I want to talk about now. So the Harmony feature is basically for everyone who might not be so comfortable with picking colors yet, because it picks the colors for you in the certain range that you need them. So up here we have complimentary. That just means that it's always the opposite side of the spectrum. I'm just gonna put it in white here and go to new layer up here. So it just chooses them from the opposite spectrum, so the opposite side. So for example, if I want to have a nice contrast for this blue, then I can look at the complimentary color. And if I paint with it now, because they are so desaturated, it doesn't look like anything crazy. But if I were to like completely fill the image pretty much. And let's make it a little bit brighter than the saturated. And now pick the opposite color You can see that it really pops out because it's the opposite one, the complimentary one. And this works with all kinds of colors. So you can find like really bright and striking color combinations simply by choosing the complimentary color. And you will see that many artists make use of it. And I can also show you some examples I've made myself. But most of them that I added are mudslides, split complimentary. So not exactly the opposite, but rather some that are close. So if I have this kind of green here, then one of the splitted complementaries would be this pinkish color and maybe this kind of purple, which will also go well with it. But you can see that it's like a really strong contrast. Now it looks like a giant eye. So it works and it's really good if you're unsure with what you use. So some examples of these would be this painting where it has a strong contrast between the orange and green. And you can see the orange and green are somewhat complimentary to each other in a pretty close here. So by making almost entire picture green and only putting like really strong orange highlight in it. It definitely pulls the focus to her face because she's right around there color. And it's a really easy way to trick your brain into looking that way. Also, here, it's pretty good. Example because you just have these both colors that go really well with each other. And there's a lot of dynamic and the picture without having tons of colors in it. So really complimentary colors are an easy way to bring dynamic new picture without going crazy on the color spectrum. So there will be one. Another example is this one also has like green and orange. This example is way more desaturated. So you can also see that it doesn't have to be a bright color. Also just doing the same with the saturated colors still pulls the focus to whatever you want to look at. Because in this case, the background is kind of greenish and the character is somewhat orange. So it definitely has an easy way to distinguish it. If I were to don't mind me using this feature, I'll explain that later. It's just here so I can show you what would happen if I change it to orange. Little bit hard to find exactly the orange. This is somewhat more orange and it's she's already drowning lot more in the background. Like if I have a green, then it's a clear distinction. And this way, it's a little bit more of one. Mush. It's a bit hard to see exactly the difference. But the more you work with this color is, the more you get it. So complimentary or like the split complimentary, definitely a good way to get, like to focus on some things. So for example, you can have a character that's like pretty green and then kind of background that is orange and pinkish and you will definitely have it stand out a lot. So these are the complimentary ones, then there's still an logos. So it's kinda in the same realm of colors, which is also a really nice way to paint pictures. The thing with these kind of colors, if they're close to another, then they are look really harmonic because they really match with each other. You can see the orange, the yellow, and everything. I'm going to make the example here again, so you can really see it clear right? Now. Use the colors here. So I get this in here, and now use the others. And you can see that they are super close, but they all match really nicely because they belong to the same family, you could say. So choosing colors that are close to each other is a really good way of just finding a color harmony without being incompletely monochrome. So that's a nice way of doing something that maybe has a really calm kind of sense, then you could choose some bluish tones. Or if you want to make something either like a sunset kind of picture, you can choose these colors. So it's really an easy way to play around with it. And one thing that's a little bit weird about this kind of circle here and what this disk, because it's not the same as the other one. The more, the further you go outside. Demo is saturation you get. And the further you get inside, the more desaturated it is in the brightness can be controlled here on the bottom slider. So saturated, the saturated, bright and dark. It's a little bit different. Wanted definitely also works So some examples for this are, for example, this picture. It has like many tones that are close to each other. Of course, there's also some tones here and there that are a little bit off like the purple. But mostly it's a color palette that is pretty harmonic. So we have these yellows and oranges. And there's yellow again. This is kind of a desaturated purple, orange. So really it's a color palette that is pretty close to all the colors really match and it looks pretty soft that way. Another example for it would be this painting. We have tons of purples and pinks. And the colors are really close to one another. Of course, there's also yellows in here, but if you just look at the bigger picture and at the overall color palette, you can see that the colors are mostly within one family. So definitely works if you want to have pictures that are more of a relaxed feeling or more soft, just choose colors from one family. Works every time, I promise. So let's look at the last ones here. There's still the triadic which splits it, and the tetrarchic which splits it even more. And it's definitely also something that could work. But I feel like if you look at it already turning around and really has this kind of lollipop candy vibe. Because the more you split it further, the colors are evenly distributed obviously. So they're pretty far from one another. And that way it's a bit harder to find the good combination of colors that work really well together. Of course it still works. But if you're unsure with colors and you're just beginning, I'd recommend to try this a little bit less than only go there if you're a little bit more experience. But it's definitely a good help to have this kinda setting here. So another example for this would be this painting, for example. It has like blue and green and pink. So it's also a little bit all over the place, but it still works. Or here in this case, it's pretty colorful, so it has all kinds of colors from the spectrum. And it's definitely more hard to find one solid harmony within it. So you should, if you're trying this, you should maybe decide if you want to have more warm or more cooler tones. The more you push it in one direction, the better it works. So just keep that in mind. It's definitely something that can help you along the way. If you try this feature out. I don't use it too often, but then again, I'm already painting for quite awhile, so I don't often needed what it's something nice, especially for complimentary or split complimentary, to easily find a color palette that you like and start working. So the last thing I wanted to show you are the pellets. Over here. You have your palettes. And I have quite a few in here. Because it's super easy to create some, you can see that there's two different options. You either have compact or you have cards. If you have compact and it looks the way it looks right now. And if you choose cards, then you have like them a lot bigger. So it's a lot more friendly for people who might not see that well, if it's too tiny for you, they can definitely choose this option. And it also says on the bottom, like what kind of color it is. Although it's questionable if this is really read. For me, it's more of a brown but and also labeled SSRIs. So but it's a guest in the computer decides. I won't argue with that. So this is like a nice option for you. If you want to maybe learn the colors look better, or if you want to see them bigger and how they look like, then you can use the cards option or otherwise just use the compact one. And then if you want to create a palette, you can easily do this by pressing the little plus and then maybe knew from photos. And then you can insert a picture and it creates a palette for you from the picture that you chose. Or you can just create a new palette. You can also title it. It's a bit hard, but you can do it, double-tap it. And I call it, you don't want it to say New. Now, if you have this one, you can just it's checkmark here. If you go back to disk, then you have an empty pallet. Otherwise, if I would choose this one, for example, set as default and go to the disk, then this one would be my default palette. Now let's take this one, the empty one, and set it. And now if I go back here, I can color drop any colors that I want. And I can just tap down here and create a palette that way pretty easily. And just fill it up until it's completely set to one pellet. And if I want to replace something, I can simply press on it. And then I can either delete it or setting the current column that I have to replace the one down here. So it's pretty simple and you can easily create many patents than way. Now also you have the history down here which shows you whatever Carlos, you floss, you lost used. And you can also of course, put these in here just by tapping it and then tapping one down here. And really is super simple to create one. And of course, you can also just go to the harmony and create a palette that has these tones that are complimentary to one. So definitely try it out, super easy to do. And it's definitely worth investing some time in it. And you can learn about colors pretty easily that way. So yes, I hope you learned something new. That's all I wanted to tell you about colors 25. Saving, exporting and sharing of your projects: Hey there, remember to leave a rating if you'd like the course so far. And we'll do me a big favor and definitely helps me out by a lot. None if you've created multiple artworks, maybe you want to share some of them with friends or family. And so far you only have them in procreate, but probably you want to send it over email or whatever you want to post it online. So how exactly do you get your painting from procreate outside to share it with everyone? There are multiple ways that basically all do the same thing. The easiest definitely is when you're inside your file, then you have the Actions menu, and then you have the Share tab. And now you have two different options here, multiple options in it. So share images and shear layers. But let's talk about shared image first. Share image. There's the normal ones like JPEG or PNG. Jpeg. It's the most common one, probably heard of it already. And the P&G has the specialty that if you turn off, for example, in the background and you would share the PNG, it would recognize and remember that it's translucent. So P&G can save translucency jpeg can't. Jpeg would just simply display everything that's translucent as white. So PNG definitely if you want to export something that's supposed to have something translucent in it. So these are the normal ones. Now let's look at the others. There is the tiff one, which always has a really high quality. So maybe if you worked for a client and you want to send out like the really high-quality image that has tons of pixels and a super high resolution, then probably tiff is the way to go for you, but it's pretty big file, so just keep it in mind that it's really big and maybe not the most logical thing to save all of your files and a tiff format. So just do it whenever you need a really high quality one. And then there's the other ones, like the Procreate and the PSD and PDF. Pdf. I don't think I have to explain it. Pretty basic format used for a lot of things. Same here. And then there's the PSD and Procreate. If you've worked with Photoshop before, then you know the PSD files to Photoshop files. And it basically allows you to save your file with all the different layers. So maybe you're someone who wants to use Procreate just to like doodle something really quick and do some sketches and then finalize them in Photoshop. You can definitely export as a PSD. And it allows you to keep all the layers and all the different layer options. We haven't looked at layer options yet, but once we have, just keep it in mind, you can also keep the layer options when you have a PSD. So it's a pretty big format as well, since it keeps all the different layers. But if you want to continue working on it on another software or on another device, I would recommend using the Photoshop one because it's pretty common by now as well. And can we open by a lot of programs? So the last one is the procreate one. And what does this one do? Well, obviously, it's one that's just meant for Procreate. So maybe you want to send it to a friend who also uses procreate, then you can use this format. The good thing that it does like compared to the Photoshop one, instead, it's more compact so the files aren't as big. And it also saves the time-lapse video, which we will talk about like next. But for now, just know that it also has the time-lapse video safe than it. So definitely something great if you want to have a file and have the time-lapse with it and send it to someone else on Procreate. Then use this procreate file. And also, it's a good idea to have your picture is backed up somewhere in the cloud so that if something happens to your device, they're not all just gone. So you can definitely do a Procreate safe of all your files and save them in a Cloud so that you always have your data and you can lose it. So these are the ways to share the image. Now there's also share layers. You can have a PDF. Basically, it just means that every page of your PDF would be a layer. So all of this would be one page, next page, next page, etc. So in save the layers as different pages, then there's a PNG file where it saves all the layers is pages for with the translucency, with the PDF and would have been white background. And then there's the animated GIF PNG MP4 and the HEV vi si. And it kinda old us the same. So I'm just going to show it to you with the animated GIF. It takes your layers and puts them in a little bit more slower. So it just shows all the different layers in a GIF or GIF. So if you want to have a tiny animation or something, or maybe you have a step-by-step on the different layers, then you could definitely do it as an animated GIF. And it would just show your different layers S frames. So that's definitely something you can also consider if you want it. And then this max resolution or web ready, then it's a lot smaller. But we can also look at this in a little bit. So these are the different methods and the different options. You can also go to your gallery and select something and then share it right here. So that is also one way. But here you see there's a little bit less options, but it's basically the same. So there's different ways. It also, if you want to share multiple at once, you can always just select them and then share them at once. Just pretty easy. That's always the same. And that's basically how you do all of them. 26. Importing of pictures/Drag & Drop: So now that we've learned to export something, Let's look at how we can import something. So there's the Import button up here, which is my KM, pretty obvious. And you can import something from your whole iPad, media and everything. So pretty much if you have a PSD or a Procreate file, you could choose it here and import it. But there's, That's pretty much only when you want to have a PSD or a Procreate file imported. If you have something more simple like a picture, you can simply press photo and then imports one of your photos. And simply by pressing it here and conscious with an artwork I have, simply by pressing it, ages appears in your gallery and gets opened. So that's pretty much as simple as you can imagine it. And then there's also the option to do the same when you're in your file. So you just go to the Actions menu and then you go to Add. And then you can insert a file or photo. But just be aware that you can't insert a Procreate file in a procreate file so you won't get any new layers or something. You can just put a bunch of layers within a data that has a bunch of layers doesn't work. But you can definitely insert a photo. And if you just press on it here, if I have the same one, then this gets important as a JPEG and I can drag it around and place it wherever I want. And it says easiest stand. So that's definitely one. And you can also take a photo and put it in here. It's really super simple. And just a little quick extra tip. If you want to add, if you have a time-lapse video and you don't want people to see that you're using a picture in there. You can always add a private photo. So inserting a private photo means that in the time-lapse video, it won't be visible. So normally when you paint, you can see like everything you do and you can see if you're inserting pictures. If you insert a private one, it won't be it won't come up in the video. So that is a feature that's good to know. Because maybe you have something you don't want to show. Maybe that's your face in there as a reference. And you don't want to see people to see your face and you can insert it as a private picture and it won't show up. So that's kinda as basic as it can get to inserting any pictures. And now the only other thing that I wanted to tell you, if you have a picture and you may be found something on the Internet that it's like super pretty and you want to insert it. You can do so by simply dragging and dropping and picture. So if I have this picture and I want to use it, I can just take this picture and it has this little plus icon. And I can go back to my procreate file. And then I have this little plus one. And if I just leave it here, then it just gives me the picture. I don't even have to save it in my files. So if I just have something that I want to put in there really quickly, I can do. So it's super simple and works really well, and I already have a stylized background. So that's something that's also good to know. And it's really easy to do. Just simply drag and drop it in there and you're basically already done. So yes, that's how you import pictures to your data. 27. Creating and saving timelapse videos: Okay, one other neat little feature that's inside Procreate is the time-lapse videos. Maybe you've already seen some time-lapse videos from Procreate in the past, and they are super easy to make. I've already touched on the subject of times, but now let's talk about it in depth and how to really use it. And it's as simple as going into whatever artwork you've created. And then up here, and I've put in the Actions menu, you can go to a video. And then there's the time-lapse replay. And if you press on it, you can look at your artwork again and how you've made it. And it's also really cool because you can zoom in well, looking on it and just roaming around and keep playing. And on the top you have this blue little bar that goes on here. And you can also drag it in order for it to be quicker. Or go back somewhere and just look at it and see how you created your artwork step-by-step. It's really cool. So that's definitely something you can do and you can share. Also, if you've wondered like how much time it is or by how much it speeds up. It's not really speeding up the real progress because it's not completely a recording. It just saves every little stroke you make and then kind of puts it in a video. So if you would, if you were to make a stroke like really, really slowly, or if you were to make the same stroke really fast, it would appear the same speed in a time-lapse replay. So you really can't measure the amount of time it took for the painting. You can only see like how you make your strokes and how it all came to life. But definitely something really cool to look at. And of course, you can also export it. So you have the recording that you can turn on and off. So if you don't want a recording for some reason, maybe to save some space, you can, you can turn it off. Then you can also export it. And you can export it either in the full length or 30 s video. And then it will be compressed down. And simply by pressing on it, it's going to get exported to your gallery. You can choose wherever you want to have. And if I just save the video, then it's going to be saved to my gallery. Easiest end. The amount of detail and quality depends on what kind of Canvas you've chosen. So again here, the time-lapse settings, you have to choose different settings in order for it to be a lot better and more high-quality. That way you can really get a better video out of it, but that's something you should know in advance before creating your Canvas. Alright, so that's basically it. The only thing that I can still add is like a little secret tip. So to say, if I go here and I stop the recording, it's going to ask me to purge the video and I don't want to project. Now if I paint something, so let me just paint. Please don't feel this way. Okay. If I just paint like a giant pink blob on here. And I don't want to, because I wanted to experiment. And I go back. And now I put the recording again. And now I make like this tiny little pinks thing a year like line and I'll look at my time-lapse replay. If you go all the way to the end, you can see that my my, my giant pink blob doesn't appear. The little line that I made and pink in the periods again. And that's simply because I put it on and off. So whenever you draw, whenever you have the time-lapse recording, but off is not recorded and then you can turn it back on and it's recording again. So it's like a tiny weird way to cut your own videos. Definitely not something I wouldn't recommend in order to cut it, but it's something you can do. And if you want to try on something that is not supposed to appear in the final video. Try it out. It's really fun. People often see timeless videos. And I'm sure you love to see your own ones as well and really shows you how your work. And it's a nice feature. So I hope you enjoy it. 28. Layer options: Great. So next let us look at one of the more, I don't wanna say complicated to scare you off, but more of the complex features and new digital painting, which is the layer options. The layer options are at the same time a little bit more complicated, but they also make your life so much more easier. So let's try and explain it to you. It's pretty basic, pretty simple stuff here. And let's close our group and go to the pineapple right here. So I'm going to turn this off and now we have two pineapple here. So what exactly are layer options and how can we utilize them to make our life better? So basically we have this little n here. And if you press on it, we already saw new opacity slider. But now we want to look at all the stuff that's underneath. Underneath are all the different layer options. And as you can see, there's really a lot to choose from. But in order to show them to you better, I'm going to make a new layer. I'm going to clip it and then show you what different stuff I can make. So let's just take, for example, this orange. And I'm going to put it over here again. And we have an orange and it doesn't really just completely painted over it. Of course, you can change the opacity, but it's still kinda blocks it out. And now let's look at the different layer options. So for example, if we want to darken this part, but we don't want to lose all the details that we've put in. We can use layer options. So one of the layer options that I like to use the most is the multiply feature. As you can see, it darkens it, but it also callers it. And it leaves in all the details. So in order to show it again, this is without it and this is with the option. You see it instantly becomes a lot more depth and becomes lots more saturated and darker when we still get to keep all the details and structures we have in here. So let's clear this again and use this option in order to shade the pineapple in a bit more. Maybe use one that's been less saturated. And this way, we can shape the pineapple here and push the form even more. And you see that you can still keep all the little details in here and make it just a bit more darker. So again, with, without, without and width. So makes quite a difference. But of course there's even more layer options. So now let's just keep stacking the masks on top and see what other stuff we can do. This was to multiply one. There is also a darker color, darker and darker color. There's different ones. I'm not gonna go into each one of them. I'm only going to go into the ones that I myself use because there's quite a few that I never really touched because they are pretty specific and I don't really need them. So I'm just going to show you the ones that I personally use. There's also a darker color. What it does is basically darkens up all the parts, but it doesn't go. Okay. Lets me before I explain it, it darkens it up, but it doesn't go darker than the color I've picked. So just look at this dark green line here. If I want to do, if I want to make these yellow parts darker, like for example, with the green, I can pick it and then I can go over it. And it darkens it. But it doesn't darken the line here because this line is darker than the color I've picked. If I also take this color, I can darken these parts here. But it doesn't darken the color is around because they are still darker than the color I've picked. It sounds more complicated than it is. It really just darkens whatever color you have picked and whatever Slido it darkens. And if something underneath is even darker, it stays the same. So that's the darker color layer option. Also really nice in order to like do some smoothing out like this really cool feature and can also be used in various ways. So that's like the darker color than another one I like to use. The more clipping masks is like pretty much lighten. It does the same just the other way around. Like lighter color. If something is dark and you want to lighten it, it lights it, but if something is already lighter than one you chose, it doesn't light up even more. So basically the same feature just for lighter colors instead of darker colors. It's like why it has like these little shortcuts here, makes sense. Then there's other options. There's normal one, we know this one. Then there's lightened screen color, dodge and add. All of these have different lighting effects than work in different ways. So I can pretty much make my pineapple glow, shine and be really bright. So if I take Color Dodge and I put it over here, you see that it really looks like there's some sunlight shining on my pineapple. And the different layer moody here do different stuff. So screen also does it without changing the colors too much. Then there's ed, which really brings this sun effect out here. And then they're soft light, which only does it a little bit more. So it only adds a tiny bit of color here. Really just says what it is in soft light, then there's a hard light which also adds it, but with a lot more of the saturation. And then there's these other options here. So personally, if you want to have a really strong sun effect, I wouldn't use the Add option here. Makes it makes it really pop out. The Nikola is a little bit overblown, but it's really cool if you want to have a strong sunlight effect on something. And otherwise, I would suggest using hard light. Because for example, if I pick a stronger color here, I can easily simulate something like sunlight as well. And it definitely works. Great. You can always go back in there, erase parts you don't need. And of course you can always turn it on and off. So definitely a nice way of Bringing some sunlight or something, some grows into your paintings. And it works really well. And the other one that I really like to use is I'm going to use a new one here is the overlay function. And if I feel like my painting is lacking a little bit of saturation, then I just pick a color that I want. So maybe lactate is brownish, orange. And now if I paint over it, you'll see that it really apply some saturation to all of it. So overlay will be your best friend whenever you call us, look somehow doll, you can just put in an overlay layer and color it in. And it'll bring out the colors a lot more. If I do this with a brighter color and also brightens it up. And if I do the same with a darker color, it makes it more saturated, but it also darkens. And so it can be like somehow multifunctional tool between a multiply layer and a hard light layer or something. But it really just changes the saturation a lot in a little bit of devalues. So it always just kind of depends on whatever situation you're in. But as you can see, like if I just turn, all of these are in a group. One of the effects, of course it can clip them anymore. So I'm also going to put this in here. Has to be clipped. But then you can just makes it a whole lot of difference just by using the layer functions. If I turn them all off, you can see now all my pineapple looks really flat and dull. And just by using the Multiply one darker color, one here, the overlay and hard light. I can really make my pineapple and get it to a new level without having to add any colors sin, if I find that, for example, light is too much, I can always just turn them off. Or I can change the settings here and see if something matches my home, my image better. So it's really cool feature to add some more variety to your picture is also changing the opacity. You can just see maybe something works better. And, um, yeah, So layer options, they sound more complicated than they are. And it's definitely something you have to learn slowly to really get into when to use what options. For example, here with multiply one, I would also take lighter screen for multiplying. Don't go too dark. If you go too dark, It's just straight up, almost a black. And if you go with a softer color than it only darkens it a bit. So four multiply and we'll just darken this whole part down here. And it's really helpful to quickly set in some shadows without touching your base layer in any way. So yes, try and make use of the different layer options. I will also keep using them and keep pointing out what I don't want to use for what kind of effect. But it's definitely something that should be implemented in your workflow because it will make your life so much easier 29. Drawing Assist: 2D-Grit and isometric: Okay, For the next thing I'm going to show you, I'll, we'll be creating yet again a new canvas. I'm also going to choose the one that we created together. And now let's look at some cool hidden features within procreate. So for this one, I'm going to talk to you about the Drawing Assist. So here for Canvas and actions, we can go to Drawing Guide. For some reason it's animation says waitresses, but drawing guide on drawing assist. The drawing guide. We can go in here. And if we press it, then we get this grid. And now maybe if you want to write someone a letter, you can have an easier time writing on the paper, just be like maybe a little bit bigger. That way it's easier to give like one straight line. Of course that's not the