Procreate: Solid Foundations, Part 1 - Your First Painting!

1. Hello and Welcome: Hello and welcome to Procreate solid foundations, part one. In this class, you will be creating your first piece of Procreate art. I'll take you through a complete workflow as we create the angler, you'll learn how to set up your first project, the initial sketching and the best approach for it. How to ink and block in your work, then your pain, your work and take your art to a finished state, a complete workflow, start to finish. But I've also supplied you with some sketches which you can work out using the same workflow. But this time, you made the choices about color. If you make the choices about style, about the quality of your line. So you can practice the workflow you've learned, but also come up with some artwork that is unique to you. But there is so much more to this class than that. Your second project will be to create a realistic painting of some peppers. And applying the color theory of Procreate has built into its color panels. You will also learn about the right way to create a new file. What thoughts, but HR and I will also dispel some of the myths about that. You'll learn what color profiles are. You'll learn how the calorie works. You'll learn what layers are on the things you can do with them. But also, I have what I believe is the most comprehensive tutorial about the val Curry brush engine which was introduced into Procreate file. I'll show you every panel and every slider. And by the end of that, you will be able to create your own brushes with confidence. Now this class is aimed at people who are new to Procreate and don't know how to start. And the solid foundations class is aimed to answer one very simple question have that is, how do I know what I've learned enough to be able to say, I know procreate joined the class today, dive into the first project and learn from someone who spent over 35 years as a digital designer, illustrator. I'll see you on the course. 2. Annie the Angler - First Sketches: Okay, So here's an idea. Before I start diving into all the various features procreate has to offer, let's just open it up and create something. So let's come to our procreate icon, which I'm circling now. Tap on it and we're ready because right now you want to start creating some artwork. So we'll go into greater depth and we'll worry about all the in-depth stuff lighter. Okay, so first thing, you need to create a canvas so you can paint something on it. So come to the very top right, and I'm circling that little plus sign, tap on it and you get a whole list of options. I will go with a four by six photo and I will tap on that. That's my file ready to work on. Okay, Now just to give you a quick heads up, this project is a few videos along. By the end of it, I'll have done this. And on the way there will have just touched upon a lot of the techniques which we're going to go into in much greater depth as we go through the course. I will come to almost the very top right again, I'm circling it now. That is something called your layers panel. Tap on that and you can see what we have to work with. We have something called background color and we have something else called layer one. We are going to draw on that In just one thing I should say before we start, absolutely, everything you see in this session will be covered in much greater depth throughout the course. And you have an option. You can follow along and draw while I'm drawing. Or you can just sit back and take a look at a fairly basic workflow because workflow is every bit as important as the tools. I will explain briefly as I go along. And sometimes when I'm talking about something, I might say something like, Oh, we're doing layer blend mode now, there's a few videos about layer blend modes in the section on getting creative. And that way you know that if you don't get what I'm saying in this session, you know where to go to look at the videos to help you some malt. Anyway, let's carry on. Everything that you draw has to be on a layer. I have one layer here called layer one, but now I need something to draw width. So I come to this icon here, which is my Brush Library and I will tap on it. I have a whole load of different brushes. Now by default, you won't see all of these sections I have at the top, but you will have a brush that called sketching, which I've certainly now, and if I tap on it, these are the various sketching brushes I have inside procreate, and I'm just going to choose procreate pencil. Now I could do with a color for it. So I will come to the very top right where I'm circling and I will tap and I get a number of different ways of choosing colors. I have Disc, classic, Harmony, what have you? I will just stay with disk for this tutorial because it's the first one that appears. And I could do with kind of a light blue or like this for example. You can select any color by tapping or dragging with your finger or your pencil. And that outer circle is all the colors of the rainbow where you choose your basic color. And the inner circle gives you a lighter or darker or more or less saturated version of that basic color. And what I wanted to do is do a quick sketch. I'm going to check my brush size. And I do that by coming over to the left. And I have a little slider here, which adjusts the brush size a 100%. I'm sure it's gonna be fine for me. I want to make sure that it's on a 100% opacity. So I can see it very clearly. Now, I will just scribble to test the brushstroke. Yeah, that works okay for me. If I tap on my layers panel, I again, if I zoom in, can you see that little box which I'm circling now is a little preview of whatever is on my layer one. Alright, so I'll tap anywhere on my canvas to close my layers panel. And I want to get rid of that squiggle so I can either come down to where I'm certainly, that's my little Undo icon. And if I tap on that, it goes just under that I have a redo icon. And if I tap, my brush stroke comes back. And this is the way you do want to do it. You take two fingers and you tap them on your screen at the same time. So two-finger tap to undo. If I want to redo, I do a three finger tap on my brush stroke comes back two finger tap to undo three-finger tap for redo. Learn that from now because you will use that a lot anyway. Two-finger tap on the, okay, so now I want to do a sketch. I've decided I'm going to do an angler fish. And if you don't know what one of those is, you soon will do. Now what I'm gonna do is a sketch work and just work out ideas and shapes and proportions. And then I'll draw a more finished line work over the top of that once I've decided where everything goes. Okay, So to start off with, I'm going to draw a little triangle shaped life at not already show I like that shape, so I will tap to undo and I'll just do a series of shapes until I find something I like that I like more but not quite. Let's try a more, something like that. I'll see what I can do with that. Now the trick is to work fairly quickly. I just want to create some basic shapes to get some basic proportions. Because I think with an angler fish, they have. Big miles light that I want mine to be a cartoony one. So I'll give a little smile there. And they have little spiky friends at the back. Maybe a little spiky things. As I'm going through, I'm just refining my sketch. Now at the moment I'm starting to get some straight lines I could do with rubbing those out. So I have my brush tool selected at the moment, but there is another one where I'm circling. This is my eraser tool. And if I tap on that and I'll tap on it again to see what kind of brush I'm going to be using as an eraser. Because any brush that you can paint with, you can also erase with. And I think for this I will try coming to my airbrushing section. What do I have selected in their heart airbrush? That should be okay. Let's just check my size. On the left. That should be about big enough. And now I can rub out by various sketch lines so things don't get too messy. Maybe around here. I'll come back to my brush icon again. I'll carry on putting in some basic shapes in there. We need a fin down here. And you can see I'm working quickly and I'm just trying to refine my form. I think if it's an angler fish, it should have a bit of a bigger chin like that and maybe something here just to define the corner of the mouth. That top lip that could do with being a little bit more rounded and irregular back to my eraser and just carry on sketching like this. Now the good thing about it is it's not like a pencil and a piece of paper. You can erase as much as you want and it's not going to affect the paper at all. Oh, I know what they're missing that he wants him teeth don't lay circle on big TV. It's an angler fish. I think they're fairly irregular, quite spiny. If you're going to draw something like an angler fish and it is worth going and googling, angle efficient, getting a few ideas of what they look like. So I'm okay with that. Okay, I'm starting to get basic shape with this, but the whole fish is a little bit to the right and a little bit up. I needed to go down because I need to do that little thing that sticks out of their head and there's no space for that. If this was a piece of paper and that was a pencil, tough, I should have thought about that before. But if I come to the icon, I'm certainly now this is my transform icon and I tap on it. I got a little box surrounding my fish. And if I put my pen or my finger on the inside or the outside of the box and drag around. I can move this to wherever I want to go. So I want it to be down here somewhere. And also maybe that's a little bit big. So I'll come to the bottom-right corner. You see where that little daughters, and I'm going to drag that, which means I can make my fish bigger or smaller. I'll come to about there, make it about there. And then I will just tap on my brush icon again to set that. Now got a bit more space so I can maybe play around with the shapes a little bit more. This stage, like I say, I'm working fast because this is all about ideas. It's not the finished product. I'm not going so fast that I don't care about it. But I find that if I sketch the free of the ideas are, I can always make this title later. I realize I haven't done the eye. The eyes are very important. In fact, the eyes of the most important part of anything which has a character. Rather than sketching there, I'm gonna make my life a little bit easier. I'm gonna come back to my layers panel and I'm gonna come to that plus sign where I'm circling now. That will create a new layer called layer two. Then our tap anywhere outside of the layers panel to come back and I'll do the eye. Now. They have big googly eyes like that, don't they? What I want? No social I'll double-tap to undo that. I'll try again. Is that what I want? It's not bad, but I'll double-tap on this time at all circle, but I'll hold my pen on the surface of the iPad. You see that at the top it says ellipse created. And if I take my pen off my iPad, I now get something called Edit shape. This is the quick draw function. And if I tap on that, I get four little control handles. And I can move the shape of that ellipse around. And if I tap in the middle and drag, I can move the whole thing. This is quick draw and yes, there is a video for it. Where do I want that? That's quite interesting. Very think I don't want it to be a round shape, do I want it to be slightly elliptical? I think a fairly round shape for now. And let's make it a little bit more vertical like that. And then I'll tap away to set that. And then on top of that I'm going to do just a little pupil like that. I'll do a couple of lines on the other side. I'm not keen on those. Let's double-tap to redo those. So let's. Just sketch in quickly the idea. Now the nice thing about it is that I is on a separate layer. If I come back to my transform tool like we did before, I can move that around to wherever I want to get a fit. Now getting little lines like that, you see that blue line there. That's a bit distracting. That's because snapping is turned on. It's on my little dialogue panel at the bottom, so I will tap on snapping to turn that off. Now what I move around, I can move it around to wherever I want. I could always resize it as well. But I'm happy with the size it is. So I'll have it about maybe about there and then tap on my Pencil tool again. Okay. I'm happy with an I there. I decide yes, I want to commit to that. And so I want the I on the same layer as the main sketch that is easy to do. I'm in my layers panel and our tap on the Layer icon of layer two, I want to do, I get a whole load of options. And one of the options down here it says merge down, tap on that layer too, merged into layer one. So now I have one layer with all my sketch on. Okay, I'm going to carry on the process in the next video. Just before I do, you've seen how useful is that you can rub things out and not damage to the surface of your paper. And you've seen how you can have things on separate layers, which can be very useful for positioning things. If you've seen a little feature called Quick Draw. But there's one more feature I want to show you, which is really useful for when you're working out shapes come to the icon I'm circling now the adjustments icon, tap on it. Second from the bottom you have a feature called liquify tap on that. I get a whole lot of controls at the bottom. I want to double-check. You've got the same as me. I have various features here. I want the first one called push by pressure, is on Macs, my distortion is on 0%. Uh, my momentum is unknown as well. My size. If I move that around, I want to adjust the size of my brush. I'll try around thirty seven, thirty eight, thirty nine percent are now just where the fishing rod is. I wanted to tap on the line and I'm going to drag it. You'll see that it's pushing and pulling the line or out. You cannot do this with a pencil and a piece of paper. This is so useful. And you can see what I'm doing is I'm changing the form of my fish in ways that I never could with traditional media. And it can really play around with the shapes to get something, hopefully character fall. Now the trick to this, I'll let you know from now is to start off bigger, make it big movements that make your brush smaller. Undo the finer movements. Now, one thing it's not that easy to draw and talk and explain things at the same time because I think you're using different parts of your brain. But let's just do a quick better sketching like this. Give them more of a thick Labaree chain. Maybe bring that in a little bit, that down a bit there. And I can really start to play with a form to get the shape that I like. One thing I should say is that if you move too far, maybe you can see that the pixel start to smear when you try and drag things around too much. But at the moment that doesn't matter because this is just a sketch. We'll do the finished line work on a new layer. So I'll undo that because I was just demonstrating. But if you do get a little bit of smearing, it doesn't matter. What I'm finding with this is that by using the Liquify tool, I can really start to develop some character for this. I'll make my brush a bit bigger because I don't want the ij be completely round. I want it to be a bit like an ellipse, but not quite. That is a general principle of that. I will tap on my brush icon to commit to that. And then if this is a typical workflow, I will create a new file and do another version of this, and then another new file and do another version of this. And I will keep on going until either I find a shape that I say, Yeah, that's the one I want. Or if I come to the very top left, you can see the word gallery. If I tap on that, that shows me all the different artwork that I've got. And if I create a whole series of angler fish sketches next to each other one-by-one, I can look at the little thumbnail and I can decide which of those shapes are like. Most of that will be the file I will work on. So I will do that and I will see you in the next video. 3. Importing Files into Procreate: So I just finished the tutorial when I noticed three little dots at the top of my screen. This has come with the latest iOS updates. And if you want to know how to import files, well, with iOS, there's been a number of ways and some of them are a little bit obscure. But Travis, those three little dots at the top of your screen tap, you get three options of a moment, you're in full screen. Tap on the middle icon that split your screen in half. And it's asking me to choose another app. In my case, I'm going to choose the files app. I'm just circling it now. Just in case it's not on your iPad, you can download it from the app store. If I tap on that, I have files and at the moment I'm in a folder called downloads, which is all my iCloud Drive. I will tap where it says iCloud Drive. And I will tap again to where it says files. Look at all these Locations. Icloud Drive on my iPad Dropbox. Well, if I've just downloaded something, come to downloads, well, here's one lines deluxe drawing brush set. Let's try downloading that. I will tap and it automatically imports. So that's important, that was called the lines to look, drawing brush set. I'll come up to those three dots on the top of my Procreate side. And I'll choose full-screen again. Now let's come to our brush studio. And I bet you if I come up to the top line still lugs drawing set, we are good to go. 4. Inking In Anna: I'm in the gallery part of Procreate. And you can see I did three different versions of the same thing because I have those three small thumbnails lying next to each other. It's very easy to compare them because I'm looking from a distance. I can judge the big shapes next to each other. And off the three, I think I prefer the middle one. Now they're all called untitled artwork. So the middle one is the winner, so it's going to get a name. So I will tap where it says Untitled Artwork and I'll give this a name. The angular 01, get into the habit of naming your files or one habit I adopted pretty early on when I was working in various studios is to put 01 at the end of everything. This is 01 because this is the first version of my file. Clients may want you to change a file. You may decide you want to change a file, but you need to keep previous versions to refer back to the angular 01. There may be an a, the angle is 020304, and so on. Anyway, I will press return and what I will do, I will put my finger on that and I will swipe to the left. I don't have a choice here of sharing, duplicating or deleting. I will tap on Share image format. I won't Procreate exporting. I will export that via AirDrop to my merch. By the way, using a mouse or using the PC for decades I've been using both. I really don't care which one I use. That's gone through. I'll tap on Done. I will make that file available to you as a download so that you can carry on using the same file as me. So there's my file. If you want to zoom in on a particular area of your picture, yet your two fingers over the area you want to zoom in on and you pinch outwards like this. If I come to the little light on the end of the fishing pole or whatever you want to call it. You can see I use the liquify tool and that area did smear a little bit, but that's okay because this is not my final line work. If I want to zoom out, I get my two fingers and I pinch inwards. If I wanted to rotate two fingers and just rotate my things around two fingers just to drag from side-to-side. Now I want to do some line work with this. So I'll come back to my layers panel and look, I'm not gonna promise I'm gonna do this all the way through this tutorial, but I'll try and get you into a good habit from now, tap on the layer and choose Rename. And I will call this sketch, because it's a sketch, get into the habit of renaming your layers as you go along if you can. Otherwise you can end up with Layer 89, layer 1991, and you don't know what's on each layer. That can be a real pain in the bum anyway, so I need a new layer. I'll create a new one. And I will call this ink 01 because I may have more than one inking layer. I don't know yet for that I need a brush, so I'll tap again on my brush icon. Just underneath the sketching brushes that I have an inking brush set. Which one do I want for this? Welcome to say for technical pen, and I want a black color for this. So I will come to my color panel in the very top right. And to get that, I've got my outer ring, which has all the colors of the rainbow. At the moment, I have blue selected and I can tap and drag on that to select a color. But it's the inner circle with all those various different shades of that particular blue that I'm interested in because there's a smaller circle which I'm circling now, I want to drag that right the way down to the bottom because I want a simple black. Then come to my brush tool, the technical pen is selected. Let's take a look at the width of this. Let's make that about halfway. Big opacity on full. Definitely. Let's try that. It's okay, but I want a line with a bit more character to it, so I will two-finger tap to loot that. Let us come to choose another one. What about syrup? Okay, let's give that a try. Again. I'm not keen on that. It's not what I'm looking for. I want something with a bit of a rough align. And so at this point it is good idea to start auditioning pens. Now I've got two here, Ink Bleed and dry ink. Let's try dry ink. So what that looks like, that is a bit rougher, a bit more texture. Maybe that could do the job. What about the other one? Ink Bleed? Let's try that. Let's make it thicker by dragging up versus Iceland earned. Now. Yeah, I do like that. That's what I want. That's maybe a little bit thick for my needs. Let's make that a tiny bit thinner. What am I on now? 15%. Let's take a look at that. When I press a light with my Apple Pencil, I get a thin line. If I press harder, I get a thicker line. That is what I want. I'll tap to undo that. And what I'll do is I'll come back to my layers panel are coming to my sketch layer and you can see just where I'm circling. There is a little n. If I tap on the end. In fact, shows me two things. The various layer blend mode, which we will talk about also the opacity. I'm going to take the opacity slider and I'm going to slide it way down until I can just see the sketch, or then I'll tap back on white ink 01 layer. And in that way I just get the faint outline so it doesn't distract me when I'm doing my ink lines. Okay, so let's take a look at this. I am going to put two fingers close together and then drag outwards to zoom in on the main face area. Then I think I have about the right width selected. Now, I want to start inking in the various different areas. We'll try and work fairly fast with this. Because a first-line tends to have its own energy as opposed to a very careful line which tends to be a little bit less sketchy like this. I don't like that. I'll tap to undo. I will also vary the pressure because you really do want to get a difference in line with, especially with an illustration like this figure on the bottom of the lip going thinner, like this as it peters out. Now what I'm zoomed in like this that might look a bit too thick. Let's check that little bit just after our medic couple of brush strokes, just for the outline, the broader aligned with the fish. Now if I zoom out, I'm looking at that and maybe that was just a little bit too thick and it's best I decide that now rather than what I've finished the whole drawing. So I'll come back to my slider and I'll make my brush size what? 12% there. Now let's try that's pressing hard, that's processing not as hard. That works better. It's not quite as thick, but it is giving me some good thick and thin lines. So I'll come back to my layers panel. I will tap on the ink one thumbnail. And I have a command here which says Clear topic flip, the whole thing disappears. So let's come and zoom back in again and take a look at what we can do. Maybe I'll start by doing a whole mouth like this. Drag it up, drag around. Bring it down to here. I'll break the line. I'm one of two places and fairly the thick and thin. Try make some fairly light fluffy lines and try not to control things too much. You can see I've got a stray bit of just where I'm circling now. So I will come to my eraser tool, get rid of that, tap back on my pen tool and carry on quite often through the course. If I'm doing some drawing like this, it can be nice to watch because I've watched people draw myself, but you're on the clock. I don't want us to make a huge part of the time of this course, you watching me draw. So quite often our speed up the video. If it looks like I'm drawing really fast, don't worry. You don't have to draw that fast. That's just me speeding up things like no music in the background there. That is just that let you know the sound hasn't suddenly, it disappeared and you don't have a problem with the sound on your iPad or computer or whatever you're watching. It's also just me being a frustrated musician. Okay, that is my basic outline. Get my eraser because I think he made a little bit of a line there. And now what I'm gonna do is create two new layers. This layer I'm gonna call inc 0 to this layer, I'm gonna tap rename and we're going to call this brushes. The reason I do this is because what parts did I use? I've got my inking brush sets and I'm using ink bleed moment, it is on 12%. So all my brushes layer, I write inking. What was it again? Ink Bleed ink, bullied. And I'm also going to write down 12%. The reason being is I now want to change the size of my brush to do some final scribbly lines. But you saw just a short while ago that even altering the brush size by a few percentage points can affect the look of your picture. I dropped it down by wall, 3% or something like that to get the line that I wanted. And so I want some kind of a record of what brush I use, which brush set it within and how big the brush worse, because now it was on 12%. I want to take this down. It's slides to what? Let's try say 4%. Make a couple of scribbly lines and tipping it up and two-finger tap to undo that because I wanted to even thinner. Let's try 2% Okay, I will go with that 2% on our right down on my ink layer, 2% because now I know what brush sizes are used. And also that 2% is written in two per cent thickness. So I know what it's supposed to look like. Now all I do is I want to make that layer invisible because I don't want it to be part of my final art work. So all I do is come to the little tick mark just where I'm circling now of that layer, tap on it and that makes the layer invisible or visible or invisible. Now, I want to make sure I have the right layer selected. Be warned, you will often draw on the wrong layer. It's just the nature of any art program which supports layers, which is all of them. So come to link to a. Now what I wanted to do, if I make this a bit bigger by dragging outwards, just before I do anything, I will make my sketch layer invisible. So it's not getting in the way underneath and I can see what the artwork is supposed to look like. My ink to layer is selected. And now I want to do some scribbly lines because we've got a certain amount of energy. I was uncertain about this and how it would look. And so I put it on another layer and if I decided I don't like it, I can always get rid of that layer. I'll make it invisible. What have you, but what the energy there. And I remember when I was at art college, if you go through our college or designing college or when you're at school and people teach you things. And possibly the single most important thing I learned, no, there's two most important things I learned. And they are both just three little words. And the first of those was, make your line work thick and thin as it is. I already have thick and thin on my main ink layer. But this extra layer where I'm just putting in a little bit of energy lines. This is also thick and thin. It just makes things more interesting. I want to have done this. I think I will show you an example of this where the line width is all the same thickness. But for now, I'm just putting in little scribbly lines. Ema think it looks a little bit scruffy. But what I'm trying to do is get a little bit of scruffy us, a little bit of something that doesn't look like it has been done on a digital paint program. I'm making sure that my hand at the moment is making flaky light movements. Even some motion, a mistake because the line work is supposed to be fast and sketchy. I went, people are doing fast and sketch it. You will get some random lines like that. It just adds to the character of the piece. Look, I'll make this layer invisible for a second. This is what I had before. This is what I have with that extra ink layer. There may come a certain point where you think, well, I don't want to push it anymore because it might end up being too much, not a problem. Come to your layers panel and add another layer. And we can call this ink the 03, and you can draw on that. And if it's too much, swipe to the left and there's my big red panic button called died. So I delete that. Anyway. I think it's time to take a break with this. If you're following along, you can work on this as much as you want. I might do another version of this inking layer and see which one I prefer more. But that will be for the next video. So I will see you there. 5. 5.3 Updates to Procreate: Okay. I'm recording in my kitchen because I need more light because I need you to see the actual screen with my hand in front of it. Hello. As a result, I'm sorry about the sound quality. Now the main feature inside procreate 5.3 is the hovering Pencil features. Only the most recent iPads support this feature, which is a bit of a disappointment, especially because I had to go out and buy an M2 iPad to show you these features. Nevertheless, here's my procreate gallery and the little nice things first look, if I come and I hover over a portrait, you can see it gradually get drawn out. This is like the recorded video, but with the preview. So that is nice. If you come to a folder, you didn't get an idea of what's inside there. If you come to say a 3D object and hover over, you get little turntable animation like this. And if you come down to say, you get a preview of the animation which is in the file. Anyway, Let's come back, Let's come to this one here. I'll zoom in a little bit like this. And then now you've got your Apple pencil. If you hover over, nothing happens. That is because you need to come to preferences. Inside the preferences panel. There you come down to brush cursor, turn it on. Now. You can see when I hover over, I get a preview of my brush cursor. Now let's take a look at this. The brush I'm using is from puzzles set I'm drawing called the town's postal. The reason I'm using this is because it is a big brush size. And if I hover over like this, you can see that now here's something. If I pinch in and out, you get a preview of your price sized. This is rarely useful. Also. Take a look here. If I use my finger and drag up and down, you can alter the opacity. I must admit, personally, I prefer just to do the size just because, well, my thumbs better anyway, this, I find a little bit awkward. But anyway, let's show you some more previews. If you come to advance the cursor settings. At the moment, you can say show while hovering, show our painting or show both. Personally, I prefer show while hovering because when I'm painting, I can already see the brush strokes that are being made. Now you also get two cards, you get high contrast. Let's make the brush size bigger shell away. You get to see a high contrast brush cursor wherever you are on the screen. That is okay, but I much prefer to have active color. That way if I can choose a candidate like this, I can judge the color wherever I'm going to make your painting. So for that, you could come in and do that double tap to undo. You can also come to brush their approach outline style per brush. And then if you come to the brush thing, and if you come down to Apple Pencil and scroll down, the hover, contrast active color of a film long shape. Or you've got all those on a per brush basis, which is offering nice, that's cool. Counsel for that. There's also the fact look, if I double-check, I'm on one to layer. If I come and make a huge area like that and I think actually no, I don't want if I go to my Erase tool, add hover, and make it bigger, and let's change. Let's try again the mutants pencil. I can hover over and I can see where I'm about to erase it. This is really useful. That's up the opacity and you get a clear preview of what it is you're going to be erasing. That is really useful, rarely really useful. Similarly with smudge, if I tap and hold there, we go. Preview. Yes, I do. That's great. Now there is one thing supposing among this layer and I make it invisible. I can depress your cursor. It doesn't appear. On a layer that's invisible. You have to have a layer visible to actually see that. Okay, let's show you a couple of other things. I want to do some flooding with this picture. Now my ink layer is set to reference. And I wanted to do some flooding on layer three. So if I hover over my color desk, double-tap, I get color drop. From there. I can do all my color drops as much. So once one outside I've done enough, I've come to tick to commit to that, all very easy. Now the color drop tool itself has changed a little bit. Look, if I come and I drag to say this part here, I get this thing, continue filling. And as before, I can keep on filling as much as I want. And then what I want to come out of it, I just come here to color drop the color drop caps, committed to what I'm doing. Now these updates are quite nice, but for now, it only really works on the really high-end new iPads, which I'm sure in time more people will end up buying. But for now, it's a bit of a pity because some of these features, especially the brush preview, I'm finding it really useful. 6. Blocking In Anna: Okay, we are ready to start. Again. I'm in the gallery and you can see I did another version of Anna, the angular, and that is the angular 0 to, I will tap on that to load it up. And I did that because I find it easier to work when I'm not talking at the same time. And also maybe I can teach by example because the initial sketch I'm building on top of that. And then with my ink 01, my ink 02 layers, I'm going to be adding colors and building on top of that. So from that it follows that it's important to get the foundations right because it's difficult to build anything you want to see on top of shaky foundations, of these foundations. So you want solid foundations, which is the name of the course. Incidentally, I did do another layer at the top of my layers panel and I called it, oh dear me know. That is because I wanted to illustrate a point that I was making in the previous video about thick and thin being so important. Now that top layer, that ODE me know layer that is where I took a very simple brush and made it a constant thickness all the way through. So instead of getting this, we end up with this. I traced it off the same sketch, but that is a single constant line thickness. And hopefully you agree that given a choice to frame that and that the version we're looking at now is better. It's thick and thin. And those three words were the most useful piece of advice I hadn't college. And from there I went on to develop the closest thing I've ever got an illustration philosophy. And that is to blend opposites. Thick and thin. That's a huge one, but there are other things. Blend dark and light, blend hot and cool colors, blend saturated with the saturated colors. And blending opposite is one of the principles secrets to creating artwork that looks dynamic or fresh, interesting because that is better than that. Now I did say in the previous video there were two pieces of advice which are just three little words. And the first one is thick and thin. The second bit of advice, the other three little words is possibly the single most important piece of advice I can give to anyone who is creating some artwork or creating some design work, or creating some music, or creating a film. Anyone who is creating anything, the single most important three words you are going to hear are going to be given at the end of this particular tutorial. Hopefully, that's made you curious enough to go to the end of this tutorial to find out what they are. In the meantime, the next thing I want to do is something called blocking in colors. There is an efficient way to do this and it's searching for this course. There are a series of lectures all about the efficient way to block in colors. But for the meantime, we'll do it the simple white. I am going to come to my sketch layer and I'm going to create another layer underneath it. And I am going to call this block 01. You can call it whatever you want, but just something so that I know that when I look at that layer and see the name block 01, I'll know it's to do with blocking in colors. I can make my sketch layer invisible, and I want to choose a brush which gives me a fairly solid color. Now, what about studio pen? Would that do the job? Let's take a look. Yeah, that works for me. If I zoom in on it, it gives me a solid color. It's also got a fairly sharp edge, both of which I want. So I'll undo that. I need to choose a color, so I'm gonna come to my outer ring. I want to choose orange. I now Anna is an angler fish, but let's give a kind of an orange color. Now at the moment, I've chosen my orange color there, but I've still got black. You can see which colleague to draw with. When you look at this little rectangle in the top right that shows you your current color. But you can see it's still too dark because although I've selected the orange hue, I've got a completely dark shade of it, which is black. So I need to come to that little circle in the bottom and drag it up until I get fairly bright orange color there. It's not completely saturated because when you move that little circle around in the middle, you get desaturated colors, saturated colors, and dark colors, and light colors. I'm gonna choose something which is fairly saturated but not quite. Double-check, make sure my blocking in layer is selected. And then I'm gonna come here and we're going to trace around the inside now, can you see just on the on the side of where I'm drawing, I'm getting that orange color like this. What I want to do is trace around the outline. This can take a bit of time and it can be a bit boring, but it does save your time further down the road. As it is. You can go in and just stop painting and not worry about your edges. Now you can see if I say writing, I've gone over into the teeth in just this area which I'm circling, that is not a problem. I will come to my eraser tool. I'll tap again to call it my eraser tools. And what do I have? Hard airbrush. That's what I want because it's got a hard edge or soft agent might give me a slightly In Moshi edge to draw or erase with. But I made my brush size a bit smaller and I come here, I get rid of the color in those areas, tap back on my brush and carry on. Actually, I think I'll do two separate layers of blocking in colors where I'll have the eyes and the teeth on another layer, and, oops, I accidentally put down a blob of color. Doesn't really matter because if I know there's going to be a layer on top, then I don't have to spend all my time Tracy around all the teeth like this because I'm going to put another layer on top which will hide what's underneath. So I can just come here and just shade around these areas as quickly as I like. What I will do to show you the general principle. Normally out trace right the way around the outline and do whatever bouts do just once. But look, if I come around like this and just close up this area or made by top two layers invisible because now you can see I just have a closed area of orange. You can see I've got my little orange color swatch in the top right. If I just put my finger or my panel and drag down, I get this little circle and it floods the area and you have something called color drop threshold. If I leave my pen on my iPad and drag it from left to right, you can see if I drag too far, I flood my whole area, but if I drive back, I get just the area inside filled in. Now let's zoom in. A little fringe there. No, I don't, That's good. I can come to this bit here in just a quickly. Just draw in the area. Let's come back to my layers and I'll turn on my top two ink layers. And you can see I've managed a fairly quickly trace around the outline and then color that area it. Now here's a little trick for you. At the moment, I'm tracing in and I'm tracing up to the outline of the fish. But if I tap and hold with my finger on my blog 01 layer, you see how it pops out a little bit. When it does that, I can keep my finger on there and drag up. So now by blocking layer is sitting above, might ink one and into layers, which means it's hiding those layers. That's the way layers work. The layers on top hide whatever below. All the layers on top interact with whatever is below. That is something that happens in layer blend modes. There is a tutorial for those. But the reason I did that is if I come and I pinch outwards and my two things I can zoom in, I can come down to the bottom and rather than guessing what's underneath, when I'm drawing, I can now draw directly on top of my key line around the outside. And I might make my brush just a little bit smaller because I'm going to flood in and as long as I have a solid line, that doesn't matter. But now because I'm drawing on top, I can see exactly where and cutting over my key light like this. Just to show you that again, normally I would just trace all the way around the outside, but I'll show you the general principle again. Come up to our color swatch in the top right and drag into our area. And generally speaking, when you're doing a threshold, you want to drag it as far over as possible as you want until it floods out and then drag it back just a little bit. With that, if for now, all I need do is just carry on and draw around the edges. Like if you came to a fairly small area, like say this area is supposing that was really tight. There's no reason at all why can't just happily go over then come to your eraser tool and just trim off what you've done. You don't have to do a thing that some people do. And making your brush really, really tiny so he can fit into all the little cracks and corners. Because with the erase tool, especially with something like heart airbrush, to erase those pixels, they are gone for good. Anyway, let's carry on with this. Maybe now will be a good time for me to speed up. Just when I've done everything. Or I can fade out and fade back in once I've gone around the outside and colored everything in for this particular layer. In fact, yet, I think I'll do that. Okay, I'm back. It's all been colored in. If I come to my blocks 01 layer and I tap and hold with my finger and drag it down underneath the ink layer, all of a sudden being layers on top. And I can see clearly what I've done just instantly while you're doing this, you might want to just make those invisible and come around. Just check for anything you might've missed. Like maybe there's a little bit there which I missed. Oh, yeah. You can see a little bit there, a little bit there. This can be a little bit boring and feel not very creative, but it does make life a little bit easier further down the line. So ink, ink to visible again. Now I'm going to create another block and I'm going to call this block 02. It is sitting on top of block one, so it will cover up whatever is on block one. For this, I just want another blocking in layer just for things like, well the fins, the eyes, the teeth, the light. So I will choose another color for this. Let's start off with a lighter, more yellowy version of orange and outcome in, until what I did before. You can see I'm drawing on the outside. That's not a good way to color in, is it? Because these more things for me to flood come up, Let's at least be consistent and logical and a little bit boring at this stage, which this is. But it will make life easier later on around like this and drag that color over, flood that particular area. Alright, so let's try and find something else. This is more of the same. The only difference being is it's on an upper layer. I'm covering everything in same color. That will change later on because we're going to use something called a clipping layer. But I'll explain that when we get to it. The meantime, I will cover these areas in. Maybe I should fade out and fade back in again. Once I've done this. 7. Time To Paint!: In this video, we're gonna start coloring in our character. We've blocked in Anna, but now it's time to start adding things like shading and texture. By the way, the angle is 03, that is available for you as a download. And you can see I have my two blocking in layers and I'm going to use those as the base color in with, because what I'm going to show you is something you can't do at all using traditional media, but it's so flexible when it comes to digital. I'm gonna create a new layer sitting directly on top of block 01. I'm going to tap on it and I'm going to select this thing called clipping mask. And when I do, you'll see a little arrow pointing down towards block 01. That lets me know that layer eight is clipped to block 01. What does that mean? Well, love. Let's start coloring in shall we are counting my brush library and there was one down here. Willow charcoal inside the charcoal brush sets water start off by putting down some darker colors. So I will press on hold with my finger in any orange area. And I get this little gizmo. There's a little crosshair in the middle of it, plus two halves of a circle. The bottom half is my current color. The top half is the color I will select once I let go with my finger. Like if I drag around, if I come to this bit here, that yellow if I was to let go, now, I choose that yellow. If I come down to here, I choose that black. If I come to here, I will choose the orange, that is what I want. So I let go and orange is my new color, then I want to choose a deeper, a more orangey version of what I've already got. So let's drag that down to about here. I want to keep it fairly saturated still because this is a cartoon drawing. You can get away with more saturated colors than you can with real life. Let's try that. My willow charcoal brush is selected. I'm gonna make sure that my opacity is right up to a maximum on my brush size. I wanted to be a bit larger because I want to create some big shading first and then make some smaller, deeper shading afterwards. And here's the thing I want to place my brush here. Can you see my brush there on the screen? But nothing's happening. It's only when I come into the colored area, they use EMR being made. Let's undo that. The reason being, if I open up my layers, panel layer, the layer I'm drawing on is clipped to the layer called blocks 01 might orange layer. What that means is you'll only see the brush strokes I make on layer eight, where they're also colors put down the block 01 layer. So it's like a little mask which hides all the paint strokes except for where I decided to paint. This is very nice because it means I can draw, for example, at the bottom and I can make nice free brush strokes like this. I don't have to worry about the edge of the shape I'm drawing on. So I will draw in areas like this. By the way, you do a very common question on the Procreate forums where people say, How do I color in or I'm not very good at coloring in? Think about where the light direction is coming from. Now, unless analysts swimming upside down, the light is going to be coming up from above where the sun is. And it's going to be less light underneath where the bottom of the seers. And yes, I know Anna is a deep-sea fish, so there won't be much lighter around, but I'm using a bit of artistic license. I, my $0.02 of advice to you is make your initial shapes certainly big. If it looks like it's looking right now in the chin area where you've got a very obvious area of orange with one or two slightly darker bits around the edges that have not gone far enough, start off making shapes bigger. Like I'm doing now. Say you get a good spread of tones, dark to light, and hopefully they blend in with each other. Now we're going to make my brush size a bit smaller because I want to paint onto the chin area like this. And also look a bit more here where I'm getting the little roles. I will choose some deeper color soon, add to those. But for now, look at this because my teeth are on the layer above, I can safely make a nice big brush stroke like this and the teeth aren't affected. This makes my life so much easier. If I decide I've gone a bit too far with this and maybe I want to bring back some of the original color. Let's just quickly do around here. I can just tap anywhere there is an original bit of color. Pick up some of my original color just by pressing with my finger. So I got my little color sampler tool and come back and draw those areas back out like this. I think I would go with that for the initial target areas. If order to call back that deeper orange, I can always just tap and hold in the top right where I've got my little orange color circle. If I tap on hold just for a few seconds, it calls up the previous color add selected and I can draw with that, or I can tap to open up my color panel and you can see my history and just where I'm circling now you can see the previous two colors I was working with. A darker color, slightly smaller brush. Let's just add a little bit more. You can see through this, I've been fairly generous with my tones because. Like I say, I don't want it where I have a little small dark area with a huge sea of my base orange color. But what I am going to do is I'm now going to make things a bit redder and a bit darker. Because I want to do some of the really deeper areas. I'll keep my breast size smallish because I want these to be tighter, more defined areas like this. Just come around the outline of the fish and just do some of the deeper crevices. So I can get more of a 3D sense. My drawing. Maybe a little bit just around where the teeth are. A little bit just down in the corner here. Just a deeper crevices, the deeper shaded areas, those are the areas I want this just to make the whole thing just a little bit more three-dimensional. Those are my darker colors. What about lighter colors? Because I could do some highlights on here. So I will come back to my colors. I will choose my original orange because I went darker and redder. I'll go the other direction. I'll make it more yellow, lighter. It's still fairly orange but lighter. Now I can play safe with this. I can always create another layer and I can do the same thing. I can choose clipping mask again. And because you can see layer nine has that little arrow pointing down towards my block 01 layer. It's also clipped to that layer, which means I can do the same thing. I can make my price. Biggest start off with, I'll put down a large area like this and it won't go beyond the edges. All my blocked in orange color. Now let's make this a little bit smaller and put onto highlighted areas here. There's gonna be a bit of a light, I would imagine from that little light on the front. Now, maybe I've gone a bit too far with my shading just on the body of the fish. So I can also raise with that now at the moment I what kind of erased or have hard air brush I could do with erasing with the same brush, that same willow charcoal brush, not a problem. I will come to my eraser tool and instead of tapping on it, I will tap and hold. I get a message at the top which says erase with current brush. And Sean, if, if I select willow charcoal is now selected, that is a handy little tip. What are my settings? Yeah, that's about the right size, but maybe instead of making it a full on a 100%, so I get all or nothing. If I drop it down a little bit to around about just under halfway and I start to erase. Now, if I make repeated brushstrokes are gradually get rid of some of that lighter area. But what I will do is I will come back to my paintbrush again because I think I need some much lighter color there to act as a highlight. I made sure my brush is fairly small. Is this going to work? Let's take a look. Yeah. I prefer that it's small, it's more localized, but I'm getting just a little bit of highlights. And you can hear my pen tapping because I'm dabbing brush strokes just to get a bit more of an interesting texture. I want some around here. Definitely. Maybe around here, maybe around the front, maybe just a little bits around here, just about a bit of interest. And the highlights help create the form. Just a little bit around here as well. Here I'll make it really, really small. Just for a tiny thin highlight just along the lip. I'm going to come to my eraser because I'm not happy with those bits there. Instead, how come back? They should be smaller and tighter. I think just to add a little bit of interest, and maybe just around here as well. Alright, well that's the dark and light for my fish. Now what about the eyes and the teeth? Not a problem. Come to block two, which is my eyes or my teeth. And our repeat, create a new layer. Clipping mask. I think for these bits, maybe I'll make them a little bit more bluish in turn. Blue eyes, blue light bluish teeth because I have orange around about here. And the complimentary or the opposite color to orange is blue. But I want to make it a fairly light blue and a fairly desaturated blue because working with complimentary colors, where you have the opposite colors on the canvas that can work nicely. It can give a lot more impact because they're opposites, like thick and thin, dark and the light. Complimentary colors, they're opposites, but just saying, throwing opposites together and it will work. That is not the case. It's not the fact if you throwing in opposites onto your canvas, it's how you do it. That's the key. The trick when you're working with colors is if you don't want them to clash horribly, you make the secondary color all the not so important color, much less saturated look. That's very saturated. If I move across, this is very desaturated. Because as you traveled from here to around about here, you get less saturated colors. I want a pretty light and not saturated color. I'll try around about there. It looks almost gray but it's not. And if I come to my area, Let's make this bigger. Is that the kind of blue I want working with the orange? Yeah, I quite like that. I'll also call it the teeth, the same color. The little dangling bit. I'll make that the same color. I think for the fins, I've kind of made them blue. I'm going to make them a mixture. I've blues and orange. So I'll pick up some orange there and just put those in just for a slightly more. I'll choose a transparent effect. So I'll put a little bit more blue just around the outsides of the fence and maybe a little bit more orange around the inner part of the fence, presumably where that little membrane of the fin gets a little bit thicker as it gets close to the body. I don't know. That's tap and hold. Call it my original color. And I wanted deeper version of it, not too deep because I'm working with light colors. And when you have a basic light color, make it today it might just be too strong. Andrea, let's do a little bit of shading around here. The shading is going to be around the bottom to the right of my eyeball because the light's coming from above and ulcer from a light on the fish. Let's make the base of the teeth a little bit darker as well. Just so they sit a bit better than I'll come back, I'll make a lighter version. Look. I'm gonna make it pretty much white color in this area here. Gradually getting lighter. Top of the teeth, definitely make it a little bit smaller. This light needs quite a bit of light on it. Come on. Let's make this get a straight white and blend that in as well. Yeah, that's what I was after. Starting to look a little bit more 3D. Now, let's do the T for top of the teeth. Life is maybe take this a little bit down. A little bit more light on my light on the end. Also, let's make my brush up is smaller and do a little bit of a light just on the underside of the eye. So it looks like the eye is a little bit depressed into the eyeball. Choose my original blue, while my original dark blue and I want a darker version again, my brush is fairly small because I wanted to do just around the outside of the eye just to get it to sit a bit better with the surrounding area. Maybe if I dropped my opacity down a little bit, I can get a more smoother gradation there. And then I'll bring up the opacity again because I want the base of the teeth three that darker blue as well because they're disappearing into the mouth. And so where they're disappearing, you'd expect things to be a little bit darker. Maybe just the tip of my lightest. Well, what about just a few bits just to add a bit of pepper and salt, just on the end of the fins. Just to provide a bit of texture, a bit of interest. And okay, That will do for my basic shading I think, but I'm going to add a little bit more. I'm gonna come back down to block one. Now, what's the top layer of that? That's land nine, isn't it? And I'm going to add another layer on top of that and repeat, I'm going to do clipping mask. Now. Block one has three clipping layers above it. I don't know. Let me come to my brush. Now, where was it? I was using willow charcoal. Oh, good point before I forget anything. Come up dry process layer, turn it on. That was willow charcoal. Try and remember that because I need some kind of a panda. Let's try a scheduler. Just try the Procreate pencil. Can I draw with that? And the first set was charcoals and it was willow. Charcoal, Bulimia. When you come back to this a year down the line, you're rarely going to appreciate the fact that you took the time to create a process layer. That's what's known as the utility layer. It doesn't add to the final piece of artwork, but it's very, very useful. There are other kinds of utility layers. We will talk about that later on in the course. But let's come back to layer 11. Now the one I want for this is in the spray paints brush that and the one-on-one is this one. Flakes. Make sure the layer is selected and for the color. Because slightly more saturated version of that and about mid tone. And what's my price size? Let's make it about looking at about 10%. It's on full opacity. And now I want to spray in certain areas. Now it doesn't look too nice at the moment, but I'm going to come to my layer. I want to tap where it says An because I can alter the opacity of this, but also I can change something called the layer blend mode. And that affects what this layer will look like compared to everything below it. For example, I make it. Linear Burn, all of a sudden it's got darker. What about color burn? That's making it darker but more of an intense red color or darken or multiply. Now out of those, I think Color Burn is suddenly given me a really interesting texture. But the nice thing about it is it's not just lying on top of whatever is underneath it because you can see where there's a highlight on the back of the fish. Those little blobs are less intense and why the fish is darker, those dots get darker. That is because the layer blend mode is playing with everything which is underneath it. There are lots of them. If I go through Color, Dodge, and analytical, overlay, soft light, hard light, you will learn what all of the layer blend modes do and how they are grouped. And that is the key to getting them to work nicely for you. Now if you think that effect is too strong, you can always come to the layer opacity and lower the opacity like this from 0 and gradually dial in the amount you want. Now this is quite cartoony, so I can get away with having a fairly intense effect like that. I don't like it in all of the areas. I like it on the back or not too short around the eye area or the very bottom of it. So I can always come to my eraser for this, rather than choosing willow charcoal outright. Airbrushing our choose this one here, the soft airbrush to erase with, make it fairly small and I'll make it pretty low opacity so I can gradually fade, weigh those brushstrokes where I don't want them like this. You can see how they're fading away quite nicely. I don't want them in certain areas, but not in others like it didn't want it just in this section I did there. I don't want it around on the fins. And this gives me a much more control. I quite like it on the bit under the chin but the lip area or not so sure about. So I get to choose where I put this. Even more interestingly, I can come up to my adjustments where I'm circling now. I have something here called hue, saturation and brightness. If I tap on that, I get two choices, layer or pencil outcome to layer. When I do that, I get three sliders at the bottom. If I cancel my hue slider, there is a little dot in the middle which is kind of blue at the moment. But if I move them side to side, you can see the hue is changing. As I do this. I can also alter the brightness to get it where I want the saturation. Yeah, I can do that with the one in the middle. And so it can really go to town and applying what I want with this. A quiet like that green, but maybe that's a bit too saturated for my liking. I'll drop that down a bit like that. What's our decided? I like that. I can just tap on my brush again and that commits to it. I welcome back to my eraser because I realized once I did that, there was a little bit on the lip that I didn't want. I think that's as far as I want to go with a fish for now, I may come back to it later, but in the next video, come on, let's give it a background and, or the Angular is just floating in mid-air. Let's put a C in the background and we'll do that in the next video. 8. Add the Sea and Finish: Okay, This is Anna, the angle is 0 for I've made it available as a download so we can work together. In the previous video, I said I wanted to do a background for this. I think a bit of organization would not be a bad idea right now. So I'm gonna come to my layers panel. And you can see I have all these different layers which are making up my fish. I could do with those being grouped together before I start adding yet more layers. So I'll come down to my base layer, my sketch layer, even though it's invisible, I can select it. And then I'm gonna put my finger on the layer above it. And I'm going to swipe from the left to the right. I get that less liked it as well. You can see my principal areas in dark blue, but any other selected layers give that same light blue. And I'm going to do the same thing for all the layers. I'm going to go up like this and swipe left to right for everything that makes up the fish. And as soon as I have more than one layer selected at the top right of my layers panel, I have my group icon. I'll tap on group. Everything gets put into a new group. And if I come to that little downward pointing arrow, tap on it, I can close that group. I can also rename it to okay, So now that's all that I can make the entire group invisible if I want. If I come to my transform tool, I can move everything around as part of a group. I don't want it to be down there, so I will two-finger tap to place it back where she was. Okay, so we need a background. I want to create a new layer, and I'm going to drag this layer underneath because I want things to be in the background. I'll make it a bit smaller then rather than painting in a whole C, there's no reason I can't just come in and add my own file. So I'm going to count that little wrench icon in the top left which I am circling and I'll tap on it. And I have a whole series of actions that I can do. Within procreate. We will go through this, but I want at and I want to insert a file. The far I want. It is also available for you as a download. It is bath tile 01. There. This is just a photo of a tile in my bathroom. And you see the little blue dots in the corner. I can drag this out so it covers my entire image like this. And if I tap on any of my tools, I commit to it. Straightaway. I have a textured blue background which I quite liked, but I wanted to do more with this. You see how that inserted fire went on top of layer 13? Well, let's rename it to see. I want to put a layer on top of this and make it a bit smaller because I want to make bottom area darker. To do that, let's come to my brushes. I want to come to airbrushing, and I'm going to choose my soft air brush again. I'm going to make it very big because I wanted to cover a large area. I want to keep the transparency low because I want to build up my price strokes, but I want to choose. Well, I'll tell you what I'll do. I will come hair out, select a basic color from that C, But then I'll do a darker version of it like this. It looks almost black, but it's still in the blue bit of the spectrum. And then I'm gonna make brushstrokes from side to side like this. Just on the bottom half and do more brushstrokes in the bottom half of the bottom half appears to be darker. Care, Let's zoom out with sorry, let's zoom in with this. And you can see the bottom half is darker, but the brushstrokes I've made a covering up the texture of my bathroom tile, sorry, I mean, the sea. But what I can do is what I did before. I can change the layer blend mode and I will change that to, let's try multiply because there were a number of different ways to make this layer dark at when you compare it to what's underneath. And just by experimenting Color Burn, I don't like dark and is a bit dull. Multiply that works nicely. It's given me darker, but somehow it feels a little bit more natural. A while I'm here, I'll do what I did before. Again. Outcome to hue, saturation and brightness in my Adjustments layer, I will choose the entire layer. I'll just play around with the hue just to see if I can get a more pleasing effect with it. The purple doesn't work, that's not natural, but the green just nudge it a bit towards green. I quite like that. It's providing a little bit of variation. Saturation. Maybe let's try and make it a little bit darker. Again. That's too dark. I'm losing the bottom of what I've got. Maybe about there. It's fairly subtle, but I think I'd prefer it to what I had before. So I will tap on my layers panel again to commit to that because I want to add another layer. For this one. Procreate has a huge library of different brushes, textures, abstract, and I'm looking for, there it is. Inside the elements brush sets. There's something called water. And I am going to choose a straight-up white for this. I think opacity is very high. My brush is set pretty high as well. Or may think smaller. And I'm going to draw across the top of my canvas like this. That's a bit too small for my liking. I want that to be. Quite a bit bigger. So I'm choosing size what, 34? Let's try that. That's about the size I want. And you see that I'm getting a water of act. I want to underneath I'm not sure. Let's try change our layer blend mode of this and see what we get. It needs to be lighter, so there's no point in making it darker because it gets invisible. There's the lightened screen is quite nice. Color dodge add. What about the contrast layer blend mode? And you will learn about the lightened blend mode and the darken blend modes and the contrast blend modes, which is where we are now overlays. Interesting, Let's make this a bit bigger. Shall we come on? See what we're doing. Overlay, soft light, Hard Light, vivid light, linear light, pen light. Okay. I think out of all of these refer overlay, because it's staying light where I want it to be light, it fading more where I need it to be a bit darker. At the bottom of the screen, ion is taking on some of the color of the sea behind it. And I liked that it feels like it's blending in more with the texture of the bathroom tile. So yeah, I'll keep that. I will also add another layer. And for this, I'll choose all item blend mode in the first place. That's a very strong one. I will choose a color. From here. I will come back to my airbrushing, my soft air brush. I'm gonna set my opacity of very, very low press size about there. Because what I want to do is put a glow just where the light is now, is this going to work? Look at this. I'm using the add layer blend mode, which is a very strong, very powerful blend mode. I made my brush even bigger, but I have the opacity way low so I can gradually build up the effect here. I'm also going to put some on the front part of the fish just to lighten things up. In fact, maybe a little bit of a halo, certainly around the front part. Now let's take a look at that before and after by turning off the layer, make it invisible. Before. That's after. I do like that, maybe it's a little bit too intense. So our tap on the little a sign and take the opacity down a little bit like that, so it's not glaring and interface. Similarly, I wonder if I made that bit lighter. I wonder if I should make the rear end of anaerobic darker. I'm just experimenting here. I wasn't planning on doing this but experimental and that's the key. So there's my block, one layer. I'll come to the top, add another layer, turn it into a clipping mask on only affecting the fish. I'll make it, Let's try Color Burn because that gives them quite intense colors. I can just choose one of the oranges from ADA, but my brush, I'll make a little bit less transparents but still very large. Just do that. In this area. Make the rear and the bottom side of the fish bit darker just to increase the overall feeling of it being 3D. Now I may have gone a bit too far with that. Let me play with the opacity of it. Without it, without that it would, I do like that now what about the color blend mode? Without make a difference? Linear burn, darken, multiply. Multiply seems to be preserving a bit more of the detail, but I liked the intensity of a color burn is getting more deeper red shaded areas. So I will stay with that. Just for I started to erupt things out, I will make things even darker and just play around the bottom area, like PBIS, just a little bit around here. Maybe still a little bit just in the corner of the mouth. Then I'll come to my eraser tool. I will tap and hold so I use the same eraser as before. Yeah, soft air brush and make it a little bit more opaque as it's just a little area down here where I think it's gone a bit too dark. So I'm just taking some of that dark layer away like this. I think that is working better overall. Okay, Now this was supposed to be a tutorial where I show you various different things and I think we're nearly there now. We've seen various different techniques, all of which you will learn and you will master because there's a ton of videos for everything you've seen here. Just before I do though, when it comes to my ink layer, I'm going to tap and I'm going to turn on Alpha Lock. I want I do. Look what happens to my little icon, just where I'm circling now, our turn on Alpha Lock, I get a little gray checkerboard effect there. Alpha lock means that I can only draw on this layer where there are already pixels. If it's transparent pixels, I can't draw on them. And the nice thing about that is, okay, what have I got? Soft air brush. And I want to choose a light color by pressing on here, for example. Now when I paint, I can turn this black pixels. Any color I want. Because I can only draw whether it already pixels, which means bit of a fish which is closer or closest to that light, I can change the color of them. Now you'll notice with this, there are certain lines which aren't being affected. That is because they are on the second inking layer. Not a problem. I can turn on Alpha lock for that. I'll come on, Let's just go for gold. Let's just choose a wide shallow way. I make those wider around and just get a bleached out of fat on that particular layer. Let's come back to 01 or choose a more orangey color. That's a bit too bright, I think so I'll choose a darker color and I can paint that area back in. I can have the lighter, brighter orange colors just where I want them. I think that's working quite nicely with a fishing rod, but not quite as far as that, maybe about there without deeper red color, then I'll have to adjust on the Ford bits like this, maybe a little bit around here, and ink 0 to do the same thing with that. You can play around with a key light as well. You have to keep it fairly dark still, I think, but it adds just a little bit of variety to what you've got. Okay, That is the first project that is to introduce you to a workflow. And on the way we've touched on various different tools. Every one of those tools has a full video explaining everything you need to know about the layer blend modes, about Alpha Lock and clipping masks and the difference between the two. Plus you've seen things like grouping. Why it's good idea to do a sketch, how you can adjust the sketch using things like the Liquify tool. It's all going to be explained, don't you worry. Okay, the very final thing before I sign off, I did tell you three important little words and that was thick and thin. But there were the other three words which are the single most important three words. Any creative person needs to abide by. Those three words are not. Pay me now, you worry about that after the creative process, know those three words are, I hope you're listening very carefully. Get things done. Right now you may be thinking what is valid, What's the big deal? But the ability to get things done is what separates the successful people from the dreamers. Getting Things Done won't guarantee you success. There's a whole load of other things there. There are literally millions of creative projects out there. Some of them are finished, but most of them, well, your inspiration turned into hard work. And you have to learn the ability to work hard and get things done. And you can make a start with that on this course. I have so much good information on this course to show you, stick with it as much as you can and see just how much you can learn. And let's make a start with that now. I will see you in the next video. 9. Your Turn to Create! New Sketches: Okay, so we've done the first project and well done. I hope you've learned a lot of things from it. But here's the thing. I do courses like this myself because I like learning new things. And maybe you're like me. I get to the end of a section where I've done say, a piece of artwork or whatever. And I think great, but I want to move on. I want to learn new things. But then they come back to something like this. And I realized that, well, I forgotten quite a bit of it. So this is strictly optional for you, but this is what I would like you to do. I've uploaded three different files. You have foxy locks, 01, and you have dynode endings. You have two sketches. Now the point of this is you may be thinking, well, I've learned the techniques, I'd like to practice them, but I don't know what to draw and B, and this may apply to you. You may be thinking, Well, I'm not very happy about my drawing skills. Are drawing skills. That's just a simple case of practice. But what I've done is I've done the first part of this tutorial for you. I provided you with three files for sketches in total. And what I would like you to do is to take these initial sketches and develop them in the way that we developed and the angular where the two points are raised earlier, you don't know what to draw or maybe you're not too happy with your drawing skills. That E14 you also that in a fairly similar style to Anna the angular because I drew all of the things. You can concentrate on doing the ink work, blocking in painting through the interior. And you can practice all the techniques which we've discussed in this first set of videos. Also, it gives you something fairly fresh and original to post, where you can post here, you can post on, there are loads of Procreate forums posts on there because you will be making the decisions about what colors you choose to use, what brushes you choose to use, what affects you choose to use. So by the end of this, you will have a picture that you can say, yep, I did that. This may feel quite scary at first because it's one thing to follow along with somebody telling you what to do. It is another thing to start doing it yourself. So what I suggest you do is go back to the inking video, because with this, we've already done the initial sketches. Inking vermin is the next step in this process. And from there you can move on to blocking things in adding color, adding light and shade, playing with different kinds of colors using layers it, but if even ten, say the fox and you still feel nervous, fine, just ink in a hedgehog or the toad stool, or the butterfly, the dog or the man, or the dinosaur, or just the background. You've got plenty of inking here to practice with on that when you feel more confident and more ready to move on, go for it starts small and Azure confidence increases. You won't need to refer to the videos because you will know what to do. Once you've done that, you will have learned a solid workflow. And from there, you will be able to move on to the more in-depth topics covered in the solid foundation series of videos. So come on, load at one of the files, go back to the video about inking and let all move forward together. Okay, That is the end of the first steps series of videos. And I will see you soon. 10. Go on, Make a Mess!: Hello and welcome to this first session. What I want you to take away from this lesson is to get used to making marks, smoking, or raising, using different colors. And we'll take a quick look at something called layers. We'll take a look at the very basics of using Procreate so that you can at least do some technically very basic illustrations straight after this lesson. I will be taking everything you see being done in this lesson and I'll go into much more detail in future lessons. So if on light on the details here, please bear in mind that this is a get up and running lesson. Alright, so I'll pick up and I'll put on my fancy cotton glove which I made earlier. No expense spared. And here's my pencil. Procreate. So let's open it up and we'll get started. At the moment, I'm in the gallery. This is why you see all the various different things that you've done inside procreate, but I need a file I can work with. So welcome to the very top right. And here I've got a plus sign. I'll tap on it. And I have a list of presets of various files and various different sizes and formats that I can use. I will go with a standard A4. Okay, now I am recording this using a direct screen recording. I'm also recording it by pointing a camera at my iPad so that you can see my various different hand gestures and there's my hand Hello. Recording directly can be a little bit difficult. 