only thing you can do and it's not really meant for it. Maybe sometimes it makes easier, but there's definitely more used to get out of this feature. So if we go to Edit Drawing Guide, then here you can see that you can change your grid size. So depending on what you need, you can change it. You can change the thickness of the lines. So if you want to have them like really soft and you can make them a lot smaller. And then also the opacity. And here you can change where it's supposed to be. And with the Blue Anchor and with the green one, you can rotate it. And then you can also go here to Assisted Drawing. And when you toggle this, and if you make some lines now, they will follow the grid automatically. So even if I go like super straight from the line, you can see that it completely just follows some of the drawing lines assisted ones that I have put in. If you don't want this anymore, you have to go to your layers. And then there's this assisted little thing you've written underneath. If you press it and then you press on Drawing Assist, you can turn it off. Then you can paint freely. If you want to have it back, you can just go to Drawing Assist again and then it will be assisted once again. So this is definitely something cool and nice to have, but also there's still more. So let's look at it this way. Can see that you can do like a bunch of stuff up here. You can change the color of the lines. So if you have a painting that was completely black, then black lines won't be really helpful. So here you can change whatever color you want it to be displayed Add. And now let's look at the layer features. So this is like the simple 2D grid, but there's also the symmetric one. So this one is pretty great if you maybe want to start getting into some cool perspective like drawing. So for example, if I just take like Maya mono line and then I go to the assisted drawing. I can easily paint a little room here. And I don't have to be an expert in perspective or anything. I can just painted. Maybe also. That's completely Crockett, my bad. But it works. Now if I erase this kind of stuff, then I just have an open room where I can kinda look inside. And now I could place something like a table. And it makes it really easy for me to get some perspective drawing going on. You just got to be intelligent enough to understand perspective. It's a pretty easy way to just simply create a top side view of a room or something. You can see quickly. Super easy to do. So if you want to maybe make a picture of a cute little house, this is definitely the way to go. And again, you can just go here and turn it on and off. If you want to draw a flower or somewhere, then you can of course, turn it off and draw freely and turn it back on. And here you can go into the Edit Drawing Guide and change these settings. I also turned off here. These are these two. Pretty good to know for now. And next I'm going to show you the perspective one 30. Drawing Assist: Perspective: Alright, next up in our drawing guide is going to be the perspective one. So put a color it and we can see now here it says tap to create a vanishing point. So means our horizon line. So if I tap here, I'm going to get a perspective grid. And now I can start doing whatever perspective drawing that I want to do. But there's also the option to add more vanishing points. So if I tab here, for example, in this grid, then I can place inside or outside of my drawing, and I can add another one. I can also rotate this one freely if I want to. But this one is always connected to the horizon line, which can be really irritating sometimes when you count on snap it. But it works for the most part. And if you just put them here, then you have easily created like a prospective setting. And I know perspective can be intimidating, but the feature exists. And if you go with the assisted drawing, then you can also easily create like perspective. It's just hard to get like a line that is straight. You can use the quick shape feature to get it more easily. And then just create whatever kind of environment you have in mind with the assisted drawing. And it's a lot more easier then if you would have to think all of it from your head. So yeah, that is definitely something you can do. And it's a really cool feature to have it in here. Because IT goals just so much quicker to like draw houses in something. As you can see, this is like a really bad house, but it still works as a house. So definitely something you can try out if you're interested in it. And I'm going to just show you a painting that I did with the perspective grid and procreate. So you can see kind of how I used it. Rarely, ever use perspective, but in this case it definitely helped a lot. Because here you can see, if you look really closely like all of these lines. They're all here on the, they're all here, orientate it on the perspective grid. So the way the books are laying down, the way this shelf is being placed. Everything here follows the perspective grid. And it's kind of a simple view, but it still had me struggling quite a bit. So definitely try and perspective if you want to force yourself to do something a little more difficult. But as you can see, definitely works. Awesome Procreate. And it's definitely nice to start working on something with perspective. I can really recommend it even though it's confusing, but it's always pretty impressive to have some good working perspective in your paintings because it just makes everything so much more interesting. So go ahead, try and give it a try. That's how you do the perspective. So next, we're going to talk about symmetry 31. Drawing Assist: Symmetry: Alright, so the last one we're going to talk about before we are actually going to do something with it is this symmetry tool. Because the symmetry tool itself has quite a few features. If we just leave it as it is right here. And we painted our assisted layer, then you could have guessed it. We have a symmetric image that we can create. It works really well. It's a really nice feature function, but it also has some more options to it. So let's go back here, Let's clear it and go back to the drawing guide. Go to the options. We also have horizontal, basically the same. It just has a different way of narrowing it. Just the horizontal line instead of the horizontal line instead of the vertical one. But there's even cooler features. Also, if you go to the drawing guide and you go to the vertical one, Let's put it on a color wheel. You can see it. You can also just rotate it. So if you want to have it vertically, you can rotate it, rotate it horizontally anyway you want. But then there's also the Quadrant and Radial here. If you use this feature, then it pains on all the four sides at once. So these are really cool if you want to make like a manila kinda picture. But then there's also the radio one, which works even better for it. So radial. And now you can really make super cool Mandela kind of pictures. And it's really easy to make them. As you can see. I'm just doodling and it already looks almost impressive. So something really cool to do if you're maybe just want to relax a little bit, don't think about the artwork too much. You can definitely try and just make these kinds of paintings with the symmetry tool. Because almost kinda does the job for you. You really don't have to do a lot in order to get cool pictures. If you want to erase, it just works the same as well. So that's basically it. And then if you have a new layer, then when you start painting, you will realize that you don't have your drawing guide anymore. If you want to have this, you have to click on it again. Go to Drawing Guide. And now it has assisted drawing as well. So you can always turn this on and off on every layer and just do whatever you need. And when you don't need it anymore, you can paint freely. So this works super easily. So now the last thing is the, another small option here. So there's rotational symmetry. So now we just have to make it a sister of course. So now it just rotates it. Instead of it being like, well, if you go into the middle, you can see that it only adds up to one point. I don't know how to better explain it and show it. It just rotates it. Instead of going exactly symmetrical. It's really nice as well to make some kind of mandela pictures. Put it a little bit more confusing at the same time. So these are the different symmetry options. And in the next step, I want to show you what you can make with a similar tree and how to really make good use of it? 32. Exercise: Beetle: So now that we have explored the symmetry tool, Let's try and do something with it. So I'm going to attempt to draw beetle and to make it a little bit less realistic and more stylized and give it some cool features and some things. So let's try and do just that. Again, I'm going to my good old sketching pen, peppermint. I'm going to choose a dark brown color. And I'm going to start sketching ahead the basic shapes. So I have to take care that is not a radial. So options, Rotational Symmetry off. And now I'm going to make it dark so I can see the line. And now let's start. So having body here. Again, my friends look at reference. You can know how to draw it out of your head. Of course, you know like how a simplified version of it looks, but not how a real bug looks. So try and look at some reference. And then sketching way made me here in this case the load more in the middle. So on then I can make this a little bit longer. Looks more impressive. Okay. That works. And the legs kinda just touching over here. One layer. And down here. I mean, it's weird. Shape. In sex, really weird on the longer you look at them the way that they look. That's one leg down. Also, don't be afraid to have it a little bit messy. That's totally fine. It doesn't have to be super clean. If you want it to be super clean, of course, and go right ahead. It doesn't have to be. All right. And then you can always take your drawing and zoom out a little bit to see if it works. Unless you're focused on the details and the more you focus on your overall picture, easier it is to spot any mistakes. So I always suggest zooming out. Then looking at the bigger picture. Over here, it's been too thick. I may get a little bit smaller. Right? And now my legs with smaller I think, so that they aren't as dominant and the picture, alright, good, should be, good enough as a sketch one out. Now, let's go back to what we used to Making layers underneath. Also, I'm going to change the background color to something that's darker. And now I have this new layer selected. I'm gonna go in maybe this time. Then. Artistic brush, maybe like a painting brush. The Nicaraguan. And now I'm choosing a nice purple color. Purple. What am I saying? A nice orange and filling in the body. And as you can see, it's not assisted anymore. So let's save some work by putting an drawing assist again, filling this out just a little bit quicker. That way we can save a little bit of time getting dark red and fill that in. And now I'm going to choose a dark reddish, blackish color. I'm going to fill in the main part of it. And also now the lines are disappearing. And here's a quick tip to use Multiply layer, because that way if you set your sketch and multiply layers, we'll just get darker when you paint over them and you don't just lose track of where your lines are. Really, the layer options are gonna be some really good friend of yours once you know how to really make use of them. So now that we have this, we can go in a little bit more in-depth. So maybe take the yellow and bring some lines here to give it more definition. Or take this color and go to a lighter one and get some reflections in here. Many carving out the form. Enormous feels a little bit like sculpting. Maybe if you've sculpted before it and this field somewhat familiar to you. Alright? I'm also going to use the smudge tool and just blend it in a bit more. Alright, looking better and better. Let's get some sharper edges up here. And simultaneously take the sketch layer and make it softer so I can see what I'm doing exactly underneath and what forms are still missing. And now I'm going to make a new layer. And I'm going to go to the layer options as we've learned and I'm going to set it to multiply and make a clipping mask. Also the drawing assist. With a soft brush. I will take and darker, like pretty bright orange and it will darken it up where I needed. So I apply this here. You can instantly see how it just gives it a lot more Forum. Do this wherever I need it to To like rainy shade my middle. Maybe even a little less up here. Alright. This works great so far. And now I can do the same. The sister again. And maybe this time put it on an overlay mode. And now I'm gonna go to the calligraphy one. And I'm going to get one of these. I'm down here that has a little bit of structure, but it's pretty sharp edges. And then take a darker color. And now we can just go in here and do a little something on top. It doesn't have to be perfect and it doesn't have to be realistic. So I can just be free with it whenever I want to show. And kinda just draw something on here. Like maybe draw something like eyes. Pretty much anything really. And just by doing so, we get a lot more interesting shapes and forms our insect. Now if I darken some of these lines up, then it can look even cooler. So let's do just that and get some darker lines in here. Not too many, otherwise, we will ruin the overall look of it. But of only some of them are darker and then we get a nice contrast. We can do the same for up here. I would just go ahead and do some fine lines to really bring some interests to top as well. And again, it really doesn't have to be realistic because it's already clear that this isn't supposed to be a hyper-realistic beetle. So just let your creativity your own free and create whatever you want to. Have some fun with it. And the symmetry tool is a really great way to explore some new creative ideas. Because you only have to think about one side and as you go and create something for you. So it's really nice if you're maybe lacking some creative ideas for any kind of design. And just try out the symmetry tool. And you might just get to a solution or something you like. And with all the different layer options, you can also do something really quick. So if I would have wanted to draw maybe like a weapon or a window of a church or anything. There are so many symmetrical things out there, you just really have to look out for them. But there's like animal faces, all kinds of stuff in symmetrical. Of course, symmetry always makes it a tiny bit boring, but it's also satisfying, almost like a mixture of it being really static and really harmonious and nice to look at, you just have to find the Right middle for it, and you'll get some really cool results. So now I've chosen the layer option. And with this one, I can get some of the lines to look like they're sewing some gold or lockdown, like shimmering. So you can see it's selected. I go somewhat mid, mid, bright orange. And if I paint on it here, then it looks like there's some golden sparkling effect going on. And I won't be adding into anything because like everything, because if I added everywhere then the effect will be less interesting. What if I only added lung here and they're almost like in a line. Also I see again that I have to put on the assist. So assisted and then paint on it. And you can see that it looks like there is some kind of golden shimmering effect happening. If you want it to look more interesting, I would suggest to almost painted in a line like this so that not everything is golden, would only it kind of wraps around to form. That way. It looks like the light is hitting in this special direction and not just everywhere. Try it on for yourself and you'll see what I mean. And already you can see that it looks really cool and almost three-dimensional now. Because we've added the shimmering effect to it. You can bring it all the way here to the front. And maybe even here in the middle somewhere. Just don't overdo it too much. And you'll have a really cool look. And the smaller you go with the details, the more impressive it'll seem because people will think why we've been so far. I know the details, you're crazy. What really, it's just making tiny strokes. So this looks really cool, doesn't it? So now we can do this kind of stuff to other parts of the painting as well and give it some golden shimmery look. Just try to imagine like some kind of line going down there and then just paint along this line. And it looks way better than if you paint everything Gold. Alright, doesn't it look great it already. So I'm going to do the same with the horns. Alright, perfect. And we have a golden shimmering inside. Now if I take the color in doing a lot less bright, I can also do this on the legs. And since it's not as bright, won't be as reflective from the looks of it. So it's not as distracting. And if I since I don't want to have to focus on the legs, I'm choosing a darker colors so that it won't distract too much, but still have a similar amount of detail and not look out of place Now if I take off the sketch, I can see where I still need to do some improvement. So I'm gonna take my painting brush and I'm gonna go around here and kind of filling in. And then also with the legs can do nice pointy little parts and then kind of erase away in between. And that way I get a lot more detail. And this point just a tiny, so to say, quick tip about layers and layer options. So for example, if I want to, as I just did, I wanted to take the color here and add down here to it. If I did the same and pick this color with color dropper that I wanted to add. And I drawn here, it suddenly becomes darker and not the color that I picked. And that's because there is to multiply layer on top. So if I am picking the color down here, I'm actually picking one that isn't really there because the multiplier layer is on top and multiply layer effects. And so if I pick a darker color and I paint on it, and then multiply layer is on top, it will get darker. So if that ever happens to you, then maybe check what kind of layer options you have activated. And that might be the case for why you're painting suddenly appears darker when it's really cool. If you want to add these leg shadow effects to something, then it looks like it's really three-dimensional. So that's something really cool you can do. The four suddenly looks like meeting is laying on top because it's costing the small shadow. See it looks a lot more three-dimensional now that I've added the shadow. And you just have to, when placing the shadow, just imagine that the light is coming from here. It's coming from topped with just to make it easier, just mentioning it comes from the top. Normally it will come from up here with a painting when we're looking at, would make it easier for yourself and imagine it comes from the front. And then you can add in some shadows. And it'll look really cool and make your painting more impressive. So I'm just adding shadows wherever the form is like hiding light that comes from the front. And it's easiest style. It looks really three-dimensional. Really cool. Alright, so now let's go on the layer behind it and again, get the assist. And now I can take the background, make it a little more darker, maybe a bit more bluish and darker. And now let's get a soft brush again. Let's put this one too hard light maybe. Get some yellow in here and put it behind their eye and it'll kind of bring out whatever we have on this layer. This is maybe a bit too much. So maybe screen as a good option. That way we can see it better. And now with another layer that's also assisted, I can go to luminance and take my light brush, the third one from the top, and then go ahead and paint in some geometrical things, but I have to choose a darker color so that it properly shows the effect. Maybe more reddish works Now it may be the opacity down a little bit. Maybe also important to lighten and put down overlay, maybe put down the opacity a little bit. And that way we have a really cool painting and a nice accident and backgrounds so it doesn't get too boring. And then again on top, make it assisted again. And go to multiply. And do the same as I did before. Airbrush, soft brush, and then just do the slight vignette effect in blue. So that way our beetle is framed nicely and it gets some more depth. And now if we turn off the Drawing Guide and this line in the middle disappears, and we have it pretty much finished. The only thing we can do now is maybe go to a layer underneath if we want to. Also have that assisted. And then depending on what kind of style you want to have, you could go in and outline beetle. And you can also outline it in another colors. You can also take them bright color and outline it that way. Whatever works best for you. Now that way it just pops out a bit more from the background. And it's easier to read. Just not making it too thick so that it doesn't distract too much. But it's something you can add an if you'd like it, you can just leave it on. If you don't like it, you can turn it off. In my case, it works. So I'm just going to leave it like that. And that's another painting finished 33. New project: Illustration Koi-pond: Just a quick reminder to leave a review here if you enjoyed the course so far and you've learned something new, I love to teach you something and I hope you can help me out a little bit by leaving a positive review. Great, So let's start with another new project that's a little bit more ambitious and we will explore some more advanced tools. We already have some really great artworks and our gallery. But now let's make another one. Fix the price. So I'm gonna go to the plus again, and you can choose a different size. But probably I'm gonna go with the same one. Let me think. Maybe 4,000 by 5,000. But I think I'm going to stick with the one that we already have. So it's the same. Of course, you can change it up a little bit. But for me it works for whatever I have planned. This is like the default size that I work with. And now I'm going to start by darkening the background first of all. So I've got to get it like this. And now I will start sketching again. For this one, you could also do it without sketching. But I just want to get a rough idea of the composition and see if it works. So I'm going to do like a small sketch. And basically what I wanna do here is draw a pond with some coins in it. So we kinda expanding on the fish theme that we had. And I'm just going to quickly lay down some shapes, see if they work in if I like them. They can be overlapping at some points. Maybe some bigger ones and some smaller ones. Alright, pretty much like this. This one is a bit small. And then get some fishes swimming in here. You don't have to be as realistic as the other one. Can be a little bit more stylized. Maybe a smaller one also. So shape design is a bit more interesting here, right? And maybe some overlap even. Okay? So we have some fishes and our pond, and we have some petals from the one on the lease. So on to show the work. Maybe over here we can repeat them so that the pattern looks a bit more natural. Not too many. Just a few. Okay. So now we have the pond, what the ceiling is in it, and I think it works. So let's probably block in the colors so that we get an idea for what we have. I'm going to put it underneath and take a painting brush, maybe the acrylic one. And then just gonna get my orange block in fish. As well as the non think it's Finns wanted all know the word, Excuse me. This is like super rough and ugly. You basically just want to know if the thing I imagined works out or not. So it really doesn't have to be super pretty. Basically just a rough sketch still at this point. And by quickly blocking and in, you can see if my idea works out. Alright, well, I would say that works. So now let's start and properly go Edit and plan out a little bit more. So what I'm going to show you next is to copy paste one 34. Copy and paste: Okay, We have the rough sketch and now we're going to look at the copy and paste tool in this exercise. So how exactly does it work? First of all, let's maybe get one of the fish to a state where it looks presentable. So I'm just going to fill this in here properly. Then it doesn't look completely messy. Let's just leave it like that for now should work. And now what I can do is that I can copy and paste this. So I have my fishing gear. And I can just go up here to the tab. The selection tool we'll talk about in a bit for now. I'm just going to take the free hand selection and I can copy and paste it. And now I have a new layer that has just efficient it. And now it's a really cool tool because if I swipe down with three fingers, then I can copy multiple things. So for example, I could take this fish and cut it out from here, and then it will be empty. And I would have been cut out. And by simply swiping down, I can paste it back in. It really just works mostly like normal copy and pasting in written form or anything, you just simply copy whatever you have. So if I go to another layer and pasted, I could just paste exactly the same thing back in again. So that is something really cool that you can do. So if you have like a small detail that you want to paste again and again, we just think back about the pineapple where I had the small little pattern that I wanted to have repeated. I could have just copied it and pasted it with this menu. So there's different things here. You can duplicate stuff. Like for example, if I go here, then I can just duplicate it. And then I have this whole layer duplicate it. So many of the features in this copy and paste section are basically similar to features we already use. They are simply hidden here in another feature where you just have to swipe down with three fingers. So if I copy all, then I copy whatever I currently have on these different layers. So the sketch and everything, I'm just not copying the backgrounds. So let me just turn this off. And now you can see that there's like a flat image of the painting I had on my canvas. And I can, if I want to delete it and put it back in here, you can see pays that. It just made a copy of everything I saw on my pictures. So if you have painted on your painting and you don't want to duplicate your entire canvas, but you want to continue on one solid layer. You can just swipe down and Copy All and then paste it back in and you'll have like a perfect flat painting of whatever you're working on while still keeping all of your layers. So that's definitely in need feature. And another really good feature that you can use is to go outside and go into another canvas. So for example, if I have this fish here and I really like it, I can go in here. And now if I turn off the background, I can use the feature that I use to copy all. Then I have this layer and I can paste it back in. Now I have my fish on one solid layer. And what I could do is to swipe down again and copy the fish. And now if I go out of this and go back into my painting and I paste it in here. I could paste in an entire fish from another paintings. So if you have a coil that you really like and you don't want to repaint your coin. You can, for example, just replace it with this fish that you have and just make multiple copies of this. And it would look really detailed and nice. In my case, it would be a little bit too much, and I think the amount of detail would be a bit overkill, but it's definitely an option that you could use. Also, I forgot to turn off the multiply one, so it had this weird rim around it. Once you get the idea, you can definitely copy and paste things. And you can even take these out and go to the gallery and put them as a new canvas. So that's possible as well to just get one simple layer and put it as a new canvas is on possible. So that's a really neat feature. And you can use it to your advantage. If you, for example, if you painted one of the sea lilies and a really nice way, let's just try and make one that's made darker here. And then get the mono line back in so that I can quickly fill it. Alright, so now let's get one that isn't cut off on the side and fill it in. And now I could just copy it and then paste it again. Just move it around and do this however often I like. So that is definitely a really cool feature to use. And when you did enough of this, you can always go to your layers and merge them down. And then you can duplicate them either here or somewhere else. Really nice way to speed up whatever drawing process you have going on. Especially if you have such patterns that easily repeat themselves. So, yeah, that's the copy and paste menu 35. Selection tool: Okay, So I have scratched the surface of the selection tool multiple times, but I never really went in depth. So let's talk about the selection tool. It's up here and it looks a little bit like a small DNA in my opinion. And you can open it up and you get this special menu. And what you can do here is multiple things, of course, because procreate always heights more stuff in the menu than just one thing. So basically what you can do here is to select something, make sense because it's the Selection tool. So I can just draw around something. And if I press the small little circle again, I have it selected. And now you see that everything has these stripes except for the area that I selected. If I go back and I can undo it again, and I have my selection like removed. So there's the free hand one which just lets you paint it as much as you like, like freely. And if you paint somewhere else, if you press somewhere else on the canvas, it draws a straight line. So if you want to have like a geometric form that's free, you can easily just go around the edges and just choose something that way. So that's one nice way to do it. Then you have the rectangle which you can just cut open. So if you want to have like a perfect square somewhere or rectangle, that's your way to go. And then there's the same with the ellipse. It's really hard to get a perfect square because here tapping it doesn't change anything. So selecting and perfect square can be quite a challenge. Then there's also automatic. Automatic is simply pressing on something that you want to select. And then it selects everything that looks to the program like it's belongs to one another is. So in this case, it's really easy because these are solid shapes. But if I would do the automatic one on the fish, for example, and select these, then it would be kinda blurry because it can't really decide where the color ends. So it can be a little bit hard. But down here we also have different features. We have the add one. So I'm going to go back to the freehand. Now it hasn't selected. And maybe now I want to add something. So it can simply paint on top and I can add it to my selection. Same with the Remove. I can paint wherever I want and I can remove it from my selection. So if I don't want to have this fish selected, I can paint over it and it goes on from my selection again. Invert just means that whatever I had selected, it just completely inverts my selection. So before I had to fish selected, and now I have everything selected, both the fish, That's the invert one to copy and paste that already used it just now. It just simply copy and paste my selection. Then there's feather. What exactly does Feather amine? So if I have a selection and maybe I don't want it to be as harsh. I wanted to softly go out around the edges. Like let me just add something here. And I don't want to have these really strong rim, then I can go to feather. And if I do this, then you can see that it's slightly fading outside. So the more I feather it, the