1.5, this dark background. So one of the first things I'm going to do is come up to my little spanner icon and come over to where it says preferences. And I'm able to change my interface to a light interface that just makes my life a little bit easier. And it also makes your life a bit easier when you're busy customizing brushes, but we will be covering that much later on. Alright, so tap anywhere to get rid of that menu. The next thing I'm going to do is bring two fingers and drag my canvas around so that I can see more of it. I can also pinch in to zoom out and pinch outwards to get it close to my image. There's also a command where if you quickly just pinch in like this, the canvas sizes itself to fit the screen. Although you saw me have a few go's at that. That's one thing about Procreate or many other iPad programs, you have a whole load of gestures to control your screen. And I'll just pinch in a little bit. There you go. There's a gesture. Great when they work, but they don't always work quite the way you want them. You will probably see more examples of me using gestures throughout this course, which may be won't work properly or first-time. And the reason I'm leaving those in there so that, you know, if it happens to you, it happens to other people as well. Okay, enough talk. Let's actually make some marks. I will come to my paint icon and you can see I have a whole load of different brushes. So let's just try. Well, let's try sketching peppermint, That's fine. Let's choose a color for this. You have a whole load of different ways of choosing colors. We will be looking at that, but let's just come to our disk. Let's choose a blue color like this by dragging around the outer circle to get my basic hue. And then I can alter the lightness or darkness or how intensities with this inner circle. There we go. There's our very first brush stroke. If I wanted to come and change the color, I can choose a different color. I can choose a different brush. Let's come to painting, Shall we? Let's choose something like what spectra, what that will do? And let's choose another color for this. And there you go there regarding a completely different kind of brush. Let's use another one. Let's try tomorrow or tomorrow or whatever that, however that is pronounced in your country. You have different brush strokes there. Now here's something. You have two sliders at the side and you can alter the size with a top slider. So if I make my size small, tiny little line, if I make my size bigger, I get a much bigger brushstroke. And if I make it really big, Maximum Size, I'll choose different color for this, I get a ridiculously large brushstroke. If I change the transparency by moving my bottom slider like this, I can put down a very light wash. Let's choose a strong color like red, allowed color, but my transparency is set low. I come down to the bottom. That's make my precise a little bit smaller. You can see almost nothing is happening. Let's make this a little bit less transparent. And you can see I put down a light wash. If I move the transparency slider all the way up, I get a completely opaque brush like this. If you've ever painted with wars, colors all laid down and oil glaze right now maybe you're sitting up and pay attention on that score. Over the years, I've given many friends who are good artists their first taste of digital painting. I've seen the process they go through and I noticed a few things. One is that they are excited by the possibilities, but frustrated by their lack of knowledge. Or the knowledge is what this course is about. But there are a couple of particular things I want to talk about now. So we make some marks. If you want to undo a mark, you have the undo button under the opacity slider, which you can tap. Once you do that, you get another button there, which is the 3D button. So undo, redo. You can undo several times, I think Procreate has it up to 250 undoes and also reduces. But personally, I think these buttons here are bit of a waste of time because all you need to do is you get your two fingers are new tab and you tap, and you tap again. If you want to redo a brushstroke, used three fingers and you tap, tap and tap again. If you have your two fingers and you hold them down, you can see a step backwards really quickly. Same thing with the three fingers. You can step forward really quickly. Now, I suddenly decided that, okay, I've got my strong bluey purple color there. But I like this very washed out purple just appear in the top right-hand corner. But that color was made by a combination of a semitransparent brush against a light background. I didn't choose that color, but I can select it directly from the Canvas by just getting a finger or just holding down on the canvas. Do you see that circle? It's divided into two halves. The bottom half of the circle is showing you your currently selected color. And you can see that in the top right of the interface, but the top half of the semicircle that is showing you the color you're going to select once you let go of the surface of your iPad. So if I come down to say this bit here with this light green and I let go. That is my new color. Let's do that again because I did like that light purple color. So I'll come out and find the car I want. So let's do that again because I think that's the color I wanted. You notice how it's changing all the time. That is something to be aware of when you're choosing colors from your Canvas. But I like that color, so I'll let go and that's my new color. Now one thing I'm going to do is come to my layers panel. You can see I have a layer, they're called layer one. That is what I'm doing all my drawing on. I also have something underneath called background color. And all that does is if you tap on it, you can see a whole load of different colors here. And I'll come back to the disk because that's what we've been using, so you're probably comfortable with it. But if he moves around, you can change the background to whatever you want. If he can paint in a certain color, you can define your background in the same color or different color. Anything you want. For now, I'll take that back to an almost white like this. We can carry on. I'll tap on my layers panel again, and I'm going to create a new layer by coming to my little plus sign or write in the top-right corner. There's a layer called layer two. But I don't want my layer one to be showing up. So I will have those little checkmark and it becomes invisible. Because there's just a couple of things I want to show you as well. If I come to my sketching, my peppermint brush is active, I will choose a color for this. Let's choose a fairly dark blue against that light Canvas. I will hold my pen directly upright like this. I will make some brush strokes and you can see I get a certain width if I scribble and as I do, I'm gonna tell my pen more and more and more over there comes a certain point there. Did you see that? Instead of getting that kind of a stroke, I get that kind of a stroke. That's because this pen has been set up. Inside my RStudio to react to my pencil using the tilt slider. I will be showing you all this stuff, but that's coming up later. Similarly, let's find approach which will give me some thick and thin. Let's try inking. Let's try, okay, well syrup that selected, how big is my brush? Right? Okay, this will do, I will change my color. I will press light. Then I'll suddenly press a lot harder. Do you see how the press gets thick and thin depending on how hard I press my pencil. So from this, you know, you can use your pencil in different ways to alter the size, sometimes the opacity, and you can tilt the pan for different effects. That all depends on how the brush has been setup inside the brush library. But we will go into that. Just a few more things to show you. I will make another brushstroke here in a different color and another color here. Pick up this color. I've got some not terribly subtle colors here. But if I come to this tool here, my smudge tool, and I'll select a brush for this. Let's come down to painting. And let's try, let's try damp brush. I will ultimate size a little bit. Then I'll come to this border between that turquoise and the red color. And can you see that? When I make brushstrokes over it, I started to be able to blend the two colors together. That is your smudge tool. You have lots of different ways of doing that. Let's try. Let's try airbrushing, soft brush. Let's give that a try. Let's come to this border here. You can see it blends, but in a much smoother away. There's less texture in there. That's because every single person in your library can be used as a paint brush, as a smudge tool, and they'll smudge and lots of different ways or an eraser. If I come down to my airbrushing, that soft brush, that was the brush I was using for this area here. My pasty on full, I make my size fairly small and I can erase my brush like this. If I make my pasty much lower, I can gradually arrays piece by piece like this. If I come to texture, Let's try, I don't know, rectangle. My brush is not that big, but if I'm arrays there you can see I can erase in different ways. And can you see with this brush, if I press very lightly, only get a very slight amount of erasing. If I press hard, I get a very strong amount of erasing. You can write the pressure of your brush and use all manner of different brushes to erase and all manner of different ways. Okay, so the purpose of this video was just to get you used to using the interface and the very simple way to make you aware that there are three tools appear. Painting, smudging, erasing. You can alter the color of things here. You have layers here, whereas you can have more than one layer to draw with. You can adjust the background color. You can change the size of your brushes here. You can change the opacity of your brushes. You can use your pen and lots of different ways for lots of different effects. I hope that is enough for you to be intrigued and to want to go away and do this session yourself. Make a mess, just make random brushstrokes. It really will help you to figure out what kind of things you can do inside Procreate. Yet he used to go into certain areas of your interface. And also for the very simple reason, you've got a hundreds of different brushes. I haven't used all of them. Every once in awhile. I will do a make a mask brush session just to see what the possibilities are. Okay, the final thing to say for this session is, for traditional artists come into digital art for the first time. The final stumbling block, and possibly the most important one is if, for example, I come to some watercolor brushes, I think great watercolors. So I make a few marks and it doesn't look like watercolors, not the way I want it to, not enough. I think this is the thing which is the biggest turn off or some people coming from a traditional background. It doesn't look or work like they were expecting it to. The fact of the matter is you can take these brushes or make something that looks much more like how you'd expect, say, a watercolor to look, but you have to embrace new practices. Things like locking your layers or layer masks are using color burns or darken the edges of your paint stroke. It's up to you to decide how much you want to draw and paint in a traditional way. But there is a whole world of new techniques waiting for you. And the more you embrace the new technology for what it is and what it isn't, the more effective you'll be with procreate and many other painting or image editing programs. You can't just take your knowledge of traditional art techniques and apply it with no modifications to digital art. You have to adapt what you know, unlearn a few old things and learn some new tools and workflows. Is it worth it? Oh, yes. I said is. I'll see you in the next video. 11. The Gallery: Okay, So in this video, I wanted to talk to you about the gallery. That's the screen you get when you first open up, Procreate, or you come to the top left, you get all your pictures laid out. So I wanted to show you a couple of things that are gonna be useful here. But before I do, I'm gonna come out of Procreate again. And instead, I'm going to count my preferences because one question which is sometimes the asters, how bright showed your screen B, you come to your settings and the slider you want is this one, the brightness slider. I have mindset to around about 70% because I'm recording the screen and it helps with the recording process. But ultimately, and you're probably not want to go into here this the manual brightness is a judgment call because how well it should a piece of paper p when you're drawing on it, for example, while it yes, but how well lit? It's a bit of a piece of string question. The general advice is try setting your brightness to around between 80, 90%. If you're in bright sunlight and your roaring, you're properly needs set it brighter. If you're in dim light, you'd start edema. Be aware that some users have reported some problems when it's at very bright with the iPad heating up and also the variety or screeners, the faster you lose the power. So I'm going to take this back down to around about that. I suggest you have your somewhere between there and around 18, 90% do not use True Tone. You want the iPad's be consistent brightness which you decide, oh, and things like night shift, which automatically shifts the colors of your display to the warmer end of the color spectrum after dark. Do not ever use that. All right, so let's come back into procreate. I'll just select any file at random. Let's try this one. Because there's a couple of preferences I want to show you the moment my little size and opacity sliders are on the left side of the screen. But if I come to my wrench icon, you can see I have Right-hand Interface not selected. If I turn it on, those little sliders come to the left, I'm kind of used to them on the other side of the screen, even though I'm right handed. So I will turn that back off. You already saw how I chose a light interface because it helps with recording the screen. And also one thing I've done as well as turn on brush cursor. Well, let me show you what that means. I'll turn it off. I'll select a brush and the brush at random. Let's just try DC texture buildup, make it fairly large. When I draw. Well, you don't see anything. But if I come back and I turn on brush cursor, when I draw, you see that little jittery outline that I'm getting. That is very useful. That lets me know where the edges of my brush, our soap brush cursor. Very useful. All right, So we, we're gonna talk about the gallery. So let's come up to the top left and gallery. This is where all the work you do is stored locally on your iPad. You can arrange file, stack them together, and so on and so forth. And anytime he wants to call up something, you can just tap on it and it gets called up. You can come back to the gallery. Now I did that fall in the previous session. I don't want to keep it. So what I will do is our slide to the left and I get some options here. I can share, I can duplicate or I can delete. In the case of this, I will delete and it will give me an Are you sure? Yes, I'm sure. So delete now, I'll put my finger on my iPad and drag down because there is a folder or stack which I made called papers. You get these as part of the course. These are just starting points for when I want to start building up files which contain various things like what in the case of this wall. Swatch at the top with some colors that I find useful, plus a couple of different layers. Just to speed up the drawing process, including a little paper layer. But thing is, if I was to draw over that, then I'd have to recreate it all over again. So what I do is I slide to the left and I come to duplicate. Which is all very nice. But now I have two files, have the same name. How do I know which one I'm supposed to be working on? Well, I come to this one here, just tap on the name and I can name this to whatever I want. Like that. Okay. So I've got these papers which I want you to have and so I have to get them off the iPad and to you. So the first thing I do is export them to the iCloud. If you have an iPad, you have iCloud. So it's the safest one for me to talk about. So I slide to the left and I come to share, I can slide my image format. In the case of this, Adwan, you'd have a Procreate file. It exports and it gives me a choice of where I want to put it. So in the case of this, I will come to Add Drop Simon's iMac and it gets exported and I tap on done. And I can see that in my downloads folder on my iPad. Or I can come to send to. And in the case of this, I've got my iCloud Drive and there's my papers folder and maybe add wanted to save it into my regular folder and tap on Save, export, successful, great, That's good. Now I don't really need that anymore. So I will delete it. Come back up. If you want to import something. Well, at the top right you have select Import photo. Let's take a look at these. If I tap on photo, I go straight to my photos folder and I can call any photo. Let's take one from the bottom. And that's me being bullied by one of my friends down that the local martial arts club. I'll come back to gallery. I can come to import. This gives me options of different places where I can import from. This is my iCloud. That's my various different folders on my iCloud Drive and it says over the top, tap on council for that. Now what Select lets you do? If I tap that, is it lets you select multiple files and you can see next to the name of the files, I have a little dot. I can choose the ones I want to select like this. And it also changes the options at the top, but some of these commands are duplicated and that will be things like the share, duplicate or delete. What about preview? If I tap on preview for those three files, I can tap on my screen and go through them like this, and tap to go back again on the left side of my screen. Once I'm done with that, tap the X in the top right of the screen. I can also do something called stacking. That is where if I tap on it, all of those files get placed inside something called a stack, full-stack think group or folder, where instead of putting things in a folder, It's like you're stacking your pieces of paper on top of each other into a stack. And then once you decide, well, multiple images is great. But now I want to move on. Come to the little x right in the top right. You're out of the multiple select mode. You've already seen how I can rename my artwork. I can also drag my files around. So if I come to that lovely image of me getting tortured by my friend, I can drag that down and you can see everything moves around to accommodate it. I can even come down and drag it a little bit like this and swipe backup for the stacking. That is straightforward enough. I have two files here, six by 41 in the top-left, I will tap and hold on the A1, and then I will drag it over until I get this blue cast to the image below. And if I let go, I get something called a stack again, which if I tap once I can name on it and call it papers. Now supposing for some reason I wanted that pair in the same stack, I can tap on it and drag it over, see how it blink twice, and then I can place it inside there. My stack was called papers. You can see that in the top-left. And if I tap on papers, we go back to our main gallery. But it's not very colorful because all I'm getting is a blank screen. So our tap on my stuck again, I will tap on painterly and drag it over until it is the image in the top left. And if I tap back on papers, what do you know that appears as a dominant image or the top of the stack, but let's face it, that image doesn't really belong there. So all I'll do is I'll tap on it and come up to where it says papers. And eventually you come back to the main gallery and then you can drop it wherever you want. Okay. That's everything I wanted to say about the gallery. In the next video, we'll talk about how to create a new file. And I will see you there. 12. New Files, DPI & Color Spaces: In the previous video, we spoke about how to use the gallery and there was one button that we didn't use and that was the wall in the very top right, which is a plus sign, which is how you create a new Canvas. Alright, so let's do that. Let's create a new canvas. Let's just come to the top research, which is screen size. That's how big my iPad screen is. And if I just pinch in a little bit, you can see the edges of the canvas. If I come to my layers panel, you can see what you get. You get layer one. On that layer, you can make your various different brush strokes like this. Change colors. You always have the option of adding extra layers, as many layers as you want up to a certain maximum, which we will talk about. You also have this thing at the bottom, background color. You can't draw on that. What you do with that is if you tap on it, you can specify what color your background is like this. Which means lives a little bit more interesting than having to draw against plain white all the time, if you want in your final artwork to have a transparent background like with clip art for example, all you need to do is just turn off the background color and you get a series of white squares in the background, which lets you know that that is transparent. Let's turn that background again and come back to our gallery actually quite do look, I will turn this round. It was Christ as landscape. Now I've turned it around so it's 90 degrees, so it's portrait format. Welcome to my gallery that you can see it's stored as portrait. Unlike most other image editing programs or art programs, you don't have to create a new file that is either landscape or portrait. It will be whatever you want it to be, as long as you turn it round so it's on its side or on its end. Okay, So let's come back to our plus sign and you can see I have a number of different presets. If you've just got Procreate, you'll have a few presets at the top. I've created plenty more, although I'm going to create it a bit too many. So what I'll do is I'll come down to say untitled canvas slides the left. And I can either edit it or I can just delete it. But to create a new canvas, There's this little black box at the top with a tiny little plus sign tap on that. And you get this custom canvas creation page. It will remember the previous settings she put in. The case of this, I have 4 thousand pixels by 4 thousand pixels, which gives me a maximum layers of 29. Remember the layers, they are very useful things in digital art. But suppose for example, I change this so that it's now 8 thousand pixels by 8 thousand pixels. That now gives me a maximum layers of four. That is not really enough. Wow, some people take a little bit of pride and saying I created this artwork, I only used one layer. But in general, if it's digital art, you want to take advantage of all the things that digital art has to offer you are one of them is multiple layers to do different things with maybe about file sizes are a little bit large. On later edition iPads, you may be able to get more because you'll have more rather than their, which controls how many legs you get. Just above the maximum layers you have. This DPI stands for dots per inch. I do need to talk about this because there is more misinformation about dots per inch or pixels per inch down. There is just about any other subject to do with digital art in the world today. At the moment it is set to 72 DPI or dots per inch. Dots per inch is how many dots are principal print out for every square inch of your printed image in order to give you your digital artwork, beard, a photo or a painting or whatever. The common accepted wisdom is that if you're gonna print out to a printer, then 300 dots per inch means that the dots are crammed in so closely together, 300 for every inch across and 300 for every inch up that you can't tell where the individual dots are. Our 300 dots per inch has become this magic number that if you don't do it, at best, your photos will break, at worst, your iPad or blowup. Nonsense. It's just a guide that people arrived at. That number will vary depending on how far away you view things. This 300 DPI is for normal reading distance. Those big posters you see at the side of the road, they are not printed out at 300 dots per inch. They are printed out at something more like 16 dots per inch or lines per inch because they don't need to be printed out at any more. They are designed to be viewed from a distance. And you will see them from so far away that 16 dots per inch is fine. 300 dots and niche is not a technical number. If you send a file to your printer, which is say, a 100 dots per inch. Your computer will not throw a hissy fit packets, bags, and leave saying you don't love it anymore. And I most definitely will not break down. It will just print out something that looks a little bit jagged around the edges because you can see the individual pixels that make up your image. That's it. Oh, since Procreate uses a likely to be artistic people who may want to print out to artistic prints. Please be aware. If you print to a shiny paper, the little dots of ink that make up your image aligning to sit on top of the paper and not splurge out into the paper, the 300 dots per inch is a reasonable amount. But if you're printing to something like a fine art canvas, the little dots of ink from your printer. I'm going to soak into the canvas a little bit more and maybe splurge out and blend into each other. Also bear in mind that people tend to look at large canvases from further away than they do say a magazine. So 300 dots per inch is nice for a large fine art print, but it's not always necessary. Best thing you can do is speak to the person who's printing it, who knows what the machine can do. Quite often they will say to you 300 dots per inch because sometimes that just what they've been told and they don't question it either. I'm gonna take a little deep breath because I'm getting a little bit emotional and then I'll carry on the magazines that you read well, I've worked with publishing houses who produced top tier internationally recognized magazines and they print out at 250 dots per inch, unknown ever complains. But as a general rule of thumb, if you're talking about inches and you want to have say, a turn by four inch canvas and you want to print out at say, 300 dots per inch. That is fine. That gives you a 145 layers and you'll get a file when you create it, which is going to be ten inches by 300. So that's 3 thousand pixels. And it's going to have a height of four times 300, which is going to be 1200 pixels. So you get an image that is 3 thousand pixels along by 1200 pixels high. If I was to set this to 250 dots per inch, which is what I've seen magazines printed out as you would end up with a width of 2500 pixels and a height of 1000 pixels with a maximum of 210 layers, which is plenty. That matters for inches. A camper 300, it can be 250. I have produced artwork in the path which has been at 600 dots per inch where me and the publishing house I was working with hat have a rethink because I was still getting jagged edges and you could still see the dots. That is a story for another time. But if you're doing centimeters and you're going to print it out, then dpi, it would matter if you're doing millimeters. Dpi would matter if you're doing pixels, DPI, it does not matter. Let me say that again. Dpi when you're doing pixels does not matter at all. For starters, it's not DPI, which is dots per inch. It will be PPI, which is pixels per inch. So if I create a file which is 5 thousand pixels by 4 thousand pixels, than that file will be Five thousand pixels by 4 thousand pixels. And the DPI or PPI, it does not matter what little bit it is irrelevant. For starters, if you're watching this on your iPad, it cannot display things at 300 dots per inch or pixels in inch. The current screen resolution for an iPad Pro, or this iPad is 264 pixels per inch dots as for printers, pixels offer screens. Now please make a mental note that maximum amount of layers for a file this size on my system is 22 layers. Remember that number? Because what I'm about to tell you is something that tends to fry people's brains. If you specify the file size in pixels, the dots per inch makes no difference to the file size. If I change this to 300 pixels, I get 22 maximum layers. If I change this to, this is the one I really like. People say that when you're creating an image for the screen, it should be at 72 dots per inch, which gives me maximum layers are 22 because it doesn't make a difference. 72 dots per inch is another example of a magic number that is 30 years or more out of date because one of the first Apple Macintoshes came out. And I remember them because I was at college at the time. They have a screen resolution of God, guess what? 72. The reason being was that Apple figured that if it's 72 dots per inch on the screen and the printers printed out at a 144 lines per inch, which was double 72 inches, then everything would make sense and it didn't work. And that's a whole other sad story. But the fact of the matter is 72 DPI, no computer, no monitor, no iPad, no cheap little phone does things at 72 dots per inch anymore. Everything does more. Like I said, the screen I'm recording on doesn't show me things at 72 pixels or danger. It shows me things at 264 pixels image. So if I get about all the 72 per inch nonsense. It's irrelevant. The width of your file will be 5 thousand feet spot 4 thousand pixels. It will display it a number of different sizes on a number of different computers or tablets or phones. The actual physical pixels that make up the screen of your iPad, for example, are different to the pixels that make up the size of your file. If they were the same, you would not be able to zoom in and out of your image, which you can do. You can zoom right in on any of your work and see the individual pixels that make up the actual file. But they are shown onscreen by the physical pixels that make up your iPad, which are a lot more than 72 dots per inch. If you have a number which is other than 72 dpi, like, why didn't know 264 pixels per inch or more than that. The fire will not be corrupted. Your iPad will not blow up or have a hissy fit. Dpi only matters when you're dealing with real-world units like inches, centimeters, or millimeters for pixels, it does not matter. The only time I've seen it matter when you're dealing with things like text or certain special effects in other art programs where you can specify the height of the text, for example, in dots per inch. That point, yes, that might become relevant because the program would read that amount and size the text accordingly. But for this, can we just stick the final nail in the coffin of 72 dots per inch or right here, right now. And move on and be happy our facts of half. I just feel so much better now. Okay, So we've done dimensions work, done TPI and stuff like that. And I promise I will try and calm down. Next on the list after dimensions is color profile. The color profile is all about how many colors you can display. The basics of it are, you have two kinds, RGB, which stands for red, green, and blue. That is the color you're looking at right now because every monitor or iPad or any device which throws up color pixels on a screen uses R, G, B, and you can see there are different variations of it. Your iPad displays using Display P3, this gives you a lots of colors to play with in that aspect, we are lucky. But now supposing I take my beautifully colorful picture, I don't want someone else to see it on another computer or something like that. So I put it on Facebook or Instagram. If you have a situation where you've used a lot of kids and then you have to come to something like SRGB. And sRGB. Well, if there's warm color space, which computer monitors can show it's sRGB, but that same Monitor is not capable or showing all the colors of P3. Not can often happen on. So what can happen is you create your file inside Procreate. It looks very colorful and then you send it out into the world, but it gets converted to sRGB. That can cause some of the colors to change a little bit and they can lose saturation or so my recommendation for you as if it just producing for yourself, do it in Display P3 is all color she wants, If you're gonna be producing something which is going to go out into the wider world you might want to play safe and choose one of the sRGB color spaces. That advice is for anything which is going to appear on the screen. If you are sending to print, print works differently because RGB stands for red, green, and blue. You have a red channel, the green channel and blue channel. And every pixel has different amounts of red, green, and blue lights, which gives you all the colors you can see. Printer on the other hand, uses CMYK, which stands for cyan, magenta, yellow, and black. And if P3 is top of the list, vote sharing lots of colors and sRGB is next down on the list for showing lots of colors. Cmyk is third on the list. It can show less colors. Then you can get on a computer monitor. And if you create in something like p3 and think great, lots of colors and then you print it out. The printer cannot show you all the colors that you can get in either P3 or RGB because that's on a monitor. Those colors that it can't handle, it will bring into its own color space there things that can handle, that will mean you are likely to get some color shifts and a reduction in saturation, for example, depending upon the color. Now more advanced printers are capable of printing more colors. And these various things like coated far grow, coated for grow, swap 2006 coated three versions too. They refer to the kind of paper you're going to be printing on. Now if you are dealing with professional printer, you might say to them, or which of these profiles is gonna give me the best results. If you don't have that kind of information, just go for generic CMYK profile for my file. I just want this to be printed out on a screen, but I might send it out into the world. So I will choose sRGB. Next up we have time-lapse settings. Procreate has got a very nice feature where you can export a video and that can show people how you made the picture. What would you use for that if you're going to be exporting it out to something like, I didn't know Facebook or Instagram. The basic resolution is fine. It's the smallest file size, so it's easy to download and good-quality is going to give you plenty of good quality for the Internet. Now for me, sometimes I want to take the video and take it in some video editing software so we can focus on certain bits of the video and do a bit of editing or what have you. So I prefer to use a larger file size. I might come to two k, for example, and come to studio quality. I will get a larger video size, but I don't care about that because I'll be editing it on my computer. Or I could really go for broke and do a full video, which is the resolution of the videos I'm editing for this course right now. And I might want to even go for lossless. This will give me a huge file size, but I can edit it. I can zoom in on certain areas and still have a lot of detail. And then finally, I might export that from my video editing software at something more sensible for the Internet, like one ATP at good-quality, but I will do all that inside the video editing software. Okay, I'm gonna come back to dimensions just to check a few things and let's give it a Smart name so I know what this is supposed to be doing. So I'll come to the title by tapping on it, and I will call this five times. Let's make that a small AC showy. Five times four K. No, I don't want that speed. That stands for 5 thousand by 4 thousand pixels. This is going to be a for a monitor. So I don't care about the DPI maximum layers 2222 L, which stands for 22 layers. Color profile was sRGB wasn't as G B, and also I made it to K v. So that stands with two K video. That way I know if I create this, then I come back to my gallery and I click on my plus sign again. If I go right to the bottom, I've got five times four case, about 5 thousand by 4 thousand pixels, 22 layers, sRGB to Kate video. So that naming convention lets me know what that file is supposed to be. And that is how you go about creating a new preset of already duplicated once. So let's delete that one and oh, look, the one on top, 4 thousand by 4 thousand. But somehow I managed to name it three by two k So I can swipe left. Tap on edit. Alright, let's call it 3 thousand by 2 thousand pixels. Tap on Save. That's ready to go. All right, that is how you create a new file for you to work on. Let's move on to the next video. 