softer the room becomes. And if I would fill it with something, then it would have a slight gradient. So let me just fill it so you can see it probably on a layer that you can see. So now if I make a selection here and I feather it out, and I fill it with a color. Then we can still see nothing under Fill. So now you can see that it has a slight gradient to it. And the more you feather something out, the more of a gradient it has. So if I go like pretty hard with it, then it only really has like this slight gradient because it's super feather it. So this can be really useful for some situations and I'm trying to explain later like when exactly it can be really helpful. The other one is colorful. It just means that whenever you have selected, if you press it, it will automatically fill it with your color. So you can make some petals really quick just by doing Go lines here and just filling them in super quick and easy way. So that's the color fill tool. And then there's also the clear one. So if you have something here selected and you don't want to have a selected anymore, you can just clear it and it's gone again. The last one that's pretty good to know about and save and reload. So if I have one of these fish, like carefully selected and maybe I have to select it again in the future to shade it or something. I don't want to reselect it over and over again. I can save and load it and press on plus. And now when I do something else, maybe I've drawn somewhere. And I'm going back to my selections. I can simply press save and load. The selection that I've made before is gonna be loaded again and I can easily work with it again. So that's really neat feature. Basically. These are your favorite tools for working really fast and doing some easy work here, especially on something that you have to select over and over again. And it also closely goes together with the transformation tools. So that's what we're going to talk about next. 36. Transformation tool: Right, So now that we've talked about the selection tool, let's talk about the transformation tool because I have to keep using it again and again because it's just that important. So let's go down to our single fish and press on the little arrow up here. And that's how you open the transformation tool. And there's just a few things to know here. Some are pretty in-depth and they're not too important for everyday use and some are pretty helpful to know about. So first of all, let's go about these different options up here. So uniform, what does it do if you scale it? It scales it in a uniform way. So it always, the ratio of the side stays the same. It's simply scaled it up. That's what uniform does. If you go to free form. You can just stretch it out to the sides and pinch it. So you can also scale it up, but you can make it like a little bit more narrow or wide. That's what free form does. If you go to Distort, you can distort the angle of it. So this can be really helpful if you have something and you want to put it in perspective. So if you imagine this was a flat road and I could just put it on top. But I can also just showed really quickly so that you get the idea of the store tool. Let me just take this layer and fill it completely. And now take a line. Fill this up. Not all of it. Alright, and now I want to get like gray street here. Something really basic, something simple enough to understand. Okay? So now we have our street and it's going to vanish in the background. And now what we can do if we want to paint like the white stripes on top of it. So we can simply go to another layer and take the white, the white stripes and just put them on here. I'm going to do it as pretty rough. And now if we go down and we just place it here on the street, and we're going to need distort tool. Then we can just pinch it to the back and now distort it to the front. And this way, it becomes the illusion of being in perspective. Distort is really neat. If you want to do some kind of perspective things because you can just easily drag and pinch the things around. Unlike with free form where you can simply change the ratios. So that's how you use the distort tool and easily you have street created that looks like it has some perspective to it. And maybe here it is a bit too long. You get the idea. And now let's look at the work tool for this one. I'm just going to stay here on this layer. And I'm going to make a nice circle. And nice circle. I said, thank you. So it's wrong layer. So that's why it's one way it's filling everything. Alright, so now we have this, and now on a new layer, Let's just go down to the textures. And let's choose Victorian. And I'm going to make a clipping mask, but only in a bit. For now. I just want to paint the pattern on top here. And if I wanted to attach to my bowl, I can simply take it and use the wrap tool. And then I can wrap it around the ball so that it looks like it goes around the edges. It's not completely perfect, but you totally get the idea. You can pretty much warp it all the way around and you can move it to the back so that it goes all the way down here. And there's also the advanced mesh where you can drag and even more. So this is looking pretty finicky, but it definitely works. And now if I use a clipping mask and pretty much looks like it's wrapping around it instead of just laying flat on top of it. So that is a really cool selection transformation tool. If you have rounded geometry and you want to get stuff that wraps around it, then definitely this one. So these are the basic ones up here. I need to go to a layer that isn't empty. These are the ones appear. So now there's like different options down here. For free form, there's also this handy trick that you don't have to change to the distort function. Because if you go to free form and you press on one of the anchor points and you just keep holding it, then it actually starts distorting and instead of free forming it. So if you don't want to change between these two, you can simply keep and press. And it's just like a mixture of free form is like a mixture of free form and distort actually. So now let's look at these options on the bottom. Obviously flip horizontally. Flip vertically does exactly what it says. Same width, rotate 45 degrees. But then here Fit to Canvas, takes whatever you have selected and it fits into the canvas so that these points are fit. Over here. It's not really needed so many times, but maybe sometimes you'll find some use out of it. Definitely possible. Then you have your rosette one way you can put it back to wherever it was. And then over here, there's a snapping one. So it is either magnetics or snapping. Magnetics means that if you drag it across and you follow the line, it will basically help you to drag it in a straight line or in a strange way. So that is something you can do when you want it to be. Just want a straight, cross it straight across your Canvas. You can activate magnetics. And then there's also snapping. Snapping means that it will snap to like important key points on your canvas. So for example here this orange line just means that it's the middle. So I could make it snap to the middle. And you can see that it kinda tries and find some important key lines in your painting. And then yes, also distance and velocity. And it's just the more you push these harder it snaps to things. So if I go in with a distance like really low, then I have to get really close to the canvas, ancient order for it to snap. So I have to get like three pixels close to it. Well, if I go into 22, I only have to get 22 pixels close to it in order for it to snap. So these are some really cool features, especially if you want to make patterns that are, that are perfectly symmetrical. Because you could just take your fish and you could just flip it horizontally and then just go all the way over here and it would perfectly line up without you having to worry that it's the same place. So really good features. And the bi-linear one, these are pretty advanced features for the interpolation is a different options. Not really something you have to worry about. You can just keep it as it is. So these are the different tools and the different functions you have. Definitely try it out with the snapping and magnetics. You also have the ability to make repeated I'm patterns because you can just do the snapping and paste the entire canvas and then like put it next to each other and you can make a repeated pattern. Definitely something cool. If you're interested in it, you can just look it up easily online in order to understand what it means. But it's also possible in Procreate thanks to these tools here in the bottom. So now that we know all of these tools, we should probably try and apply it in the next step to our pond 37. Apply your knowledge (Koi-pond): So with our newly gathered knowledge, let's try and finish this illustration. I'm going through it. I'm trying to go through it slowly enough, but it's probably gonna be some parts where I just paint along. So just take your time. Take your own painting, go along, listen to some nice music, and try and really make use of all the different features so that you can really implement them into your workflow. Because only hearing about them is like just a tiny part of the steps. If you really start using them on irregular, that's when you really get to know them and implement them and work with them and make your life easier honestly, because as soon as you forget some of these, you will eventually find out that they exist again. And you'll be like, why have I not used some oldest time? Because this has happened to me multiple times before. So try and make use of them as much as you can. And you will see that your journey for digital art is gonna be a blast. So let's go about it and start putting in these different leaves. I'm going to use to color fill tool. And I'm going to paint in some of these here. I'm going to merge it and pretty much do the same with the ones on here. Maybe try and get these on the top. And also go down with the opacity on my sketch layer. Just pretty much doing the same steps as you've already seen them. And then slowly building up my illustration. Alright, going to duplicate it so that it's safe. And then I'm going to start erasing away wherever I don't need it anymore. I already have a clear picture of what is going on here. So I can start erasing away when sketch. And now go on and put in some more color variety in my petals, come with a slightly more saturated color and do the same all over again. Alright, most dogs more and more like a pump. So now let's go back to different types of fish than a half. What emerged this one down, and then start working more on them. Going to put in a solid color first. So that after this, I can start painting in some shadows as I've already shown you. So let's get some solid, solid fish body's going. And since you're all a little bit in perspective I'm going to show them slightly from this side. So it won't be in the middle here, but rather in a little bit more to the left, just so that they look more they're supposed to. And now I'm going to go and see if I still need the sketch layer. Can probably turn it off and try working on the form here instead. So that we really get a solid look of the fish. And also I'm gonna do something similar to when we painted the fish in detail. So I'm just going to take the eraser and slightly arranged the way here. So then we get this translucent look again. Alright, and then once that is done, I will go ahead and make a multiply layer, clipping mask, multiply, and then take my soft brush again. And with a bluish colors since they are on the water, so the shadows should be blueish. I'm going to add in some shadows here. All right, that works great. So now I'm going to take a new layer and I'm going to go make the background a little bit darker and more blue. Maybe like so. And take a new layer here and also filler with a blue color. And now set it to soft light. And this way, they look a lot more lighter on the water since there is a soft blue layer on top of it, which changes the colors more accordingly to what they were supposed to look like underneath. So definitely suggest doing it and you get some better results for your colors. So now that we have this done, I'm gonna take my rose petals and I'm going to select multiple layers at once. Go to my selection tool. With free form. I'm going to select all these down here. And now I can scale them up a bit on the day overlapping and move. It looks more natural. And I can easily transform multiple at once. When I do the same with piece because I feel like the armpit to wished. So I'm going to push them a bit so that they are more rounded and not to elliptical. Alright. So now I'm going to go in here and all the ones there are super elliptical going to take them and push them to me more rounded. It looks pretty nice already, doesn't it? So next thing we can do is go in and add some of these characteristic cuts in here. They look more like one alleles and less on their generic Honda plants. Don't go overboard with it because sometimes we're not able to see it because there's multiple overlapping. So it would be really weird if we could see one in each individual length. Do the same and this layer. And now I'm going to alpha lock this as well. And take the soft brush, choose a darker color and shade them from the outset. So that the ones towards the edge or more darker, same goes with the only other ones. So pick the color they have. Choose a darker one, choose a soft brush and darken it towards the edges. And the ones over here can also just be more darker and I think they can be even more blue, we consider even further down the water. So I'm going to darken these as well. Alright, and now let's go back here. Apply a clipping mask, maybe put it to overlay. And now I'll go to my textures. I'm going to choose the dove like one, maybe current one. And then go up here, choose a somewhat light color and apply some texture and color is to the leafs so that they don't look as flat. And same goes with the ones that have medium color. I choose a darker, one more bluish tone, going to put it to overlay and apply some texture. Now if you wanna go really advanced, you can take a another mask and clip it to the medium ones, set it to multiply, and then take a medium color and just draw in the shadows wherever they are overlapping with the ones on the top. And you can also take your selection tool and just select some areas and then paint in some shadows that way. It really makes quite a difference. So it's worth the effort. So now all these petals become quite more in depth. And it's really as easy as selecting these different areas. All right, It looks great. Let's do the same for the fish. On a make a multiple layer on top, the only part layer that's possible as well. And I'm going to take again a darker blue. And then I'm going to make some stronger shadows on top of the fish where there might be some C Lilly petals blocking the sunlight. Okay, now let's see if we can add a nice effect. We have the different elements effects here. So let's see if the water effect is going to look good or not. I don't know. I'm going to have to see and find out. So we can take this over here. And now with the distort function, we can distorted a little bit more to our perspective and then maybe set it to another mode So maybe it looks kinda good, but it's too strong, so just take it a little more softer. And now we have water structure in here. Alright, and now, just going to add a few more details to the fish so that they don't look so sad. I want to just gonna go to airbrush and a hard brush and then take an orange that's slightly more saturated and bright and just going to add in some tiny dots for the scales. Now one nice trick as well as to copy and duplicate the layer like this. And now I have to clip them stuff back on some problem and then go here and press multiplying. So now it's underneath, so it doesn't do a lot of what you can do is go to your transformation one, and go to free form. And it's really cool because if you don't want to move it too much, there's actually the feature that you can just tap in whatever direction you want it to move. And it will only move like tiny, tiny bit. So you can see now it starts coming out here and it starts to show like a rim and a shadow. So if you want to have a small shadow for all of this, you can just raise tapping slightly, move the stuff across the canvas, which can be super-helpful. And as easiest, add all the petals here, get like a really strong color and we don't have to paint the shadows individually. So that's something that's really nice. So I think we're almost done here. I would just now we have our maximum amount of layers reached. So I will go ahead and delete the layer we don't need anymore. Now, let's go in with a soft brush again and an overlay layer. And let's get brighter blue color and some kind of reflection here on water. To bring more, some more interests too, the painting into the middle of it. Alright, let's see if I can make the water even darker than works. Great. So now we have a more of a highlight on here. And that definitely works in our favor. So I'm going to keep it. In the next steps. I'm going to show you how to apply and glowing effect to the fish 38. Glow effect: Alright, so now let's try and add some more details and a little bit of a glow effect to our fish and to the whole image. So how do we do this exactly? First of all, I have way too many layers, so let's try and reduce some of them to once. I'm going to group these and then flatten them. Same goes with this one. I'm going to merge them down. This is my sketch layer. Over here is a layout with nothing. That's great so we can delete it. And these are more of these petals. So our fish also on one layer can also merge them down. So now we have way less layers and I can start working on other stuff. So I wanted to get my fish to have a slight globe. How do I do this? It's pretty easy. You just have to go here to the Add Layer Option and take your brush here, the soft one. And now if you go over it and you paint a little bit outside of your original form, it pretty much already looks like it's glowing. So this is basically one way to make it glow. Can also log if there's different options that work better. Maybe the screen one works better here. Maybe you want to have one that's more saturated and brighter. This way you can easily make these glow. Now if you erase away a little bit again, maybe also from the middle, then you really get this kinda glowing halo around them without losing too much contrast. And if you want other things to be affected too, then you just have to kinda make a slight rim around them. That way you can show that this slide also touching it and interacting with the entire scene. So now it looks like there's some light coming from underneath the water. And it has like a really cool effect because now it looks like the whole water surface is somewhat reflective and glowing. And you can really push these in-between here. You can get some rim around the petals. And that's a really nice way to do it. Maybe for, in this case, and it hasn't bit too much over here and we don't really need it on the side. So we can put that away again. We're just going to keep it here towards the middle so that there is like some glow going on down here. And of course you can see if there's different options that work better. So maybe the color dodge one works well with it. In this case, only add one works better. There's also the option of hard light, which I really like here. So I'm probably gonna go with this one and then go for a brush that has some more texture. So maybe here with this one again, the fourth from the bottom, on a take light color and then add some sprinkles on top. And then way it looks like there's some reflective scales going on. It's a pretty easy way to add some dimension to your fish. Of course you can do the same as well with your planning clipping mask and you're going to multiply. And then just taking like a strong orange. You can also do the same here and apply some more contrast, which could look really good. And that way you don't have to paint a single scale It looks like you've put in tons of detail, which is what we like. And I'm probably going to do the same for the rose petals. And trying to do it with hard light. And then picking a color that is lighter. And going to put on some contrast here and there. Not too much on the edges and I'm probably going to blow it a bit as well. That way it just gets more dimension. Also trying to reduce it a little bit. Layer options so it's not as strong. Then going to add just another layer on top of here are actually underneath all of them. And also gonna go to Add. And now with the air brush again, there is like medium blend and lighter blue color. I can also add some ripples around to see leaves. Like to see petals, water lily leaves, whatever you want to call it. So now there is a lot more going on, on the surface. It makes it a lot more sense. Alright? And I think probably going to darken it even more dogmatic quite a bit, but I think you can really push it. And it really works. And then going to apply more texture to the top once. Textures. Or maybe let's see if there's something in the organic one. Maybe lice trial expires and then go over it and see what happens. I guess this also works. It just has to be a bit more in perspective. So more like this. It looks pretty good. So now the top ones also have more texture to them. Alright, it looks pretty good. And we have a glowing effect. We can also do this anywhere else. Basically, just have to get an object going. I'm going to put a new layer on here to really just going to show it on one of the leaves. So just get an overlay, maybe get a soft brush. And pretty much painted a lot brighter than it is. As easy as that, you get something to glob. So it really is mostly just letting the layer options work for you. And less about it. Having to be like super crazy painted. And it's super easy to have something actually going. If you zoom out, you can see that it brightens up the entire image. So I would maybe put it to just 43%. So then it just has a slight effect. Makes it an overall nicer composition. Alright, that's it for now. And the next step, I'll explain some more advanced features 39. layer masks: So now before I start explaining all the filters and only special adjustments you can make to your Canvas. I'm just quickly going to show you how layer masks are going to work. This isn't exactly the ideal place to show it. So instead, I'm just going to quickly create a new Canvas and show it to you there. So back to the gallery. I'm going to choose a forest time read doesn't have to be too big. And now with my new canvas, I'll just quickly block in a pretty dark gray into the background. And now I'm going to choose to good old trusty mono line again and a pretty pretty bright gray, but not a white. Using a straight white and using a straight black. Something that I can't really recommend an art. It's a bit too much. Only if you're doing line art, then it's fine. But otherwise, it's a bit hefty. Alright, and now we have a nice circle here and probably gonna make it smaller. And I'm going to use C snapping feature so that I can place it exactly in the middle. And we'll duplicate it on a place one here, and another one here. I have to look out that it's space properly. And now I can merge these two down, duplicate them again, and place them underneath. Just like so. Now we have a great set of pretty white circles. And now let's show you how a layer mask are working. So what are we going to do is to just tap on the layer. And here again we have all the whole menu. And now we're going to press Mask. And now we have a layer mask created. So right now nothing is happening and it just looks like there's just looks like it's in new layer, but it has this weird white we know here. And the thing what we can do is to erase something without really losing it. So what exactly do I mean by this? If I take the eraser and I go over the moon here, it's gone just how we're used to it. So nothing special seems to happen here. But if we look on the layer mask, we see that there's a big black blob on here. So what does it mean? Well, we can just simply look what happens if I go back to white and I start going over where my moon used to be. Then you can see that I'm erasing the black part and it's just revealing itself again. So the thing with layer mask is that you can get rid of stuff and erase it without really erasing it. So you can try out two different stuff. So if you have a complete character drawn and maybe it's behind him, behind a tree. And you don't want to erase it since you spend so much time. You can always put in a Layer Mask and erase that way. Alternatively, you can take your, let's just take the airbrush. And you can do the same by using all kinds of gray tones. So color doesn't work here. You can choose a color, but it will just be recognized as its values. So in this case, as a great up here you can see it didn't change to read. It only changes the gray tones while you're in the layer mask. So the darker you go, the harder it erases. And if your pitch black, it will erase like 100%. So that's pretty much how a layer mask are working. So let's use this to our advantage here. We can also clear the layer mask. You can also just immediately inverted. Then everything is gone and you can start to reveal things again. That's also an option. Alright, so now I don't want to have it inverted. So I'll just use a brush with a nice texture. Maybe the adult leg, one leg should work fine. And now I'm just going to try and get some kind of moon phases going on here. And it's erasing away without really erasing it. So it's a really nice way to try out different kinds of methods that you want to see how they work. If you want to keep something or not keep something and you don't have to duplicate it or we afraid to lose it. You should just remember and keep in mind that layer masks count as layers towards your maximum layer amount. So if you lose layer mask for everything that you do, you're also filling up your maximum layers, a layer amounts. So that should just be something you keep in mind. But it definitely helpful he and dare to do this instead of just duplicating other stuff and going over it again and again. Because you can simply keep like one original. And as easy as that, we have a great moon phase created. Now we can always turn it on and off. So if we want to see if we really like it, you can just see if we want to have it erased or not. But in this case works just fine. And now to just add a little bit more interest, I'm going to make them Wonderland really small. And then go to the back of it. And with my drawing assist and my symmetry tool, I'm just going to create some more geometric patterns here. Alright, get a little bit softer. And now turn this off. As easy as that you've created layer masks. It really is that simple. And you have a new product and you can always go back to its original form. Really useful, keep it in mind, and make use of it whenever you can. 40. Adjustment tool "colors": Okay, back to our drawing that we created, the nice pond. And now let's see what we can do to just bring a little bit more interested in it without having to draw anything new, just by simply adjusting the painting. On the top-left. I already showed you that there's a bunch of options and we talked a little bit about the actions. We talked about the selection and transformation tool. But then there's also the adjustment one. So this little one here. And there's all kinds of adjustments we can make. So let's look at the adjustments bit by bit to see what we can do with it and how they work exactly. Well, let's first of all start with the adjustments for color. Let's see what kinda layer I want to use. Maybe the petals here should be pretty good to see. And now let's go to hue saturation and brightness. So here we can see that we have different sliders on the bottom. And they work pretty simple. If you go to you and you slide across, you can change the color. So simply by going to the right or left, I can change the entire view of the canvas. And then also for saturation, I can do the same. I can either saturated as much as possible or put it completely integrate. It doesn't look gray here because this layer is on top. But if I turn it off, then you can see that it looks really great. So that is something that you can do as well. And then there's also brightness. So I can increase and decrease the brightness. It really works pretty much the same as our sliders here on the classic one. That you can turn the brightness up and down, same with the saturation. And it's basically the same sliders. But you can just do it afterwards when you're already applied your color. So that is one thing that's used. Saturation, brightness, pretty self-explanatory. And then there's more features that are a little bit more advanced. So we here next we have color balance. Color balance is a really cool tool. I'm going to show it to you on the little fish. So first of all, I'm going to merge down the scales. And now I'm gonna go to color balance. And color balance has these three sliders again, but they work a little bit different this time. Because you can see they always have these two options between psi and red, magenta, green, yellow, and blue. And then there's this little sun symbol here on the side. And if I press that, you can see that there's three things I can choose from. So Shadows, Midtones, or highlights. Let's go to midtones for now because it'll be pretty obvious like what exactly is happening. So you have your three options. And depending on how you change the sliders, it changes the colors, but not entirely, but only just depending on what you add more. So you can imagine it like adding more and more of the color where the slider is going towards. So in this case, I could make them more red in order to pop out more. It's really a cool tool because you can adjust it afterwards and see if there's something that might look even better. So maybe I want to add more blues in here so that they look like they're submerged in the water even more. Then you also have the same stuff for the shadows. So if you look closely, it will probably only affect the back here and the parts that are somewhat dark and everything else won't really be affected by it. So here in this case, since it's pretty dark, there's a lot of stuff being affected. But in other cases, if you have pride or images in Rome, change it as much. So I can make it a little bit more blue even maybe, so that it works really well with the water. And I can change these, but if I do the changes, you can see that it mostly affects the darker parts and they get changed quite a bit. You should just look out because if you're using the shadow ones in, also mostly somehow brightens it up and makes it a lot more saturated. So it doesn't always work so well for the shadows because if you want to keep them pretty dark, then this might not be the best option, since it has a tendency to lighten it up as well. Here it can work pretty well for the sign feature. Maybe now in the mid tones, I want to have a little bit less blue because the shadows are where we have more blue here. You can see there's quite a bit of blue Edit now. So now if I go to the yellow, the blue here will stay pretty much the same. And I can just add a bit more yellow back in. And then there's also the highlights one And this will mostly affect whatever you see that it's brightest here. We see that there aren't a lot of bright spots on the fish. So there isn't a lot changing. But I could definitely just push it completely towards the cyan. And then they would have like pretty bluish tinted parts. And otherwise, I can see maybe if I like more red and stuff. So it's really a nice feature to adjust these kind of things, but only a certain amount. And you can do it way more precise than changing the entire use saturation and brightness. So I would say that this is a nice adjustment and I'll just quickly show it here as well. Also maybe on the highlights you could go here, then color balance, and then change the highlights. So if I want to have some bluish ones on the top, I could do just that to make them pop out and maybe a bit more. What I want to have them Bu, so that's a really cool feature. And you can really change a lot of stuff in your colors with it afterwards. Also going to see if I liked the blue here. Maybe add a little bit more saturation darkness. I think that works just fine. And now let's look at the other ones. We already have the first one, we have color balance. Now there's curves. For curves, it's a bit more, even a bit more advanced, but it shouldn't be something that should scare you off. You can simply adjust all your different use saturation and everything by moving the curve. So let me quickly make a copy of the entire canvas. So we remember going down and copy, paste menu and copying it all. And then on the top layer, I'm going to paste it. I'm just going to wait a second. Alright, now we have it. And now let me go back to curves because then you can see it way better. And now we have this crazy graph going on down here. You can see that it mostly, it's a little bit more on the left side than on the right side. And generally, it goes from dark to bright. It's like the way it's built. And if I change around these, the slider here, I can change the overall brightness and darkness. And so for example, if I have a lot of dark tones and I want to brighten up the image. I could just simply push up the slider here. Or I could even just push this one down and then I would remove all the bright tones. And if I go back with it, I could brighten it up more. So you can see that the graph is like really following up here. So if I want to say, Okay, my highlights are a little bit dull, then I could just move down this point. Also, if I don't want this one anymore, I can just tap on it and delete it. And I can also have multiple at once. So like this, I could make a really strong contrast sway too much, of course, you can see that they're sick. It's an easy way if you want to do some holographic effects, maybe on some clothing, you could just do this kind of stuff. And then make the layer opacity like really low. And you will get some really crazy rainbow effects on something. So that is something that's really cool to do. But in our case it's a bit too much. So I'm just probably going to darken it only by a tiny bit. And then push the middle values up a bit. And it's generally a good idea to look at this graph. So if you are painting is finished and you don't know if it's grade or if it's working or not, and maybe you're not completely satisfied. You can always go to your curves and look at this graph on the bottom. And if you see that it's pushed like a lot to the left side, are pushed a lot to the right side. Then maybe it's a good idea to adjust the curves so that it has more of like all the different kinds of values. Because pictures that are too dark. For example, if I do this, it doesn't look as pleasant. And pictures that are missing, like the dark undertones also look really washed out. So generally, really nice. Help is to look at it and see if there's a good balance between the different values. But I think for now this should work. And then, yes, here's also the red, green, and blue one. And it basically does the same. What if I adjust the curve? It just changes the red values. And on the other side it goes to science. So You've seen in the color balance one, it's basically the same as color balance, just in a curve. So I can, instead of going to shadows, mid tones and highlight, I can adjust the highlights here. I can adjust the shadows down here and the midtones and a middle. So that is another option to do it, and it goes the same for green and magenta and blue and yellow. So basically the same, just a curve. So yes, these are the curves and really good tool to use. And now the last one, the last one are the Gradient Map. Gradient map is also a really nice tool. Let me just duplicate it. I have the maximum amount of layers reached. Can probably merge something. Let me merge this down. And now let me duplicate it. So what is a gradient map and how does it work? With a gradient map, you can completely re-color your entire canvas. So if I just press gradient map, then I get into this gradient library. And you can see that they have different ones. You probably have the default ones. There's like a lot of different gradient maps. If your gradient maps look different to mine, like I have some that are probably exactly the same, like breeze or maybe instant or blaze, but some are probably different. And you can already see if I slide them across, then whatever color gradient I have done here gets put onto my Canvas. So let me just use one over here that you have as well. So maybe the blaze one. And now suddenly my whole canvas is like filled and orange tones. If I press on it, I get to my gradient map. Here, I can adjust these different blocks of colors. So if I slide them across, then you can see that less dark tones get filled with this color. And I can slide them all across. And generally the picture gets more bright. And depending how I push these, the color takes up more and more of the values. So if I had like a graph again, from dark to bright, it pretty much whatever dark gradients I have get replaced with this color. Whatever medium tone tones I have get replaced with these colors. And whatever Highlights, highlights I have get replaced with this one. So if I just change the entire thing and I'm pushing it over here with the dark tones. And I'm pushed the dark tones to the highlights. You can see that all my dark tones can replace when the really bright color in all my bright tones can replace with a dark one. So it really works just by replacing these. So it can be a really cool feature sometimes to look for some special effects. And of course, you can also change it by simply tapping on it. I get my color wheel. I can have the different kinds of options down here. And then I can simply change the gradient to whatever I want. So maybe I want to have something that's a lot more with bluish tones. Then I can do just that. And then change the highlights. Maybe I want to add some greens. And now if I push these around, you can see that I get a really nice picture. In this case it's pretty monochromatic. And if I press Done, I haven't finished. But now my original one is gone. So if I want to do both of them, I can duplicate it first the original one, and then make a new one. But it's mostly not so tragic if you lose them, since you can just do the original one. But it's definitely something you should keep in mind. I'm changing them around all the time, so I'm not really don't really care about the original one, but it might be that you don't want to lose it. So then I would suggest you make a copy of it first. And now if I have it, you can see that there's a slide to adjust on the bottom, on top. Here you can change the amount you want to have it added. If this was my original one, then maybe I want to have just a slight amount edit in order to make the colors look even more hormone harmonious. And then it can do just that and add a certain amount. And that's a really cool feature here. Now if I press like anywhere else, then I haven't adjusted. And you can see the before and after. Now it just pushes the tones a little bit more towards a color palette that is just a tiny bit more muted and belongs to each other is so now I could also push the opacity down here. And then I only have like a really slight change. Alright? Basically it for colors. The only thing now that I want to add, instead up here in adjustments one, there's always the option here. For example, if I go to use saturation and brightness, not on my hidden layer, but on my one that I see. Then up here, you have this little tiny arrow. And if I press it, I have the option to choose between layer and pencil. And what exactly does it mean? If I go to pencil? Then now if I want to make any adjustments, I can just simply use my pencil and paint them in. So let me change the view here so that it's pretty obvious. So now I can Change specific parts of the painting and not the entire layer. So if I only want to change specific parts of my ceiling, the petals, I can just go in here and paint them new and have a pretty easy selection and change everything afterwards. Also, while I'm in this tool, I can change the kind of brush I want to use, and I can use one with more texture. So then it gets apply and texturize. Maybe I'm gonna go to spray paints and get one that has like these tiny dots and apply it that way. So it's a really cool way to have this effect on your Canvas. Put like really look where you want to have it. So that's up here with the little arrow. And if I want to have it like this, I can just confirm it by pressing on it again. And if I don't want it, I can always just double-tap it and remove it. So you have this feature with pretty much anything. Always go to the top and you can always choose what you want and where you want it adjusted. So that's basically it for colors. Now, let's look at the next one. 41. Adjustment tool "Blur": Okay, So next up now that we've looked at all the colors, let's look at more adjustments. Next thing, the adjustments tab are the blurs. So what do they do and how can we effectively use them for us? So let's look at the Gaussian Blur. Gaussian Blur is pretty basic and yet really effective. If I just press on it, then again on the top, just to reminder, I always have the option to choose between layer and pencil. I'm just going to use a layer for now. The Gaussian blur, it doesn't end in, nothing happens so far if I just press on it. But the moment I start sliding my pencil across my canvas, it starts to blur away. And in this case it doesn't look so dramatic because I have another painting on top and it doesn't have 100% opacity. So let me just do that and now show me, show you again. So now if I drag across it, you see that it looks more and more blurry as if we were looking through a window from a bathroom. And the more I blurred, the more it gets applied in the mortar color is mixed as if you had like a camera that isn't focusing. And it's basically working like a camera focus that isn't working. And it's really cool because we can definitely use it to our advantage on the painting. So let me just show it to you really quick how to best use something like it. I'm just going to turn off both our layers on top and now remove the alpha lock from the pedals on the bottom. And now I could just go here to the Gaussian blur and blur all the petals on the bottom. And you can see that they look like they're submerged more under the surface. And it's really nice feature to add more depth to your painting. This is also alpha lock. You can see if I have something alpha locked and I use the Gaussian blur in, only blurs the painting and texture inside of the form, but not the form itself. So if I don't want to have the texture anymore, I could just use a Gaussian blur to blur it. And if I want to blur the whole thing, I would have to unlock the alpha lock and then use a Gaussian Blur. And then way I can blur the entire form. So if I wanted to have the feeling that these petals are somewhat close to me to the viewer. Now losing a bit of focus, I could just blurt them by a tiny bit. And then we'll look a little bit out of focus. Or also with the fish, I can show that to you. Some thing you have to try out where it fits in the painting. So here, for example, I'm just gone and merge them down on, it looks a little bit different, but it's good enough for me to show it. So let me just select a few fish year and not filled with color. Okay, I have this one selected. And now I'm going to add more. Please add more. Okay. Now I'm going to add other fish. And now there's a really cool effect. If you just imagine that I had the fish on the same layer as the water. Now, if you do the Gaussian blur while having this really strong line, something similar to our petals would happen, then it would only blurry whatever is inside of this part and not blurring whatever is around. So it could look really unnatural if I have lines like this and it will just blurt them exactly on a sharp edge. It doesn't look really believable. So if you have something on a layer that's with a bunch of stuff and you want it to blur more naturally. You can always go to the feather one and feathery and a little bit and blurred and afterwards because then it'll have a softer edge and the blur will look believable when we don't need it now because the fish are on a separate layer and I have them both selected. And now I forgot to Gaussian Blur. I could blurred them and now it looks like they are way deeper in the water than the other ones. So that's a really cool effect that you can use. And it's pretty simple. You just have to know what to look out for. So let me just leave it like this and now go back to our menu, then wants to Gaussian blur. Now we have the motion blur as well. For the motion blur, I'm going to go to my top layers. Just going to quickly remove this version of it. And just going to make a new layer here. And now with these tiny dots, I'll just sprinkle them across the Canvas and show you the motion blur. Motion blur. I can bring in motion as it says, and I can slide to adjust it. So if I just slide it across the canvas, you can see that it's gets some kind of movement in it. Just like they are, like racing across the canvas. So if I would only have in a bit, then it would look like they're just flying around there. And the thing with emotion blur, depending on what direction you want it to go at, you just have to slide it in this direction. So depending on where I put my pencil and where I slide it. So if I slide it up to the top right corner, then the motion blur gets adjusted that way. And you can see it like wherever I slide it gets adjusted to. So that's something to keep in mind because otherwise it will just be confusing and you will have to turn it around manually. So that is the motion one. Can we really cool for some effects? If you have maybe a character punching someone, then you could make a motion blur to its punching fists and get some really cool action in there. But that's basically how the motion blur works. Now there's also the perspective one. I'm going to quickly deleted and going back to this image and go to the perspective blur. And now you either have positional or directional. If I go for the position of one than this middle point will be my focus point. And everything around will start to get blurry. So in really looks like we're drawn into the painting. So depending on how strongly I apply this fact, it gets a really strong kind of Zoom for the painting since everything around gets so blurred so much. So if you want to use it, I would only do it a little bit depending on how strong the effect should be. But for this painting, it doesn't seem to fitting maybe just 10%, 13%. And that's the positional one. Then there's also directional. And does the same. It just simply apply. It applies it to wherever the arrow is pointing. So everything behind the arrows stays sharp and everything in front of it becomes blurry. So if I put it down here, you can see I get this sharp area around it and wherever I move, everything else gets blurred. So I can also put it up here when the fish are and then blur everything that's down. Depending on how strong and you do it. Of course, again, age-adjusted. But you can see like the top stays sharp in blurs. There's a tiny bit. But for the most part it really stays the way it supposed to stay in this one gets blurred quite a bit. Also a really cool feature you can use to give your paintings more depth. Again, always remember you can do the same with the pencil. But this is basically how the different types of blurs work and how you can use them for your paintings. As you can see back here, really nice effect for the fish. So yes, that's the boilers 42. Adjustment tool "filter": Great, So now that we have our blurs and I'll call this suggested, if it looks slightly different, It's simply because they took the version with the blurs and color adjusted debt. So it might look a tiny bit different from the version before. But now let's look at more adjustments. So next up are all the filters. And I'm just going to go through them bit by bit. I'm going to unexplained noise first. Let's go to sharpen for now. And sharpen, as you can imagine, it's the opposite of blurring. So I can make my entire picture a little bit more sharp. It's not super easy to see here. I'm just going to try and go a little bit closer in. So in this case, on the textures, they get a little bit more crisp. So before they looked a bit blurry, and if I sharpen them, they look more crisps. So it really depends what kind of effect you want to have for your image, but can definitely be useful if you want it to be a little bit more clearer than try to sharpen tool. Then next up there's the bloom one. Bloom is a bit like making the oldest stuff glow. But on a basic level, I would say. So whatever you have that are bright spots, if you put on the bloom, then it gets dislike, burned out effect and the exposure. So you can slide that up and you have this really strong glowing effect on whatever surfaces you have a little bit like there's too much sunlight hitting something and you're making a photo, then you can just not see anything anymore because it gets blown out white. Here, you can do the transition. So how strong is everything affected? And the size like how big is the bloom? Is it more feathered out? That way? It looks a little bit softer. Maybe a nicer version. Here. It can really change that. Make it bigger, make it softer. And then there's also the burn. So how strong should it be? So maybe you would only one back a tiny bit and then you can ramp up the burn. And if you put it down, you only get like a slight change in it. So this can be really nice. If you want to have a pop of bright colors, then just put a little bit of bloom to it. Here. It's the before and the after. So just in my case, I put it really, really mild because I don't want it to be too much. But it's just it's just a nice slide change and depending on what kind of picture you have, so maybe you have a portrait and the sunlight. This could be a really cool filter to use in order to just make it really bright and shiny. So that's the bone feature. Then there's the glitch, glitch one. I feel it's more of a 3D specific fun filter. So if I just slide it across, you can see that my painting starts to glitch and I can stop at any moment and kind of keep that glitch effect. The more I slide it, the harder it gets. So here it's only just a few pixels glitching. And here is the whole image. And then there's different ones. There's also wave where it's just completely drags the picture across. There's the signal one. Also. You can see that the wave got to apply it first. So let's go through a signal one here. So that is changing and as well even adding some colors. And then you have the divergence. So it's just different kind of glitch effects. And then inside of it, you can change different features like the amount and the size of it or the Zoom. So it's just for me, it's mostly just playing around. So if you want to have some kind of, I don't know, cyber punk aesthetic pictures. And you want to have some cool glitch effects. This is definitely something you can use when I wouldn't really know where to use it in your everyday paintings because it's so specific. Here you can also do like it's a chromatic aberration effect. You can change that however you want. Well, yeah, it's really, it's really specific. It's a little bit weird, but definitely also still a cool thing to use. And you might get a nice picture out of it with this effect. But not in this case really doesn't match the entire moon. But it's possible it's there. And then there's also halftone. Halftones should be really cool for everyone that's interested in painting like comics. So you see that there is this pattern getting added to it so that we're used to from printing. So this, you can just put it on top of something to get like a really cool effect. Kinda like this comic pattern and there's different ones. So here you can change the size of it. And then also here the feature that you can use the pencil is pretty nice because I can just go in here and use my pencil. Take a sharp one. And then only pencil in a few areas. So if you have like a white background and you want to have this kind of texture added to it on your comic. You can just paint in whatever area you need to be, whatever area needs to be painted in. So that is one of them. And there's also a lot more. So let's go back to layer your screen print, which is a different version of a print pattern in here, also, depending on how strong you slide it across, the size changes. So she wanted to only have a really soft version. You can see it really changed quite a bit. Now it really looks like some sort of print has a really cool effect. Maybe four or whatever you're painting. It works really well and you can print it out. Kind of looks like it's on a cloth or something. I can really imagine this like being on some kind of, um, I forgot the word, just imagine being on some kind of clothing. Really nice. And this is like one other thing you can do also again with the pencil and then the newspaper one, interest gets a lot darker and another kind of pattern gets added to it. So here it's just the tiny dots. So depending on whatever thing you have in mind, these can be really useful to add to it. But I think in my case it doesn't do exactly what I want. So yes, these are these ones. There are still two more, this noise and chromatic aberration, aberration, apparition. So first of all, let's look at chromatic aberration. Chromatic aberration is a really cool effect that you have to take care not to overuse because it's really, really drawn to overuse it in the beginning because it's looks so cool. So if I slide it across, you can see that it gets like this kind of zoom effect on the painting. And what it does exactly if I zoom in, you see that it kinda puts off the blue and red values of my painting. So here you can see it really nicely. We have this effect where it shows it multiple times but in different colors. This looks like really nice because in the middle, depending on how strong and make it in the middle, it doesn't really appear. So if I put the transition up and fall off, it becomes a lot softer. You can really see how around the circle the fall off is a lot stronger. And it just implies that less for a transition, you see that this is less if I put it all the way down and here, it's a lot stronger. So I could just do it only slightly have to fall off in the lower region. And then really get a cool effect here. And it just zooms in the picture like a tiny bit. We just get a little bit more focused on whatever point we are choosing here. If I choose to top point, then it becomes kinda strong towards the bottom. So that's one that's kinda the perspective one. Then there's also the displays one. This one is simply by sliding across your pencil. You can displace the entire image underneath. Here you can really see that there is a blue version of our fish over here. And there's the red version of the fish over there and in the middle is just the green one. So can we really nice for some effects, but definitely a kinda hard to do it really precisely. This blur option. And again, the transparency. So if you don't want to have it as strong, you can only make it like a tiny bit here. And you can blur it so there isn't really sharp. This is just a tiny bit and blurred. And it definitely gives us a really cool feature here to play around with it. So Let's go back to the perspective of one and have it just a tiny bit. And that way we'll get a little bit more focused on the picture. Alright, so we have almost everything now. There's only noise left. And if I just take noise and I just ramp it up here, you just see that there is suddenly this gray mask getting on top of it. There's really a better way to apply noise. So let's do this just now. I'm doing a new layer, and I'll fill this layer with a perfect mid gray. And now I will apply noise. And yes, of course now we only have like one big gray noisy mess. But if I go to my layer modes and I go to overlay, then you can see that it implies it evenly. And you get this really cool effect. Of course, we should turn down the opacity, just going to leave it at somewhat high here to see it. But normally I would go around ten to 20%, not more, but just to show it better and going all the way up. And then here you can change the scale and everything. I'm just going to remove Dory quickly. Show it better since it already adjusted it. Okay, So back to overlay mode. Turn it down a bit, go to noise. So there's, there's a scale. You can make really big here. You can see exactly what kind of pattern is adjusted. You can make it really tiny. There is the octaves just kinda shows and how many? Yeah, it's really just a tiny change. Often don't really have to adjust any of these. You can mostly just leave them as they are. There's different ways of applying them. So this one looks a lot different to bellows and ridges, just really changes the pattern. And by changing the pattern and changes the overall look. What I mostly just use clouds. And then you can change also the color is to turbulence and the octaves changes it. But since we're on a perfectly great one, it doesn't change it that much. But definitely really cool feature. You can see only a slight adjustment. What I would suggest to simply use the normal one with the clouds and then make a gray layer, put it to overlay, and put that overlay layer to a tiny amount. And that way you get a really cool effect. Because now if I zoom in, it just looks a little bit softer, almost like a print. So that's all the different kinds of filters we can use here. And the next one we're going to look at liquefy and clone 43. Adjustment tool "liquify and clone": Alright, now let's look at the last two features. As you can see, I moved to another painting that I did awhile ago. And I'm just doing this here because it's a little bit easier for me to show it to you. So let's look at liquefying clone. You can also find them in the adjustments all the way on the bottom. But they really don't deserve to be on the bottom because liquify is holy and deserves a special place in my heart. But I'm going to show it to you why in just a minute. First, let's look at clone. And once you open clone, you get this tiny circle here. And you can move it all the cross your canvas. And let's go to a nice layer. Let's choose layer that has the plants on the front. And now let's go to clone again and place it here on my plant. And let's say I have this plant painted. And I want to have it again somewhere, but I don't want to like cut it out and copy pasted all across. So just want to have it immediately on this same layer. Then I can simply choose to clone tool, place it here. And when I start painting, you can see that the circle moves. And I can pretty much copy and my plant. And it just pains away whatever I have painted underneath the so-called tool. So now I easily have a second plant in here. And I could just do with it whatever I want, but just take it and move it up here. And that's easiest that I have a second plant in here. But of course there's more I can do it here. So if I want to have something and I want to have it repeated again and again, I can simply use the clone tool by pressing on it a little bit longer. It locks it. Now whenever I paint, it's only going to stay over there so I can paint it again and again. And I don't have to keep moving my clone tool. So of course I could just paint like this plant in here again and again. And I don't have to change the position, can simply go on and on and on, and it stays at the same point. So that's a really cool way of adding something really quickly to your Canvas without having to draw it another time. And now another cool feature is that while I'm in here, you can see that there's a tiny sparkles around my brush again. So if I use in a painting brush with a lot of texture. So let's just say the fresco brush or something. And I start doing it. You can see that it gets applied in with the same texture of the brush. So it's a really cool way of adding something that maybe is only supposed to be there ready faintly. Because you can simply use a brush that has a lot of texture. Or maybe you add one that has a lot of holds. So let's take like this one that has a lot of chunks in it. And now if I clone it, you can see that it only gets like cloned infractions. Depending on how the brush does, it lets the clone tool, it's really cool. And once I move it again, it's unlocked. And then pressing on it again, it just gets locked. I'm going to do it with my finger. It's a little bit easier. And now it's locked and unlocked. And now I can lock it again and then draw whatever I want to draw in here. And some really cool way to just add in more elements to your painting. Definitely a nice feature you can try out for yourself. What now that we've talked about the clone tool, let's talk about the whole name Liquify tool. So what does liquefied do and how does it work? As you can see, it's quite the menu down here, but don't be afraid. It's pretty simple and self-explanatory once you understood what it means. So we have different modes on the top. Let's go about the push one first. And let's see what we can do to our poor person over here. So I'm gonna go to the layer with her. Then I'm going to go to the liquify one. And now I have to push one. As you can see, there's like different things I have adjusted down here, but I'll talk about all of them now. So first, of course, the size, depending on how big it is, it changes the size. So what does, what does it do? So if I just push across, as you can see, it really pushes whatever I have drawn the direction that I pushed it too. So now she's really making a weird pose. But well, we wanted her to be a little bit weird in this one. So we have to push one. So if I do it a lot smaller, I can only push like a tiny part of her. And if I make it a lot bigger, I can push like her entire body It looks like a slow-mo, flyaway seen over dramatic enemy moment. So that's the push. Then I have the pressure. So depending on how high the pressure is, it pushes it a lot more. So as you can see, I can really drag this across the entire Canvas. Looks pretty dramatic. I'm a little bit sorry for her. And the distortion is just showing us how strongly distorts the painting while doing so. So as you can see why I keep pushing it, it really distorted by quite a bit. So if I just would keep doing it, all the different mounds of paint get just thrown around like crazy. And the more momentum I add, the more it you can see it's like a shockwave. So if I just push it across a little bit, it kinda gets dragged across the canvas. So the more momentum I have, the more it gets dragged and I don't have to do much and it's still reaches