13. When is a Pencil not a Pencil?: Okay, so I've created my new file now what do I do with it? Well, there are three things you can do with your canvas in Procreate. You can make marks on it. And you do that by using the brush library. I've got sketching selected pattern and sketcher. I have a very deep gray, not black, but a T gray selected. And if I do this, it is pretty similar to what I get when I use a graphite pencil on a piece of paper. So that's great. And I have a whole load of different brushes that I can do lots of things with airbrushing, artistic, calligraphy, drawing, engaging. They're all there waiting for you to explore. Or I can smudge my marks around by using the Smudge Tool. This uses the exact same brush library as Brush Tool, but instead of putting down marks, it smears them around like this. This is very similar to when you're doing a pencil drawing and you get your finger and you use it to smooth out the pro strokes to get an even area. Because doing doing this, you put down a whole load of brushstrokes close together, is a skill that takes some time and patience to master. Then if you decide you don't like your brushstrokes, you can erase them by using the Eraser tool. This again uses the exact same brush library as the previous two, but instead of making marks or smearing them around, it erases them like this. That's it. Those are three tools. Don't create some masterpieces or just stick around a little while longer because I want to try and change your way of thinking. Because telling you what the tools are and what they do is easy. Encouraging you to think about them in a different way to the way you've thought about these kinds of tools up until now. Well, let's give it a go. The first thing to understand is that you are not drawing with a pencil or painting with a brush. Now, you can be forgiven for thinking, Well, yes, I know that. I know it's plastic pencil and this is an art program. I know it's not real, but knowing it and fully accepting it. Or slightly two different things. And look, I'll give you another example. Looks supposing I come down to the watercolor brushes and I have a wet glaze. Let's change the color so I have a bit more vibrant colored paint with. Now watch me do the same thing, but we're using traditional media on watercolor paper. With a watercolor brush. You can see I can apply the water as little or as much as I like. And with more experience, the more you know how to put down. Then I put some paint onto my brush. One of my brush stroke the paint splotches out in ways that I would expect it to do. But also, I can see exactly where my brush head is. I can see the individual hairs as they lie on the canvas. I can control things very easily. Now, compare it with something like this. I have a watercolor price selected. I have my Apple Pencil with my tiny little tip there, plastic tip. And if I make a brush stroke with this, do you see the size of this brush stroke on making with this tiny little tip? It's a very different experience. Now there are programs like rebel on a Mac or PC, which emulates what happens with the real-world watercolors on you're watching a bit of that now. And I'm pretty sure in time we'll see something similar with procreate. You can find this effect with the accelerometer of an iPad. So you can tilt the device and have the paint and running the direction you tilt it. You will have a killer app. Maybe the M1 chips in the latest iPads can give us that kind of processing power. But especially if you're painting from 1 of view, you only ever draw on Procreate. You never paint that watercolor brush I've just used isn't actually watercolor. And also, this is not paint. This is just a hard pencil brush stroke. I made them look, let's make a very different color. And I laid down next to this. This is supposed to be watercolor, but that blue isn't automatically bleeding into that red the way a real-world watercolor does. I think that this experience of each nearly painting, but not quite, is something that puts some people off that and not being able to control the media. And the way you've learned how to do with watercolors, for example. Yeah, that can be very frustrating. But by learning new techniques and workflows, you can very effectively emulate natural media like watercolors or oils or pencils and do things with those new techniques that you would find very hard or impossible to do using traditional media. So the first thing to accept that you are not drawing with a graphite pencil or painting with a brush. We've already said that once you accept that you are putting down clumps of pixels which aim to look like a pencil or child call, or oils or whatever. You open yourself up to the many things that digital art can do that traditional media accounts, before too long, you will find yourself, for example, wishing that I made a mistake, I will double-tap to get rid of that. When you're doing some traditional touring. And even just a handful of techniques I'm about to show you now, you'll really wish you could do that with traditional art. This is the main thing I want you to take from this lesson. Procreate is not pigments and paint it pixels with possibilities. Now the main tool you use, this is an Apple pencil. There are other ones on the market. The Apple pencil is probably the best. I know it's expensive, but it is the best because it has pressure sensitivity. Also, it has tilt sensitivity. Can you see how I angle my brush? You get a much broader brushstroke as well as precious sensitivity. You have tilt sensitivity. It also has something called palm rejection, which means when you rest your hand on your iPad, it realizes it's the palm of your hand or not, the typical finger or your pencil. And so it doesn't make a mark where I'm rubbing now, the Apple pencil is designed by Apple to do just that. Other pens tend to have slightly mixed results. Now one thing to say is this tip. You can unscrew it and put another tip on. You can buy the tips very cheaply. The other thing to say, this is plastic. This bit I draw on his toughened glass. This cannot scratch that, that will wear out this. But then you just replace the tip on your golden on incidentally, I put this sheath on the side just to keep my hands a little bit protected and to stop them from getting bruised from a handling this hard plastic for a lot of hours. The one I've used means that you can actually clip it onto the side of the iPad and it will charge some of the others. I've seen Cindy how this large bulbous end, and I don't see how you can charge without taking the thing off. And I don't really see the point of that. Alright, let's make a few marks. I will come to my layers panel, come to my sketch layer, and I will clear it. So let's start off with the most simple thing, the pencil. First thing is, if I make it a little bit smaller, stay sharp. It doesn't go blunt. You don't need one of these, a pencil sharpener. You can adjust the size of it like this. And you can't erase it like this just by double tapping. We already know this. But there are certain things you can do with this. Supposing I take it up to its maximum amount and I'm going to try doing that thing. Which if you've trained with using a pencil or if you've practiced that thing where you start off making hard strokes and then you make gradually finer and finer strokes like this. Really close together. You get a smooth shaded transition from dark to light. As you can see with that, it wasn't so good. But look, you can turn the pencil, it's slide like that so you get smoother transition. But it relies on you varying the pressure from your pencil. That takes quite a bit of time, quite a bit of practice. And as you can see that I didn't do a particularly good job of it. The good news is you have the smudging tool so you can smooth this out a little bit more. But let's take another look at this. This is the peppermint sketch or from the sketching tools, Procreate, design it to look, act and feel like a pencil. You can see that's done a pretty good job. I have to say. But what about if we push the boundaries? Because if you come to the Brush Library and you tap on any brush that is currently selected because it's in blue, you come to the brush studio and you have a number, well, loads of different ways to alter your brush. Later on in the course, I aim to give you the most comprehensive guide to the brush studio that's ever been done. But for now I just want to come down to this tab, the Properties tab, because you can see the maximum size is set at 10%. That makes sense. Procreate. Want you to think of this as being like a pencil because they know at least at the beginning, you want something that feels like traditional media. But let's break the rules. Let's take the maximum size, which is 10%, and gives me that thicker line. And I'll crank it right the way up to maximum where I get a really thick line, I will tap on Done. That's one thing I'm going to do as well as I'm going to take the brush opacity and I'm going to take it down to around about, Let's take it around, it's about 40%. Now, I'll do the same thing may my brush strokes. And you can see because I've lowered my opacity, the brush stroke is going down in a much more subtle and controlled manner. Don't get me wrong. I'm also varying the amount of pressure I place on putting a lot of pressure here now, less pressure as I go towards the right. But on combining that with the brush opacity, which you can't do with a real-world pencil. Now we're getting a much, much smoother transition. Compare that with that. Compare that with that. If I decide, well, no, I want a little bit more beef in the darker and I can just up the opacity like this. Maybe lower the opacity some more. The transition there like that. I'm getting the kind of brush transition just by tweaking a few controls that would take me years to master using a traditional pencil on some paper, but it doesn't stop there. The smudge tool, will you use your big thick finger to smooth out the edges of the brush to get that kind of effect on somebody like this. Well, yes, I can do that. I can smudge it. The disadvantage with a smudge tool is that, well, it's smudges on so you end up with a smooth area, but it all turns to blob out and you don't get very hard edges. But if you come to the erase tool, I can make that a little bit small so I get a harder edge and look at that, how hard nobody wants. I can apply my marks and erase them. The important thing to say about the eraser is this. Take a look at the picture I'm drawing now. It is a sensitive self portrait which I plan to put on Tinder because I'm not having much luck there. I'm nearly finished and I just wanted to put my ear and I'm being careful and I made a bit of a mistake, but not to worry, I have my eraser with me. If I take my eraser and start to rub out the area, this does two things. One, it nearly makes them mark invisible, but we all know with an eraser, trying to get something to completely disappear is pretty much impossible. The other thing is doing is damaging the surface of my paper so that when I have to put down my next pencil mark, it's going down on a rough surface or different surface to the rest of the paper and supposing, I made the same mistake again, so I've got to erase the thing again. This damages the paper even more. So I can keep on going and keep on going until eventually, I can make the paper pretty much useless, which can be just a little bit frustrating at times. And so coming back to procreate, the eraser tool doesn't work like that. Look, if I come here and I make this bigger, I'll erase a little bit more. Once it's gone, it's gone. The surface of this paper is not damaged in the slightest. And that stroke I've raised as gone completely. But there's more to it than that looked at the moment I'm using a simple soft edge brush, supposing I use something like a much more textured brush like this. And let's check the size of its LRA, something now. Do you see that instead of just a straight arrays, I'm getting a textured arrays. That is something you do not get in the real world. If I lower the opacity, I can build up that texture. Little, Bye little. It's not just the eraser that does that look. I used the smudging tool, just a smudge things around and pretty smooth kind of way. But if I come to the Smudge Tool and let's choose say dove like UA sounds nicer. Let's see what this does. Let's up the strength of it. Well, let's play around with the strength of it. Can you see how I'm starting to get a look at that? Instead of a straight smudge where you use smooth everything out, I'm starting to get a texture in the areas which I'm smudging. That is something that you would navigate by using your finger on a pencil drawing. So the point of this lesson is these are all designed to emulate natural media. But once you accept, they can do so much more than that. You start to realize that you've got your pencil tool. You might be forgiven for thinking 20 minutes ago that you make your marks with the brush tool. You smear them around using the Smudge Tool and you get rid of your mistakes. Using the eraser tool. If you want to do a large area where you wouldn't use a pencil, you'd use a paintbrush, for example. But just by altering the parameters of the pattern when sketches, I'm able to create these rarely smooth transitions very quickly, very easily by writing the controls here as well. Create the kind of soft tones and gradations that could take me years to do using a standard pencil. Then you accept that the smudge tool, is it creative tool in his own right? It's not just for smoothing out what the brushes done. You can create all manner of really great effects with this. And so it deserves to be seen as a creative tool in its own right. With the eraser, it is no longer just there to get rid of your mistakes. It too is a creative tool in its own right. And by combining these three creative tools, rather than just relying on one, There's a whole world of possibilities. Now this entire lesson was done in monotone. I didn't use any colors apart from the brief Watercolor Demonstration. So combine this with colors and just imagine the possibilities. So after my little mishap with the pencil sketch I was doing for my online dating profile. I thought I'd try a different approach. And I gave my hopefully partner to be a flower. The flower here looking at right now. And they said, oh, it's lovely, Thank you very much. And then they realized it was a plastic flower and that was an instant fail. Uh, my question to you is, why, why would a plastic flower be any worse than an actual real flower? And I thought about it for a while. And what I've come up with is this. Number one, a real flower grows organically. It grows in a natural way with water and sunlight. It blossoms and to its full glory, and eventually it dies. It is a natural thing. It grows organically on the fact that it's a living thing. And one day I will die, makes it all the more precious than a plastic flower, which will never die for the next 20 thousand years. And the other thing about it is the organic flour is the real deal. The plastic flower is just a replica. Now, why am I telling you all this? That's because what you can say about the plastic flower, you can also say about any paint program, including Procreate any digital paint program aims to emulate what you can do with natural media. And if you have the mentality of the best it can hope to be as a perfect replica than that limits the power of the software. The other reason, making a real flower, I'm making a plastic flower are two different processes. There are two very different journeys to get to something which ideally appears to be identical with a digital paint program. Sometimes the journey towards unnatural looking painting is quite different to get to the same end, but using traditional media is one of the turn offs for people coming to digital painting programs like Procreate. But the whole point of this video was to try and convince you to let go of the idea that it has to work like traditional media or it's not as good on the more you can let go of that I did and embrace all of the possibilities of digital media. And I've shown you just a tip of the iceberg here. The more the endless possibilities of digital media can open up for you. Alright, I think it's time to move on to the next video, and I will see you there. 14. Introduction to Layers: Hello and welcome to this video. I thought I'd used the thing I drew just at the end of the previous video to talk to you about layers which are pretty much vital if you want to do affected modern digital art. This file is available for you as a download, but I did reduce the size of it because I don't know how much RAM you've got on your iPad and the smaller file size, the more layers you can have. And also, I didn't want to give you a file which doesn't load onto your system so you can't follow alone. All right, so this little icon up here at the top right, that is our Layers icon. And if we tap on it, they are the layers that I use to create this picture. You can see I've done various things with these layers, and I've also made one or two little mistakes. But let's go through some of these things. At the moment my paint, the 0 to layer is selected. I know that because it's highlighted in blue. If I come to the plus sign at the top right, I'll tap on it and I create a new layer called layer 13. And if you notice, it's created directly above the previous active layer which was paying 02. So if I come to layer 13, I will just smoke any paint brush at random and a nice bright color. And let's make a mark like this. I've just scribbled a whole load of yellow all over layer 13. Now let's show you a few things that make traditional artists say, Oh, that's not fair. Because if I come to my transform tool, I can move this around alternative snapping so I don't get a whole load of snapping lines, but do you see that I can move anything that's on that layer around and all the other layers aren't affected. This is really, really useful. What's more, as soon as I selected the transform icon, I get these icons at the bottom. I will go into those mortar later date. But for now look, you can resize it, resizing and proportion. But if I come to free form, I can resize outer proportion. If I come to distort, I can say the corners, do stuff like this. And if I come to warp, I can get her really freaky with us. This is stuff which we will cover in a later video. But for now, I just wanted to show you the point that the layers are really useful because you can do that. If I decide that my new layer with a yellow one isn't quite adding something to my picture as a whole. I can all see what it looks like without it by coming to the little checkbox on the right-hand side of the layer. And when I tap it, the layer becomes invisible. And if I tap on that again, they're there, it becomes visible. Now I'm just wondering, for some systems they have this unfortunate thing where even if the layer is invisible, you can still draw on it. Can I do it with Procreate? Good. The currently selected layer is hidden. Would you like to open layers? Okay, yeah, Let's open layers. And you can see I didn't make an extra mark in order to do that, I would have to turn it on that is useful, that will save you from one or two unfortunate accidents. Because I think the number one thing about layers for all the advantages that you get is that I've got loads of layers where you end up drawing on the wrong layer. And that can lead to all kinds of problems down the line. And that is one of a couple of reasons why I'm going to give you the most boring, but number one bit of advice, I think I've said it before, but I'll say it again because we're talking about layers of the most important thing you can do with a layer is to name it. And you can see down the bottom, I've done that look versus the flower. I turn it on and off and I know what it is. The stem that, you know what? Let's make that invisible. Xiaowei, the stamp has its own layer and I can turn that on or off the leaves. If I just move over to the side for a bit, the leaves are visible and invisible. That's the advantage of name the layers because I can go straight to the layers and read off, okay, that's the flower, that's the standard, those little leaves. Now in the case of the flower, well, you can see every leg gets its own thumbnail of all the active pixels. And I can see what the flower is because it's the bright red shape. But what about the stem? I might not be so sure about that. The leaves. Yeah, I can probably guess what that is just from the thumbnail. But what about 13 or what about Luftwaffe or what are they doing? And I'll look at that. I've got to lift 13th. Arrival of them doing? No. All right. Well, let's come in close and take a look at the jeweler pad. If I come to later 13 and turn it on and off, you can see hopefully that I'm getting a little bit more light and dark shading on the Chula from there. 13. Okay, great. What about layer 12? Okay, that's giving me some extra details. Just this part here where the flower head joins the stem and also the highlighted areas. All right, what about paint 0 to Qazi? What's happened? Let's zoom-out and paint through to it's providing me with some extra detail just to the top of this leaf here. Look if you see there. But that's the point. I've just played the time on a game of hate kids. Let's take an untick all the layers in the great guessing game of where's that bit of detail that I'm supposed to be working on. So really what I wanted to do with this, I want to name these layers. So tap on it, tap again and come to rename. I don't want layer 13. This I will call Overlay details. For this one, what does this do? Rename this to had extra details. It doesn't matter what you name them as long as it makes sense to you. Because in the case of this for head extra details, while I know that the head of the church that has extra details which are put on this layer. And this one here overlay details. It's subtle, but I put this blade into something called overlay layer blend mode. Oh yes, we will be talking about layer blend modes because they are vital. But while I'm here, you notice when I tap on that little letter, I get two things I can do. I can change the layer blend mode and we will talk about that. I can also adjust the opacity. Let's zoom in on this. Again. I come to the head extra details, tap on the letter. You can see I set the opacity to 74% because I thought when it was split up to a 100%, those highlights were a bit too bright. So if that happens to you, you have the options of moving the slider down. You can move it right down to 0. In fact, that is a good working practice. You do details, you're unsure about it, so you fade it right the way down to 0, that you tap on your slider again and you gradually move up. Now, what are you looking at? Are you looking at that little blue dot that's moving around? If you are, you're looking in the wrong place, you need to rest your pen or your finger on the blue dot, which controls how opaque the layer is. And then you look at the bit you're affecting, and you look at the picture and not the dot until you get to the position you want just by rocking backwards and forwards. And I think too about, about that, or maybe about maybe about that. Then I'd take my pencil or my finger off and I look at where I've got 84%, okay, That's a bit more than I had it previously. But the important thing is I used my eyes rather than looking at the number here. What else? Well, look this paint 0 to here. I should really rename that. This is turning out to be a bit of a chore and it's stopping me from doing what I wanted to do, which is be creative because I didn't follow the golden rule and that is name your layers as you go along. It does take you out of the creative zone and into the more logical zone where you don't really want to be. But it saves you having to do what I'm doing now, after a while, you will find if you create a new file, you will know, for example, that you're going to need a sketch layer where you make your initial sketch and you know, you're going to have to need a couple of paint layers. Also, the way I look at it is create a new file, which is a logical thing to do and not very creative. And while you're in that zone, just set up a few extra layers, rename them to the kind of lays that you think you're going to need. The things like color layers, things like a sketch layer, things like swatches. Swatches layer where I keep all my colors that you spend less time doing the same thing in the middle of your project, just on that score will look my swatches I made invisible. The nice thing about it is if I keep all my colors on a layer called swatches, supposing I'm zoomed in on this bit. Well, I can see my swatches are right next to the bit on painting so I don't have to zoom out and zoom back in again. But supposing I'm working on this leaf just to the right. Well, the nice thing about it is because I have my swatches on a layer and change that to uniform. I can just drag this across to where I need to be. Come back to my paintbrush, zoom in there, my swatches right next to the thing I wanted to paint. And so it can zoom in and zoom out as much as I want. I'm happy. So one thing to realize, the order of your layer stack now your layer stack, that's all the layers here, all stacked up. The order matters like for example, layer 13. My artistic totals. At the moment, they're sitting on top of everything else just about apart from the sketch and swatches. If I want to move this, I just rest my finger or my pen on it. You can see it raises up a little bit and then I can drag it down. I'll drag it so it's underneath the flower watch what happens. Did you see how the bits that are underneath the flower are now covered up, but you can see them above the stem of the flower. That's because layer 13 with my scribbles is sandwiched in-between my flower layer and my standard layer. If I pick it up again and I put it right underneath just about everything. Snouts underneath my stem, it's underneath my leaves layer. You can see what's happening in the layer stack is also what's happening on my canvas. It's likely a series of sheets of transparent glass, one on top of the other, and then choosing which sheet of glass you want to paint on. Do you know what I want to get rid of this layer 13th? This starts to annoy me. To do that. I will slide to the left and I get three options are yet lock, duplicate, or delete. Well, if I tap on lock. That means that layer is locked. And if I want to paint on it, tough, I can't do it. I get lots less selection. It's letting me know that I can't do anything on that layer. That is very useful because sometimes you want to make sure that you don't accidentally paint on a layer where you spent a lot of time doing a lot of good work to unlock it, swipe again and come to unlock. Then he brought a choice you can either duplicated, in which case I have two annoying layers, or I can delete them by pressing the red button. I have a slide back to the right because I have the top layer 13th selected. If I come to the one underneath and I swipe to the right, you can see I have my main layer and then I have another layer selected. And so they're both selected. So now I can move them both together, bringing them up to the top here. Or I will delete the one and then I will delete the other. You know what? I will touch won't do that and tap to undo that because I've got my two layers selected again, there is a gesture you can do, which can combine the two of them together where you come in and pinch together like that. And it actually worked. Sorry, I was expecting that to get completely messed up. It didn't normally you have to pinch it, pinch impinging. It doesn't seem to work and it's one of those gestures That's great when it works, but it rarely does for me. Instead, I'm going to press undo for that because what I wanted to do was say look, instead of having to pinch, there was an easier way. That's where you tap. And you get these options here, which we've looked at before. You come to merged down. That takes the layer above and combines it with the layer below into one layer. There'll be plenty of times where you want to do that. And now finally, can I just get rid of that layer? Now how my various layers here, which are all going to make the flower. I would like to group them together so I can move them and do things to them as a unit rather than a whole load of individual layers. That's the leaf top, that's the topmost layer which is part of this image, the actual flower rather than the background or the swatches. But I can just come down like this and swipe, swipe, swipe, swipe like this. When you have more than one layer selected just in the top right, you get this group. And if I tap on it, those layers are now all in a group. And I can close that group by coming to this little arrow just to the right of the name new group. Here's a good idea of what did I name that layer. Now, I can take everything and press my little tick mark on the side, and everything becomes invisible, light fat. Also with the group selected, I can move the flower around, o like that. I can move things around and transform it and rotate it as a unit. Let's undo that. If I tap on again, I can flatten this, which takes all those individual layers and combines them into one. And you can see I've got it all in one layer. I do not want to do that because then I lose all the flexibility that I've got by having things in different layers. Just to give you another quick example, let's take a look at the flower left. Here's just a little something just to TJ when we talk about adjustments, if I come to hue saturation, brightness and all operate on the layer, I can change this to what, whatever color I want. I can make it less saturated or more saturated because it wasn't saturated enough in the first place. I can adjust the brightness. That's just want of the layer adjustments that you get. The curse that flower is on a separate layer. It only worked on that layer. So I can take different parts on my picture and work on them in separate ways. I think this video is now long enough. I will do another video where I talk in some more detail about the individual things you can do using layers. And let's talk a little bit more about these options on the side. So I will see you there. 15. More About Layers: Let's pick up where we left off in the previous video. Now one thing I didn't mention about this, which I think I should mention is that layers are actually very useful for helping you with your creativity. Because look, I don't know if this has happened to you. You're doing a drawing and you're thinking this is looking really, really good. And then maybe you want to try out something new but you get a little bit, no, it's because you don't want to risk spoiling what you've already done. Well, if that's the case, then this is what you do. Come down to say the flower hat, that's where I did most of my work. And I will swipe to the left and duplicate that layer. Now I've got two layers. These layers above which are linked to this top layer. Explain what that is in just a minute. But I will take this flower layer and I'll put it on top of my chiller group. And now I have two copies, one above and one inside. And so now I can zoom in on this. I can come to my paintbrush, whichever paint brush I want, I can choose a color from here. And because I have my new layer selected, I can make whatever marks I bought on it. I can be an experimental as I like, because if I mess up, which I think I might be doing right now, I have my other layer there as backup. This turns a light into what is it useful tool into a creative tool. Now I'm not scared about what I do to this layer. And I can take risks and I can experiment. Because if it doesn't work, if I make it invisible, I have my original layer just sitting there. Quite often when I'm working, I may end up with say, two or three different versions of the same layer which I've worked up. And then I get to a certain point and I think, well, you know what, I like, what I've got now. So then I go back in and I delete the layers underneath. Just one thing, if you do this though, if you're working on the top layer, make the bottom layer invisible because I don't know if you can see this look, I'll zoom arrived at close and personal on these pixels just on the edge, what I make the bottom layer invisible, you can see there's just a few pixels on the age which starts off completely opaque and then go through to completely transparent. And when you have two layers which are the same, sitting on top of each other, that edge tends to get a little bit stronger, a little bit bolder. So you're not getting quite the information that you need to make accurate decisions. Make the layer underneath invisible. Close up that group. And I'll concentrate upon this flower now. In fact, I'll make all the children invisible, because if you take a look at the little thumbnail, you'll notice it has kind of a gray checkerboard pattern. What that is telling me is that this layer is Alpha Lock. Alpha lock means that all the pixels which are transparent a lot, you can't draw on them. You can only draw while this already pixels. Or what this means is if I come to my paintbrush and I choose a nice bright color. All right, now you go see how I'm drawing along the edge. And it's suddenly fades away. All right, Well, I'll turn alpha lock off and do the same thing again. Now you can see I go beyond the H. This is rarely, rarely useful because wrong problem you often have is he wants to do some shading in one area, but not in the areas which are close by, especially if you're using something like a big brush. Look if I come and I choose DC soft pastel layer and let's turn this. It's kind of a green color. No, That's choose a slightly more realistic color. And supposing I wanted to darken the bottom edge of that flower. You can see my problem. I want a soft edge there, but it's not really working. So tap to undo, open up my layers, turn on Alpha Lock. Now. You can see I can quite happily trace along that bottom edge. We might brush and add darker tones, but it's not affecting anything which has transparent pixels. That is incredibly useful. All right, Let's tap, tap, tap, tap, tap, tap, tap quite a few times to get rid of that. Let's get rid of that layer. I don't think I needed anymore. All know what happened? I lost my flower head. I'm showing you this because I'm sure at some point you will do the same thing. Not to worry. Remember we made the flower layer invisible and there it is. Now supposing I wanted to combine multiple layers together. Well, I can do that. Take for example, the flower. I have these extra layers on top. Maybe I want to combine it with a stem so I can choose any of the layers. Multiple swipe to select them. And do you remember in the previous videos moaning about how you can pinch two layers together, but it never seems to work because it's rarely cramped. What would this? It's the same thing. I can select multiple layers and pinch together and they all merge into one layer. Now I want to undo that because I didn't mean to do it. I just wanted to show you. But the problem with tapping with your fingers is to do that. Look, if I tap and then I tap again and after a lie. On the little message I get a top on my interface that makes me a little bit insecure, so I will just do it again. Then I'll undo it. But this time I will come to the undo button on the left side of my interface, just underneath my opacity slider. This is the one time I'll actually use the Undo icon rather than just double tapping because it means I can see what I'm doing in my layer stack. And that makes me feel a little bit less insecure, but supposing I wanted everything in, so I might choose a group to be all on one layer so I can do some thing else with it. Well, I can just swipe across in duplicate, but I don't know if I've got enough memory to duplicate that group with all those different lists, how many 1234567 layers inside? Well, the way to check that is pretty straightforward. If I come to my wrench icon and you can say, I'm on Canvas, watch what happens at the top of the screen while I tap on Crop and Resize 117 layers available, it dissipates quickly. But because I'm watching it, that lets me know I've got loads of layers that I can do. So great, this is good. I can do what I wanted to show you. So I'll just come to cancel for that tulip. I can duplicate it. Now. I have two groups. If I tap while it could rename it, but all I'm going to do is just come to flatten that takes everything which is inside my grip and smacks it all down on one layer, I'll just get rid of Alpha Lock. So now I have a tool that sit right on top of a tulip and you can barely see anything. But just while we're here, I'm just going to give you a quick freebie. If I come to adjustments and come to goals in an occasion or Gaussian or however they want to call it. And then I take my finger and I drag a little the top of the screen. Can you see how that top layer is getting blurry? I can completely blur it out like this, which is not much use to antibody. Or I can make it a little bit fuzzy around the edges, maybe about there. Then tap anywhere to commit to that. So now I have a blurry layer. Sitting on top of microbe. There's an invisible everything sharp, blurry. Great. What's the good of that you might be asking? Well, look, do you remember me saying in the previous video, if I tap on that little enzyme, I can alter the opacity of this, but I can also change the layer blend mode. And if I do, can you see how I'm getting all kinds of rather interesting effects? What about overlay, for example? I'm suddenly getting a very soft focus effect. If you look at the flower off. That's because the layer blend modes look at everything underneath them. And if you change the layer blend mode, you get a different look to your picture at all loads. Yeah, we were talking about this later on, I promise. And they're not nearly as complicated as everybody thinks they are, but I'll go with overlay for the moment. I can adjust the opacity. And when you're doing something like this, I suggest you do this, take the opacity down to 0, like we discussed, then gradually dial in the amount of effect you want. If you decide that that is too saturated, for example, because that's something that can happen. Again, I can come to my effects and outcome to Hue Saturation Brightness again, and I want to affect the entire layer. I can also have saturated the look is. I can alter how bright or dark the effectors. I can also adjust the underlying color to whatever I want. This is giving a huge amount of flexibility. That's just a quick artistic effect which I wanted to just throw in there. Just to keep you interested, I will swipe to the left and delete that layer. All right, now there's just a couple of other things I do want to talk about here. Do you notice, for example, with a flower, I have these layers on top which have this little arrow pointing down. That's because those layers are clipped to this flower layer. It's a bit like alpha lock. But looking at, if I show you, I'll create a layer just on top. You can see it automatically gets cleared because there's clip layers above. The command for it is clipping mask. If I turn it off, it looks like I've got a couple of marks there, which I did my mistake, but I come to soft pastel II. Again. Let's choose a color from here. Make it nice and big. Make it not very opaque. And I can just scribble all over this flower area like this. And can you see I've got a cloud or green there. That was layer 14, which I should have renamed, shouldn't. But if I come to Clipping Mask, you notice that now the green areas only appear whether already pixels in the flower layer underneath. It doesn't matter if alpha lock is turned on or not. The clipping layer will recognize the layer it's clipped to, which is the flower layer. And you'll only see the pixels of layer 14 where the flower layer has pixels. Now you might notice with that when I turn this off, I turn off all the other layers above because some of these were also clipped to the flower layer. And that's an important thing. You can stack clipping layers. So you can have multiple clipping layers sitting on top of one layer that can be very useful. Now can I change the layer order and not disrupt all those clipping? Let's take it to the top. Yes, I can I can change the layer order and these are stole clipped to it. But if I turn off clipping, you can see those green blotchy bits which I put down are still there. They're just been temporarily hidden because of the clipping mask. If I come here, I can move this texture around. So I get to the little bit of green just on the end, or a little green just on the other end. Maybe this is not such good example because it doesn't really fit with the overall look of it. But again, I can come to the layers and I can change that to multiply. Now, if I'm we felt layer around. You can see I can move this around to wherever I want to get the effect I want. And that's one of the big advantages of clipping layers. Let's get rid of that definitely needed. There's just a few more things I wanted to talk about. Not least, what happens when you tap on the thumbnail. Now we've already seen some of these. We've seen rename plus things like alpha lock or what have you. Let's go through them and skip the ones we've already done, rename yet, you've already done that. If I tap on Select, you can see everything on the layer which already has pixels get selected. Then you can do various selection things on it like distorted using freehand automatical rectangle. Once you've done that, then the most obvious uses to come to our Transform tab, where I can transform this in various different ways. We've already seen that, so we don't need to see it again. If I tap on come to copy. This is a bit of an obscure one at the moment. Well, nothing's really happened. But if I come to my wrench tap, the first icon along is add. If I come to paste, tap on that and sure enough I have a new layer which is currently clipped to the one-on-one. It's called inserted image, but that's the copied layer. If I wanted to fill the layer, well, it's up on it. Everything gets completely filled with my current color, which you can see is that greenhouse using just a few minutes ago. Let's undo that, shall we? But there is one thing about this Look supposing I select so that everything is selected and then I come to Fill layer. Only that particular bit which is selected gets filled. That can be useful at some point. Let's undo that and come on, let's get rid of our selections. Clip. Pretty obvious, gets rid of everything on the particular layout. And let's undo that alpha lot we already discussed and makes all the transparent pixels locked so you can't draw on them. Mask is something I will talk about later on when we talk about layer masks are very useful, very powerful, and sometimes very confusing for people. So I don't want to go into this too much. That basically it allows you to define which bits of your layers are transparent, in which bits aren't. By painting in black or white on this thing called a layer mask. I don't want to get into that right now. Clipping mask, we already discussed that these are clipping mask Invert inverts audio colors. They tend to become the complimentary colors of what they already were. Let's do that again to invert the back reference. A reference layer is something that will be affected by the drawing guide. We will talk about that later. Merged down we already discussed