it on the top. So that's quite a few features on pure normal person is gone. Luckily, we have the reset, reset button on the right. So she comes back to our painting. That's really nice of her. And so the distortion is something I personally keep kinda low, same as the momentum also with the pressure, because the pressure can be quite overwhelming. I really only fit in with the size. And now let's look at the other options. So, all right, does what it says. It takes the point that you choose and 12th everything around it to the right. So let's do a little bit more pressure. So what happens quicker? And here you can see that all the different elements get 12 to the right and they're all around the middle. And the longer I do it, the more you can see that the shape and the pattern in stone, wood ramp up the distortion. You can see that it gets 12 even more and more. So that's like a really cool effect. If you want to do some abstract painting, maybe, then you could choose this one. So let's reset this. And with the left one, it does exactly the same. I can also ramp up the momentum. And then you can see that basically the same thing is done here. And of course, if I drag my pencil across, then it also happens on other places. So it can make like really crazy shapes. Depending on how I told these kind of things. Alright, that's the 12 left and right. Now there is the pinch. With the pinch, everything gets sucked in and pinched towards the point that I choose. So if I wanted to have a smaller head, I'm so sorry for her. I can just press it and her head's get gets kinda sucked into this point. So now she doesn't really have a head anymore. So let's try and do a little bit more momentum and a little bit less pressure. So here I could just adjust it if I would say, Alright here, upper body, it looks a little bit too big for me. I could just tap it slightly and it would remove the size without me having to select it and transform it and make it smaller and have a cup line. This way, I can actually decrease the size of something without having to change it like massively. So this is a pinch tool. Same goes for the expand one. So if I wanted to feed to be a bit bigger, I could just tap on it slightly and it would expand it. And if I would overdo it, you could see that whatever I have here gets expanded to a maximum until I can't really see anything anymore except for the color there was in the middle. And all the different colonies are like pushing around it. Same with the expanding, just gonna do this. In the extreme when you can see that all these colors around gets sucked into this tiny little point that I chose. So that's the expand and pinch. Then there's crystals. Crystals, as you can see, you should look at it a little bit closer. It kinda crystallizes the painting. The more of the distortion I make, the more you can see it here. So this could be a really cool effect for some backgrounds may me, in because it just justice crazy effect or maybe have a character that you're drawing underwater. Then this could also be a really cool effect to just have this kind of distortion. So the more I do this, the stronger it gets crystallized. It's, it's pretty specific. I don't know how to use it very often, but I think could be really nice for backgrounds. Then there's edge which just pushes it towards wherever I'm drawing this edge. So if I draw it over here, it all gets pushed to this tiny little line. And if I do the same this motion, then everything gets pushed to this line. So if I wanted to do this maybe on her head to have it a bit more straighter up here. I could just push it up. Or maybe you have to feed. As you can see, there's multiple options you can use this for. But definitely something pretty crazy. And now let's say I push this poor woman all over the place. Some of it I like and I want to keep it, but some of it I don't really like. Then I can go to reconstruct and I can reconstruct whatever parts I want to keep while leaving other parts that I want. Don't want this, but you know what I mean? I can leave them the way they are. And once I'm happy with it, I can just leave it like this. But of course I can reconstruct all of the changes I did. It just goes more specific than the reset, the recent resets, everything lifted and the Reconstruct only reconstruct wherever I'm painting. There's also the strength one. Yeah, I can just do something here. Let's push this here with the amount you can change, how much of the change you want to have implied. So if you did something and you think it's going into the right direction, but it might be too strong. You can always change the amount of what you did and see how strongly you want to have the effect applied. So that's basically Liquify. Liquify is really a strong tool to use when you drawing characters are generally anything, but it's pretty good for my case for characters since that's kinda what I'm doing. What I like to do is to use to push tool with a tiny bit of pressure and almost no distortion and momentum and really use it to push around whatever I need to. Cimi changed on my character so that I can just really get them to whatever kind of thing I want. So maybe I'm painting a portrait and the eye is too much on the top. I can just push it down instead of having to cut it out, dragging it downwards a little bit. And it's also a cool thing because if you want to adjust it and maybe over here, you want to adjust it, but it's too much and it's dragging something you don't want to have dragged. You can also always use your select tool and select whatever area you want to have, and then use the liquify one. And it will only do it within the area you have selected. So as you can see, it doesn't affect anything around it. And I can change whatever I want to have changed in my selection. So that's also something really cool and we didn't need to know. And yes, that's the liquefy and the clone tool. And I hope you will enjoy it and use it whenever you paint 44. Crop and resize the canvas: Hey, we're back with our pineapple. So let's look at how we can crop and resize our Canvas. The pineapple is great and all. But I feel like I didn't place it perfectly within the Canvas. Is a bit much space on the bottom and not enough space on the top. So let's change it. Of course I could just select all the different layers, but there's definitely a quicker way to do it. And of course, I want to teach you something new. So let's go up here to our actions and go to Canvas. And then you can see there's the Crop and Resize. So when we go in here, you can see that there's this pattern up here. And you can freely change the size of your canvas. As you drag it. You can see that there's like this specific numbers showing you how many pixels you have. And you can freely change the way your canvas as opposed to look. Here, I can't change too much since I'll be locked with the layers. It doesn't allow me to make an even bigger. But I can change the ratio and I can place the way it is all around the canvas. So if I go back here to my original form, I could also just slide it up. That way. I have less on the bottom and war on the top. And if I would press Done, it would simply crop the canvas and I would have more space on top. So it takes a little while because it has to readjust it. And now I have more on the bottom and less on the bottom and Warren top. Maybe this was a bit extreme. So let's go back and go back to my menu. And let's look at the different stuff up here. So if we changed completely and we don't want it, we can always reset it up here with a reset button. And as you can see, it can also just completely pinch it and only have a tiny part. But now if I crop it, you can see that it crops away like all the hard work I put in. And suddenly my pineapple really has only a tiny bit left, so we don't want that. So what can we do if we want to change the size? What we want to keep, whatever we have painted in it. So here on the settings, you see that there's different changes. You can change the pixels exactly however you want to have them. So it can say I only want to have 5,200 pixels by 6,000 and then it changes it. So that's one thing to do. And if you want to change it, but you only want to say, let's say you want to have 4,000 pixels, which you don't know exactly what the ratio would be. Then you can press a little change chain and it will automatically calculate the other side in order for your canvas stay the same ratio. So that's one way of doing it and it's one thing you can do. And then there's also the DPI. You can change that. So if you want to have a higher one, can just change it in here. And then there's also the snapping and resampling and resample the Canvas. You also hear rotation is pretty self-explanatory. But Resample canvas is what's pretty important. So let's reset it and then go to settings and re-sample. And now if I go to 404,000 by 5,600 salts a bit smaller, and I have it re-sampled and our press Done. And you can see that whatever I have drawn inside gets also resample with the Canvas, so no loss of whatever you put your hard work into. So that's a really sweet way of changing something after it's already done. So here, I want you to always look out at you pressed it before you do it. But if you simply have Resample canvas and then you change whatever you want to change, you will have no problem whatsoever. So you can still adjust everything you want to have adjusted afterwards. Only thing if you're doing this, then you can see in your time-lapse video. Then it shows like a line wherever you had your original canvas. And the more changes you have, the bigger the line will be. So the time-lapse video will always show your original size and then adjust it to whatever you have it now, it just it'll be within the lines. So that's something to know. If you don't want it, you don't, you can resample it because when you always have these kind of lines in your video. So yeah, that's basically how it works. And you can always change it afterwards. So if your Canvas isn't big enough, then yes, just going here. But as I said, you will have to take care that there's just these layers and it shows you how many are available. Of course, the smaller you make it, the more you have. But if you make it really, really big, it'll stop at 15 available ones. So you can't go unlimited in here. Just the way you can't go unlimited when you're creating in Canvas. So depending on how new knew how good your iPad is, you can make bigger sizes, but you can't go as big as you want. So just keep that in mind and on the top you can always see your maximum layers available. So if you don't have enough layers to work on, you could sacrifice a few pixels in order to get a few layers. Because as you can see, only changing it by bit, already mixed quite the differences in layers. So, yeah, that's how you can change your canvas. 45. Actions: Gesture controls: So again, here with our pineapple picture. But this time I'm going to explain you a little bit more of something we can find in our Actions menu. So maybe you've seen me along the way, are already using this once or twice, which I couldn't resist to use. And now I'm going to show you how exactly you can use it as well and where to find it, and what exactly it's four. So up here we have our Actions menu. And then if we go to the press tab, there's quite a few things you can change here. So let's look at what we can do. So first stairs, the light interface, we can change the whole Procreate to look super bright, show totally personal preference. That's why it's Press. And then again, I already, there's left-hand interface we could change it to so that it switches to this side. That's totally up to you being right or left-handed. Then we also have the brush cursor. That means that here if I paint something, you can see the small, Let's just do the brush one. You can see that there's a black rim around it. So that means that my brush cursor, it just shows me how big it is. And if I turn this off, then you see that there is nothing anymore. So also personal preference, if you want to have it on or off. And dynamic brush scaling, that's just depends on if you have more pressure, less. So with a pencil that can change the size. So let's go to calligraphy and choose from, from the bottom. Then I have to turn this on. Then it just why is it not showing? Is it's showing, but it's super tiny yet and you can see changes dynamically, how the size changes depending on how I press. So if you want to see this and you should turn it on. And if you don't want it and turn it off, that way, you have a pretty consistent one. The project canvas is for something else, I'll explain a little bit later. Then there is this one that we don't have to talk about right now. Oppression smoothing, what we want to talk about right now is the gesture controls. So if we go in here, we've got a whole new menu. So it looks more intimidating than it is. It really just shows you all the different tools that we already talked about. So here you have the Smartsheet, race, eyedropper, all kinds of things. And if you just press on the different ones, then you can select exactly where you want to have it. So here I said that my eyedropper activates once I tap the little square. But then you can also say that tapping a finger will invoke the eyedropper. So if I turn this on and I tap somewhere with my finger, I get the eyedropper. So you can really change however you want to have your stuff activated. And you can just simply do this here and you can do it with all kinds of things. So here, for example, the full-screen, we know that it's a four-fingered tap. What if we want to change it? We could also just say that it should be something else. So Apple pencil double-tap for example. So you can really just change however you want to have all your stuff disappears. Appears. So this is all really personal preference. What I want to show you right now is the quick menu in the layer select, because that isn't really talked about too much. So first of all, the quick menu for me, I haven't activated them. If I press the little square and a tap with the Apple Pencil, then it will appear. So I'll just leave it like that and show you what happens. So now, if I press this and tap with my pencil, it opens the quick menu. Here you can see that I have quite a few options to use. I can make a new layer. I can merge the layer down. I can flip it horizontally and vertically. So this is what I mostly do to use it for flipping because it really helps you to spot mistakes. So here I can flip it horizontally. I can clear the layer, copy all kinds of things. But of course you can also press on the middle. And then you can see that you have a quick menu, menu. And in here you can change to a new menu. So I have this one. I can just quickly deleted, make a new one. Now it appears again. Here you can see that there's no action to all of it. And I could just press on this and then start adding the kind of things that I want to have added. So let me open it again. And by just pressing on it a little bit longer, I can set an action to whatever I want to have. So if there's something that you use all the time, for example, like a quick shape You can all do this or re-color all kinds of stuff. You can set it to whatever you want this way and you don't have to always go into the menus. So it really is just a way of working even faster. Like Procreate is trying to make the best workflow possible. So here you can have pretty much everything, even the adjustments, you can search exactly what kind of adjustments you want. And you can by simply tapping on them, you can just put them in here. You want to live longer here, open Color panel. Now if I press it, it just doesn't really quick for me. And I immediately get into the menus without having to go there, like the long way, so to say. So that's really a super cool feature and I like to use it. I normally have my quick menu one. And honestly I only ever be any photo horizontally. I could use it for all the other stuff. I just keep forgetting about it. Maybe you're smarter than I am and you actually use it. But it's definitely a lot quicker to use it for flip horizontally and having to go here to Canvas and then press this is just way quicker to do it that way. And of course you can use only only wants to be quicker as well. That's why it's called Quick menu. So that's the quick menu. And the other one that's really cool is the layer select. I have it on touch and hold. So holding a finger on the Canvas will invoke it. And you can put it on whatever you want. Of course, you can put it on something where you already have something selected. So if I put it on here, for example, with the Apple pencil, then you'll see this little warning sign because now I don't have this one anymore because it's already on one of these features. So just put it somewhere where you already haven't anything else. So now touch and hold. How does it work and what is the layer select? I'm just going to press done and show it to you. So now if I put my finger on the canvas and I keep holding it, you can see that there's, these little thinking is showing. And let's say you were working with tons of layers and you want to work on the layer that's here on the top of the pineapple. You can simply touch and hold and it will open all the different layers that exists on this part. And now if I just go to this layer, I can just swipe across wherever I want. Then I'm automatically on this layer. So let's try another one, base colors. And I can look in here and switch between the layer. This is a really cool feature if you have multiple layers stacked on top and you don't want to look through all your layers. You can simply use the layer select and go to wherever you wanna go. Definitely a really nice feature will also at this point, let me just quickly show you another nice feature That's a little bit hidden. If you work on something and maybe you want to focus only on the greenery. And there's other layers selected. And you only want to have this one shown. Pressing the check mark and keeping oppressed will show everything except for sure. Everything was showing nothing except for the one and T Jones, my bed. So this one is invisible because the group is invisible. So I should probably take the greenery and put it outside of the group for this to show properly. And now, if I check mark everything except for the greenery, all the layers will be turned off, which you don't have to turn them on individually simply by pressing on it longer again, it'll show all the layers again that you've previously had turned on and the ones that you had turn off, they will stay turned off so you don't have to look through all the different things in your head. So that's a really cool feature as well. And it definitely makes the workflow a lot easier. So try and use it, make sense of it. And that's pretty much to gesture controls for you. It's really nice to take a look inside of it and personalize your procreate app so that you can work best with it 46. Single touched gesture: Okay, So one little feature that was recently added, but it's not really easy to find because you can't see it up here in your preps or in your gesture controls. So it's the single touch gestures, so on. And if you don't want to drag around this kinda stuff with your fingers and maybe you're a person who only has two fingers, then I'm sorry for you, but it happens so that there are new ways to do it. And it's not really easy to find, it's a little bit hidden, so you have to go to your settings. And in your settings you go to Procreate app. And then you find single, just single touch gestures companion. And if you toggle this on and you go back to your Procreate app, now you have this companion. If you don't see it, you just have to tab on your Canvas with your finger at once. And then you get this menu. And this menu does, is that you can do all the stuff that I showed you before. The undo and redo was just one finger or depending on your pencil. So if I press the zoom one, I can zoom in by simply dragging the pencil across the canvas. So it's pretty neat feature, if I don't want to do the two finger one, I can simply do it with one gesture and with the move It's the same. And can you just press it, moving around? Do whatever I want? And if I'm super zoomed in, I can fit the canvas. And it works just the way it works with two fingers. You just have to use one instead. So that's a really nice feature. And once you are happy with whatever you were doing. So I can just move it around here. I can zoom in a little bit. Hefty the Zoom, sorry, I have to take care. And then I can press on that again. Can put it to the side and paint on whatever I want to paint on. So it's a really cool feature here. And it's just something small that can help you. If you maybe if you're not happy with the gesture controls and you just want to stay within your zone and not use two different kinds of fingers, then you can use this companion. Just remember it's not inside the app actually, it's in your settings. And you have to toggle this on 47. Reference feature and split screen: Alright, so next, let me show you the reference feature and the split screen mode. So what does it do and what is it good for? And of course, where to find it. So on the top in your Actions menu, if you go to Canvas, you can find reference. And if you toggle this on, then you get this nice little window of whatever you are painting. So here if I move around the Canvas, if I turn it, any sign stays the same and my reference, if I tap on a reference once, then this menu around the disappears. I just see a full nice image. In a smaller version. Of course it can pinch it smaller and dense, bigger. But if I'm working on some details in here and maybe I'm like super into it. What I'm not sure if whatever I'm doing something good, then I have to reference features. So if I, let me just make this a little bit less and then merge it down and make a new layer. So now if I go to sketching and let me just look for a nice black color. And let me say I'm just trying to make some tiny details in here, but I'm not sure if whatever I'm doing in this tiny scale is really great, then you can see simultaneously on the reference, it shows whatever I'm doing. So I can have it pretty zoomed out. So I can make it super, super tiny. And I can see if whatever I'm drawing on is making a difference in the overall picture. So here if I draw these on, you can't really see much because it's just so small. But of course if I were to draw something bigger, so let me just get something bigger here. So now let me see maybe for example, this one. If I just draw something big in here, it's wrong layer That explains it. Just merge it. And you can see that this is clearly visible on my reference. So now I have this giant black box that are really don't need, that just obscures my vision. So what I can do is that I can just tap on it once and I can make it smaller if I just zoom in and out on one of the frames around it. And now if I type on my picture, double-tap it, then it will adjust to whatever size I want it to have. So now it's really tiny and I only have like a really small reference. And if I want to have it bigger, I can just tap on it again, zooming out and double-tap on it and it will automatically fill in the entire thing without me having this unnecessary gray boxes around it. So just double-tap it alternatively, which is a little bit more finicky when you can do it as well, is to pinch in with your fingers on it when it doesn't always work. So double tapping, definitely an easier solution for this. But then you can have your reference and you can put it wherever you like. And if you don't want it anymore, you can turn it off. But as you've seen, there's also more versions to this and something else you can do. So under here, There's the image. For image is clear and important. So let's import an image. Let me import it please. Thank you. And now I have an image important as easy instead it's just choosing from my image library. Of course, with this one, I can do exactly the same. I can make it smaller. And by double tapping adjusted to whatever I have. And then I have like an easy quick reference to paint along with when I'm doing a drawing and I need a reference, I can just loaded in here and use it easily. The only thing that you have to keep in mind that I didn't know for the longest time. Instead, the reference image counts as one of the layers. So it doesn't appear in new layer tap. But if your layers at a maximum and you want to put in a new picture in here as a reference. You can insert it. You'll have to get rid of one layer first. So that's something you should keep in mind. And then if you don't need it anymore, you can always clear it and important a new one. So that's really handy feature. The next one is face. And then for this one you have to turn it on. It's little weird feature, I won't be showing too much. You can try it out for yourself. If your iPad is of a newer version. And it will take whatever you have on your canvas. And it will show it as a 3D kind of augmented reality picture on your face. So it'll, you can pretty much draw on a mask and then you can look at that mask on your own face. It's really a weird feature. Probably going to, they probably want to have it in there in the future for filters and like Snapchat or Instagram. I'm not sure exactly what else right now. You can't read it, export it as far as I know. So it really is just weird fun feature in there, but it exists. So, just so you know, it's possible. Now let's say you have your Canvas in here and you want to look at your canvas while you're working. But you also want to have a reference, then there's still the option to split screen. So on the top, if you have a newer version of the iOS system, you can press on these three dots and then you can press on the split-screen function. And now it almost disappeared. You can only see that there's a tiny bit off the app remaining. And now if I press on Chrome for example, then you can see that there is like the split screen version that I have. If I make this smaller, I could continue working on whatever I want to work on while keeping a reference here on the side. So that's a really cool feature. If you want to keep your tiny version and you still want to use a reference. Alternatively, if you press on the three pixels on this app, there's this other feature. And now I haven't like on top here. Let me go back to procreate. So I have it on the top. And I can also move this around. A little bit. Weird to move it sometimes. Yes, I'm not a native too. So you can have it on top and then move it to the side. So if I don't need it anymore, I could just do this up here. It's a little weird sometimes to grab it, which you can move it across your screen and you can also move it outside. And then you have this tiny little arrow and you can push it back inside and then push it back outside. So that's also one way of using references and keeping your reference image up here. And that's multiple ways to do it. And I hope you enjoyed this feature. It's definitely a great way to keep your overall picture in your mind while drawing on details has helped me a lot in the past, and I hope you'll make use of it too. 48. Import brushes/ is it worth buying brushes: Have you already left a review for the course? If not, then maybe it just try and do this. Now, I'd love to hear some feedback from you. Okay, so now I'm going to talk a little bit about brushes. We already saw quite a bit of them and there's tons of brushes. But of course you can also get new brushes. So I'm just going to make a new canvas so I can show it to you. As I said already, you know that all the default ones have these special symbols and the rest of them are other brushes. So as you can see, I have quite a few of brushes gathered. And mostly they are either from artists. So here for example, I have these chain brushes. They are from her. I also have different ones. They've Greco and, and B stands for Mark Burnett. So these are different brushes from different artists. And you can definitely also look out, maybe you have a favorite artists. And there's often a high chance that they sell their own brushes. But of course you don't have to spend money on them. For example, these flora brushes that I have here, there are tons and tons of brushes. And I was able to get them for free. So how do you get brushes for free? Of course, you can simply just look up, rushes for free, for Procreate. And you will find a lot of possible ideas. So that's really something you can just do, just search it on the Internet. But what do you do once you have a brush set that you want? So I'm just going to show you a brush set that I like to use and I will use it in the upcoming demonstrations. So this is the download page and these are amid all the worries, photoshop brushes. As you can see, he's giving them away for free. If you want to, you can give him a tip or if you can't afford it, you can also just get these for free. As you can see, he's totally fine with it. And so these are definitely some good brushes that you can get, which are from a professional artists. And you can try out how these brushes work and how they are compared to the ones you have. Once you got them, you got mail and then you can download them. You have to go to your folder. And in downloads, you will find this file. Here you see a metal Doreen and there's something, something and then it has done ABR. And that's for a brush file. There's different kinds of file endings. For example, here you have filed and ends with brush set up here there's an ABR. Abr is from Photoshop, but it also works in Procreate. So if friends of you or anyone else has Photoshop brushes and you want to use them, then don't be afraid Photoshop and procreate. They can both see the same brushes. So all you have to do now is press on it. And it will automatically important. If it does not important. You can also try and say Open in. Let's see if it's possible. Here. Yeah, You can open this stuff on an another one. So there's definitely more options to open it, but normally it'll just ask you if you want to open it in Procreate. So it really is a pretty simple method. And once you did this, you can go back to Procreate. And now if you look at your brushes, if you go all the way to the top, then you can see that there's four new tiers here. Edit. With his brush set, you will get quite a few brushes. And as you can see, he already named the categories for whatever you should use them for. Of course, you are free to use them for whatever you want. Here are different brushes and you can definitely get them as well and look through them. So he has quite some rough ones. So if you're an artist who likes to work really on fine stuff and really finicky. This might not be the best brush set for you, since these are some really rough texture brushes. But they definitely work really well. There's also round soft round brushes that seem like they are completely the same to the default ones. But trust me, they all have some slightly different features. So that's basically how you get them inside. If you ever have a brush set that you don't want anymore, you simply have to press on the name once and then you can rename it, you can delete it, and you can also share it. So if you got a brush set and you want to share it with your friends, then you can just press the share button and then you can share it, for example, via AirDrop or something. So that's also really cool way and easy way to share your brushes. So the question, is it worth buying rushes? If there are brushes for free? Personally, I like to buy brushes sometimes. If for example, I'm pretty confident and I really liked the artists and I liked the work they do. Then I don't mind spending money on their brushes. So for examples, these were bought. But for me it's totally fine because I really liked the artists and I like to work they put in. So personally, for me, it's just helping them with their work and giving them some good like some, some help, so to say. And that's why I don't mind spending money on brushes sometimes. And there's also brushes that have a special kind of effects. So you can buy brushes either just for, for painting and you can get them simply to have an easier way painting whatever you like. But there's also brushes that have a special effect. So this brush set, for example, was also bought. And as you can see, it just has brushes that work for kind of painting for a setting outside. So it's planned kind of base brushes. You don't really have any normal brushes in here. They're all just kinda stamps of different plants. And you can really look around and you will find brush sets that are made and then which have different kinds of brushes for all kinds of uses like this one for example, or the one we import it. And you will see that there are brush sets that are really specific. So like this one that has only plant-based brushes. So you won't, you will always find free ones. But you can also get some that costs something. But you don't really ever have to spend money on brushes if you don t want you. And of course, you will learn later exercise. You will also learn how to make your own brushes. So that's an option as well. If you're really good with making brushes, you can then also sell it to other people. Always an option. So then why would you buy any brushes? I already said it. And then again, there are some really high-quality ones. So in the next step, I'm going to quickly demo, use some brushes that can create a watercolor effect in a really good way, although you're drawing digitally. So let me show that to you now 49. Water color demonstration: Alright, so here's my watercolor folder and I have quite some hard work is already done. I did with things brushes. But of course I'm going to show you a demonstration right now. So first of all, if you buy the set, you will also get some special canvases with it. And I'm going to show them to you right now. So the special properties of the canvas, if you look at it already, you can see it has a special texture. And if you go to your layers, you can see that there's like a paper and effects kinda group and then there's even more groups in there. And if I turn this on and off, you can see that now it's a normal piece, like a normal digital piece of paper. And now it looks like a watercolor paper. So this brush set is a little bit more expensive, but it comes with some special Canvas as well. But now let's see what happens if I use this present. So you can see there see KJ watercolor studio. And now if I go to the main brush and I draw something with it, you can see that it pretty much behaves exactly like watercolor. If I stack it on top, it also gets darker. So there's different brushes with this brush. With the wash brush, I can soften it up as if I would add water. So it really behaves a lot as if you were doing some watercolor. So now let's try and make the same kind of plan that we did earlier. But this time, let's try and make it in a watercolor look. So I'm gonna go back to sketching and go into the peppermint one. And I'm going to quickly sketch another plant. Alright, this pretty rough, but you'll be good enough. So now I'm going to make a new layer and I'm going to lower the opacity of my painting layer. And let's try and draw with these brushes. So I'm gonna go to the main brush and I'm going to select these kind of greener desaturated tone and painting in the leaves now. And what I paint in and isn't a bit too big. I'm trying not to let go of the pencil and start again because otherwise you won't get these dark spots. I'm just trying to fill it in with one goal. I'm also going to make a new layer for the berries and then do the same for them. And if I want to build up some shadow for the berries in the bag, I can simply draw over it again. Same with these ones. I can just give them a stronger shadow here. And it works pretty much the same as normal watercolors. Of course, there are some differences. What if you try and make it darker? You just go over it again. And if, for example, I have these edges and the orbit to heart, I can use the wash brush. I can soften these edges. So now I'm going to Alpha lock my leaves and go in here again would make me more bluish tone And give some variety to our leaves. We'll just have to figure out why it's not showing probably because it's Alpha Lock then it's super soft. Yeah. So if I alpha lock it, but since the color is so see-through, it won't properly show up. So to do it without the alpha lock. You can also see depending on how much I impress the pencil, it really changes the size by quite a bit. So now it looks a little bit better. So you could still try and add some more leaves here and there. So we'll get some good variety in here. Now next I'm going to make a layer above and maybe try and go for a pretty saturated green and give all of these some little touches. Soda, we get a bit more color variety in here. And maybe some stronger orange for the berries. Just so it looks a bit more lively. Nowadays software one, I'm going to just make a hint of some berries in the back. Alright, and now I'm going to make a new layer. And with the detail brush and a pretty dark color, I can now draw in the little stems. And here you can see that I'm using the quick shape just to get a nicer line. So definitely try and make use of these shapes. Has to be just a bit more tilted, so that will recognize it as an arc. And then I can just place it in here and get a nice soft heart. So now I'm going to make the opacity a little bit lower. And I can turn off the sketch. And as you can see, it already looks pretty convincing. So I'm just going to take a little bit darker color and properly connect the leaves. The stems. Just let it fade out a bit here so that they really look like they're connecting. And get like a nice darker line in their bit more contrast doesn't hurt anyone. Then I'm gonna do the same for the layer with the berries. Just getting in a bit more contrast. Alright, and that's pretty much it. I'm just going to select multiple layers at once. And now just uniforms scan it up a little bit so that it's bigger. And that's basically it. So that's how you can use these kinds of brushes for something like this. I have also tried to do paintings. So this, for example, is a painting with these kinds of brushes. And here is a painting with the default brushes from procreate. So for example, in this one is also with the default brushes. So you can also try and mimic the watercolor look with default brushes. It definitely is possible. Even added some texture to the background to make it look more like paper. So you can try and do that yourself as well. I just think that it's a lot easier to just do it with these brushes because the person spend a lot of time trying to get them perfectly looking like watercolor. But of course it's not necessary to get it. So it just shows that the engine for the brushes in procreate is really, really good. So there is a tons of stuff you can do if you're really into like acrylics or maybe oil paint, then definitely try and look for these kind of brushes as well. Because the possibility that there is a brush set, trying to mimic whatever you want to create for Procreate is pretty high. So yeah, I hope you enjoyed a little demonstration. 50. Insert and edit text: Alright, another feature that's inside Procreate is adding texts. So let's try that out. I'm going back to our moon, and now let's add some text. So how do we do this? We're going up to our Actions menu and then we go to Add, and then we can see add texts. So once you do this, we have our texts in here and we can ride whatever we want to write. So let's just write something nice. And then let's look at the different options. I'm going to double-tap it so that I have everything selected. And then down here on the keyboard, I'm going to press on these letters and then again into the menu. So there's a bunch of things we can change. And let's look at what we can do. So first of all, here, on the left, top, top, left, we can go back to our keyboard. And here we can go back to the menu. So we can cut out the text. We can copy the text and we can paste it. Pretty much the same as you know it from every kind of program with writings, word and everything. It's like the same. Cut, copy and paste, all works the same. And then over here you have the different fonts. So you can change it into whatever you want to have it. So let's just keep it like this and then you have the different styles. So whatever you prefer here. And some have more options and some have less of genes. You just have to look whatever font you want to use. And then you can see what different styles there are available. Then let's look at the right Before we look at the middle. So fiercely attributes, you can decide how it's supposed to be laid out. So either from the left It's like the basic way or the middle or as a block. So different types of layouts probably also used to them from other programs. Here you can see that you're going to have a nice line going underneath it. And we'll be showing up only on one point. But normally it works just like this. Then there's also the option to have it kinda cut out in the middle so that you only have the outlines remaining. Then you also have the option to have it in like a line from the top to the bottom instead of going sideways. So these are the different options here. Then also you have the double tee. If you press this, it's all written in caps. But if you transported back then you can see that it's like small again. So here you can just quickly change your text to be completely in caps. So now let's look at these different settings. Of course here you can change the size, can also change it by pressing here so that it's exact. So a little bit easier than trying to find exactly the size you want. So let's get into maybe not 555 place. No, let's get into 80. Alright. And now let's look at the kerning. For the kerning just pushes out the different letters, but for the tracking and Candace the same. So what exactly is the difference? If we only select a few of these letters and do the coding, then it only pushes them away. And now if we move the tracking, it also moves the entire rest while still keeping the distance that we set what the kerning. So you can just do some fun working with dad and change to different kinds of kerning here. So maybe I want to have it a little bit there and then change the entire tracking. Then you can see that the space in-between stays the same even if we push them out from each other. So that's the difference here. Then with leading, I need more multiple lines. So let's make like this, alright, and now for the leading, I have to select it all. Alright? Now let's look at it. You can see it gets either pushed away or closer to it. So that's what a meeting does. And the baseline here, you can see only what I have selected is pushed up and down. So you can only select small parts of it and then change here, the meeting, it doesn't change anything because I don't have more space in between. For the bass line, I can change it. So there's quite a few fine adjusting that you can do with your texts if you want to. And yes. So that's pretty much the basics. We're adjusting it. Once you're happy with it, you can also change the color. So if I have this selected and I go up to the top, you'll see that I can change the color. So that's also a feature depending on what you have selected. And now there's one thing that you should know if you're doing something with texts and procreate Because if you look at your layers, you can see that there doesn't show whatever we have here. It just shows this a letter. And it means that the text is still restaurants. And what exactly does this mean? So now if I go to my transformation tool and I go to Uniform and I scale it up. You can see that the edges here stay perfectly sharp. And if I do the same and I just scan it down again, and I say it's fine. And then we zoom in, you see that the edges are still completely sharp. And that's because the text is rasterized. So it's based on a vector and not based on pixels. So what exactly happens if it's not restaurants anymore? Let's look at the same but to free form, once I do this and I let it go, it should be still working right here because, okay, let's do a distorting. So now I can distort it. And if I let it go, then you can see that the texts layer is getting rasterized. And now if I do the same with a uniform and I scale it all the way up, then it won't be as sharp anymore and starts getting blurry. And if I look at my layers, you can see that suddenly all the letters are shown because it's normal pixel-based layer. So now I can scale it up and down infinitely anymore without changing the, changing the resolution. It's what I mean. So now if I scale it up and down, once it's rasterize and pixel-based, the resolution will get wonky the more I transform it. So that's definitely something you should keep in mind. So in order to maybe if you want to change the colors, you could just do a clipping mask and then use whatever brush you want to use. And painted on top. That way, you can still keep your Rasterize Layer and you can change all kinds of stuff. What of course, if you want to distort it, you will have to give up like on your vector-based painting and instead make it pixel-based. Otherwise you can't do any crazy transformations with it. So that's definitely something to keep in mind. Also just a small hint or tip for using texts and procreate. As you can see, it definitely works. But there's really some limits to it. So if I were to completely fill this page with text, then the program would have a lot of struggle working with it. I've seen it leg quite a bit when you change the size. So just be aware that using too much texts in Procreate probably isn't the best idea. But as long as you have like a small amount of texts, it'll be absolutely no problem. And it gives you quite a few options. And if you press on here, you can also just look at this menu and it can come up in smoke, so you don't have to go in there. You can just change some things over here. But if you press on it and you can see the whole menu. So yes, that works. Now in the next step, I'm going to show you how to import your own fonts. 51. Import font & example: Alright, so now importing your own font to procreate. Of course, in order to import a font, you first need a font on your iPad. There's tons of fonts online for free. So I'm just going to quickly also get a font and download it just on a side, they'd simply Google free fonts and I found something so now I can download it and get the zip. Once it's downloaded, I'm just going to go to my folder. And then I can find the zip in here. And once I have it, I can just press on the gtf file and then share it and put it in, procreate. And it's already imported. And now, if I go to my written form, I can look for the Arizona one. And here it is. It really is pretty simple. Of course, you can also import fonts from within Procreate, and it will open your files. And you can just look for your font file from here. But it's basically a pretty quick way of doing it. So now let's see if I can change all of this and just write it down. Alright, let's go back here. I want to have this. I want to have it smaller. So I need to select it all. Then make it a bit smaller. Make the kerning and tracking and a baseline. Now I can have it all Eigen pick lettering. And also, as you can see, if I make it bigger than it suddenly starts going to the left. And it's simply because the box is too small. So if you want to make something bigger, what you want to keep it in that box, you just have to make the box bigger or smaller. So that is something that's pretty easy and simple to do. And then I can make the size bigger again. Also, excuse me, I'm really not an expert when it comes to pretty lettering. Just trying my best here to demonstrate whatever I can. But that's pretty simple how you can add some texts. And then I could also take this text, duplicate it, make it into a multiply layer, and then put it like here as we've learned, I can just tap on it, but since it's so dark, won't really see a lot, I have to put it underneath. And then I can just put it over here. So quite invisible right now. If I make the background lighter, probably still be. So I can also go in here and I can rasterize it. And still is invisible for some reason though. I can probably make it darker. Now it appears, alright, was simply too bright. And now if I go over here, I can just slightly tap wherever I want. It. Also can turn off the snapping. And then I could just do something like this. And it's a pretty easy way to like edit your texts and get some cool effects. And it also can make the background a bit darker again. And yeah, that's basically how you can use your lettering in procreate and how to make some nice graphics based on texts 52. Animation assist: Alright, so next, let's look at a, another feature that's hidden and procreate, and that's a pretty cool feature and its animation. So before we start on animation, I'm just going to pretty much show you the entire animation assist. And then afterwards we're going to make our own animation. So how to find it and where is it? I've created a new file that's just normal square. So nothing strange here. And now let's look at the animation assist. You can go to your Canvas and then you can find animation assist. And once you toggle it on, you can see that there's this little bar on the bottom, but nothing much else changed yet. So what, what does it do exactly? You can have the play button when if you press it, nothing happens so far because we don't have any animation. And then here you can see there's like your layer and it's shown as this tiny square down here. So if you make, if you duplicate it, then you can see that you get a new layer. And if you make a new layer here, then one in the bottom appearance as well. So if I just paint like a tiny ball on it, and then I go to the next one. Now I press Play. You can see that I have a tiny animation. So what else do we have to know here? You can see that the other ones are being shown as either red or green. And that's in my settings. So here you have different settings. You either have flu ping-pong or one-shot. That's your display options for when you press Play. So if I go to ping pong, it will play like to the front and employment backwards. So here you can see it plays it to the front and back. While if I just do loop and we'll just go from the front to the end and then start at the front again. And of course, if I do one-shot, it'll just play it once and that's it. Alright, so let's leave it for pink color for now. Then down here you have the frames per second. So you can see how quick it is happening. So if I do it super fast, you considered my tiny ball is going completely crazy. And if I do it really slow than the frames are pretty slowly displaying. And then let's press pause again. You also have the onion skin frames, which are the frames before and after. They are called onion skins. So basically how we are used to having layers and stacking them on top. But you can only see if there are visible. For animation, the onion skins are just kinda similar to the layers, how we used to see them, that they are translucent. But of course for animation, you don't want to see all the different frames at once. If you have a person walking and you see every tiny picture of them walking, it won't be an animation anymore. But while you're animating, It's really helpful to see the frames that happened before or that are gonna happen afterwards. So these are the onion skin frames. And here you can decide how many layers you want to have shown. If you want to have like three layers to the front shown and to the back, or if you want to have less, then there's also the onion skin opacity. So if I change this, you can see that it gets a lot softer. And if I do it to the max, then it's super, super-strong. So if I only need to have a faint idea of what happened before and what's going to happen after. I can change the onion skin opacity, then you also have the blend primary frame. That's not something you can really see right here. And it's pretty much just for the animation models. That can be helpful. But it's not really something that's super visible here only when you have a more complex animation. Then lastly, you can change the onion skin colors. So normally you have your red ones from the ones that happened before and green for the one-step going to happen next. What of course, you can also changed into your desired color. So that's pretty much all you have to know in order to start like a small frame by frame animation. Also here you have an Add frame one. So you don't have to go into your layer tab. Then it's also called frame instead of layer. But it really does the same. So that's something you can know. Then also, let me show you quickly another quick trip to quick tip on a trip. So let's make, for example, a plant in the foreground. And behind it, we want to have the animation going on. So of course now if I press play, only the planet is only shown sometimes I want to have it in the foreground or in the background. So what I can do is take this animation, take the element that I want to have in the foreground and press on it. And then you can see that there's the option to press foreground. And if I do this and I press Play, then it always stays in the foreground. I can do the same with the background. So if I just take the background and I make it green, now if I would press play again, just one frame would be green. If I go here and I press background, then you can say that it stays as a background and the other one stays as a foreground and only the frames in-between are moving. Another thing that you can do if you have your animation and you want to have like one frame that stays for a longer period. Instead of sacrificing space for your layers and doing a bunch of layers that have the same content. You can just press on it and then hold duration. And then you can see how many frames, how long it's supposed to stay there. So now when I do it, it stays there for longer while, while I don't have to use multiple layers. As you can see, all the layer amount stays the same. So that's also really helpful feature. And one last thing, if I want to use groups, so for example, I have this ball here and I want to color it. And now I want to have like the lines and orientate on them. And I want to color it. I can simply do this. And now if I press Play, you see that my color and my outline are two different frames. What if I want them to be in the same frame? I can take these two and group them. And now you see that they appear in the same frame as only one, even though they are different layers. So if you wanted to add some effects or do something else on one of the layers. And if you want to color it, but you don't want to color it to be an individual frame. Just put them in a group and the group will be recognized as one. So we add quite a bit to take in animation is quite complex. So in the next step, let's try and make a small animation ourselves. 53. Create an animation: Alright, well then let's try and attempt to make a, an animation. Heads up. I'm really not and proper animator and I apparently animated in my life. So if it's not going to turn out amazing, just I tried to I tried my best for you, so just let me see what I can do and I'm going to try and paint a bird that's flying. So let's add a frame and start sketching. So first of all, I want to try and get the body of my bird. Pretty much just Chinese sphere on the top. And then it goes straight into the body. Now of course, you also need to peak to peak. I don't know. Again, I'm not a native speaker. I can only try and say whatever I think it's called. Alright, now we have the body. Let's try and get the feathers on the back and its feet. And now let's see for the wings, somewhere in here. Alright, and now I'm going to just duplicate this one. And pretty much erase, so weird eraser. Let's get the proper one. Erase the wing. I keep the body, and then try and draw on the win for the next one. Alright, duplicate it again and stretch doing all a little bit more. Also here with my onion skins. They are here, but they're like super faint. So it's not super easy to see them. So I can just turn up the opacity. So if I make the super fine lines, I can still see my onion skins And of course you can always check your progress was doing this and probably try and get a loop here. So far. Doesn't look too good. But I'll still try my best to continue and make it look like a proper animation. Alright, now if I put it on the pink 0.1, you can see that it's somewhat looking like it. If I make it a little bit faster, it looks a little bit more like it, not the problem that they're down here, something's going on that's not looking too great. So let's try and change this. Probably delete this frame. Still something here going on. Probably need one in here. Alright, I'm trying to take these and probably have to duplicate them. So it goes all the way up here. And then I could just see if I can duplicate them or not. Probably problem down here that it's, since it's a ping pong effect, doesn't quite work out. Mostly, you get the idea of animation. Let's try and take some bigger lines to make it a little bit more visible. Not saying this is going to be an amazing painting. So let me see what I can use me here in painting. And then Nicaraguan So I'm going to take the frames and make them pretty slow. The hand can see what a problem is and it's right here. Because this animation has to go a lot longer back to the top. So let's add the frames here. Probably. And right there. Let's see what happens if I delete these two. It's definitely better. But it's still has this point that's double. So that's not something we need to delete this one as well. See if it solves the issue. And four, we source the issue. Now it's more of a bird flying. Doesn't look super dynamic, but it works. So let's try and get some prolines and dear. All right. Alright, now it kind of works, but I feel like my bird need some more space on top. So I'm just going to move all the layers down and now give it some bit more space here on the top. It looks a bit more convincing. Right? Now I have a Pretty roughly animated bird. So now I just want to color it. So I'm going to put these into groups and then just take a white color and kinda quickly fill it in. The bird. Really doesn't have to be great. Animation itself is pretty wonky already. So now I don't have to try hard with the colors, just want to have it stand out more from the background. Animation is really pretty complex subject. So if your animation doesn't look too amazing in the beginning, Don't be sad. Kept to learn quite a bit to make a really good animation. So it's definitely something that is quite a complex subject, but it's also a lot of fun once you get the hang of it. Alright, so here is the bird that is definitely far from perfect, but it gets across the point. And so I'm going to show you next how you can take some finished artworks and also animate them. But before I do this, just a few words to any meeting and procreate and general. As you can see, it works, but it definitely has its limits. And if you're planning on taking animation pretty serious, then definitely try and look for another software. Because the main issue for animation procreate is that there's only one timeline. So for example, if I wanted to have some clouds moving by, I'd have to put them exactly on all of these layers as well. It can be quite the hassle because I can't just create a new timeline and have some clouds individually. I'll have to always connect them to the ongoing and animation. So it definitely works for some smaller things. Maybe you want to just animate a tiny gift for something for your friends than yes, this is a great option. If you want to animate completely new 2D animation project, then maybe Procreate isn't the best choice. But yes, that's basically it for animation. And next I'm going to show you how to do some small tweaks to a picture that is already done 54. Animate finished picture afterwards: Alright, so now I'm in here from a painting that I've finished a while ago. And as you can see, it's just a normal 2D painting. Definitely didn't intend to make this animation. As you can see, it's way too detailed to be a proper animation. So what can we do if we still want to animate this somehow? First of all, I'm going to take all that I have here and I'm going to merge it all on one layer. So now I have my entire painting on one layer and I'm going to go into the Animation Assist again. So what I'm gonna do next is that I have some parts selected that I want to animate. So mostly in this case, I want to animate the eyes and I want to animate the little earring. So what I'm gonna do is with freehand, select the eyes. And I'm also going to select the earring. And I'm also going to feather this a little bit so that it's not super harsh. And I'm going to copy paste it. Alright? Now as you can see, I have the I selected and earring and everything else is on another layer. And since we're a new Animation Assist, it became super red. Of course, we can change this by simply go in here and setting it as a background. So now we just have the eyes as a separate layer and I can start drawing over them. So this whole process is a little bit wonky, but it works. I'll simply be copy-pasting the eyes again and again and drawing them how they close eventually so that she'll be like blinking a little bit with her eyes. And also for this to keep some consistency. For the brushes, I'm going to the amid all Dory brushes. Maybe you have them in your library as well by now. And I'm mostly going to use the soft elliptical brush for this one. Let's try and see how it goes. If it looks kinda strange while painting it with the half-closed eyes, that's totally fine. It's normally just two stages in-between. Them blinking look a little bit weird, but don't worry about it eventually it'll look pretty nice once you're finished with it. Alright, now as you can see, if I do this, consider g is blinking pretty quickly. And of course I can also do this slower and quicker. So I can just do this option and then repeat them. So I can just duplicate them and put them on the top so that it's one loop. So now by the end of it, if I turn off the ping-pong and do the loop instead, you can see that she is closing and opening the eyes again. So if I do this, for example, even quicker, it's going look super fast. And now I can do a bit more by adding Little bit of a stronger glow to the earrings. So I'm going to make a clipping mask. So it's only going to be for this layer, doesn't have to group it. It will also just count as one frame if it's a clipping mask. And then with Ed, I'm just going to slowly add a little bit of glow to the different layers. And I'll be sure to set it on Add. And then I can always turn down the opacity if it's a bit too much. So now if I press Play, it's quite intense. So I can turn it down all of it so that it's glowing even more faintly. Alternatively, which is probably a better way. I can. Instead, I can just choose all