combine down will look, I will take my left 15 and I will just make a random drug on. There you go. Let's make it a bit brighter. So hopefully you can see a bit more clearly what I'm doing. If I come to combine down, Look, I've got left 15 plus inserted image. Now I have left 15 plus inserted image in a new group. It takes the layer you've got selected and combines it with a layer directly underneath and sticks them both inside the group. Now I don't really want either of these two, so I will delete that. Similarly with a tulip. Look, if I take my sketch and I drag that underneath. Come on. I'm shy. You want to that can sometimes happen. Sometimes you don't dry quite right. And then you get something like this where instead of just being underneath my layers, it suddenly got itself. It's not a new group and a new group, I do not want that. So the Undo icon all of a sudden gets useful again. And I can, undo was brilliant things that I did. Let's make that visible so you can see what I'm doing. Dragon underneath, come on down and note that there you go. How hard is that? Similarly with a group called Charlotte, I can combine that down. What that means is whatever layers directly underneath the group will get stuck inside the group. Anyway, I don't really need that. Because really my sketch layer should be above the many things I'm drawing. I can always see my sketch layer while I'm doing the underlying painting, I can always fade it out so we can barely see it. That way. I know where I was supposed to be painting based off my sketch. And then when I don't need it anymore, I turn it off. Want very final thing. Supposing I really liked my Chu lip, so I will duplicate it. I will flatten it. And then I'm gonna say this was called the leaves. Let's rename this to true lip too. Then if I take it, I drag the whole layer over to where it says gallery and just hover that for a second. Come on. I plunk it down in my gallery. I now have a new file, which is made of just the layer that I dragged into the gallery. From there, I can change the color for the background and carry on working and doing whatever I want. Okay, that is layers, little bit of technical information in there somewhere, but hopefully you can see just why layers are so useful. All right, let's move on. 16. Introduction to Colors: Okay, well, we need to talk about color because color is quite important when you're doing artwork. This picture is called half lane country 01. It's a JPEG and this is available for you to download. You don't really need this, but I'm just using it as a reference so that we can talk about color. The reason it's called half-lit country 01 is take a look at that little cluster of houses just on the near horizon. And I think you can actually see the rooftop of the house where I was born and raised. But what I didn't know is that about 1.5 miles away from here, they used to be an old hole, and that was where Tolkien stayed when he was recovering from the trenches in the First World War. And he used to take long walks through this countryside. And it said that this is where he got the inspiration for the countryside in the Hobbit and The Lord of the Rings. And also, it turns out he based their character of the hobbits, all the local people he met while he was staying here. Where this is all leading to is that if ever you've imagined what Lord of the Rings countryside might look like. It might look quite a bit like this. And I'm a hobbit, which being a complete nerd I'm actually quite pleased about, although I should do something to try and stop microbes because I'm a bit tall for it. Anyway, let's move on. I've run this picture through Photoshop and then Nick collection, and I've changed the colors around to get more the kind of colors that people tend to use in paintings that will become relevant later. But if we want to look at color, we need to come to the top right corner and there's a little circle with a color in it. If I tap on that, we have five different panels here to play around with color. We have the disk, then you have the classic Harmony Value and pallets. We will look at all of these. I will start off with a desk because first of all, I want to define the word color so that we're talking the same language. And I realize there will be people watching this for whom English is not their first language. So let's define it. Color is made up of three different things. The hue value, saturation. Now for the hue, well, if you come to this ring around the outside of the circle, if I drag around with my pen or my finger. That rainbow around the outside of the circle. Those are your basic hues, your yellows or your oranges, or your reds or your greens. This is your basic color regardless of how light or dark it is or how intensities. It's just green or orange, not dark green or favorite orange. But the hue can be altered in two ways. And that will be the saturation and the value. Okay, so the next up we'll talk about the saturation. You'll often hear people talking about the intensity or sometimes the purity or vividness of a hue, a very bright orange or an intense purple. That's all to do with how much gray is added to the base huge. Now at the moment, if I come to here, this is the base hue and it's very, very intense. You can't get more intense than that. But if I was to start to move a little bit more, in fact, what I will do is I'll switch to the classic view because I think it's a bit clearer ride up in the top-right corner. This is your basic Q. And As you can see, it's very intense, but if I start to move it more towards the left side of that big color swatch. You can see the color is getting less and less intense and more and more great. Let's create a new layer. And let's get a pan and put this down. That's a very bright hue. But as you make it less and less intense, it starts to get more and more gray until eventually you will end up with hardly any color at all to no color at all. On the left, we've got fully intense, getting less and less saturated until we get to great. Next up, we have the value. Well, let's come back to our most intense color that's there. But now instead of going to the left, I'm going to come down and you can see that I start to get darker and darker values. That's how light or dark. The base few years until eventually you get to, well, you get almost black and then completely black. If I want a lighter version of that green. Well, our chancellor going to have to come along the top bar like this and get a lighter version. And a lighter version. Very pale tint. Until we get to white. Those are your basic components, your hue, which is fully saturated than the saturated. If you move to the left and darker if you move down. Now I will go through each of these different tabs and I'll explain what they do and how to use them. Before I do though, I just want to make a couple of points because working with color in the digital realm of case there for this, I will come and I will clear out so I can go back to what we're talking about. Okay, So I have various different colors here. I have what, yellows, greens, little bit of blue in there. If the first thing is, well, supposing I want to match a color from there. Let's take, for example, the green in those fields in the background is green or is it yellow or not sure? One of the easiest things to do when you have a photograph is just to put your finger on the area and just hold until you get the color you're looking for. And when you drag around, you can see you get two hards of a circle. The bottom half of that circle is showing you the color you already have selected. That's the dark green I drew with. And if I move around and you see this flickering set of colors, that is the color you're going to pick up the minute you let go with your finger, just in case you don't have this, let's come to wrench panel and he came to preferences. And then you come down to gesture controls. And the one you want from these various different things down the side is eyedropper or make sure you have this one selected at the bottom, touch and hold. Which says here, holding your finger on the Canvas will invoke the eyedropper. This is an incredibly useful thing to do and save you so much time. Now you can see I've got my new color there. And so we could use that to paint with buzzer posing. I don't have this picture here supposing I'm drawing from real life, supposing I'm drawing via another computer or another tablet or whatever. Suppose you don't have that picture and I want to match just the shadow of those trees. In fact, let's make them a bit bigger in the picture so I can see what I'm doing. What I would do is, well, personally I'd used the classic because that's what I'm used to because with a disk, you get the rainbow around the outside. With a classic, you get the rainbow all laid out in a line along the bottom. And then you have the saturation and then you have the dots of light. So RB tempted to work in this, but we'll start off with a disc. Alright, so those are trees. Trees are green, so I will come some greens and they're quite dark. Let's try that. Let's make a test. No, that's not it. So what is it that's looking a little bit too bright, so let's make it less brought less bright. I'm getting closer, but I can tell you from now, undoing a couple of things wrong. The first is I've gone down with a dose of assumption. Itis, I said, Well trees, What color are trees? Oak trees are green. So I look into green. We're looking at this and we'll actually, they are in shadow. You tend to find a lot of blue in shadows. So I'm looking in the wrong whew, I think it's gonna be somewhere around here. I think. Let's come over to our blue tones. So I think it's gonna be something a little bit more around there, but it is darker, definitely less saturated. Let's try that. Okay. I just put down some color there. I don't know if you can see it, but that color is much closer to the kind of colors I'm seeing in the shadow of the trees because it's blue, it's not green. Assumption itis, in case I haven't mentioned it before. That is the process of assuming something is a certain way, but it actually isn't. And when people create realistic art assumption, itis is probably a number one enemy. But anyway, look with this, I think with this maybe it could do as being still a little bit more towards green but still blue. Yeah, that's starting to get pretty close. Now let's take a look at the color we've got. And I wanted to make it a little bit more clear outcome to classic. Do you remember when I first started out, I used a color like that. It was way too saturated and it was a bit too light. Wasn't until I got these kind of colors that I started to get the kind of colors I'm seeing in the shadow of those trees. Do you notice how they're much less saturated? All look, here's the bad news. This picture was doctored. I played around with the colors to get more of the kind of colors that people use when they're actually painting. But actually here's a very similar picture taken at the same time on summer's evening. And the colors are more like Pat and as you can see them much less intense. Let's take a look at this. Let's zoom in a little bit and open up my colors. Let's take a look at that shadowy areas where you can see that for the less saturated areas of the colors aren't going to change much. But if I compare this with my original, take a look at some of these leaves. Very intense colors. Again, very intense colors. And you can tell her intense because the colors on sampling are all appearing in the top right. The top right is where you find all the saturated colors. Now let's compare that with a more realistic photo. And welcome to what similar set. Let's try some down around here. Can you see how things are getting much less saturated? And if I come to say some of these greens up here, still saturated, but they're darker than this very bright yellow and green, which is at the top. And that's the point I'm making. If you're doing realistic paintings, procreate, or any digital art program gives you access to, well, if it started RGB around about 16.8 million colors, that amount is likely to go up. And because we all suffer from assumption itis or why we say things like all trees are green. A natural tendency is to come to the greens and choose a color around here, which is, well, it's a green color. And then we draw with it. We wonder why it just looks completely saturated and unreal. Here's a rule of thumb for you. If you are trying to create realistic paintings, I'm gonna draw a little line around about three quarters to the right on the classic palettes. These are the kind of colors you want to be using inside your picture. More than that. These are the maximum intensity or saturation colors you want to be using in your painting. If I take a look at this, that is really desaturated, what about the shadow and the trees more towards the foreground? You'd expect that to be more color. Now look at that. That's almost completely Great. Well, it's a very dark gray. What about an area up in the sky? Because originally that was a blue sky. That's almost a dead gray. All right, well look, I'm getting a bit of historical here. Let's take a look at what we would expect to do if we're doing a painting. That sky again is a very desaturated blue. And let's come down to these trees in the foreground, which I assembled a while ago. They're getting more saturated, but that dark. This area here just in the top right of the classic palette, for example, that is a bit of a no-go area. If you want to do realistic paintings. If you're not doing realistic paintings, then great. Use saturated colors. They're bright, vibrant, They're fun. Us economy colors that are very difficult to create using traditional paint because traditional paint does not get this saturated. It may look saturated, but most people who paint with traditional pigments are probably tell you that if they're going for realism, they have to break the colors. That means taking an intense color and adding a little bit, for example, of the complimentary color to dull down the color so they are less saturated. All right, Now here's a tip. You saw me match up the color that I was going for, which was the shadows in those trees. The way you would do that typically is you find the right hue not occur. I'll use the disk because people seem to like it. You find what you think the general hue is, is the green is too blue in this case, I thought it was a blue. I can put down a test mark there. Once you found that, the next thing I want you to do is try and find the value or how dark or light it is. Now for that, I find the classic easier to use. By finding the value. You come down like this. Looking at that, I'm going to squint my eyes a little bit because it helps blur out the background detail of those trees. And so I'm squinting and then all I can see is the blob I've made with the trees in the background kind of blurring into each other. From that I can see maybe that needs to be a little bit darker. So I do that. Now I look at it, that's about the right value. So then I came across, I try and adjust the saturation. So it's a much more not back like this and I've just about got it there. But what I do need to do is come back to my hue and maybe make it just a little bit more towards the green side. No, I think I've gone too far with that. Remember, blue is a naturally dark color. So if I alter it towards a more greeny color, it might start to get a lighter. I'm starting to get pretty close with that. But the ADA you do it is you find the general color that you're going for, then you get the value or the lightness value sorted out before you do anything else. If you're doing it this way where I'm superimposing a color over a photograph, then squint at it to take away the background detail. And only once you've got the value sourced out, then you worry about the saturation and then you refine it. You move the hue around, then you move the value around and you move the saturation around of the three, getting the value, the brightness right, is probably the most important. If you do a picture where the basic hues are very different from real life, but the values are okay, people will accept that. But if you were to do a painting where the basic Q is okay here, the orange or the blue or whatever, but the values are wrong. That's the point where people start to complain. Now the other point I wanted to make before I go on to the next video and talk about the ins and outs of these various different panels. Is that when you do traditional art or in more recent times, you'd look at a photo of a scene and then you get your palette with your colors and your favorite colors because yes, you do get favorite colors and he started mixing it with the paint. And you might, for example, hold up a palette knife with the target color on in front of the scene that you're trying to paint. And you're trying to match up what's on your palette knife with what you see. And the skill is to get a color that you think is close enough to have a QALY you want to use and you apply that to your Canvas. But with this, well, you've just saw me do it. I am able to pick a color from any one. Shall we say, 360 different primary Hughes plus maybe another 100 different shades of dark to light and a 100 different saturation points. And so, while you can mix colors, what we're doing here is drawing the colors directly from a huge fancy color picker. And we can compare it directly with what we see lie right on the photo where we're making our color blobs to test out our colors. When you were doing that in the real world, you get it close enough, you'd be fine if you want to play around with the color, so you use different colors to what you see. That was also fine. But when I'm color matching like this, it is very easy to get completely hung up and thinking, oh, that color is not quite close enough. For example, the second time I did it, this color here, which I'm sampling right now, I'm looking at it. I think he will actually, it's a bit too saturated, so I need to make it a little bit less saturated. And is that going to work? Yeah, that's working better, but is it completely close enough? And I've tried to choose the exact right match-up color from 16.8 million different possibilities. So my advice to you is, give yourself a break. You can either use the eyedropper to pick a few colors which are representative of the colors you see in your picture. Or you can just come to one of the different color palettes and choose your colors that way. But try not to get too hung up on getting the exact right tone because no traditional artist has ever had to try and get the exact right tone from a possible 16.8 million colors. So you shouldn't have to either, when it comes to this, close enough is better than perfect. And also can I just let you know that very few photos show colors as they are in a real-world. A camera doesn't see the world the way the human eye does. And that close enough is good enough. Perfect isn't good enough because perfect is going to make you fret and worry unnecessarily. Besides, you know, unless you go for an exact photo realistic painting, deciding to add more blue in the shadows or warming up some flesh tone sticky with just two examples, is what anyone who's painting does because it lets you interpret the real-world in lots of different unexciting ways. Okay, that is the general talk about colors. In the next video, let's talk about how to actually use these various different panels. 17. The Color Disc: Okay, In the previous video, I gave you the general introduction. Now let's give you some cold hard information. Let's come up to the top right on top, we have five different ways of dealing with color. We have the disk, the classic, the harmony, the value on the palette. Let's look at the disk in this video, the disk gives you a colored ring around the outside, which has all the hues of the rainbow in their purest, most saturated form. If I choose, say a red, There's my basic red. You can see it there in the top right corner. Now you can alter the value or the dark to light by moving that little. Officially it's known as a reticule, but that little disk in the middle, down for darker, up for lighter. Well, you can move up until the left for lighter, down until the right for darker. If you want to desaturate your colors, you move more towards the left. So you can see I'm giving you a very gray color. And the more I move towards the top right, the more saturated the color I get. Up, down for value or dark to light, to the left for less saturated, if I choose, for example, my basic huge, the pretty vivid purple, but I want a bit more space to work with to get more precise control. I can come in and pinch out, so we get a bigger in a circle. That way, I can make more precise moves to get the exact tone and saturation that I want. More desaturated amperage back in again to get the outer circle. There are eight double-tap points around the perimeter of the circle plus one in the middle. For example, if I come close to the top right and double-tap, that gives me the pure color. If you want pure white, if you double-tap in the top left, double-tap in the bottom-left, altering the bottom or the bottom right to get a pure black comes to the far-right for a deeper tone of the primary. That's this purple or basic hue, double-tap on the top for a lighter, less saturated tint. And if you tap to the far left, you get a very neutral gray tap in the middle, and you get a darker, less saturated version of the hue, the mid gray, by the way, that, that can come in very useful when you're doing various different things in digital art. But try and remember those double-tap points because the disc is a nice thing to use. You can see all the colors and it looks bright and colorful. But there will be plenty of times when you want a pure white or mid gray or a pure version of the hue you're working on. Now take a look in the top right of my panel. I hit two little boxes there. The left of these two boxes shows you the current color, that is your act of color, and the ones who the right is the secondary color. You can swap between the two colors by tapping on them. Now if I alter a color in the disk, the left swatch updates. So now I have the new color I've chosen. Or if I just tap on the right swatch, I move around, that will update it if I've just tapped on it. But now, even though I've just adjusted the swatch on the right, if I come back and draw, It's a swatch on the left. Updates on the current color will always be the left color. If I come here and I choose a very intense red, for example, and then I draw with a color I've just defined in the right-hand swatch, but then they swap over. So now that bright red that I just chose has become the new left color. Let me show you that again because it might be a little bit confusing. I'm going to tap on the right. I'm going to choose a light blue. And I've done that by using the right-hand swatch. Now when I come and draw, I've drawn without light blue but against it swaps the two colors over. That can be a bit confusing. Now under the desk, you get the color history. These are list of all the different colors that I've chosen. You may remember from the previous video, I spent a lot of time trying to match up the color awesome trees, which are in shade. And that was those blue colors you can see on the right. But whenever I add a new color or to find a new color like this, for example, what you can see I have blue right on the left there, but if I choose a new color and draw with that, that new color gets added onto the left of my history and everything gets pushed to the right. Eventually these blues will disappear. Logout show you. Yeah, you can see those blue the gradually getting shunted off to the right. This is very useful because you have a record of your most recently used colors. Now, you can clear that if you want by tapping here, but I'm not sure why I'd ever wants to do that unless I'm using dangerous subversive color, light, sap, green, and wonder that you get the default palette, which in my case is oil Hughes reduced. We'll see how to define palettes and change the default palette in just a short while. The disk panel might be the one you started out using the most, because when you first open up the colors, it'll be the first panel you'll see. And also, It's pretty easy to figure out your huge role later on the outside. If ever you want a complimentary color or the opposite color, like suppose you're using red and you want to green if you go around exactly halfway, well, that is the complimentary color, at which point if you know anything about altered complimentary colors, you might have sat up and thought, oh, that's going to be useful because it is, that's how you break colors. Add a bit of the opposite or complementary hue to the hue you ought to use, which makes it less saturated. But there's other ways of seeing all these colors you have to choose from. So next up is going to be by personal go-to for choosing colors. And that is the classic picker. 18. The Color Classic Panel: Okay, So we spoke about the disk. Now, what about the classic? Instead of having a desk with a hues around the outside plus another disk on the inside giving you the values and the saturation, you have a square and instead of having a hue ring around the outside, you have this, you have a slider. It's likely all the colors of the rainbow laid out in a line. And you'll find, you'll have read at that end and you'll also have basically the same red. So it's like someone took this broken in half around the read queue and laid everything out in a line. But also with this low, you can choose your basic Q in the top right, and you can do the dark and lighter values here. Light values up here. And you can do less saturated as you go more towards the left side of the screen that is very similar to the disk, but also as well as having the hue slider. I have a saturation slider underneath. And you can see the saturation being altered. The reticule in the top when I do that. And also you have a value slider, which moves things up and down so you can altered value and saturation independently. It gives a little bit more control. And also the reason I prefer using the classic is simply I have more screen space right up here compared to the disk to choose my colors from. Also, I find it easier to select different values of my local color with this now my loaf would color supposing, for example, I have a ball, which is kind of this rather puke looking. What color is that kind of a darkish yellow. But supposing, I want to choose darker and lighter values for that. Well, with the square, I find that a little bit easier because when you choose darker values, what you'll do is you'll come down like this to choose darker value, but he also made the color a bit less saturated. The reason you do that is in the real-world, if that kind of a deep yellowy color is the color of my ball, if it's getting plenty of light on it, it'll appear to be more saturated because the more light that is, the more saturated the colors appear to be thinking about it on adult day, the colors appear to be less saturated. Don't I know about that with the country I live in. But you saw with that, I made a darker value of this color. But I also made it less saturated. So I get slightly more realistic shadows than if I was just to make it a darker version of my color. When you make it darker, make it less saturated. Also, you can see that's the color I chose. But what people will do is when you have a darker version of your local color of the ball, people tend to make it a bit cooler. Move it more towards the blue bits of the spectrum you saw me do that. Look, I'll do it again. There's my little dot on the hue slider and my blues are to the right until I move a little bit more to the right to cool down that color. If a sudden giant directly on something, you tend to get a warmer highlighted. So let's do that now. Let's choose our local color again. And to create a highlight, I can come up like this, which is making a lighter highlight and maybe make it a little bit more saturated. But also, I will tend to push more towards the warmer colors. Think reddish, orange colors. And he said you just saw me push my hue slider over the left slightly more towards my warmer colors. And if I wanted to make that even brighter, I can make it a little bit more saturated and maybe a little bit warmer. To get lighter highlights there. Welcome a certain point where the lighter colors are still on the left. So you're gonna have to move more towards the left and your color square. Let's get the really bright highlights will look either going to have to do something like this. 19. Harmony Theory: Hello and welcome to this video. This file is called peppers and light. It is available as a download, but you don't really need it. I just like you to follow along with what I'm going to talk about. Because a couple of days ago I recorded a video about the third of the panels in the colors palette, which is the harmony palette. But as I worked through it, I thought actually this needs a little bit more, so I'm re-recording it. What I did was I got some peppers from my fridge and I stuck them on my kitchen table with a sheet of white card underneath plus some wildcard other side. And there were two light sources. There was a photographer's area light where you can control the temperature that was quite close to me, just off to the side, close to my left shoulder. And there was also a window with a blue sky outside that was giving me a little bit more blue light. That was slightly off most of the rear, but again on the left-hand side. And I think I'll results of the classic palettes. And when it comes to this little bar just at the top. And I'm going to drag that either with my pen In my finger because you can detach it and have it floating there. And then I'm going to come to my layers and we're looking at the bottom layer which says neutral white because I had a neutral white sheet of card bouncing light back onto my purpose. Then I took away the white bit of card and there was just the back of my iPad which is black. And look at the difference. Make that invisible again so you can check what happened. With a wildcard. There was a lot of light bouncing onto those peppers. But when I took it away and there was black and a little bit of tablecloth just in the top right-hand corner, everything suddenly got darker because that is the first you need to make when you're talking about color theory, light bounces around, not just direct light from the sun or a light or whatever hitting an object and then you don't see anything behind otherwise, anything in shadow would be completely black and invisible. No light bounces off everything to a lesser or greater extent. And the lighter the thing that's bouncing off, the more light bounces back. In the case of a white piece of paper, then most of the light rays hitting that bounce off it. And I've gone onto the shadow side of the purpose with a black. Well, black absorbs a lot of light, so much less light gets bounced back, and so the shadows are a lot darker. That's the first. Then I took a piece of blue paper and put it where the white paper was. And if you come to neutral blue, do you see that? Do you see how the light and the shadow areas has taken on a slightly blue cast. In fact, what I will do is, let's come to this bit of the pepper around about here. And you can see in my floating classic tab that for color we've got, if I then come to a neutral black layer and I sampled from the same area, you can see instead you get a very dark green. Now what about if I come to this pepper in the background, while with hardly any light bouncing onto it, I get this kind of Meta darkish brown. Now, I'll tap on neutral blue again. And I'll tap in the same area. You can see I get in that particular area a similar value, maybe a little bit lighter, but it's less saturated. What's happening is you're getting the local color of the paper. The local color. That's the color under white light and it's not too bright and it's not too dark. That's the base color of an object like that to yellow pepper. And we have a red pepper and a green pepper and the sky when there's no clouds up there, it's local color is blue and so on and so forth. But what's happening is you've got the local color of the yellow pepper with some blue lights getting bounced back onto it. And it's the combination of the local color plus the blue light bouncing onto it, that gives it a different tone to that. Look, if I come to the same area, I'm getting much more what you would call a yellow color. And I'll tell you what. Let's come to the green pepper and take a color sample from there. You can see I'm getting into some very, well, some very desaturated but bluish undertones. And again, if you compare that with white bouncing onto it, you're getting much more what you would expect to see, which is kind of a desaturated green color. But now, now that we know that light bounces around and throws different colors onto different objects. You're getting a different basic hue. You can start to see why painting that green pepper in various different shades of green isn't going to give you quite the results you wanted. Now what about here? While you used a bit of maroon? And you can just see on the side of the painting That's not me being sloppy with my photography. That is me deliberately showing you what color of the paper is bouncing light back. You can see a definite reddish cast in the shadows of the green pepper and the other pepper. What about neutral, which means Neutral light plus orange. And look at that, you get a very definite orange color cast. The shadow areas of that green, purple. My hue slider is orange, but a very desaturated dark version of it. Compare it with the other side of the paper, which isn't a more neutral lights, you're getting kind of a yellowy green color but mid-tone. Let's compare that with one more sandy, sandy color paper. And again, you're getting a different effect with that. Then you get with the maroon light. All right, now, here's one more. I put a blue piece of paper, but then I talked about photography light, and I warmed up the color. Look what happens now. That warmer light has changed the colors of just about everything. If you compare that warm blue with neutral blue, for example, same piece of paper, but using white light. And back again. Now we're getting some very warm highlights, especially on that red pepper and other green pepper as well, the yellow pepper, well, it's yellow anyway, so it's not that much of a difference. But then you've got this contrast between the warm light plus the warm light bouncing off that cool blue on the right-hand side. Now I've got some very yellowy looking highlights, or very green yellow looking highlights on the green puppet. But then you come to the other side. And it's completely different hue. And incidentally, if I make this pepper large, take a look. There's two different sets of highlights, some lower down and some higher up. That's because I changed the color of the lamp. So we've got a very yellowy light and you're getting very yellow highlights. But the light blue light coming in from the window because there was a blue sky outside as giving me a very different highlights, a much cooler pink IIR type of highlight, because that light blue light coming in is bouncing off the pepper. A lot of the light frequencies are getting absorbed and the red tones are getting bounced back out into your eyes. And that's why you see that red color. But in the case of the highlight, there's so much light bouncing on it. Quite a lot of the different frequencies of light are getting bounced out. And so you get this highlights, which is part of blue light part what's been bounced back from the pepper and you get this kind of pinkish light. And you can see that in my classic palette. Now I remember being taught this kind of thing at our college. This kind of fried our brains a little bit because we were used to just adding black to green to get dark green and white to get a lighter green. I'm wondering why we didn't get very nice results. And in particular, there was one student there who just didn't get it and they were saying, look, I can see that pepper is read, that paper is green wire or they use anything other than red, white, and black to paint it. But at the time, there were no series of photographs like we've got here to compare the various different colors of light plus colors of paper bouncing light back. You can see a direct comparison and you couldn't directly sample colors like I'm doing now to prove to you what your eyes can see. But the logical part of your brain is saying that doesn't make sense. So therefore, I don't believe it. That's the bit of realistic painting theory I wanted to talk about here while I'm talking about the harmony panel. Because everything here is based upon color theory. There's no point in talking about the various different modes you've got here. If you haven't gotten at least some kind of grounding in how light interacts with the real world and how you're supposed to paint it. So we're going to talk about these various different modes, complimentary split, complimentary of blah, blah, blah. Before we do though, there is a point I wanted to make and our youth the disk panel to talk to you about it. I think I've already spoken to you about how you can use, say if you've got a red color and let's just create an extra layer. Get my paintbrush. Let's try a medium. Let's try a soft brush. You can see I've got a pure red selected if I wanted to break the tone. So if I put down an area of color like that in order to break the hue so I get some more neutral Hughes. I need to go all the way around to the opposite and choose its complimentary color, which in traditional art is going to be green. And let me just double-check that if I come to my values, I've nerdy got it exact, but look, there is a pure green and if I come back to my disk, it slightly off directly opposite, but nevertheless I can apply this color here. And if I smudge it a little bit using my smudge tool, Let's make that a little bit bigger. Imagery that pure red and that pure green. I'm getting a whole load of broken tones. So if I wanted to say a more broken red, There's my pure red, but then again more towards that smudgy area and I'm getting some more broken tones. Similarly with green. There's my pure green. But if I come in, I getting some more neutral tones in that smudgy area because I've blended the two different colors and a half to say procreate schools a lot of points over a lot of other digital paint programs, because in traditional painting, the three primaries are red, yellow, and blue. You can see their position pretty much equal distance around my hue wheel. But 1 third of the way round and another third of the way round. This makes sense because you've got red and green being complementaries. You have yellow and purply violet being complementaries, and you have blue and orange being complimentary colors. Now I'll come to my Harmony tab, which is what we're supposed to be talking about. Now I didn't mention complimentary colors didn't tie. But take another look at this color wheel. This is a red, green, blue color wheel. It's not red, yellow, blue. And at first glance, if you're a traditional artist, she might be thinking, Well come on, no, no, blue. Well that's where it should be, but yellow should be over here somewhere. And also, if we want to mix yellow with what I know to be its complimentary, which is kind of a purply violet. All the purply violet is down there somewhere. What's going on? I think the answer to this is that this color wheel at least is mixing according