of these again and delete them. And now go to the layer on down here and make it really strong. So to say. I can also turn off the clipping mask and do make more of a Gaussian Blur. And now I can take it and group it. And so I have this really strong glow here. And then I can duplicate them and put them on top of this. Group them and do the same again and again. So I'm going to copy the layer. And then I'm going to paste it and group. And you will see in a second why I'm doing all of this. Alright, in duplicate the eye is a few times. So now we have, we'll press Play. You can see that she's blinking energy is holding the eyes open for awhile. So now I'm also going to go to the last frame and do the whole duration a little bit longer. So let's look at it right now. But now it's looking really weird. But now we're going to change this. So bit by bit. I'm just going to all the different layers here. And down here, I'm going to put it to maybe 10%. And by slightly increasing it. So maybe this is around 15% or 16, always putting it on n. So maybe this can be 20%. And by doing so, I can eventually get like the softer glow. Alright, now I can see if my master plan worked out. And as you can see now, it is shining brighter. And if I put the ping pong in and press play again, then she is blinking and the hearing is getting softer. I'm going to skim brining brighter and dimmer again. So yeah, that's like definitely one way of adding a nice lively touch to your painting afterwards. And if you make it a little bit slower, maybe it looks better. So now she's come to life, so to say. And it really is a little bit of work, as you can see, it's quite a bit of adjusting, but it has some really cool effects here. So now if I want to share it, I can, for example, share it as an animated GIF. And if I press on it, then you can see your animation here. Just has to load in. And now I could share it, unlike Max resolution or web ready. Here, I can still change the frames per second. So I can have it a lot faster or slower. And then there's a dithering. And it kinda helps you with the with the blending of the different frames. So depending if you have that are not just blends with better. And per frame color palette is also, as you can see now, the colors are going all over the place. But depending on what kind of animation you have, this could be a setting that helps you. So then, now I could choose export it. And it will be a pretty big file. Since ISO max resolution and web ready is so much more smaller. And you could use that as well. So now as you can see, the fine details are gone, but it's still works out quite good. So now I could just take the way it is and then press export and save it here in my gallery. And now I have a GIF off my animation. So, yeah, thank you. That's basically all about animation. Let's look at the pages is next 55. Page assist: So a new cool feature that has been added with doing recent update is the page's list. You can find the pages is here in the Actions menu, and then you go to Canvas, and then you can find pages. Once you press it, you see it at, you basically get the same kind of layout is Hugh did with the animation. So what exactly is the page assist? How can you use it and how long is it not the same as the Animation Assist. So before it is update, you could never open a PDF file in Procreate because it just couldn't really read it, it couldn't translate it to any kind of document. But now thanks to the page assist, you can also open PDF files in your procreate app. So by importing a PDF, so this was a PDF file, even though it just looks like a bunch of drawings and was a PDF file, I promise. If you import it, it will automatically translate the different pages to different layers. So you can just simply open whatever file you want to open. And then it will just show them as layers. First page will be the layer one and so on and so forth. So basically the page assist is a way to, for Procreate to translate your layers into pages. So if I go around down here, then you can see that there are different pages. And if I try and now export it, I can, if I export as a PDF file, it will take all my different layers as different pages. Of course is also works with paintings you've made. So if you made a painting and you have a bunch of step-by-step on different layers. You can go to the pages cyst and you can export it as a PDF. And that way you have your layers as pages. You can also add new pages here. And then keep working on them and they are added here. You can see this page seven, but really it's just a new layer. And it's a really neat feature. So maybe you're someone who likes to draw comics or something on your iPad, then this could definitely be a new feature that's warm interest to you because you can just work on it and always make new pages. And that way they don't. They, as you can see, they're all visible. But since they are pages, they don't show up. Only if I go to the respective page, then I can see it. Otherwise they're visible. But since I flipped my book around, you can imagine it like flipping pages. The page, of course, is still visible if it's on the other side, but you can't see it anymore. So that's basically what the page assist. Thus, it also works similar to the animation assist, that if something is clipped to it, then you can again work on something without it showing on as a simple page. So if you make groups, if you make clipping masks, you can work with the US on the pages and it won't show up as an individual page. So yeah, that's basically the page assist. It's kind of a smaller update, but it can make big changes for you depending on what you use Procreate for. And it allows you to open an export proper PDF files. So yeah, that's a big plus for all of us. And I hope I properly explain it to you. 56. Painting on 3D models: So a new big feature in Procreate is painting on 3D surfaces. And if you haven't done this yet, then you probably also don't have any 3D models in your procreate app. And so let's first of all look at how we can import some 3D models to procreate. Alright, so first of all, let's see how we can import some 3D models. I'm just going to open any kind of file because either you don't haven't touched your Procreate too much, then there's a blue what's new in the top right corner. But since I already looked at what's new, I don't have this anymore, but you can still download all your models. So all you have to do is go into any kind of file. Then you go to your actions and then you go to Help. And once you go to help, You can see that there's the what's new tab. And if you press on this, then you can see it shows you all kinds of updates that have been Edit. And so now here you can just model the model pack from 40 3D models. I won't I won't be pressing on this now as it takes quite a while to download all of them and I've already downloaded them. So next I'm going to show you the 3D models that column with this pack. Okay, so here are the models. So now let's look at the guitar, for example. And once you open it, you see that some stuff changes. So for example, you don't have the edges anymore of a canvas. Since now you'll be working in a 3D space. So first of all, heads up, I'm not a 3D artists. So I might say some stuff that is not completely correct or I might miss out on some details. But I'm trying to show you as much as I can of what's possible. So here is the guitar, and as you can see, by moving them with two fingers, I can move the entire model around them, the space. And with just one finger I can flip the model around. So this is already a really cool feature to play around with. And if you haven't done anything with 3D yet, this is definitely something fun to try out. Also, you can't model in Procreate yet. You can only paint on models. So maybe they will put that in there in the future. There's a possibility. I mean, they're trying to add more and more. So maybe one day we can 3D model in Procreate. But for now, we can just paint on the 3D model. Let's see how this actually works. It's pretty simple. If I just have any kind of brush selected, I could just start painting on it as soon as I have something selected. So I'll just go to the body, I select it, and then I can start painting on it. It's pretty basic works the same way as we used to painting. And I can also, by just pressing with my finger on another surface, I can switch the layers. So for example, here is the neck. And if I want to paint on the strings, I could just tap on them. And it would change the layer. Tapping on the strings is a little bit hard though. But depending on where you tap, it changes to the layer. So if I just try and paint here on the body, and I can paint this yellow, for example. And if I want to paint it black again, I can do to start. And then if I want to continue painting on the body and can just tap it and continue painting on the body of the guitar. So it's pretty easy to navigate. And of course there's quite a lot you can do with it. So let's look at the layer since they look quite different than what we're used to. So here we can see that there's the 3D model, Then there's the base layer. And it kinda shows us the flat surface of whatever we're drawing on. So you can look at all of this here in by pressing on it. So there's quite a few things here to look out for. It made zoom pretty confusing, but it's mostly showing the properties. So let's go back to the body and press on this. So here we have the color layer. This just shows what kind of color we have. And then on the roughness, we can change the roughness. It kinda works like a layer mask, as you can see, if it's just in gray tones. So the more black I paint, the rough ER it is, and the more wide, less often is. So let's just take a black brush and the hard round one. And let's paint on here. I'm going to make it a bit smaller. And I'm probably going to get it into the light. And here you can see that when I paint on it with a black color, it gets like reading reflective, like a glossy surface. And if I paint on it with a white Then it becomes like really met. So it's somewhat hard to see exactly which you can see that there's a tiny differences depending on what I use here. So now, if I here you can see are pretty well that if I paint with pure black and has like a super shiny reflective material, and if I use white, then it gets Superman again. On this layer, you can decide what kind of roughness your surface has, should have. So we can completely change that. And then next to it, we also have the metallic option. So let's look at this one right now. It's pure black. So you can guess if I put something on white, it'll change quite a bit. So let's look at what happens if we paint this white. So right now it just looks like it gets darker as we use it or move it around. You can see that it is getting metallic. So here you can see there's some pretty strong reflections going on. And now if we make the roughness black. So a super glossy surface together with a metallic finish. As you can see now it has like a really crazy metallic effect. The material depends. If you'd like the look of it really depends on these both vectors. So the roughness and metallic one. And they both work like layer masks. So now that I've painted, it's super glossy and I'm painting over with the metallic. I can make a reading metallic surface. As you can see if something is in a way, it won't get painted. So if something is on top, it will appear like a shadow underneath, so to say. So if you really want to paint on a surface without having any of these kind of problems, you can simply turn off the visibility. So now that all of this is turned off, I can freely paint on this without any problems. As you can see now, everything is gone except for the guitar. And here you can see that it really has like a golden strong shine. So that is basically how this works. But of course there's also so some more stuff to it. This is kind of the materials and how this works. So up here in 3D, we have some more things that we can do. Show to the texture. If I do this, you see only this part here and you can paint on it a lot more easily. So if I wanted to paint the whole guitar and yellow, I could just take out this 2D texture and simply fill it with a yellow. And if I turn this off again, then turn around to guitar. You can see that it completely made my whole guitar yellow. So that's like a pretty easy way to do this. And you can easily paint on the different textures here. So something to look out for, and it's something many of you probably have seen if you've already worked with 3D stuff in the past. If you have a another file that is not from new Procreate ones, you could turn this on, so it doesn't work for all files, but for some new kid on the option. And if you turn this one on, then instead of just painting on the surface like wherever you paint, you would paint through the mesh. It's a little bit hard to explain and it's not super necessary for this part. Like even for normal 3D painting, it doesn't really make a lot of sense. So you won't really need this kind of feature, but it's still good to know that it exists. Another nice feature, let's try and get the body here back to being non-metallic. So painting it black. Alright, so another feature that we can do here is to add a photo. So I'm just going to add the pineapple than we did. And then I can And place it on my canvas. So here I can do this. I can place it on my 3D surface and try and see how exactly I want to have it in here. So there's quite a few things for the few advanced settings in here. And since I inserted it in metallic option, it looks quite weird. So let's do this again in the color layer and choose the pineapple again. And now you can see that I can freely place my picture in here. Here with the advanced setting. You can do this all a little bit more freely. So now, if I want to have it here, I could do this a lot more easily. You can also choose a 3D model and put something that you've already painted on top of it. So now we have the pineapple that we created on top of the guitar. So that's definitely really cool function and you can try out how you like it. And with the advanced one, as you can see, you can place it a little bit better than with the automatic one. There's still quite a few things here that are pretty advanced settings that are a bit hard to explain. So as you can see what the projection, the further I push it in, the less it gets projected on the canvas. So depending on how I have it tilted here, it would look different. So if I tilt it further up and then go with the projection, then as you can see here now, it only cuts off a little bit on the bottom. So 3D space, definitely something you can fiddle around with and quite advanced. So yes, these are all kind of things you can do with the 3D. So you can put something on top. You can change the way the material looks. And if you want to share it, you can share it as either a Procreate one as a USD Z file. This is for AR, something that's also in here. And as an OBJ, this is the common one that you can export a 3D model as a model S. And down here, you can also export it as an animated. If so, depending if you want to show what you created somewhere, then you could also do this and have a few different sliders here so you can zoom stronger the Zoom distance and ease with. So also there's a swing options. So there's a few options in order for you to export your creation. And here again, we have the max resolution and the web ready one. And these are these options. So quite a few things to do here. But for now, let's look at a few more things that are possible in the 3D space, the textures that you saw earlier. You can also take these and export them as a PNG. If maybe you have created a really nice texture for a model, then you can export it as a PNG and use it in another 3D program where you can actually 3D model. But you can do whatever you've created in here. You can export it and use it somewhere else. That's definitely also an option here by sharing textures and then use the PNG file. The last two options that I want to show you for 3D is the edit, lighting, and environment. If you press this one, then you see your object in a another kind of space, and you're in the lighting studio. And in the lighting studio, what you can do is move around these blocks and you can change them. So these blocks are light. And you can change what kind of you they're supposed to have. And depending on that, as you can see, you can create a lighting environment for your 3D model. So you can even add some lights. Again, change the colors of them. So maybe you want to have a strong blue light from the front. And so you can see how your modelling would look in different lighting. So now as you can see, it has this strong reflection. And there's also the environment, and here's the exposure of it. And there's different kinds of environments you can put in. The environments only really shown if you have a strong metallic surface. So let's make our guitar super metallic so that we can see it. And now if we go back to the lighting environment, Then you can see the environment in the reflection. So if we change it to another one, then you can see at faintly in the reflection. So depending on what kind of reflection you have, you can see different kinds of environments. So let's try and make it really reflective. And now you can see that there's something in the reflection and that's in different environments. So definitely something you can try out a lot with it still little bit on specific these features since you can upload anything and has to have some certain qualities. So it has to be an OBJ file and it needs to have a UV map. It's quite an advanced stuff and I can't explain it to you too much in detail since it goes pretty in-depth of 3D modelling. But just be sure that you have an OBJ file and it has a UV map, and it shouldn't be too big. But if these requirements are met, then you can import your own 3D models to Procreate. There's also always the option to look online because there's quite a few free simple 3D models. You can import them, you can paint on them, and then you can share whatever you've created. And yes, the last feature is viewed in AR. If you do this, you can look at your model in a space of your environment at home. Unless that's kinda like dying. And he said, can you construct as my comments on a summer song when I'm saying this. So yeah, that's basically the new 3D feature. Paint on it, exported, use it as a PNG file for other interesting projects and import new things to work on. It's quite finicky and it's quite special, but definitely a lot of fun. Alright, so here you can see that you get like a AR, augmented reality model of whatever you did in 3D. If you just use two fingers to just drag it around, you can also pinch your two fingers and it becomes smaller. And you can make him bigger. And then of course, the more you go around it with your camera, you can change the angles and looking at different perspectives. So if you maybe in design does soda can, and you want to know if you should try and invest, really getting it as a proper real thing, then you can look at it in AR and decide here first. So it's a pretty fun feature. And it's basically all you can do here. So yeah, that's the whole 3D part 57. Screen mirroring: If you ever want to show you on work on another device. So maybe you want to stream something you're painting on procreate. There is a way to screen mirror onto your desktop. It's a little bit weird, and so far as I know, it's not really completely free, so you have to pay for it. It's not too expensive. But still it's quite the bummer. And it's called air server. So you have to go to your PC or whatever device you want to stream on and get our server. There's also a 30 day free trial. You can do just that if you want to see if it's something for you. And once you have that downloaded, you have to open your air server on your device. And once you do this, you go back to your iPad. What's pretty important instead, both your iPad and the device you want to stream two are both in the same Wi-Fi network. If you have different connections of Wi-Fi, then you won't be able to connect these two. Once you have air server opened on your PC, you go to your iPad and then you go to the top to your settings. And here you have this little screen mirror one. If you press it, then you get the screen mirroring one. And once you've done this, you can select whatever device you want to stream tube. And you can then easily stream your entire screen. Once you have your screen mirror, what you can do, anything you want to do, and you can just continue using your iPad as normal. And it will show like a life ring of whatever you're doing on your screen. So if you are planning on maybe streaming whatever you're painting on Twitch, then this is definitely the way to go. 58. Stroke path: Hey, have you already left the review? If not, then go ahead and do me the favor of leaving a positive rating. If I helped you out so far, helped me out and go ahead and do just that. Alright, so next up, let us look at the brush studio. So in Procreate, there are tons of brushes. And of course you can also create your own brushes. To do this, you are simply going to your library, brush library. And then no matter where you are, we can also just go to the painting one. And then on the top, you can see that there is a plus one plus icon. And if you press on it, we've created a new brush and the brush studio. This is the layout of the brush studio. There's quite a bit to tackle, so I'll be looking at it one by one. So first of all, let me just explain you the basic setup. On the left you have all the different tabs for the different options for your brush. Then in the middle there are the properties for the depending on what your selected. Then there's the properties here in the middle, and then on the right you have a drawing pad. So whatever I draw here, I can see how my brush behaves. And if I don't want to have this stuff anymore on here, I can also just press on drawing tab and clear drawing pad. And then it's empty again and I cannot start drawing again. This is really just here to be like a preview. Eventually if you fill it up enough, some of your strokes will disappear. As you can see now, some disappeared because it's only meant as a preview and not as a improper drawing pad. So here you can clear it. You can also do the preview size. So if you want to have a bigger brush, you can change the brush size here it's the preview size, but really it's just a brush size. And then underneath you can also change colors so that you can see the behavior of your brush with different colors. So the 3D preview, we will, can look at that later. Right now, let's kinda irritating, but it's for the 3D setup for we will look at that more in detail once we go to the materials later. So let's leave this off and look at what we can do here in our brush studio. So first of all, there is the Stroke Path. So let's clear it and make it a little bit smaller when make a clear stroke so you can see what I mean. So first of all, if you look at our stroke, we can see that here in the beginning, there's just these kinda repeated. It looks a little bit like it's glitching and there's multiple stems. And that's really just the spacing. So if i to the spacing and I push up the percentage, then you can see exactly what happens. So what I had it on this percent, I could still somehow see that there are multiple ones here on top of each other. And once I ramp up the spacing, you can see exactly what happens. So basically, the spacing just means that each stem how far it is a part. So brushes in procreate they work by having a stamp and repeatedly stamping this tape multiple times. So when you have a different kind of shape, we will look at it later. Then you would have just the shape stemmed again and again. So if you make a brush that looks like a leaf, then you would just have the stem of the leaf by stemmed again and again and eventually that would make the stroke. And the closer you make the spacing, the more it looks like one solid stroke. And the more you put them apart, the more it's just small dots on your canvas. Here on the spacing. I wouldn't recommend to put it to none and have it like super, super close. Because every time, the smaller you make the percentage, your iPad has to calculate it every time. So if you have a really complicated brush and you make like a super small spacing, then your iPad has a lot to do and a lot to calculate because the spacing is super, super small and it calculates each little tiny stamp. So do yourself and your iPad a favor and don't put it to none. And instead maybe putting it too like 12% or 11, or maybe even up to 16 depending on what you need. Alright, so that's the spacing. Now let's look at the jitter. Degenerate means. You can see how far apart the different stems are being pushed from their original stroke. So now you can't really see where I originally put my line. Let me clear the drawing and make like a straight line. Here you can see that there are individually pushed away from the original stroke. So if I put it back to 1%, you can see I made one straight line. And if I ramp it up, you can see that they are being pushed away. So now let's reduce the spacing and it's showing you the falloff. Fall off means just how much my brush falls off. It kind of behaves as if I had some color in it and the column would run out. And the more I ramp this up, the quicker it happens. So this really is a feature that is nice if you have some kind of traditional pencil, what otherwise, I would put it to zero and just have the color be infinite. Otherwise, you'll have to keep painting again and again because your color runs out. So, yeah, these are the stroke path properties. And in the next one we're going to look at sterilization 59. Stabilisation: Alright, so stabilization next. Let's see what we can do here. First of all, I'm going to make it tiny, little bit smaller, and I'm going to make a line that's kind of squiggling on purpose. And now look what happens if I change these settings. Here you can see if I wrap this up, my line becomes smooth out. So this can really help. If you may be someone who tends to draw kinda jiggly, then you can change the amount by ramping it up. And pressure just means if I'm going super soft and then I go harder and I'm trying to go really soft again. Here it's possible and I can change my kind of pressure. And if I go off with this one, then I can still start soft. One. If I build a maximum pressure, I can't really go back to drawing softly. So now as you can see, no matter how loudly I press, it still has a really strong opacity. And while if I keep this down, I do the same and I go into the soft and I press harder, and I go software again. Then I can vary it way better between these two. So this is the streamline and that's me. I'll clear it again. Then there's also stabilization. So again, let's make another squiggly line. Here. Stabilization is going to completely change the amount the way it looks. And it's trying to find like the the, the overall movement of whatever you did. So if I'm just doing a strong curve, it'll try and see what I did. So it's kind of lagging while I'm drawing. So it's something that could be used when you are drawing pretty slow. And that way it's really easy to make really precise and nice curves. So if you're someone who does not have line art and you have some water tendency to be a bit squiggly, then you can use this one. There's also an emotion filtering. Here. You can see if you put it to max, it doesn't even more. So definitely weird feature if you're used to drawing normally because it kinda just, if I make a curve here, it curves but the curves super slowly. And so it's behaving a little bit like a wet spaghetti. And here with the expression, you can see that now my expressions are ignored even more. So, definitely a feature you can use when doing line art. But otherwise the stabilization might not be the thing for you to do. I would just leave it off for now. And once you want to do some line art or some less squiggly lines. Definitely something that is cool to do. Also for you just to know, I'm just going to press on down here for a second. They added this feature in here on the top on breaths. And if I'm going to pressure and smoothing, then you can see there's also civilization motion filtering and motion filtering expression. The nice thing here is that you can just turn this on and you don't have to change your brush settings and the brush studio, you can simply turn it on for whatever brush you're using and change it for a while as long as you need. And when you're done using it, you can just turn it off and your brush stays exactly the same. So that is definitely nice feature that they edit. And it's basically how stabilization works 60. Taper: Okay, Next on, we have taper. What does taper exactly? So let's look at the brushes. Again. I'm going to make a new line here. So clear the drawing, make a new line and look at what tapered us. So first of all, we're going to have to change the tip. So taper is basically here to change the way our brush works with its tip. So on this graph we can change how long it's supposed to be. And we can also link to tip sizes. So now when I change something and the other one gets changed exactly the same. And now we have to increase the size in order to see it. So as you can see on the right, it starts to be pretty pointing here. The more I do it, the more it gets applied. So now when I make a new stroke, you can see that I have a sharper tip on the beginning and on the end. And depending how I do this here becomes a short-term one. Or if I make it really, really long, and then you can see it becomes like a really fine line here. The opacity changes the, how much the tip is visible. So if I do it on 100 per cent, you can see that the tip is getting slightly invisible. If I'm going down again, it gets more visible. So here you can see the difference. And for pressure, you can see that the more pressure I apply, the motive appears. If I put this off, then the tip appears every time. And let's clear it again. If I put it on pressure, then it appears way more the more pressure I put in. So if I'm doing a really low pressure one, then you can see it's a really broad sharp tip. If I'm applying a lot of pressure than it's a really fine tip. So if you want to have something without it, then you can just turn the pressure off or find something in the middle. So here you have tip sharp. In here it's blunt. So that changes the way the tip shape looks. Mostly you want to have a sharp one. But of course, depending on what you're doing, maybe you want a more blunt one that doesn't have too much of a sharp tip, but still It's rounded out. Tip Animation just kinda shows you how the tip is created while painting. So here you can see that it's broad and after after putting it down, it gets changed to a tip. If I have to tip animation, it immediately looks the same way. So it's a really small difference. Only can see it for like a couple milliseconds. But normally it's just nicer to have to tip animation on. Here. It's the same, but just for touch, you can do the same for your fingers so that you can paint with your fingers and have the same thing happened to it. It's all exit mean working the same. Just that there is no pressure obviously as you have your finger and no pencil pressure sensitivity. But otherwise you can also create such lines with your finger. And that's basically all you have to know about taper 61. Shape: Next up is shape. Now how does it work and what does it