to see why. Because look, I've got red and on the opposite side I've got cyan. Well, if I count my value palette, take a look where I'm circling. This is pure red. If I move my green and blue sliders up, I'll take the right dance so that I have the numeric opposite. I'm left with Cyan. Yeah, I come back to the harmony and I came to say yellow will hit the opposite is blue and never come back to my fatty palette. While you can see there's yellow. If I take away everything that makes up the yellow and put everything that doesn't make it yellow. I'm left with yellow, yellow, blue, and it will be the same with green and magenta. This color wheel is mixing things according to the CMYK model, whereas the disk presents things are red, yellow, blue. Now me telling you this has gone on a little bit longer than I would have liked. But it is important to know that finally, your harmony values using this tab is going to be a little bit different. It just selecting colors from my desk. Okay, so now let's move on and actually talk about the different modes, why you would use them, and how you would use them. 20. Finding the Right Color: Hello and welcome to this video. In this video, I just wanted to take a look at the harmony Color panel. And you can see I have a number of different modes, complimentary, split, complimentary and so on and so forth. Let's start go through these and we'll start off with the one at the top, complimentary, Just to reiterate what I did say in a previous video, this is a separate color wheel to our traditional disk wheel because look, I have read selected. If I go a third of the way around, I have yellow. If I go another third of the way around, blue. And if I go another third of the way around, I'm back to red. This is your traditional red, yellow, blue palette, which from a traditional background, you would expect to see that it's not uncommon for artists to have just a few colors on the palette, but they will have red, yellow, and blue because red, yellow, and blue, primary colors, you cannot combine two colors to get a red color. You can't do it with a yellow. You can't do it with a blue. You can combine two primaries together to get a secondary color like orange or green by mixing yellow and blue. Red, yellow, blue, forget it. You have to have some version of red, yellow, and blue on your palate if you want to mix up a lot of different colors. But how many color palette is more a CMYK color palette. So you've got C for cyan, which is that bluey green color. You've got M for magenta, You've got yellow, which is Y, and K stands for black. Well, that's simple enough at the moment, this is on full intensity. If want to make things darker color values, I moved down until I get well, everything's black. Everything's a very dark color there. So that is how he sought out the k or the black for the CMYK model. Similarly, looking like him down a little bit like this and I take that blue and I push it into the middle. I get less and less saturated tones until eventually I end up with a neutral gray. Now if you are from a traditional background and you're used to seeing something like this with the red, yellow, and blue, you might be forgiven for thinking, well, isn't this just a bit confusing? Well, generally speaking, in the digital realm, if you want to get colors play nicely together with each other, then rarely this color wheel can suit your purposes a bit better. You'll get some nicer colors. So let's take a look at this. I have read selected, and I'll draw that. The opposite is cyan. Unless just do the rash showy. Yellow, the opposite. Blue on this wheel, yes, I know it's different Using the traditional one. Traditionally you'd have purple sitting opposite yellowing, clashing nicely. And you'd have read sitting opposite green instead of magenta and clashing nicely. This harmony palette is your mixing palette. This is where you would choose colors to mix with. Because look, if I come to my smudge and I'm using airbrushing soft plant that's blend some of these colors in together, shall we? This is how I break my color tones look. I have a very vibrant red there. I have a very vibrant cyan. But if I come to the middle and I can just start choosing, that's read a little bit of cyan. I'm getting more broken color tone, more than Tony you would expect to see in the real world. Because a lot of paints straight out of the tube or just way too bright. This is how you'd break the colors with this. I have my bright cyan, but if I move in a little bit, I get a more broken version of the cyan and solar in the middle. I want to find some very neutral tones. I want to find almost gray. Look at that. Same with the yellow and the blue. I've got my very bright yellow, I've got my deep vibrant blue. Now let's take a look at my yellow. If I can move in a little bit, I'm getting more broken turns. Blue, more broken tones, somewhere in the middle. Searching around. I'm getting almost a great killer. In fact, that very nearly is a gray color. Let's do the same thing at the bottom. Just coloring in. I think that's pretty comprehensive proof that if you take, say, this very bright primary color and you choose the complimentary version of it, you're going to break the tone that said, it is also very easy just to come to any of the others. For example, the classic and just lower the saturation this way because you don't have the ability to do that with traditional paint. Within a digital realm, you got 16.8 million colors to choose from, and they're all contained here. The font stuff comes when you have to try and choose the right color from those 16.8 million colors, or even better match the color from a previous exercise, which actually is pretty easy supposing I wanted to match that blue in the middle between the yellow and the blue are very neutral term put my finger on it and it's there. So hooray for digital art. The other thing I want to say about the symbol complimentary is that quite often a picture. You can see this for yourself having that red and cyan next to each other really do clash. However, it is common in a painting, for example, supposing I choose that slightly broken red as my main color, my picture, or the most saturated color. Let's make this a little bit brighter. So yeah, that's my most saturated color. And I want some other colors in the painting, obviously, but I don't want them to start competing with my main red. While a color that's going to compete the most would be cyan because it's the complimentary. I take my cyan and I drag it in towards the center. It's much more neutral and much close to a gray tone. And maybe I might lower the value of it so it's a bit darker. Now, if you compare that with that, those broken terms that I've created said that together a lot better than those two bold brush primary tones. The complimentary can be a good way of figuring out how strong you want the opposite color to be, in which case you would dragging like that. That is complimentary. What about split complementary? Well, for this, what I would do is I will come, I will clear my layer and I'll choose some flesh tone. Let's just choose something around about there. Maybe, maybe make it a little bit darker. Brush a bit bigger. Let's put down a big area of my flesh tone. In fact, that looks a little bit too yellow for me. I'm gonna move bit more towards red, and I'm going to make it a little bit less saturated. I think I prefer that, but let's make sure that none of the original colors there. Okay, So I've got my big blob of generic skin tone there, but I want to add some darker and lighter tones to it. Please note I'm not talking about they're ready toads you would find on lips or cheeks or the slightly more yellow tone you would find in the forehead. This is generic skin tone that I want some dark and light. I suppose the obvious way to do it will be to come to either the classic or the disk. And I can just lower the color value like that. Blend fatten. It's a bit of a crude way of doing things. Maybe we can do things a bit better. Choose the base skin tone again. Come to how many panel? Well, we've already seen how you can choose the opposite like this and say the color value down like this, and blend that in. And that might work a little bit better under certain circumstances. Because as we saw when we were talking about the peppers and the general color theory, you get different colored lights and you get those different colored lights bouncing off things like blue piece of paper, red pieces of paper. Where are we going with this? Is that sometimes you're going to need some cool shadows or warm shadows and the same with the highlights, some warm highlights, some cool highlights, in which case, simply coming to our classic tab and dropping the value doesn't really cut the mustard. So this is where the harmony comes in quite nicely. Now we've already seen a very different kind of a shadow when we use the complimentary tone. In this case, it's much more blue than it is brown. And that could work for core shadow. But if we want to get a bit more fancy, we can come to split complementary. Now we have two possibilities. You'll notice if I check that against complimentary, the complimentary is directly opposite the split complimentary is to either side. Now, I'm sure you know about warm colors and cool colors, just in case you don't imagine a line going vertically down the middle of this color wheel. On the right-hand side, you've got the warmer colors. You've got your reds, oranges, yellows. Basically the colors that you would see inside of fire. And on the other side, you've got your blues, your science, a lot of greens, but not all the greens. The kind of colors that you might expect to see somewhere in the Antarctic where it's very, very cold. Now if you go to your reds and your reddish oranges, those are definitely very hot. And if you go to your blues and your science, those are very definitely cold. But just in the crossover points, it's not as easy to say, well, they're warm or they're cold. A lot of it will depend on what color their next two. If an extra cool color, they'll appear to be warmer. South born that more bluey one that's gonna be slightly warmer. And I'll lower the value. I'll put that down. Welcome to the Green. Put that down here. Now I have, if I blur it a little bit, a range of terms for my shadows. Now you may think all that's way too intense, in which case all I need to do is look, I'll drop it a little bit more. I'll push them in. So you get very desaturated shadow areas, which makes sense because we've spoken about this before. The more light that falls on a subject on a bright day, close the PHP brighter because there's more light falling on them. On the tilt day you get the opposite. Well, when things are in shadow or less, light is falling on them. So they'd colors tend to be less saturated. So now we've got two different versions of some colors that I could use for the shadow, and that is the main advantage of using the split complementary mode here. By the way, just in case, while you probably didn't notice that, I think there is a glitch within Procreate because you saw me do it. You saw me choose my flesh tone. But if I look at my split complimentary wheel, the big circle out of the three isn't in the flesh tone, it's the bluey shadow version. To correct that, just come back to complimentary. And you can now see the flesh tone where it's supposed to be and then come back to split complimentary to get back to where you started. But if I come to classic and there's my tone, I wanted to shallow color, so I'll make it lower in value o and I wanted to be less saturated. So let's make it less saturated. But also I need a little bit of not exactly the opposite color, but a warmer version or cooler version. Well, why is that? Take a look at my hue slider. At the moment, I'm set to a reddish orange. Which one is the direct opposite or cool version or warmer version? I I don't know where that is. I can't really tell that. If you're doing this where you get warmer or cooler versions of shadows, rarely this is the window to do it in. But what about the highlights? Because I now have some darker colors for the shadow areas. Or what about the highlights? Will I could have a neutral highlight by just making the bottom slider as high as it will go and then pushing in more towards here. So I get a neutral color like fat, but it's just a neutral version and it maybe it's not the kind of thing that I would expect to see in the real world. One thing people will tell you is for the shadows, they accepted wisdom is make it darker, make it less saturated, and make it cooler. General rule thumb would be if you know which way to go to make cool and maybe make it more than or more than. Similarly with the highlights, you make it lighter in value. You make it more saturated. But then you've got a bit of a problem there because look, if I'm making more saturated, the value is getting darker. I'm getting a darker color. So rarely that advice doesn't really work when he gets a bright highlights, I'm going to have to move more towards this end, but also you make it warmer. So you might come from two or more pink highlights like this. So for Harmony tab to the rescue, let's choose API-based flesh tone again, but instead of split complementary, we're gonna come to analog us. An alveolus, or I don't know how you pronounce it, but look, this one. Now, we've got our main hue, but we're getting a couple of hues to either side of it. And the theory goes in, make it brighter and more saturated as the outside, but it's clearly getting darker. So we've got no choice but to move it in a little bit for this. Now if I want a cool highlight, I will choose the yellow. If I want a warmer highlights, I will choose pink for our needs. Some really bright highlights. Let's move right in like this. And so you're getting this rather curious looking thing here where the circles are overlapping. But if I choose the top one, that was my cool highlights. And all underneath that was Mike warm highlights. Okay, so let's blend those in. This one was my standard measure, everything lighter. This one was where I use the classic tab, but the last fall or the highlight colors I created warmer and cooler by using the analagous tab. And so by using a mixture of split complimentary for the shadows to choose cooler or warmer shadows. This one, and I'm not even going to say its name again because it's getting embarrassing. To choose highlights, then you can start to get some nicer looking and hopefully more realistic, warmer and cooler shadows and highlights. That is the purpose of split complimentary and that one. And in fact, I think we've done just about enough theory for this. Let's go on and do a little bit of painting and apply this theory to those peppers you saw a couple of videos ago, and I will see you in the next video. 21. Putting Theory into Practice: Okay, So we're talking about color theory now. Let's apply it. I figured by now you're probably bored of listening to a whole load of theory on how to do various things. So pretty soon let's actually do some painting. This file is peppers base. It is available as a download. I suggest you do download this one and follow along. Because if I come to my layers panel, you can see I have a number of different things here. At the bottom, I have my neutral reference. This is the first photograph I showed you from the previous video where it was shot under white light with a white piece of card. So you get white light bouncing back onto the peppers. But I want to repaint this. I've already done a lot of legwork for you. There is a sketch layer which shows the general forms of the peppers. You also have a group here called peppers. And inside it you have a number of different layers. I have a red and a green layer. Those are the local colors and that's for the red and the green purpose. And you also have a yellow layer that's for the yellow layer in the background. And these as much as possible are the local colors of the purpose. And the way I did that was I looked at an area which I thought was pretty well lit but not in highlights. So it might be say, an area around here. And then I use that color to block in the red pepper. And then I did the same thing with the green pepper. Find a green that I think is representative. And I did the same thing with the yellow pepper. You will notice with the yellow pepper, it does overlap a little bit into the red and green layer, but it's covered up because the red and green layer is above it. You will also notice that I've used alpha lock for this. So that now if say I'm on the red green layer and I make it brushstroke. Any brushstrokes I make don't go into the transparent areas so I can work without worrying about paint straying off into the background, so that will make life easier. But what I want to do with this, not just reproduce the neutral light, instead, I want to call it a reference image. Why you used white light but a blue background. So I get cooler shadows. To do that, let's come to our wrench icon. Welcome to Canvas and just hear if there's a little thing that says reference, I will turn that on. And I get a little window which I can drag around with that little gray bar at the top. And maybe I'll drag it up to there for example. And I can resize it by dragging one of the corners. But I don't want the canvas. I want an image and I will import the image from my photos library because I have all the images here. I think is it this one? Yes. It's the image with the blue on the side. And I should make that available as a reference as well. That would be a good idea. I can pinch outwards to zoom in on just the red pepper, which I will do first. Now I'm doing this on the iPad with a reference window. If you have a monitor that's capable of displaying pretty accurate color, then use that instead. That way you get more screen space. First of all, let's move the paper around and let's make our window bigger. A reference window and zoom in by pinching outwards. On the paper. I think I've discovered a bit of a glitch, at least in my version of Procreate. If I take a look in that reference window, that red pepper is not giving me the resolution I want. Can you see I've got a series of different squares now. I know my reference photo is better quality than that, so I will tap and I will come to import and let's re-import third image or long I think it is, Yes it is. Now if I drag out and zoom in yet, now I'm getting a much better reference. Okay, so let's make our image a little bit smaller. So I've got room at the top to create a color swatch. I will come to the top and create a new layer. And I will call this mixer. Because quite often when you're working it helps to have utility layers, all helper layers. And that is going to be things like a mixer layer where you create your color swatches or you're mixing colors together that has its own layer which you can make invisible at anytime, but it's always there as a reference. It won't show up in the final image. And also there'll be other utility layers or helper layers, where you list things like the different brushes you've used so that when you come back two years down the line and think, Wow, how did I get that brilliant paint effect? I was a genius two years ago. Well, you call up your invisible helper layer with a name of all the brushes on that. Okay, So for this one, I will choose a brush. I'm in the airbrushing Brush Tools folder. For this, I will use the hard air brush, which is the one right down at the bottom, because I want to lay down an area of just solid color. So let's In hall to choose the base red color. Let's put down an area of color like this. Just drag and drop to flood the area. I'm also gonna come back and I'm going to turn on Alpha Lock. And you'll see why I do that when I put down my other colors on top of this. Okay, so I need some lighter and darker tones, don't I? Well, the first thing to do is to take a good look at my pepper and decide what kind of terms I need. Well, the first thing that's standing out to me as if I zoom in a little bit more. I have two different lighter areas because I have two different light sources. If you're a member. Is the standard photographic light. I also had some light-blue light's coming in from the window because there was no direct sunlight, but there was plenty of blue sky outdoors. And so I'm going to need some more. It looks like some warm highlights and some cool highlights, which hopefully will be useful for demonstrating the different ways of selecting colors. Now what about the shadow area? I'm a bit uncertain about this because look, I have my blue piece of paper towards the right, which is throwing blue light onto this area. But I'm also going to get some green light reflected off that green pepper. Because if you look at the surface of a pepper, every object has its own particular wherever reflecting light. In the case of a pepper, it's quite shiny, which means it's going to reflect a reasonable amount of light. It's also shiny, so I'm getting some quite small type highlights, the shadow area because perhaps are quite reflective. I'm going to have a fair amount of green. There may be a bit of blue, but also peppers having a slight quality of where they absorb a little bit of light. It scatters around inside and then it gets thrown back out at you. And this is something which in the 3D world of graphics is known as subsurface scattering. So every object has got its own set of needs. So it's never as straightforward. Add some black or add some whites TO local color. All right, Let's open up and we're in our Harmony tab already. That's useful. Let's take a look at my shadow tones. And this is one of those things where I won't really know if I'm getting the right kind of shaded colors until I start mixing them in with my local color, I'm going to choose a simple complimentary that's this blue here. And I need to make this a very dark version. That's almost black. Hour come to my cyan, I won't have to load the value way down. Now at the moment, that might look just a little bit too dark because it's almost black. But when I start blending that in with a base color, I'll get a clearer idea of whether it's going to work or not in never really know until you start blending in those colors. Alright, so I've got my complimentary. Let's reselect my color again. And this time I'm gonna come to split complementary so I can get cooler and warmer versions of my basic red. And as before though, I'm going to have to drop this down in value by quite a bit and also bring in maybe not as much as that, but bring in the saturation. And again, you can't really see anything because it's so dark, but you will do. When I blow those colors in, I promise. Let's put our green tone or a warmer shades. There are blue tone, which is gonna be a cooler shades about here. Okay, so what about our lighter colors? Let's select our local color again. For this. Well, let's come back to complementary. So we know we've got the right base color selected, but I'm definitely going to need some lighter areas which are both warm and cool. So we're going to come to analagous. And I've decided it's called analagous and I don't care what anyone else says for this. Let's raise it up a little bit because I'm looking again at the photo of the pepper and what I noticed is the lighter colors are much lighter than the local color I've selected. Then I get these small, sharp, very light highlights. That's just the way the light is bouncing off the shiny pepper. You can see I've made things a little bit lighter and you are supposed to make things a little bit more saturated. I will have my warmer area up here, and I'll make that a little bit bigger. My cool area here, a little bit bigger. And then I'm going to need some very bright highlights. So it's case of pulling this in like this. When you come to the very light highlights, then the whole idea that the color should be more saturated goes out of the window basically because the very light areas of your picture won't be very saturated because they're very close to white, and white has no saturation whatsoever. So again, I've got my cooler highlight there. And I've got my warmer highlights there. Okay, so let's see what we can do with this because I have to blend those colors in because I have some very hard edged areas there are what I want to be able to do is picked from a range of different colors rather than just the few that I've already got there. So what I'll do is I'll come to my Adjustments menu and I'm going to choose the gambler. I'm going to do this on the entire layer. Then I take my finger and I slide along with top of the screen. Can you see that little blue line just in the top left which gets bigger or smaller as I slide from to the right, to the left, to the right again and see what it's doing. It's blurring out those various difference, solid colors. So now I'm getting softer edges, which is what I want, because I want to be able to choose something in-between the different bands of colors. I would also like to keep it so that I've got enough of a blurred to get different colors. But I also want to keep just a little bit. The bands of colors there so that I can come to say the brightest highlights and say, Yeah, that was the original color I put down. I want things blurred. But not completely blurred like that. You can see if I do that, I lose those sharpest highlights. Let's take this down to about, say about that. That works for me for the highlighted colors. And once I want to get rid of that, I can just tap the adjustments menu again. For me that's working in the highlight areas in the lighter colors, maybe I could do with a little bit more blurring in the shadow areas because I'm getting quite a sharp transition there from the very dark color to that fairly light red. So I'm gonna do the same thing again. I'm going to come to Gaussian blur, but this time instead of choosing layer, I'm going to choose pencil. But when you do that, you get a couple of little sparkles next to your pencil. Now if I come here, I have my hard air brush selected. That's fine. Maybe I'll choose the soft air brush to give me a slightly softer edge. Check my brush size so that's about the right size. Now what I do is I can brush just in the areas where I want the Gaussian Blur to affect the pixels in that limb. And the nice thing about it is that if I then use my finger to slide the Guassian blur slider, I can alter the amount of blur just in that area. It's like local blurring, which is very, very useful. Gausian gloves 77.5, That's way too much. Come on. Blurring into nothing, but let's get a kind of a halfway house about that. I'll tap on my adjustments icon to lose that. I'll just tap with my two fingers to undo that one step. That was a blow we had before. And then a three finger tap to show you that those dark colors were blurred out a little bit more by using Gaussian blur pencil, I could define a local area. Now I have my swatch. The reason isolated Alpha Lock, which I don't need anymore. Well, so that when it came to blur those various different areas, I didn't get areas blowing against the background, which in this case is the background of the white card. Because if I accidentally chose colors from that region, it will be inaccurate. So you do the Alpha Lock, keep all the blurring and all the colors local and confined and you don't have that problem. All right, So what brush I'm going to use, I think for this, as well as showing you the color theory and action, I just wanted to show you a particular painting technique because it makes a point about one of the advantages of digital art. What I'm gonna do is I want to come to my heart airbrush. Now you may be thinking, well, why would you use a hard airbrush? Because look, if you look at this, I have plenty of soft areas. Well, let's just take a look at that. I've got my heart airbrush. I'm going to choose a very light color. And I'm gonna put down an area like that. Yes, it's got a very hard edge. But if I come to my smudge tool, open it up, I'm using brushes from the airbrushing Brush Tools, and I'm going to use soft blend. A little image across. That's the brush that fairly large. I blur that area. It all gets blurred into a large, softly defined area which I can refine as much as I want. But then if I make the brush size smaller, and let's zoom in for this, I get a much more tightly defined blurry area like this. So choosing the right smudge brush and simply varying the size of it like this. And also the opacity will make the job take a bit longer. But I can have lots of different blurs even though I started out with one hard-edged objects. And if I can't hear and I erase that for a second, and let's make our brush a bit bigger. That's probably going to give me an easier time as opposed to well, let's come and choose our soft air brush. Maybe a pass to the lower brush, a reasonable size. And there's my soft area. If I wanted to even software, I have to make the radius bigger. And if it wants to make the blur a bit smaller, I have to use it slightly smaller, but it's very difficult to match. Soft blurred area into a more tightly blurred area which I'm doing now simply by painting. Don't get me wrong. Using the soft brush does have its uses. But when you're laying down areas of color using a hard brush, then using the smudge tool to either give a fairly Tipler on one side and then much softer blur on the other side. It makes life easier. And that's something you probably find hard to do with traditional media. Although I'm sure there's someone who could tell me different, right? Very last thing. If I'm going to use this brush, the hard air brush, I want to change its properties a little bit so I will tap on it to come into the brush studio. Or what I want is when I press lighter or harder, the width of the brush, various. To do that, I come to my Apple Pencil because I'm drawing with an Apple pencil. And if I make a brush stroke now, see it's the same width no matter whether I press hard or soft. But if I come to the top where it says pressure, outcome to size and our slide that to maximum. Now when I press soft, I got a thin line and when I press hard I get a much thicker line and I won't be able to control it like that while the unnoticed though is that when I press soft, I don't get a solid area of color. I get slightly faded. So I will take my flow. I move that back down to 0. Now, all I get is thick and thin. Depending on whether I press harder or softer, that's probably going to make my life easier. But for now, I think we've got everything I need. I will come down to my red green layer, and in the next video, I will start to paint. 22. Paint Some Red: Alright, let's go to it. Let's make sure I have the right layer selected for red and the green is locked. That's good. My sketch layer is currently visible. That's going to be useful for me when I'm putting down different areas of color. I think I'll start doing the shadow areas first and I'll be honest with you, I'm not sure which one of these three shaded areas are going to give me the results I want. I'm taking a good look at what I've got. And I think, well how green on one side and blue on another side and fairly neutral in the middle. Let's try a little bit of green show WE because I have the green pepper there. And that's the closest thing that's reflecting light into that shadow area. I think it's gonna be something a little bit greenish or something very neutral. Don't know until we try. So I can make sure I have my local color selected. And now I need something a little bit darker than what I've got. I'll do the lightest darker bits first, then go darker as I go along. So maybe something around about there. The nice thing is that I can see what the lovely color is because I already had it selected. So it's the bottom half of that little circle which I'm circling around. The top half. Yeah, I can see I'm getting a darker tone there. What size of my brush? Let's make that a little bit bigger. Shall we start to put down some of these darker areas? Now here's a very common thing. Let's just tap to undo that. People will put down their love of color and then they'll want to add to it. Some of them are very timid, or just put down little bit down here and maybe a little bit here because you don't want to spoil the local color. Now come on. If you take a look at that paper, I'd chose a local culture from somewhere around, around about here. You can see there's very little of the local color here. The majority of it is in shadow with some quite sharp highlights. Come on, be bold. You can always paint another color on top, and you can always overwrite colors as much as you want. You're not going to get the underlying color peeping through unless you wanted to. There's no need to be shy with this. And now got that, I'll make my color a little bit darker still. I think maybe around about that. Because I have down here. Yes, it is dark, isn't it? That's okay. Because this is going to have quite a bit of blending. Is that the right tone? I'll go with it for now, although I'm not too sure about it is all things I can do about it later. And maybe I will put in few of these darker areas, a little bit more around here, a little bit more here as well, don't we? Maybe a little bit of in-between color there. If I make my process I was a little bit smaller, just a little bit down the bottom. Just maybe having to tie in a little bit too dark just here. What I'm doing here is essentially measuring values, how the darks and the lights sit next to each other. If I come to this area here, you can see I've got a little bit of reflected light from the card, bouncing back up onto the pepper against the dark. This is the dark area. This is the reflected light area. If I look at it, I'm thinking, oh, that that's lighter than the surrounding area. So therefore that must be as light as save a local color. But the nice thing is you can check things. You can check what's the color of that local reflected light against the local color. It's darker. I put down my initial colors and I will come to my smudge tool, which is set to airbrushing soft blend. Let's see how big it is. I want this to be fairly big because I'm dealing with fairly big shapes. And that's thought to blend these areas in. The nice thing is I have my alpha lock selected for this layer, so it won't go beyond the outline of the paper. I think what I might do is I might resort to just doing this drawing and then I'll overdub the talking afterwards because the bit of your brain that you draw with is a very different bits of the brain then you talk with, in the budget of the brain that you talk with has got a bit of a nasty habit of dominating the bit of your brain that you paint with. What I'm finding is I'm talking now, but as soon as I start to try and talk while I'm doing what I'm doing, I'm finding it very hard to do both things at once. Also, I think I'm probably going to have to speed up this process because watching someone else paint is always a nice thing to do. But you're on the clock and you watching me paint is going to get a little bit boring. So what I will do is I will speed this up and not talk. Although at some point I might slow down the painting so that I can comment on what I'm actually doing at the time. I'm shutting up now. They'll pop up, down. I've got to a certain point with the shading that's defining the overall form. But to really make it stand out in 3D, really I need to start adding the highlights. And as we said before, we have two different sets. We have the warmer highlights, those more orangey ones that's with fairly neutral light. I think that's just the way that the light catches a red pepper. You get slightly warm highlights for those. Let's just check the base color first and then move into the warmer highlight areas. It's very subtle at first, just these areas here. But I'll do what I did before. I'll shut up talking, laid out areas and I'll carry on building up the lighter areas. I'm putting down this little bit of reflected light I'm seeing just on the underside of the pepper. Now the temptation is, I look at that and think, Okay, That is very thin. Therefore, I need a very thin line like this. Not really because I'm blending and often you'll find it's much easier to try and blend a thicker line inwards. So it becomes thinner. Rather than trying to blend a thinner line outwards. Give yourself a little bit of paint to work with. Yeah, that is looking very intense, isn't it? But it's going to be blended. So let's see how I get on with that. I'm not just trying to blend 22 areas, so I get a smooth transition. I'm actually pushing these lighter colors into the darker areas. It's not just a case of slapping down paint it the case sometimes of pushing paint around. Look if I take my smudge, so it's up to maximum value and I press hard and I push up. Can you see how I get that little streak? That kind of technique is very useful in lots of different ways. But I will lower the value down a little bit when I want a little bit more subtle working up of the details. And also denoted with this. I'm starting to take this what was a thick line and I'm gradually making it thinner by pushing the paint in. I think at this point, I probably have enough detail to get rid of my sketch layer so I can see more clearly what I'm doing. I've done my warm highlights now what about my cool highlights? Because we can definitely see areas on the other side which have got a much cooler tone to them. So let's put those in. Getting some pretty bright highlights just in the top area here. Some very warm but strong highlights. On the other side. Now I want to blend these in, but well, up till now, I've been using a very soft brush, a lot of blending. But if I look at that, I can see what you often see when the light catches an object at an angle, just whether the lights fully across the surface, you're starting to see some of the texture of the pepper, especially in this bit which I'm looking at now. Now I'm making a point, isn't it great. You can blend things nicely by using the smudge tool, but there's different kinds of Smudge tools here. Let's come and take a look at, let's try charcoals and try willow charcoal. Let's try that. In this particular area, let's check the size of it. Let's see injury above the right size there. Now if I plant, now look at this, I'm starting to get a texture which is much closer to the kind of texture I'm seeing. That highlight area, I can start dragging things around. But they're getting gritty rather than super smooth, which is what I want to see. I'll carry on with this font either you can use that to go over some of these areas as well just to get a little bit rougher texture in there. So it's not completely super smooth. Little bit featureless. 23. Add Light & Shade to our Pepper: Okay, I faded out and fade it back in again because watching me paint is only exciting for so long. But what I've been finding is that the warm light, yeah, that's working nicely. But the cool lights, I'm finding this little band of rather intense pink is not really the right color. It's too bright, it's too saturated. So I'm avoiding areas in here. What I am finding is that I'm getting better results when I come to this much brighter highlight here and applying that, rather than having this intermediate hot pink stage, that's working better for me just while I'm here as well. Let's show you a couple of things. I have these small highlighted areas here which are the lighter Blair out a little bit now I can come to my smudge OR but here's something else I can do. Do you remember in my adjustments, I had gradient blur. I'll do this using a pencil. What am I using? Audi use a soft airbrush for this, so I've got a softer edge. And for some of these general highlights, I'm just going to draw over them. And you can see that That's way too much, way too much blurring. But the Gaussian blur is set to 60. If I'd get my finger and I take this War I the way down. Now it's practically hard and are gradually slide this up to get just the amount I've blurred I want in that particular area. I think maybe around about there. Now that I know that's working, Let's come to this highlight of the top. And I have a huge amount of control over the blurs on this highlighted areas. Unlike this. So I can tackle these areas really quite precisely. The other thing as well, look if I just tap to accept what I did there. If I look at certain areas here, there does come a certain point where you choose, say a soft air brush, somebody with a soft edge get nice, large, fairly large. And I'll take the opacity down. Then I'll choose some of this local color, say some of this red. And I will gradually applied in broad strokes just to the side of his paper because I felt it was a little bit too dark. So I can gradually make it a lighter with repeated brushstrokes. And I think I went a bit too far there, so let's just topped up a few times just to turn it down again. And so I can carry on working in that way. It's showing you how you can choose a hard edge brush and then blurred using the smudge tool, that's okay, that's nice. But constantly doing it when there's a different way of doing things, which might get you better results quicker. There's no point in being consistent just for the sake of being consistent. If you know, if a tool that's going to do a better job, great, use it. What is it? A foolish consistency is the hob goblin of the small mind? Somebody clever than me said that once. Also do not forget because I'm looking at these highlights there a bit too far to the right. So I can come again to my adjustments and come to my liquify tool. Liquefy filter cannot be used with alpha lock because this layer is Alpha locked. So I'll say Yes, I'll open the layers and alternately alpha lock off. Then I will come back to liquify. I'll set it all to push, which is the first one on the end which I'm circling now, I'll try and get a, what I think is about the right size, maybe about there. And now I can push the paint around. Let's make it a little bit smaller to get it more where I want it. Useful. This I will carry on painting. If you don't. I must admit I am tempted to keep on going with this because I keep on saying things that I'd like to change and light to make a little bit darker, a little bit lighter and match up the values and all the things that you do when you enjoyed painting, which I'm doing at the moment. There is one thing though. I think. The color is pretty much a word rather well in the highlighted areas, the shadow areas, and not so sure about. So, rather than having to go in and repaint it and Omo to see in another area down here, which I really, really do want to change a little bit. Stop, stop, stop, stop. Because I wanted to show you something which is very useful. I'm going to create a layer and supposing for the sake of argument, I decided that that shadowy area could have done with a little bit more green in all along. So I will choose a green. I will set this to clipping mask so that whatever marks I'll make here won't appear in any of the pickers are underneath which are transparent. That sounds complicated. Look, it lets you do that. But with a layer above being masked out by the layer below. I'm a soft air brush. I will set it to very large and make it not very opaque at all. I'll start painting just in the shadow areas. Now at the moment, that's just sitting on top of the layer below and destroying all the detail. But if I come to my little n sign just to the right of the layer name, I'm going to change the layer blend mode. And in fact, while I do that, I will shift things around so you can see what's happening when I do come back to my layers and when I change the layer blend mode, can you see how the way that top layer is interacting with a layer underneath gives a different effect depending upon where I put it. You can get some really quite extreme effects. Look at that. Now layer blend modes are one of those things that nobody said already seems to talk about that much, but there are actually very easy to understand once you understand the basic principles behind them. So I'm gonna bring this two will have a choice. If I set it to color, then all the colors underneath take on the color, the top layer, but you can still see detail there. On the other hand, if I said it to hue, it takes on the color plus a little bit more of the details on the layer below. If you want to do some local recoloring, this is ridiculously useful and a quarter in modern digital painting, but clearly it's the wrong color at the moment. So I'm going to reduce the opacity down to about 50%. Then I'm gonna come to my adjustments and I'm going to come to Hue, Saturation and Brightness. Tap on that layer. I get three sliders and I can also a hue saturation and brightness of the layer on top. Let's come to our hue slider, because at the moment it's set to green, which is interacting with the layer below. But if I move the hue around, can you see how the colors are changing depending upon where I am. I can gradually zone in on where I think the color should be more. Now, I think that should be more about there. If I search it to 0, that's green. If I move it over to the left a little bit, I'm getting a slightly different color which is closer to the colors of the pepper and tap anywhere else. To commit to that. I think I've gone far enough with this to make the various different points I wanted to make. I would like to work a little bit more on the pepper because I'm looking at it now thinking of the bit there I wanted to work on an old is a bit there I wanted to work on, but this is a tutorial to explain things rather than you watching me do some digital art. Now, that is the basic process of using complimentary colors, plus also some painting techniques, plus also some workflow techniques. I know that if you've been following along, you're probably want to carry on and do a little bit more. So I will do. But that doesn't mean you have to follow along if you'd rather go on and talk about new topics. So I will give these painting videos that are in part one, part two, part three, and so on and so forth. If you feel like you've learned enough here and you don't want to follow along anymore, just skip to the next video which doesn't say part blah. So I will see you in the video afterwards. Otherwise, stick with me because in the next video, I'll be painting up a yellow pepper using the same techniques. So either way, I'll see you later. 24. Paint our Yellow Pepper: Okay. If you're still with me, welcome back. Let's carry on and take a look at the yellow pepper. And we'll also use the color theory while we work. And I have a local color slighted. And this might be a case of assumption itis I keep on talking about I've got a red pepper, I've got a yellow pepper, I have a green pepper, but actually, there's my local color. It's more of an orangey yellow color. And that is sometimes the way it works. We use words to describe things and we have to, but we ended up putting a label on something and that can affect the way we think about it. It is something we have to do because if I go to a green grocers or a supermarket, I'll say, can I have two yellow peppers? I don't say, Can I have two yellow to orange hue peppers with some fairly cool highlights and some fairly warm shadows, please. But back in the world of assumption itis, it's not the yellow pepper. And so I'm really going to have to use my eyes to decide what to do with it. Zoom in just on the shadow areas. I just look at the pepper. Well, I've got my local color. Then when it goes into shadow, I'm noticing a definite warming and the shadows. And if I come down to this little bit here, I can see some of the red light reflected from the rear of the red pepper going into the shadow areas. So there's a very definite warmer change to that area. If I zoom out a little bit, I can see just a touch of green in the shadows just where I'm circling because the green light is reflecting onto that yellowy orange pepper. And what about this area here? Well, I can see I've got a quiet, clear yellow tone right at the top. A little bit of it looks like a slightly cool highlights and that's probably coming in from the blue sky from the window. But on the right-hand side, I've got a mix a reflected light coming in there. I have a mix of reflected light coming in from the white piece of paper the peppers are lying on, plus also the blue piece of paper which is reflecting light on the peppers. And so I'm getting some much more neutral tones here. Now I could cheat and I could put my finger onto my reference photo. In fact, I will do. There you go. I'm getting various different color readings from here. I could use those color readings as a basis for a palette. But we are talking about color theory here. So I will choose, although for color and open up my color panel. I'm in the Harmony tab and I've got analog are selected. Now because I'm trying to do a realistic painting, I'm going to use the color theory as a guide, a series of suggestions, but ultimately, I would use the observations I've just made about the pepper to guide me. Because look, I decided to go for a realistic look to this. If I was doing this with a bit more artistic expression and I was interpreting the colors a little bit less realistically, then I might be tempted to say, Great, Okay, I have a color theory, I will use it for all it's worth because it looks nice. But with this, I'll use my eyes. Okay, So let's come to our layers. I can come to my mix it up. And what brush do I have selected? My heart airbrush. And I'll put down an area of color right about here. That's extend that down a little bit. That's my base color for the shadows. While I keep on saying visit definite touch of red in there. And if I take a look on this tab where you can see right there previously, I use split complimentary and I use some warm shadows and some cool shadows. Now what I'm thinking is there's a little area of green in the shadows which is reflected light from that green pepper. So I might be tempted to come to the split complimentary on the green side, and I'll drop this down to about halfway. I think the colors in shadow areas, for the most part, hostile, saturated apart from that reflected light on the far right-hand side. So I'm not going to play around with the saturation. Let's just come here and I'll turn Alpha lock on it again for the mix-up. And I'll put down a little area of shadow there. And I will reselect my local color because I do think I can see some red in the shadows. That will be my main shadow areas. So I will drop down again to about halfway. I don't think the red is quite as strong as the suggestion my color wheel has given me. I think that's a little bit more around, slightly less saturated about there. So I'll put that. I have a mixture of warm plus Cool. Thanks. I also think I got something a bit more neutral in there. So I'm gonna come to about here. Maybe drop that down a little bit more. Tries to middle shadow area here. Now what about the highlights? As far as I can see, I have some quite cool highlights there. But I've noticed that my three little circles aren't quite where they should be at the college, which we discussed in a previous video. So I will change that complimentary now those colors aware I would think they should be. So I'll come back to analagous and a half, my cool highlights. So let's make that a bit brighter. And I think that's going to be a little bit less saturated about there. Let's see how we get on with that. That does look quite bright at the moments. Maybe I'm tempted to. Drop this down a little bit, get something a bit more neutral about. What I will do is choose a very light version and put it right in the corner and see how it gets on with that. And also I think as well, I'll choose a very neutral area here just to see how he gets home with that. Okay, so now those colors I hope will be enough to give me some decent shadow and highlight colors. Outcome to Gausian blow. Put my finger at the top slide alone until those colors start to blend into each other or like this. Think about that. All right, Let's move around to here. Let's resize my purpose so I can see all of it. And what paintbrush to a half my heart airbrush. Okay, Let's come to our layers. Choose my yellow layer, which has locked. And I'll be using the same painting techniques that I did for the red pepper. And so I will speed this up. And if anything occurs to me while I'm working, I'll slow down and I'll tell you about it on the spot. Okay, so here goes. I've got to a certain stage with this. I'm not entirely happy with it. I think I made what is a very common mistake when I chose the colors from my palette, I didn't make the values quite dark enough. And so for example, if I come to this, but a neutral brown hair and supposing I wanted to just on that crease in the patho. Not quite dark enough. But my problem is I don't want to start introducing new colors into my palette because otherwise, there's also risk when you do that, that you end up with colors that don't play nicely with your existing set. So what I need is an adapted version of that color palette. So come to our layers versus my top layer, my mixer lab. And I am going to swipe right, and I'm going to duplicate it, and I'm going to edit my existing palette. And this is how I'm gonna do it. I will come to my transform tool is set to uniform. I'm just going to move this around because only I do want to do is get rid of that red palette on the side. That's just getting in the way. My problem with that is that I'll go okay, I'll move it over to here, I'll get rid of it. And then when I move across, I realize, look, I'll show you, I'll do this. Then I say, Great, I'm gonna get rid of it. And now I'll come back to my transform tool and move. And I made my yellows, sorry, my yellows, which are actually oranges swatch off screen like this. Then I came out on my transform tool, did something else, came back to my transform tool. And it's not like programs like Photoshop or Affinity Photo where you can always move things off the canvas and then you can move them back on again once they're off and you start doing something else, like gone for good. So that was a bad idea. So I will get rid of this layer and I will duplicate again. And let's move this down, but make sure I can keep that yellow on my canvas. I will make my reference windows smaller and maybe move this down and arrays that swatch again. Now hopefully, good with that word. I now have new identical swatch and I'll move it down to, well, I can stick it over the green pepper because it's a separate layer. I can make it invisible or get rid of it at anytime. But now what I'm gonna do is come to my adjustments and then grants come to hue, saturation, brightness. And I'm going to choose the entire layer. I said I didn't, I've colored switcher dark enough. Well that's not a problem. I will take the brightness of this down. So now I'm getting darker versions. Can you see when I do that though, look, if I make it darker, colors get more intense. That is just something that happens when you make colors darker. So I'm going to bring that up against because I don't want it as dark as that. But once I do, I'm going to come to my saturation slider and I'm gonna move that. The whole swatches slightly less saturated. Now at this point is supposing I say, Well, okay, I want my shadows to be cooler. I can use the hue slider to either make things a lot warmer or cooler as much as I want. That's a lot cooler. I can, Let's take that back to 50% and make it just a little bit cooler like that. I could do that, but as it is, I think what we will have brightness down 42%, saturation down 41%. Yeah, I quite like that. So I will go with that. I will tap on my paintbrush or any other icon to commit to that. I'm using the same colors, but now I just have a darker and less saturated version of them. Okay, So my other problem is I didn't define a color for that reflected light just on the right-hand side of my paper. What color was I using for that? I was using. This color. So our counts, my layers panel. I will uncheck alpha lock so I can actually draw on it my paint brushes selected an outer, find an area of a color I used in that area. Right? Let's see what's going to work with this. Let's come to harmony panel. Let's try complimentary. Now, what's the color that you can see on the opposite side, I have kind of a, something in the blue region, but that is way too dark. I need something lighter and less saturated as well. So I'm gonna move that in like this. Let's put that down there. While we're here, let's select up brown color again. Welcome to our colors. And let's try split complimentary again, I need this lighter and a lot less saturated. Let's try part killer vacuole. Right? Let's merge those in and see if I can get any kilo which is close to reflected light region. If I press hard, I drag a long way with this. If I just tap lightly, I gradually blend things in a little bit more easily like this. I've got a feeling. This middle one is complimentary one which I defined first. That might give me what I'm looking for. But let's take a look at some of these. You would think that if there's some blue paper on this side than maybe some of that blue might do a better job. But you know, I'm gonna cheat because I can. This is the kind of color which I'm looking for, that kind of reflected light. Got it. Yes, I have. Now let us see now that I've changed that color. If I have any colors in here which are close to that. So my original color is the one on the bottom. Let's see if I have anything with this straightened neutral. It's looking a little bit blue. What about this one here? A little bit closer? What about this one here? That's starting to get a bit closer. I think it's still looking a little bit blue. So what I'll do is let us choose my original. Try again. This time. Let's try analagous because I wanted something a bit warmer there, didn't I? I'm gonna push this. I get a lighter versions, which is what I want, come down here. So there are a lot less saturated. Let's just try a lighter version of what we already have. Let's try cooler version of it. Let's try a warmer version of it. And let's see how those get on. Again, I'll blow these color theory is all very well, but ultimately you just want to find something that works. Let's try vacuole of air that seems fairly light. Now let's see if there's anything here which matches up That's quite close, but a little bit too green, which is what we would expect. Some black hole is again, come here. That's getting very close. What abouts? If I sample a color again and come to this one here? That is also very close, but a little bit too saturated. So what I'm gonna do is come back and drag these down even more so they're very, very neutral. All right, so let's try some of those. Those are very, very neutral on our droplet tonal little bit. Let's try the green version. Let's try the neutral version. Let's try warmer version. Blend those in, see what happens to that. I'm being very, very exacting here. If I didn't directly reference the tones on the right side of my pepper. Such about trying to get the exact same color? I'm sure I would have been happy with my choice is quite awhile ago, but there's a process involved here, so I would just want to show you the process. So let's come back again and let's try that sound. Let's try something down at the bottom. That's looking very, very close. I'm also getting some very close colors around here as well. What about not so much? Not so those slightly blue hue seem to give me more towards I actually want. I'll go with that. We'll make that the basis for my shadow colors. All right, that was a bit round the houses and I will do a bit of housekeeping here. I will get rid of these ones. Certainly. I will select those ones on the far side. Biochem into my selection tool, rectangle is selected. I'll drag around, then I will come to my transform tool and drag these over. So let's carry on painting and see what I can do with these new modified tones, will come down and make sure my layer is selected and carry on working and see how I get on. 25. Introduction to the Brush Studio: The brushes inside of Procreate rarely are the beating heart of the program. And if I quickly do three little circles at the top of the interface, this is where you access them. The most obvious thing is that you can draw with them and you can see you have lots of different categories. So let's take Nicola role for example, choose a color for this. You can draw with them. You can use every single brush in the library to smudge that this middle of the three buttons here. And if I open this up, Let's try marble and see what that does. And sure enough, you can smudge or smear the brushstrokes around. Or if you come to the third icon alone, you can erase things unless choose what. Let's try soft airbrush there. You can erase. You can also adjust the brush size on the left-hand side like this. You can also adjust the opacity for either drawing, erasing, or smearing to create a whole different variety of effects. Now the brush library itself has hundreds of brushes and they are divided up into brush set. At the moment I'm in painting, There's artistic fares, airbrushing affairs, textures. These all come with Procreate or you can buy third-party brushes and import them. I have a few other top here, or you can edit existing brushes to create new ones or create a new one from scratch. And you can store those in their own brush sets, like I've done here in DC brushes, DC sketches, DC smudges. Whenever I see DC, That's just my way of knowing that I made whatever starts with DC, Like for example, that hair smudge large and wide. Let's take a look at that. But if I wanted to use that as a hearse much button, Here's a little tip for you. You can see my paintbrush is Saturday. See her as much large, wide. My smudge brush is set to marble. Well, I want the same brush for both. So if I come back to my paint library, then I'm gonna come to my smudge icon and I'm going to press and hold on it with my finger. And did you see that bit of writing just at the top? Smudge with current brush. Now if I tap on my current brush that he go DC hair brushes smudge wide and I can smear and smudge with that two-finger tap a couple of times to get rid of all of that stuff. Now, do you remember right at the start of the course we did a make a mess session. That's where you just go through the brush library and you choose round brushes. Plunk them down and ran in different ways with around them different colors just to see what's available. And I'm pretty certain if you do do that pretty soon, there will come a point where you think, I wish I had known about that brush two weeks ago. Like for example, What's this zombie skin or Ruskin? Well, what about that dinosaur? Could I use that? What about old skin? Because I must admit I did this painting. I didn't take a look at this category when I was creating. I don't want to change the layer blend mode to say luminosity, for example, I will choose darkish color there. I will use a clipping mask. Let's play around with the size. Let's make a size fairly big, brush pasty way up. And then if I draw on that dinosaur County, you see I'm getting a dinosaur skin. Can I make that a little bit bigger? Yes, I can. Straightaway, I'm getting a dinosaur skin effect. Now. I'm just wondering if I do that. If I come back to what was it? Zombie Skin, just take the opacity down but just mess around. Actually drop the opacity up and just play around. And I'm getting a much more textured effect by combining the two textures together. And by the way, no, this wasn't scripted. I just chose a brush at random and thought, Well actually if I can really hurt me and if I go through the various different brush modes, you can see I get all kinds of interesting effects. We will be talking about layer blend mode, which is what I'm going through right now. At some point in the future because they are ridiculously useful. But there you go. Proof of what I was saying, experimenting brings his own rewards. Okay, let's move on because I think I'm done impressing myself with this. Let's come to assemble brush safe from Inking. And let's choose, say, technical pen and make a mark there. If I come back to that technical pen and I tap on it again, I open up the brush studio. This is where we're going to be spending a lot of type. You can alter the settings of all of your brushes using a whole lot of different categories here. For example, you can alter the spacing, you can alter the jitter. These are just two controls and already I've got a very different looking brush. If I come back into the technical pen, I don't really want to alter the brushes that come with procreate. Now there's not a problem. If I come down to the bottom tab where it says about this brush, I've got here reset all settings. Tap on that, I get a warning. Yes, I do want to reset and the brush goes to how it came on at first installed Procreate. But you'll notice where it says about this brush, I have a title and it says made by Procreate and reset all settings. So I will come to done. What I will do instead is I will swipe right, and I can duplicate the brush. And now I get something called technical pen, one. Whenever you see one on the end you realize it is duplicate. And also you get a little icon just in the top right-hand corner. And if I tap on that again, well, I can alter things like the spacing and the jitter. But if I come down again to about this brush, it says made by. Also if I come to the title and tap on it, I can rename the title to well, it's not a technical pen anymore, is it? It's 01. Or if it's me, I might call it the SCC, dotty 01 pressing return, come to Done. There you go. I have a new brush edited from the old one called PTC wall, but I don't want it stuck there with all of the default Procreate brushes. So I'll tap and hold with my finger until it raises up. And then I'm gonna come to where it says DC blobs. Can I get it to actually fit inside? There are what do you know if I come to the DC blobs, brush that right at the top, you can see I have DC dotty 01, supposing I wanted to take that and drag it down. I tap and hold and I bring it down to about there. Let's drag that down a little bit more and so I can alter the brushes. If you do that, I suggest you put the brushes you use most towards the top because let's face it, I have a whole lot of process down there and down at the bottom of a dusty end. Those are going to be the brushes you end up not using so much because look, if I come to DC hair, then come back to TC blobs, you're naturally going to choose from the top of the list going downwards because that's the way we look at things. And you have stuff down the bottom here might end up forgetting about it. But if you want to create an entirely new brush CRM circling where it says plus, tap on that. And you find yourself in the brush studio where every brush inside Procreate is created. For example, I can come to the shape of the brush. I can edit it. I can import from a huge variety of different brushes here, Let's choose the very top right one there. Tap on, done for that. And you can see I haven't new brush shape. I have a drawing pad on the right-hand side of the screen. Work in check my various different brush strokes like this. If I tap on the drawing pad, I can clear it. I can also change the color of my test stroke like this. This is one example of where using a light interface works for me. Because if I use a dark interface, I'll end up drawing a white brush stroke on a black background. But I think it is human nature because we are used to draw your white bits of paper to do either a black stroke or a colored stroke on something white. So by having a light interface, you tend to get a better idea of what your strokes going to look like. Now once you've made your stroke, if you alter one of the parameters which make up the brush, like at the moment, I'm increasing the scatter and you can see what's happening to that brush. It updates in real-time so you get real feedback of what's happening. I'll just share one more thing. The moment we have a shape, we can also add a grain to it. And again, we will import from Procreate default brush library. And I may choose say, the brick for example, and tap on, Done. Now, I have my brush shape, that's my brush shape, but it's getting stamped down onto something called a grain that's like the surface which are drawing on and you can simulate that inside Procreate. But once you've chosen your grain, you could do a whole load of things with it, like you all to the scale of it. Also the rotation of it. How deep the grain goes, a whole heap of different things that is enough to give you a taste of what you can do inside the brush studio. And I will tap on Done, Okay, it's called Untitled price, so I can come back into it and come to about this brush. Let's name this, what should we call it? The sea. Soft white choco. Need to work on that a little bit more before I actually used it, but I just wanted to make the point that you can rename it there it is. Dc soft charcoal. If I counted my brush sets and just keep dragging down, down, down, down and down until eventually you get the plus sign at the top. If I tap on that Untitled Set, look, I'll call this temp for temporary. And now if I come back down to DC blobs, There's DC soft charcoal, come out my brush library and drag down. Then I'll come to DC, soft charcoal, dragging across. Sometimes. It can be a little bit tricky trying to get it into the brush set that you wanted to. You might have to give it a couple of goes. If I come back down, I made DC dotty as well, didn't I? So I will come to DC and I will drag that into my new temporary brush set. And that's how you can organize your brush sets. You can also take that term. You can bring it down just by single figure dragging. You know what? I'm not too keen on those brushes. Tab again, and I have the choice to either rename, share, duplicate or delete. Yes, I wanted to delete. One thing I realized I have done is in the earlier part of the video and Oh, look at me, anti clever, I found some great brushes to use for those skin textures, but already I'm starting to forget where they are. This is not a good idea. Was it such UPS? Yes, it was touch ups on I used old skin and zombie skin, but mainly it was old skin that are used. This is what I'm gonna do. I'm gonna come to my layers and I'm going to create a new layer. And I'm going to rename this to brushes. I can do with a symbol pan that I can actually write with. Let's draw mercury. I'm sure it's fine. My brushes layer is selected. Then touch ups, hold skin or what else did I use? I used zombie skin. So it come out to inking zombie skin. Yes, I know this recommendation has nothing to do with the brush library, but trust me, if you get into this habit, you are gonna find me for recommending this. I can make it invisible at anytime. If I want, just call it up and I know what brushes I used to create this picture because nothing will drag you out of the creative zone. Quite like how to search around playing the noble game of what those stupid name of that stupid Prussia, which stupid brush set is the stupid thing hiding in one of the biggest creativity killers with digital art is either not knowing how to do something or quite simply not knowing where something is. And so this can really help you and we can take it slightly further. Like for example, with that old skins that I used, if I come down again to touch ups old skin, I have it set to just about maximum opacity and maximum size. So I might want to put 100%. Actually it was about ninety-five percent opacity. So 95% opacity. And you write down the size and the opacity. Because again, especially with something like pens for example, which is what I'm using now, if I zoom in, I want to make a profit size of 2%. I'm getting that thickness of light now what if I wanted to warm percent, I'm getting a different line and if I make it 4%, I'm getting a hugely different line, as well as having to play the game of what brush was it. Another game you want to avoid playing as well? What size was it or what opacity was it made your notes here on already. I've made a mistake here because I started to draw on my brush layer. One thing I guarantee everybody does at some point with any digital art programmers, they start drawing on the wrong layer. So to that end, if I just double-tap a couple of times to get rid of fat, come to my precious layout when I'm not using it, swipe to the right, a tap on the lock. Now when I try and draw on it, I can't and if I let go because I tried to draw it says Would you like to open the layers? No, I don't. I will cancel that. So that's another safeguard, our creating this brushes layer and writing down the various different names and the sizes. Yes, it's boring. And yes, it can tell you out of that place in your Hallowell you like to be, which is the creative zone. But in the long run, this will save you a huge amount of time and pointless frustration. The single most common question that's asked on any Procreate form is, what brush did you use? And you want to be able to answer that question for yourself a year down the line when you come back to this illustration. And they owe, I liked that lizard skin effect. How did I get it? Oh, touch ups, old skin and zombie skin. And there I have the answer. The information about the brushes I used is sitting right there on that brushes layer with the file. So you're never going to lose it. And this is not like traditional art. In, for example, a traditional watercolor painting, I may use 12 or three brushes, which are sitting right next to me. I can't change their size every time I reached for them, unlike a Procreate brush. And also because they are sitting on the desk next to me, I don't have to go searching through an entire art shop called Procreate. Without being entirely sure where they are or what they're called. Just before I go into the brush studio and start playing with the settings and showing you how to create your own brushes. Be advised, there is a huge aftermarket of brushes that have been created by various people. Some are free, some are paid for the paid ones. If you can afford an iPad and pencil, they should be reasonably priced for you. Just Google procreate brushes or best Procreate brushes. Some are very good, and I have some towards the top. I enjoy using them and all due respect to the creators. And since Procreate files, you can also import Photoshop brushes into Procreate as long as they have the, the ABR suffix. That is because it's procreate five, we have the new Val Curry graphics engine, and I've imported Photoshop brushes myself and I find that all my 2019 iPad Pro, the brushes work faster than Photoshop does, or both my tricked out Mac and PC. But be wise about this, downloading, every brush you can find will backfire on you. You can end up with dozens and dozens of brush sets. And I've already got quite a few here. And at first it feels great. You feel like a kid in a sweetie shop, but there is a good chance that you'll fall victim to preset flipping while you spend hours racing through the hundreds of brushes looking for that magic brush, that magically makes your work look like a brilliant artwork that was done by the person who created the custom brushes in the first place, brushes can help and it's good to have a variety of different ones. But there's also plenty of top professionals out there who use just a couple of brushes to create all their work. It's not the brush that makes the picture. It is the handler uses the brush. That's what decides what is a good picture and what isn't. Okay, I'm doing a quick insert into this video because procreate 5.2 was just released, there was a new feature which is really useful if I count to my Brush Library. You can see I'm in my DC brushes brush set, and I've been using various different brushes to create this image. And because I'm using them from different brush sets, I'm finding it difficult to remember which ones I've used. But with procreate 5.2, if I just come up right to the top, I get this reasons. These are all the brushes I've been using recently. So now I don't have to. I remember where that flipping brush was, which I was using quarter of an hour ago. Okay, So while we're on the subject of the recent brushes, if I slide to the left, I get options. And if I start with the middle button pin, if I do that, you see you got a little star in the top right that marks that brush as a favorite and it will stay in the Results tab if I slide to the left again, well, great, it's a favorite, but where did it come from? I mean, look at this. I've got loads and loads of different brush sets. So I slide to the left and come to find. It takes me to the brush set where the brush is. And in the case of this, whereas it, that water. That's gonna be useful because certain kinds of brushes and group together. All right, Just come to the reasons again and slide again. Tap on unpin to unfavorite the water drip. If I come to the one below, slide to the left and come to clear, it gets removed from the results. This is one of the reasons I like Procreate so much. Yes, the five-point to at least has its big things like 3D painting. But it's clear the developers think very carefully about the workflow, what it's like to actually use Procreate to do your work. This recent thing right at the top, that is gonna be so useful. 