do? Well, shape, obviously, as the name already says, it tells us what kind of shape our brush will have. So let's look at the shape and change it. White now it's a completely normal blank circle. So we want to have something more special. So let's go to the top right here and edit it. Here you can see that there is the shape editor. And if I press on it, if I double tap it, then you can see that it inverts my shape. So now the shape would be this block outside everything that's white would be my shape. And now the show close my shape. What of course you want to have something that's a bit more interesting. So we can go to Import. Now I could either use just a photo of that I have and use this one as a shape. In this case, I'm going to go to the Source Library. And here you have all kinds of shapes already that are inside of Procreate. Procreate already has a bunch of options for you. So here you can just look through and see what kind of shape you want to use. So in our case, let's see what do I want to use? Maybe somewhat normal ones. So let's try and use streaky. So now this is my shape. Again. I can double-tap and I would have everything around it except for this thing in the middle. And depending on what is white, That's your shape. But now let's take the shape and press Done. Now if I make another stroke here, you can see it already changed the shape. I'm also going to go back to my taper and reduce it. Put it back to here, and then go back to my shape. And now here you can see that is my shape. If I go to Stroke Path and I increase the the size and spacing, then you can see it's just a stamp off my shape over and over again. Now let's leave it like this and go back here. I'll maybe actually I'm going to put the spacing a bit more so you can see what happens clearly. Going to clear it again. And now here you can see the shape. And then there's this shape behavior. So Scatter just rotates the shape randomly. And it's really nice if you have brushed and maybe supposed to do some splatter effect or something, or also maybe if you have some leaf brush, then it's really good to use the scatter ones so that they own don't look exactly similar. So this is the scary one. There's also rotation. Rotation means that it rotates depending on how you use your brush. So if I go down like this, it will change direction depending on how I use the brush. That is rotation. Here, count. It tells you how many times the stamped or the form is being stamped on the same place. So this time I have my count on four. So this means that the stem to form is stemmed four times on the same place. So if I increase it, it gets more and more intense. As it gets stem. They are 12th times on the same place. If I put it down to one, it's a lot softer and higher. I put it the more times to get stemmed. And then there's count jitter. And count jitter means that from the amount of counts that it can be stemmed there, how high is the possibility that it will miss stemmed eight times. So it will randomize the amount of times it might be stamped there. And so this gives us a strong variety in the opacity, since here it's a lot softer than here. So maybe here it got stemmed eight times and hearing God only stemmed like a few times, only like two times or something. So that's how the count and count, you know, works. Then there's also new randomized one. So this will randomize how my form appears depending on how I draw. So each time that I'd make a new stroke, it's randomized in which direction it'll be. So that is one thing we can do. Then there's asthma. That's also depending on how you're going to use your brush. Then you can flip the x. So now the form is flipped on the X line and the next flip y. So now it's flipped upside down. I'm going to turn off randomized so you can see it even better. Again, a stroke here flipped wide and then you can see it's flipped upside down. And here it's flipped from the left to the right. These are these two options. Now if we go further down, also going to increase the size for this one. If I rotate it, then you can see my form is getting rotated. Although I don't have to rotation on, just means that my shape now is being rotated. And I can also squish it. Then it just becomes flat. So it just takes my original shape and squishes down. And I can also squish it and rotate it and change the way the form looks that way. So that's also a neat feature. And then there's the pressure roundness. So depending on how much pressure I get, the less it gets squished or the mode gets squished. So if I'm going really softly, it gets squished a lot. And if I press harder, it gets squished only a little bit more. Next to none. There's also the tilt roundness. So depending on how I tilt my brush, my pencil, I can really get a completely squished look or I get a completely normal dog off the shape. Then there's also the shape filtering. These are just different ways of doing it here you can see there's more grain to it. The classic one and the improved filtering, there's almost no difference. I just suggest to keep the improved filtering. It's not really a feature you have to worry about too much. It just makes a tiny difference. But if you're someone who wants to get like really invested into it, then you can also look what kind of filtering you want. So yeah, that was their shape. I hope you understood everything you wanted to understand. And next we're going to look at the grain 62. Grain: Great, So next up, let's look at grain. What is grain? Grain and shape are the features that mostly defined your brush. So let's see what brain does exactly. I've changed my brush back to be a normal, big round brush so you can best see what happens with the grain. So right now as I paint along, you can see that I just draw in a solid, completely and texturize foundation. So what if I want to change it and get a texture brush on? That's where grain comes in. So let's go to the Grain Source and edited. First, I'm going to import again just from the source library to show it to you. And later I'll show you another nice thing you can do. So for now, let's just going to take paper mush and press Done also here you can invert it again and press Done. And now as you can see, I have it applied to my brush. And now it looks more like an oil pastel brush or something. And here you can see down there in the behavior that there is different things that you can change. So if you press rolling or if you choose rolling, then it just keeps rolling down the texture and middle you'd make this the more it just gets moved across everything. Now as you can see, it is getting mixed quite heavily and you can't really see the original texture anymore. So that is this. Then you have scale. It just shows you how big your grain is going to be shown. So if you make it really tiny, you can see the repeated pattern. And if you make it really big, then it might be. Then the photo texture is a little bit too unclear. So getting like a golden middle is probably the way to go. Then here you can see the Zoom. Can also go out for this. It just really zooms to painting in and out. You have a cropped and you have the Follow size. So it just shows the entire size of your grain. Can also live in somewhat in the middle. Increase the scale again. Here again, the rotation. As you can see, it doesn't just simply rotate the picture. It rotates the pictures into each other. So it gets blurred as you rotate it. Then there's the depth. So it just increases or decreases the contrast of whatever grade you have selected. If you only put it on 15%, you can't really see your grain anymore. Only if you're going like super lightly. If you have the depth, depth much higher than you can really clearly see whatever grade you have selected. There's also the depth minimum. So that shows you that the minimum amount of depth it has to have. And this is related to the depth. The depth jitter changes, the amount of depth enhanced on every spot. And so death minimum and depth jitter are connected. So if I say it has to have at least 62% of depth, then d depth today we won't generate more than 62%, so it won't go down to zero per cent depth. So that's pretty much how new digital works here. You can change it here. Then there's the offset jitter. Just means that there's a different kind of grain every time that you paint. That's also nice if you want to have a brush that has a bit more variety in it. And the blend modes here, as you can see, it changes. He has like one consistent thing in here, it's quite changed. The blend mode, you don't have to worry about that too much. We'll just leave it at multiply. And then there's also the brightness. So if you have a grain that might lack some contrast, you can decrease the brightness and increase the contrast and get a clearer grain that way. And then on the bottom there is again, the filtering. As I said, you don't really have to worry about it too much. If you're not going to crazy in-depth. It's just a different way of doing the filtering by the end of it. But clearly you can just leave it at improved filtering and it'll work just fine. It's really great behavior of grain follows camera. It's also a feature that you can only see If you're trying on 3D. So if you turn this off the camera anymore, but unless you're going like crazy ham with painting a lot of 3D on your iPad. It's also not a feature you have to worry about too much. Mostly it's just good to know that there's different grains and different behaviors. So we've looked at moving one. So what about the other one? There's also texturize. So as you can see, if I choose texturize, it kinda works like I am revealing and picture underneath. Here, there's the scale. So again, I can see how big I want my grain to be. Again, the depth. So changing how strong it is visible. Down here again, brightness contrast and the filtering. So mostly here, we can reveal whatever we have underneath and just create a big picture of whatever kind of texture we have on all green. So one quick example I'm going to show you to use this for is if we go to Grain Source and we're going to edit, and when I press on Import, I'm going to import a photo. Now if I go all the way down, I have this texture here. And now I'm going to go to Auto Repeat. And now I can see here there's the grain scale. I can rotate it and there's the border overlap. And it just changes the thickness of the border and the mosque hardness. So this is a really cool way to make your own brushes. There's also the mirror overlap. So different ways of just making a nice pattern yourself. And once you have this, you can press Done. Then it's creating your texture. And now you have a brush that has this kind of texture. So maybe you have a nice texture you painted yourself. Or you've also found a nice texture, texture like me somewhere on the internet and you want to use, and you can just put it inside your brush studio and make it into a grain source texture and make a brush that has these kinds of properties. You can also see if I do the moving one, it doesn't really work as well. Both for the texturize version, It's really nice to just get this kind of texture for clothing, for example, or other kind of ideas for your painting. So yeah, that's all about the grain for now. Next, let's look at the rendering 63. Rendering: So rendering, Let's look at it. Again. I change my brush to be a normal round brush because I can show the rendering easiest that way. So I'm going to make some brush strokes first and different colors. That way it's easier to see what I'm about to show you. Alright, so now first let's look at the different modes. There's light glaze, uniformed, intense heavy uniform and intense blending. So let's look at the light glaze. So as you can see right away, it makes it a lot softer and the opacity goes down. So if you have a brush way only want to have light strokes, maybe some kind of watercolor brush you want to create yourself than light glaze could be an option for you. Uniform glaze is a bit stronger, so says tiny bit more of opacity, a bit more of paint. So to say, intense glaze, as you can see, it's really hefty and has a lot of opacity, it's really strong. Then there's also heavy glaze. You can see it's removes a little bit again. And it's like an in-between between intense and uniformed. So there's different ways of going about it depending on what you need. And then there's also the uniform blending and D intense blending. So they're also pretty similar to the intense glaze or you have a glaze and uniform blending. As you can see, they look basically the same. So there's little differences here depending on what you have and really doesn't do a lot of difference. So you can just go for the heavy glaze or the uniform blending and you probably won't have much of a difference. Also, the intense blending and intense glaze are almost the same. You're just different ways of four to calculate it. So let's look at more things we can do here. First of all, there's the blending down here, That's the flow. And the flow just says how much of your pain this basically inside your brush off. So as you can see here, let's clear it again. It's a lot like I have some kind of diluted brush. And if I put it all the way up, then you can see there's a lot more paint, so to say inside my brush, how the flow works. So if you want to have a brush that doesn't have as much of a strong color to it. And you can just go down with the blending mode. And now there's also what edges. Here. It's really nice to see. It kind of looks like you were to paint with watercolor. And now all the paint is around the edges. So definitely a nice way to create your own watercolor brushes is to really set the wet edges on a really high on new Macs slider, so to say. No next touristy and burned edges. This is kinda hard to see since the mode isn't super strong and I don t have length different colors. So if I turn it on and off, you can see a lot. But I can also change the mode. Going to try to make it to add and see if it's more visible. When it really only, it's only about how the colors mix on the edges. So sometimes it's just a subtle change and it can be kind of hard to see. So here, if I change it again, you can see that now if I put it on Ed, there's like a pretty light halo glow around it. And if I go to multiply it, then it's a dark edge. So depending on what kindly you want, then you can change the mode of the burned edges. If I don't do this, it doesn't appear as strong. And there's only the normal what edginess, and if I put it all the way up, then it's a lot stronger in the effect is much more. There's also Dean blend modes here that you could change your colors depending on holiday are supposed to blend with each other. What I would leave it to a normal unless you have some crazy ideas for your brushes when there's luminance blending. And as you can see, it only makes like a tiny difference on the edges. So when your colors plenty kinda enlightened up, that's why it's luminance blending. And in here, as you can see on this part, especially, it just becomes a little bit lighter while blending. So these are the different rendering modes. And next up let's look at the wet mix 64. Wet Mix: Next, let's look at the wet mix. I made myself a brush that has no spacing in-between, has a little bit of shape and some grains so you can better see what I'm doing. So let's first make a stroke that starts softly and then becomes more intense the more I press. So now the half of it disappears because it's just a drawing pad, but you'll still get the idea. So now let's first look at dilution. Dilution is adding water. So the more I add the water, the stronger it all becomes diluted and you can only see the beginning of the stroke pretty much. So now, if I go to charge, then it adds the amount of pain I have charged on my brush. So if I have it's charged stronger than the dilution is affected less. So on the other one is a attack. Attack just means that the stronger I press on my painting, don't you? More color stays there. So, so to say if I attack my canvas, more color is going to stay visible. While if I do it less than, it's going to be pretty soft. And if I press harder, more paint is going to be on there. Here. You can also see, I can mix these together because it's pretty diluted. The other one is pull. Pull is about painting with different colors and how they get pulled by one another. Here, great. You can see just how strong it is displayed for the wetness jitter. You can also see in different ways, depending on how you press and new wetness jitter, it decides how wet it's going to be on each individual point in the painting. So let's take the brush out here. Let's press done for now and see what happens if I mix it with other brushes. So first off, I'm going to lay down a solid color Foundation. And afterwards you can see what happens if I use my brush with these settings. Just going to use a pink. Now you can see that my brush, He's starting to mix these colors while adding a bit of pink. And if I press harder, you can see that it's adding more pink eventually. Well, if I play, press really softly, it only really smears it mostly and isn't applying too much color. So these settings are here. So you can make yourself some brushes that have a lot of painterly textures. So, yeah, that's pretty much D. What makes for you? 65. Colour dynamics: Alright, let's look at color dynamics for this one, I used the default brush again, and I'm going to show you exactly what color dynamics is doing. First off, I'm going to increase the spacing just a bit. And now let's go back to color dynamics and make a nice stroke with a blue brush. Alright, here we have our normal brush. Nothing crazy happens. And now let's look at the different sliders here. So stem color generally, First-off, we can change it. Here we have u. And by increasing it, you see that it adds more and more colors that are in a similar, that are close to the original colors. So here for blue and add all kinds of values to it that are close to our original color. And the stronger we push it, the more colors that are further away on the color mix or edit within. So if I put it to 100%, you can see that all possible colors of the rainbow are being added to our stroke. So let's put that back down just a tiny bit. Now you also have saturation. If I put this higher, you can see that there is way stronger mix between really desaturated and saturated colors. So there's also a bunch of variety you can put in. There is also a lightness. So here you can see that the color is, or eventually, if I put it back down, you can see that there's lighter colors and darker colors. So that's also something you can do. And same goes with darkness here. It's pretty easy to spot. So some of them are getting really dark and almost black, and some of them are staying with the normal amount of color. You can also set secondary color. Here, for example, you can just push this up and then only these ones are affected. Next day or stroke color jitter. This means that depending on however strokes I'm doing, so let's clear it again and go with only black, black, red, and make multiple strokes. You can see that the different strokes have different colors. And same goes with the other one. If I increase it, then the chance of a random color is a lot higher. There's also the saturation. So if I put this one up, then depending on the jitter, you can see either I have some really saturated strokes or some really desaturated ones. Here again, the lightness only really affected when it's pretty dark, since it's a pretty light coloring company. See it? What here for the darkness, you can see that some strokes are getting really dark and some are staying pretty light. And again, secondary color. It's basically the same just this time. It all depends on your stroke. Now next, let's clear it again. There's color pressure. So this changes depending on how strong your press with your pencil a changes its color. So here you can see that you can also change it by a crazy amount. And if I press pretty hard and has one solid color, and the more I change my pressure, the more it changes the color. Same goes with the saturation. Changing depending on how hard I press on my canvas. And also the brightness. Then again with the secondary color. So all working the same as the ones above. Just this time they are triggered by a pressure. Here again, it's almost the same. Just this time. It is triggered by the tilt of your pencil. So depending on how I'm tilting my pencil, the color is showing up different values and use. So these are basically the same settings, just different kinds of things that trigger it. So onetime it's the tilt, It's either to pressure, the amounts of stroke you're making, or just the stroke in general, in each stamp is getting a different color. That's the color dynamics and you can make some really cool brushes with it. 66. Dynamics: Okay, So next is dynamics. For dynamics, again, I'm going to use a really simple round brush and it's pretty easy to explain. So I'm going to just decrease the previous size and little bit. And now I'm just going to make a normal stroke, a slow one and fast one. And now if I change size here, you can see that depending on how quickly or fast I made my stroke, the size changes. I'm trying to make this even clearer, super strong, super fast or really slow stroke. And you can also do it the other way around. So now the slower I made my stroke, the thinner it gets and the foster omega, the thicker I have of a stroke. So that's basically what you can change here. Same goes for the capacity. If you go really, really slow, then you can clearly see whatever you're having. Alright, I mix them both up. If you go really slow, you can have a really strong capacity. And if you're going superfast, you lose some. And the other way around, if you're going super fast, you can have it. And if you're really stuck, you don't have any opacity. So you have to go really quick across your iPad, otherwise you can't see anything. So that's the speed. So let's clear that again and have some multiple strokes here. So there's also the jitter that you can individually change individually, but we will do the size of your stroke points. So each stamp has a different size. So that makes for a really great brushes. If you want to have some cloud brushes or smoke brushes, for example, this could be a really good tool and also the option for the opacity. So each individual stamp has a different opacity. So both of them are some good options here to get some more dynamics into your brush. 67. Apple Pencil: Let's look at Apple pencil next. We have quite a few things we can look at that we already know quite a few properties that we've seen before. But this time they are closely linked to our Apple Pencil. So again, let's make a line that has difference in speed and the difference in how hard I press. Please don't disappear so much. Alright, now let's look at size. If we're going up here, you can see the lighter I press in the store I am d. So it's all about pressure sensitivity. If I press really lightly, the stroke is really thin. And the harder I press, the thicker the stroke gets. And you can also do it the other way around. So if I press really lightly, I have a medium thick stroke and if I press really hard, the stroke is gonna get super, super thin. Then there's also the opacity one. Here. You can see that no matter the pressure I put, it's always the same amount of opacity. And if we increase this, then depending on how hard we press or how loudly we press, the amount of opacity changes. So if I go super lightly here, it's quite the difference compared to if I press really hard. So that's the capacity for the flow. We already saw this before. It's also now triggered by pressure. So if I press really lightly, there's almost no quote, unquote, color coming out of my brush. And the other way around. If I press really hard, then the color stops coming out. Then there's also the bleed. So depending on how strong I make this, my stroke disappears quite a bit once. I don't have any pressure applied anymore. And if I make it stronger than again appears. So next up we're going to look at tilt. As you can see it just a slide off, put off our, where our pencil is. Really doesn't have much of an effect. Maybe for some brushes, but 90% of your brushes won't really be anything that you have to worry about. It just keep it pretty much around the ten to 20% mark and it should be no problem. And next we have opacity. It's the same again just this time it is triggered by your tilt. So if I tilt my pencil ready by quite a bit, then you pass it. He goes down. If I pull it upwards, then I have a really strong opacity. You can see it again, almost no. And then almost 100% to 100%. Then same with radiation. Depending on that, I have a different behavior for degradation. So this one is pretty good if you're planning on making brushes that work similar to maybe a normal pencil. Because yes, you can see on the top it's kinda strong and then it gradually fades off. So this is like a pretty strong effect over here. Then there's also played one that works with the tilt. So the more you tilted, more pleasing way and also the size. So if you have a tilted, it's quite a bit broader than if you're having a normal completely from the top. I'm going to show this again here with the size tilted to note just a tiny bit. What it makes quite a difference depending on what kind of brush you're designing. Size compression is also here, as you can see, making a really strong difference on these kinds of pencils. Here it's making quite the intense difference. So really depends on what kind of pencil you'll want to create. So yeah, that's pretty much all kind of things you can do with your Apple Pencil. 68. Properties: Next up, properties. So properties mostly talks about how your brush behaves overall. But first of all, there's the use stamp preview. If you do this and you press Done, then you can see just your stamp is going to be used as a preview instead of the entire stroke. So not something you can do if you have something that you want to use as a stamp instead of a stroke, and you can use the stamp preview. Next there's the preview size. So here you can see in the preview already then it changes the brush size, but it also changes the preview size of your stroke in here. So if I make the preview really small, then you can see that the stroke is pretty small, but it doesn't change anything about the actual brush and how it behaves. It really just change the preview size in your brush library. Then there's the smudge setting that depends on how strongly your brush works for smudging. So if you make it really high, It's much as quite a bit. And if you make it super low, it doesn't smudge as much. So that's something you can also select here. Next brush behavior. And there's maximum size and minimum size. So sometimes maybe let's put it to 20 per cent and go outside. And now if I put it all the way to 100%, you can see that the size is pretty small. And it doesn't go any higher than this. So if I change it and I increase the maximum size and I go outside again, you can see that now my brush is way bigger. So if you have a brush that you really like, but it's not big enough, you can always go to Brush behavior and change the brush size in here. Same for minimum size. You can also say that it's not going to be smaller than 40%. Next, there's also the maximum capacity. So if you don't want a brush that ever has 100% opacity, you can change it here and decrease it to maybe only 17%. But normally you can also just do this outside with the slider. So I don't really personally see a reason what maybe you think it's really great. And also, you can do this for the minimum opacity so that your brush doesn't go lower than 60% opacity no matter how likely you press. So, yeah, these are the Brush properties. They are pretty simple, but the maximum size can really help you out sometimes because I have experienced it quite a bit that I had some brushes that I really liked, but there were simply too small for my canvas. But no longer because in here, you can change the size, whatever you like, and get the brushes you like to the size you want. 69. Materials: Alright, so let's look at materials. This is for 3D materials, and as we can see, we have our 3D ball here. And there's only really two things you can do. So for your brush, you can change how strongly it is metallic. So here I can say it has a really high metallic shine to it. And I can also change the metallic source. So if I just take something from the source file, then we can see that my metallic behavior has quite the crazy amount of texture to it. And you can change that amount here. Then you can also change the roughness. So depending on how high you put it now it's completely met. And if I put it all the way down, now, it's really glossy and you can see it on the edges over here that you can either have a really glossy paint or Superman paint. And you can also add it the same way. And now it will look a little bit different once we change it here, you can see there's a slight scale over there. And it just changes by, by a bit. It's also use another color. Here. It's super glossy. And if I make it more mad than you can see that it has this kind of structure over it. And if I scaled it down and here you can see that it has some structure to it. So depending on what you want, you can really change these kind of materials for your paint that you can use for your 3D stuff? 70. About this brush: Okay, last one about this brush. This one seems pretty basic and unspectacular, but there's something inside here that's pretty important. So first of all, you could upload a picture of yourself and you could say that, yeah, it was made by me. So we can write it in here and you can also sign so that if you sell your brushes or you give it away to someone, people can see that it's your brush. So that's already one nice thing you can do. But there's also create a new reset point. And that's actually pretty important. So once you've made your brush and you created it and you're super happy with it, you can create a new reset point. And then it asks you if you're sure if you want to do this and you're saying yes. And once you have this new reset point, you can always reset your brush. So let's say you've spent quite a few hours in creating your brush. And you're really proud of it and maybe you want to share it or just use it on your own. And eventually you want to do some tiny tweaks with it and experiment. Now, you don't have to duplicate your brush tons of times. You can just make a new reset point. And if you did some changes and you're unhappy with them, you can always reset the brush and it goes back to whatever properties you last had before you create the new, when you create a new reset point. So that's actually a pretty good feature for you to do, to have your brushes safe. Also a little fun fact, if you're going to any of the brushes that were made by Procreate. You can't make a new reset point and you can see that they are made by Procreate. So you can sign in here. Obviously, you can always reset all settings. So if you've ever used a procreate brush and you changed it way too much and you want to get back to the original brush, then you can just go into the brush studio, go all the way down and reset all the settings and get all your original brushes from procreate back to the way they were. So you've never messed up even if you changed it quite a bit. So that's basically all about the brush studio. I hope you have some fun creating brushes on your own. And maybe who knows eventually you even make your own set of brushes and sell them to the world.