26. Add Some Noise!: Hi, I'm placing different hues next to each other. That's because I'm seeing different hues in my pepper because the local color for pepper is going to vary slightly. You're gonna get some slight greens in there. You're gonna get some more yellows in there. But also just on the area where I am right now, for example, that is being affected by the green pepper. Light is reflecting off it and giving it a cast. Or I'm trying to blend in these various different cues into each other with fairly big broad strokes just to get those variations in hue. And then what I'm doing is I'm taking other areas and I'm dragging them into these areas. It's a case of smearing paint around rather than just placing and then blending. You can push paint around a lot or like with this, I think I went a bit too far and the bottom with some of that dark paints on drawing in some of the lighter paint to deal with it. The only thing you will find with this is that if you keep on blending and blending and blending, every time you blend, you'll end up with a color that maybe it's a little bit less saturated because you've seen that when you place colors next to each other, the act of blending into each other tends to lower the saturation a little bit. So you can end up with some rather indistinct colors because everything just mush it together. Now in the case of this area here, where I spent a lot of time trying to find that neutral tone. Now can make good thing because it is supposed to be neutral. But other areas of this paper, It's a nice bright color, so I want to keep the brighter areas. So it's a mixture of blending what's already there plus van going back to your palettes and adding some more of the new fresh or colors which you defined previously. I think those new darker colors plus also that reflected light. That's making things work a bit better. Just a couple of other things I do want to show you this. So come to my layers panel, I'm going to create a layer directly above my yellow layer. I'm going to set it to clipping masks. So that's the brushstrokes I make will only show up where that yellow pepper is. And we're going to change the layer blend mode. So soft light, what soft light is going to do is make the colors interact this layer and a different way than if it was just a normal lab. And I'm going to choose this warmish color because I think I could do with warming up this area, but I don't want to start smearing around the pixels anymore because I've already invested a certain amount of time in there. I'd rather just the color be altered, but not the actual forms that I've defined. So I'll open up my layers panel again and I'm going to do something which as far as I know, I'm the only one who recommend you do this and I will explain why in a little bit. I'll select to around about 50%. It doesn't have to be exactly 50%, just around about the halfway mark. I will come and I will choose the software press because I just wanted to lay down some color hair, the size of it. Let's move this across. I want to say assert fairly large because I'm talking about broad areas of color hair. I don't want the opacity set pretty low. You can see it's about third opaque. Now I'm gonna come to this area. I wanted to start painting in some slightly warmer colors. Just didn't wanted to areas. There's a bit around here that I thought was just to cool. Also around here, maybe, maybe make my brush size a bit smaller. Now I'm starting to get slightly exaggerated effect here, but I want it to be clear to you what it is I'm doing. Now at the moment, you might be looking at that and thinking, well, there's not that much differences. But let me come back to my layers panel. You can see my layer is there. Watch what happens when I'm make it invisible by tapping on my little checkbox. You see that? I'll do it again without with all of a sudden, those colors are getting warmer more the way I wanted them to be. And I'm only getting the colors warmer in the areas. I'm defining what's actually happening there from a technical point of view. I will be explaining when I gave you the video about layer blend modes. But supposing I show this to a client and they say, You know what, I really, really liked that. But could you make those rates a bit more intense? More? Yes, I can. If I had left this layer at a 100% opacity and use more subtle colors. I'd have to go back and rework the whole thing. But with this, because I've set my opacity to 50%, I can say show how much do you want. All of a sudden that is much more intense. And they say That's great, but actually, I'd like it less intense. Great. You say, you slide it down again. So you've got anywhere between 0, 100%. But because you've painted your layer with its set to about halfway, as well as just being able to turn the effect down. You can also turn the effect up. In fact, I think I'll leave it about that to make my point. The colors are slightly different to what I've got in the photograph, but there's a point to be made here. The other thing is, when I defined that red pepper, you saw me use a different smudge tool. You saw me use the willow charcoal for this. I'm going to do something similar, but a little bit more advanced. I would find a new layer. I'm gonna take this entire layer and I'm going to stick it above everything else still inside the Papez group. It doesn't need to be a clipping mask. In fact, it's better if it's not. And I'm going to rename the layer to grain because rename my layers as we go along or we find a pause in our work to name my layers, I should have named this one as well. That's cool. This tense, 50%, which stands for 50% opaque so that if you're working along with me and you come back to this, that Georgia memory that that is set to 50%, right? Well, it was created at 50% pearlite. And then we update the value. Now this green lab, I'm gonna come to my simple classic. I want to choose fairly neutral gray. And then I'm gonna come to my layers panel and I am going to fill my entire layer with gray. I am then going to come to my adjustments and I'm going to add some noise to the entire layer. Let's do that. I have my assets to what, 1516, 70% just got a bit of grit in there. Sap away. I'm also going to change the layer blend mode. I can choose any one I could choose, overlay. Soft light. Soft light is working quite nicely again, although before I can also lower the opacity, so I get a hardware or software effect, in which case overlay. I'll go with overlay. Can you see fuzzy mean, I'm getting a little bit of noise into that paper. It's a very similar effect to when I blended using the charcoal state, but it's being applied or right across the board. And you know what? If I came in, I find that a little bit too hard and bitty. So I will come back to my adjustment layer again, and I will choose Gaussian blur, the entire layer. I'll put my finger at the top of my screen and just drag across. That's obviously way too soft. So I need to take this so I get some of that muscle effect, but not as grittiest that I need to soften the whole thing just a little bit. I will go with about, whereas that, that is as little as 1.11%, 0.2%. Okay, I'll go with that. Tap on my brush again. Now. Can you see if I make this invisible for a second? That soft airbrush effect is nice in certain areas, but in other areas I could do with just a little bit of grit built up. So what I'm gonna do is tough on my green layer and I'm going to choose mask. This is going to create something called a layer mask. There will be an entire video devoted to this because layer masks can be a little bit hard for people to get their head around. But very briefly, that layer mask sits on top of the green layer and just the grain layer. It doesn't affect other layers. And at the moment it's white, which means you see all the grain all over the place. What I'll do is I'll come and choose black. Come back to my layers panel, tap on the layer mask, not the green layer, the layer mask layer. And we're going to fill the layer, which will fill this layer with black. I want it does. Everything becomes invisible. That's because a layer mask just to exist to make whatever layer is attached to. In our case, the green layer, visible or invisible. Wherever the layer mask is black, the grain layer will be invisible. But if I come now, I choose white. I have my soft air brush selected. The opacity is set fairly low. The brush itself is set fairly large. Let's move that across, so that's fairly large. Then I'll come in. Let's take a look at just say this area here which has a little bit of texture there on the actual paper. The layer mask is selected, not the grain layer. You can tell that because it's deep blue as opposed to pale blue. I'm going to start revealing the layer mask only where I'm painting white. I can gradually bring out the detail in this area. What about a little bit here you tend to use this where you get a boundary between the light and the shadow of like say around here. Yet, I would expect to see a little bit more green there because the light is falling at a slightly oblique angle, which is picking out all the tiny little raised bits and the lowered bits. But I think I've gone too far with this because while say, the area where I'm circling now, that's gone too far. I don't like that effect. So what I do is I come to my colors. I choose black again, same brush, same capacity, same size, same everything. But now I'm painting on my layer mask in black. I can fade that out as much as I want once you bits are quite light, but I could do with it being less prominent. So it can fade it out as much as I want, leaving only the areas I want. And then, you know what? I'm faecal decided I do like it in this area here, so I paint it back in. Then because I'm figure again, I come back and I paint over in black and I fade it out. That's the thing about it. It's not like an eraser. With this, you can fade in and fade out as many times as you want, as much as you want. In fact, while I'm here, because this is sitting on top of all my layers. I can choose white again, and I can add a little bit of that grid just on my red pepper as well. So it breaks up that super smooth texture that you do get when you use a mixture of air brushes or very soft smudgy blindly tools. And you can control exactly how much fat or not keen on it there again, because I'm fickle and I've changed my mind, so I faded out there. And because I set my entire gray and lead to 51%, I can decide to the universal changes to this. I can make it really strong in your face or can faded almost anything. I'll take it down. About was on 53%. I'm gonna take it down through what? About 41%? So it's very subtle. But it is there. You can just about see it. If you obviously notice it, it's gone too far. If it just subtly enhanced the whole thing, then it's for the best. I think for us, Yes, I am tempted to carry on working on this because MY obsessive know I don't know what you're talking about. But the whole point of this exercise was to show you the various things you can do with the color palette and carry on working and showing you one or two new techniques. I've done that now. So now just for the sake of completeness, what better to do that green pepper handmade soap that's coming up in the next video. 27. Paint the Green Pepper: Hello and welcome to this video. I'm going to be painting the green pepper hair and are not really doing anything that you haven't seen before. So I want to go through this fairly quickly. Created a new layer and I will rename it to Mixer. Green. Hard air brush is good and I need to create a green swatch to build upon. Okay, let's try the color theory. Complimentary. Maybe I'll use that, but I think analogous is going to help because I can see some cool shadows in there. But I think they're pretty deep, so I'll make this quite dark like this. Also, I think I really need to set the alpha lock this layer so that I can put down my deep blue on the screen and upload that in a little bit. Also, I think for the yellow, I didn't make things quite dark enough if you remember, I had that problem. So I'll make an even darker version of the color, and I'll add that right in the bottom right corner. I think that black could be two dog, bird. When I blurred, it's the transition from that black devout slightly lighter blue. That's what I'm interested in. But at the same time I want to give myself options. So as well as using analogous outcome to complimentary and then split complimentary so that I can have a warmer and cooler version of the shadow area for the green pepper. But I can also see some blue light areas on the top right of the peppers. Now I don't need transition colors relative to the basic green. I need transition colors, which are blurred from the shadow areas. And that's why I'm going to paint in the top right-hand corner where there is that dark blue instead of blowing against my base green. Also, you can see where the pepper touches that paper surface. You're getting some very neutral grays on the underside of the pepper, so I need to define them. I'll do that by using complimentary colors and are choosing almost gray, but just with a touch of blue, I think, and see if I can't get some realistic hues on the underside of that pepper. Okay, so what about the lighter hues? I'm looking at the bottom left of that pepper and I can see a general lighter tone. I don't know whether it's warm or whether it's cold. So what I'll do is I'll define a slightly lighter tone and then I'll build some warmer highlights and cooler highlights based on that. But also I want the warmer and cooler highlights also to blow in with my base green, but I can do that to find an area in the corner. Put down my warmer cooler highlights, server sharing a border width, the stock green, and the slightly lighter green that she gave me some options. Okay, so now I go to Adjustments, gaussian blur and put my finger on top of the screen and drag until I get some blurring between the different colors I've put down, but also a little bit of the original color in place. Okay, I'm pretty much ready to start painting now. I've checked my paintbrush, make sure I have the right layer selected. That's my red and green layer. And because you've seen all this before, I will speed up this video a like crazy. I decided out, fade out and fade back in again because I wasn't doing anything that you hand already seen me do before. I was applying down hard areas. I was smudging. I also touched things up by using things like the medium airbrush or the soft air brush, plus a fair amount of smudging. I also decided because I was doing the green, that I would do these two stems as well. Because otherwise you'd end up with three, hopefully fairly realistic and looking peppers with two completely blank green areas where the stamp should be and they would stick out like to sore thumbs. Also, if I come to my layers panel, you can see I added some more bits on the layer mask to get the grainy effect just in the various areas of the paper where I saw a more textured effect on the photo. This helps the shot because there are a couple of things when you're doing this realistic, slightly airbrushed look, which really make it clear that this is a painting rather than something a bit more realistic. This may not pick up very well on the screen recording, but if you're following along, this file is available for download so you can check it out for yourself. If I make the grain layer invisible, all of a sudden that becomes very, very smooth. If I turn it back on again, I'm getting a slight breakup of texture. And that is an important thing. Look, if I come to my reference layer and I'll make it maybe a little bit bigger. I'll zoom right in on some areas. Say this area of the paper which looks like it's completely smooth thread. When you zoom in, you realize that you've actually got a whole load of small blotchy areas. It's never worn completely smooth set of records. And then going through to the next smooth sort of reds, you're always getting slightly different values and slightly different hues peppered around in an area that from a distance looks like a featureless, smooth red, same with the yellow. You can see all kinds of little granular patterns that is a feature of photography. People don't seem to realize it until he pointed out to them, that's what we're replicating with this grain layer. I just want to have another look at this paper because the form of it aside, that makes a palette which I created at the start of this video. It nearly worked. I think it's worked quite well in the shadow areas and also some of the medium highlight and some of the lighter areas just toward the bottom left of the pepper. And also that reflected light coming up from the paper, but where it hasn't worked has been just in the top left part of the pepper. It's to blend. That's too boring. It needs a little bit of yellow and it needs a little bit more saturation. Now I must admit that when I was creating this part, I kind of knew that was going to happen because I wanted to make a point that this whole set of videos where we've painted these papers are somehow morphed from being a tutorial about using the harmony palette and color theory to paint your pictures into being part color theory and part creating a realistic painting, something that looks a little bit like a photo. And look for the color theory. If you're doing something which is made up the color theory that we've used her with a various different color modes can be very, very useful if you're doing say, a realistic portrait which looks a bit like an oil painting. And people see the oil painting and not the original photo that may be you are referring to. Again, the color theory we've been using here can be very useful. But in this case, I was very aware of the fact when I was doing this that at all times you can see the original photo. And so it's gonna be reasonable to assume that the color theory we're demonstrating using these various different models here should apply to real life, to which I would say, actually it has. If you take a look at these highlights on the red pepper, we definitely had cool highlights and warm highlights. And the killer theory we used really helped with that also. For the shadowy areas on the yellow pepper where we had warm shadows. Again, it really helped us for the green. Well, the cooler shadows. Yeah, I think that did help, but I must admit I spent a while thinking, well, what about those yellow highlights? Some of which at least our reflection from the yellow paper, will, the color theory doesn't quite take into account that. So my advice to you with the harmony Color panel is hopefully by now you understand the principle of it and you've seen the theory applied to it. But depending upon the circumstances, don't be a slave to it. If it doesn't work out, then look for another way to do it. And in the case of this, I would like to do something with that green puppet and make it look a little bit more like it does in the photo. So what I'm gonna do is come to my red green layer and I'm going to swipe to the left and I'm going to duplicate it. And now with a layer which is on top, I'm going to grab the opportunity to show you one of the adjustment layers in action. So let's come to hue saturation, brightness. And I wanted to apply to the entire layer. You can see I have three slides at the bottom. And if I make them very extreme Look the hue, I can move everything around on this layer to get all manner of different effects, which in itself is a lot of fonts do and can provide a lot of new directions. I could take the saturation to make things much more vibrant or less vibrant like this. Again, that's useful. The brightness is an overall turned the values up, turn the values down. I find that slider to be a little bit crude for doing any kind of dark to light work. So I tend to avoid that. But what I will do is I'll tap once on the screen and I have a series of different options here. I'm going to come back to reset because everything that was done there was way too strong. So what I'm gonna do, I'm gonna come down to the saturation slider and I'm going to start increasing the saturation slightly. I'm gonna look at my reference photo and at my layer are not looking at the slider. And I'm going to increase the saturation until, well, look. As I increase the saturation, I'm starting to get the colors which look more like the colors on the photo. And I think around about there looks nice. But now let me come to the hue slider. Which way do I go that makes it green and that makes it more yellow. I want it to be more yellow. I'm going to again, look at the picture and not most slider and again to gradually start moving it more towards the left. So batches by a couple of points, but I'm getting a more yellow look to that pepper. Now it doesn't suit all of the paper and obviously the red type is being affected as well by this, which I don't want. But we'll do something about that. Now. Can I do anything with the saturation now that I've adjusted the hue, where do I want it to be? I want that to be fairly bright like that. Now what about Select shoe? Let's come back and check that once more. I'll go with about there. So now I can just tap on my adjustments panel again or you can tap on screen. And this time I will check Apply. Now if I come to my red green leather new one where I adapted things alternate offer a second so you can see what the underlying original layer was like. Hopefully you're looking at the green when I turn this on and off because that red is so distracting, it's difficult to look at anything else. But yeah, I'm getting more than current of colors I'm seeing on the pepper on this top layer which I adjusted. But obviously that's only in certain areas. I do not need this effect on that red pepper. I do what I did before. I add a layer mask, tap on my layer and I'm going to tap on mask at the moment the layer mask is completely white, so it's having no effect whatsoever. So I will come to my color panel. Let's just come to classic and drag my reticule. There you go. I use the fancy official term down so that my main color is black. Come back to my layer mask, make sure I tap on it again so it's highlighted in deep blue. And I will fill the layer, which will fill the layer with black, which makes the entire layer invisible. And now I come back up to my color panel. I choose white, the paintbrush. Okay. I've got from the airbrushing brush tools, the soft air brush selected my brush. Let's move this across a little bit. I won't fairly big. Well, that's about 20 per cent big. Unwanted. The opacity set fairly low, about a third opaque. Now, I can come in and I can brush in the top layer just where I want it to be. And sure enough, when I do that, you can see I'm starting to get that more yellowy, more saturated highlights. Just in the places where I'm brushing On that is providing much more than I was wondering. Now. I'm just wondering, I'm gonna circle the area. There's a little bit on the left part of the paper which has got a slightly reddish tinge. And I yeah, I think I know what's happening there. Look, if I had put up my layers panel, this layer pair where I started playing around with some of the reds couple of videos ago. If I'd make it invisible for a second, you can see I accidentally spilled some of that paint over into the green area. That's not a problem. Come to my Erase tool, beat him hard airbrush fascia, be fine. How big is it? I don't want it too big, but I can just compare and just brush away that affect where I don't want it. Now, let's take a look at that before and after. Let's come to our red green layer, invisible all of a sudden looking a little bit the saturated in some of the lighter areas and whether it applied. Now I'm going to keep that extra layer. Let's read name it, Let's call it green altar so that I know what that layer is doing and I'm gonna keep it there because the whole point about Layer Mask is they are sometimes quite hard to understand. But if in two years time I come back and I want to rework this, my layer mask is going to be in place there. And so I can fade out or fade in the effect as much as I want. And in fact, look just to show you this, I will undo this after awhile, but I'll make sure my green altar layer is selected. I'll come back to my Hue Saturation and Brightness again. And look. You can see I can change that to whatever I want. Imagine you had, for example, say an apple, which was a mixture of greens plus reds plus yellows. Well, I could use this technique here and supposing I went to about say, for example, I could then come back to my Layer Mask and I could carry on painting in the areas where I wanted and painting out the areas that I wanted. And because my brush opacity is set fairly low, I can fade in the areas that I want it to fade out, the areas that I want. It doesn't have to be all or nothing. It can be a little bit of red in some areas and more red in other areas. So that gives you an, a massive amount of flexibility. I think that's the principle advantage of the layer mask. But don't worry, there is a video for this coming up, I promise you. So for that, let's two-finger tap once just to get rid of that. And I think now I'm ready to start thinking about doing some final adjustments to this. So the first thing, well, I think I'll crop it because I've got that big area of white on the right-hand side, which I don't really need. Look. I'm well, wherever the fact that there are shadows on the floor which I haven't painted in, but rarely do need to get on. My apologies, but I'm not gonna do that. So that's come to wrench icon, tap on Canvas and I want to crop and resize because as well as wanting to crop in a little bit, I wanted to see how many layers I've got left. Because there's suddenly I wanted to do beyond this. Look closely at the top middle of the screen because I want to know how many layers I've got available. 183 layers available, which probably want invisible. But what's more, when I start to bring in this area at the slide, which is what I want to do. You can see as I do it, the amount of layers available, updates at the top. So if I come to here, for example, 226 layers available, great, I can live with that. So I'll tap on Done. This comes with a warning. Once I do that, I supposing I turn on say my mixer layer, all my mixer green layer. That'll be a good example. I'll turn that on. You can see that when I cropped it, I cropped out part of my mixer layer. So those darker tones that I was using to create the paper have gone. So just be aware of when you're doing that, that it's not like programs like Photoshop or Affinity Photo or various ones. Once you crop something, it's gone for good. Well, unless you decide you want to undo the crop as this, for this, I'll just leave that there as a warning. Should you end up doing the same thing yourself. Okay, So the next thing, supposing I wanted to alter the overall color balance of this. I mean, everything in the picture. Well, the purpose of divided up into lots of different layers and you can see that here, all inside our peppers group. But do you remember about two minutes ago we saw we have what, over 200 different layers that I can add to this picture. So create, I will swipe left and I will duplicate my entire layer. Then I will tap on the Group icon which says Pappus. And I'm going to flatten it. Now if I make my peppers layer invisible, I have a group, they're called yellow. And the reason it's called yellow, it was named after the bottom most layer of the group. So here's an idea. Let's rename this layer because now everything which made up those papers is all stored on one layer. I'll call this purpose merged. 28. Finalizing our Peppers: Now any changes I make to that peppers merged layer will be applied to all three pappas plus the stems. And so I will duplicate this lamp. And for the sake of showing you another one that with the adjustment layers in action, outcome to color balance. And I will select the entire layer. I will be doing a video about how this adjustment works and why you have this rather strange selection of three sliders with cyan and red magenta again, blah-blah-blah. But also if you tap on that little sun icon on the right-hand side, you've also got three different zones. You've got shadows, mid tones, and highlights. But for now, supposing I wanted to change the look of the shadows. I come to the shadows and supposing I wanted them to be a little bit cooler because I have that blue piece of paper on the right-hand side throwing blue lights around. So when I start to move the blue slide, I'm getting more blue in the shadow areas. Now if I made them blue, what about cyan, which is related to blue? Again, you can see that if supposing I wanted to warm up the shadows, I can add more red into the shadow areas. Can you see how the whole look of this picture is changing? Now I did say slightly cooler like this, so I will do that and I'm making this quite extreme. So there's no mistake as to what I'm doing. But now if I come to highlights, I get my own set of three sliders just for the highlights. Now supposing I wanted to warm up the highlights. Okay, well, let's add some yellow into the highlights. Can you see when I do that, it started to change the look. When Procreate says highlight, it means highlights. And it's only really the very light areas of these puppies that are being affected by this series of highlights sliders. So I will tap and I will reset that because those highlights aren't really what I wanted. And unfortunately there's no number values, There's only sliders. So I can't judge right The accurately where the starting points for those sliders are. I'll come back to shadows. A little bit of blue, little bit of cyan, cool things down. But now I'll come to the mid tones, which is where most of the colors for these puppets are supposing I wanted to warm them up. You can see I can do that. I can agree in there. I could have magenta there. I can get pretty cellular service. Warm up a little bit more that, a little bit less than this magenta and cyan because I don't really like what it's doing. I can get some really rather strange effects with us. Or rather than saying strange effects, I can alter the balance of the picture by quite a bit. And of course, if I wanted to, I could do what I did before. I can add a mask to it. I can't choose black. I can fill the layer with black. So this top peppers merged layer is invisible and choose white, choose a paintbrush. Low opacity, and then they can apply that effect only in the areas I actually wanted. Then for that I decide, well actually I quite like it in the green peppers and the other peppers. That's given me something quite interesting. But I don't like it in the red pepper area. So choose black for my history and just scrub out the places I don't want it. That's one finalizing technique, but I think I got a bit ahead of myself because there's suddenly outer rather do. Before I do these final tweaks to my picture, I just wanted to show you that and now I have, so I will delete that layer instead. Let's talk about that problem I was talking about earlier where I'm getting these razor sharp edges which is kind of letting the whole effect down. There are two sharp, they're not like you'd expect to see in a photo, for example. So just once more, Let's swipe left and let's duplicate our layer. Now for this, I'm going to use Gaussian blur. I think I need to turn off alpha lock. And let's make a start with pepper in the background because when I created this stem on the yellow pepper, I blurred out the blocked in green area and then I paste on top of it. You can see that's really helped because that pepper in the background is slightly out-of-focus on the photograph. That slightly blurred area is really helping sell the realism of that stem not so much with the actual pattern. That's got a slightly hard edge than you see in the photo. If you look at that corner in the reference panel for photos, more blurry. So what I'm gonna do is come once more to my adjustments and I'm going to come to Gaussian blur. But instead of a layer, I'm going to choose the pencil. Now let's make sure I've got the right brush for this soft air brush. I think that's the right one to use. I want a brush which is the right size for this. And I think I'm making it pretty small, two or 3%. What I want to do is just trace along the outline where the yellow pepper meets the background. And if I do this, Can you see how when I do that, I'm getting a very blurred effect that in fact maybe I'll make this brush a little bit bigger. Maybe 3%, just big enough to affect the area along the outline. But you can see the blur is too strong. Everything's blurring in a way that I don't want. So I will come and I'll get my finger place on the top while the slider is an ultra rag. Gaussian blur or right the way down. But they'll come a certain point or around the 23% couldn't get even bigger with that. I'll come to about 30%. But now can you see I'm starting to get a very similar to what I have in the reference photo. And if I carry on with this, my trace mode, the edge of this pepper, I'm starting to get some very soft blurry effects, which is really helping sell the idea that this is actually a photo. It's behaving how I would expect it to behave if it was a photo. And also because I'm using my pencil, I'm not blurring the entire layer, which I really wanted to do. I could do this by blowing the entire layer, then putting on a Layer Mask, and then only exposing the areas I want to exposed. But with this way, I can just do it directly onto the screen. I think maybe that little area here, brush lightly over this, just a blur that slightly because That's a bit too much of a hard agent now, that's given me a much more natural effect. Now what about the red pepper and the green pepper? Because they are more closer to the camera, they are more in focus. So I would expect to see a certain amount of blurring there, but not as much as that yellow pepper in the background. So what I will do is I will tap once on my adjustment layer icon just to commit to what I've done. And then I'll repeat the same thing. Gaussian blur using my pencil, but I already know that I want less than 30%. Let's come to this red paper, for example, and do the same thing later. In fact, come on, we can get the air brush pasty up. Come along with such hair. That's way too much. So what I'll do is I will come and I will lower the blur like this and gradually increase it. Now for some strange reason, maybe this is a glitch. I'm not getting a numerical value and I don't know why that is, but I can move around as much as I want. That's way too much. Little bit more. Maybe. That's not working for me. I don't like the fact that I'm not getting a numerical reading. And if I'm not getting a numerical reading, I'm wondering, is there another way in which this glitching at the moment? So I will tap and I will undo the Gaussian blur for that. I'm wondering if I repeated the operation to soon after that blur to the pepper in the background. So what I will do, I'll create a safety layer because I'm a bit worried about how Procreate is doing things at the moment. So I will duplicate my layer and I'll make my changes to this because if it also Migros bad, which it looked like it was going a little bit. I always have my previous layers backup. So as before, Gaussian Blur, just using the pencil. Thank you. Now see on getting Gaussian blur, 60% of getting the number. I'm going to bring it down like this. It was on 30%. Let's take it down to about, say, 20% as a starter. My brush, soft airbrush, yes. Now I'm going to take it down to 2% from 3% because I use 3% on the previous one. But now I want to slightly tighter blur. Is this going to work? Now I'm getting more than result. I want maybe take this down a little bit to about 50%. So after make more repeated strokes so I can gradually build up that effect there. Compare what I've got there with say, the edge of the green pepper. And immediately you can see just that slight amount of blurring is really helping sell a shot. Okay, so now what I need to do, I think I would speed up what I'm doing. I'll speed up now. One thing I should mention is that Look, I've got my purpose and merged layer and my pepper as much layer underneath it. And so now if I'm gonna try blurring against the background where the paper is, where I haven't painted on that purpose merged layer sitting underneath could confuse what I'm doing. So I'm gonna make it invisible. In fact, know what I'll do is I'll swipe left and I will delete it because I don't need it anymore. After that little glitch I had with a Gaussian blur, the top layer was a safety layer. I know it's working so I don't need the layer underneath anymore. So now when I blow against the background, I'm gonna get a clear idea. But I'll do now something that you might end up doing yourself. Because I made that layer invisible. I come along and we go, oh, what's going on? That's because I got rid of that layer just a couple of seconds ago. And so the whole Gaussian blurred using just a pencil got turned off. So let's go back to where we were. Now, wherever we were on about 20%. Use my finger is just a slide along until I get down to about 20%. That'll do. Carry on as before with the paintbrush will be selected, corrode, and just start learning these areas. Let's make sure I have the right layer selected. Yes, I do. High-end carry on. That was a very subtle thing that we did, but has it helped? Let's make the top layer invisible. What we had before, edges which scream I've been airbrushed to this, where the age is a much softer and that is helping sell the shot much better than it was before. The very final thing, I promise, throughout these videos, we were working with the harmony engine and we were trying out the various bits of color theory. My question is, Has it worked? Well, there is a way to check that I've created a new layer. And if I zoom in on that layer or layer 18, and you can see from the thumbnail, all I've got there are the basic colors I used right at the start of the tutorial. The base read the base yellow, the base green, and they're lying directly on top of my purpose merged layer. But what I've done is change the layer blend mode of the top layer to hue. What's going to happen now is the dark to light values plus the saturation of the layer below is going to be combined with the hues of the layer above or the color. When I make this layer visible, you're going to see what would have happened if I'd done this entire painting. Only used dark to light values of my basic red, by basic yellow and my basic green. Let's turn it on and see what it would've looked like without all the color theory. You'll see that. Let's turn it off again for a second. This is how we painted it. This is how it would have looked like with just simple dark to light and less or more saturated versions of the basic colors we started out with. And look at the difference. Take that yellow piper In particular, you see how it looks, especially in those shadow areas. There's no warmth in the shadow areas. That's awful. Take a look at the green. There's no blue in the shadow areas, which really brings the layer underneath to life. Take a look at the red highlights. Now instead of having warm plus cool highlights, we've only got neutral highlights. Now let's turn off my hue layer again. And all of a sudden, you're getting these subtle variations in hue as we go from dark to light. And the painting is so much better forward. It's so much more realistic. If you want to know if the color theory works, there are some quite convincing evidence, Okay. We still have the value on the pallets part of the color panel to take a look at. But for now, I will get rid of this lab because I didn't like what he was doing to my picture. I will export this out and I'll call it something like peppers finished. I will make it available as a download so you can take a look at the final result if you followed along. I hope you got a lot out of this exercise because a course like this, it's important that you explain what the different panels do. It's also helpful to explain what the hue saturation and brightness or the color balance are. But it's only when you get a chance to practice in a real setting that things really started to make sense and things start to sink in. That's why I've done a workflow from start to finish and taken them things along the way, things like layer masks. So you can see them working and practice while you're working. That is what hopefully makes this course more effective for you. All right, let's move on to talk about those last two panels, the value panel and the pallets panel. I'll see you in the next video. 29. The Color Value Panel: Okay, So after the harmony panel and hopefully some of that color theory will help you. You have the value panel. Now you may recognize that top ones, HSB, do you remember the classic? You got H, S and B or hue, saturation and brightness. Same thing here. There's your hue between 3680 degrees. Then you have the saturation. And under that you have B, which stands for brightness. You'll also hear that referred to as either V for value, in which case you have HSV and sometimes you'll hear that referred to as luminosity. So you might hear referred to as HSL. It all means the same thing. It's like the sliders we did see in the classic panel. But the difference here is that you can enter the values manually. So if I tap there, I can enter 50% saturated. For example, between 0360 degrees, between 0% for the saturation and the brightness. Can you see those little sliders moving around underneath as well? Well, those are the red, green, and blue sliders. This is the way your iPad or any color monitor ports color onto your screen. Each dot or pixel is made up of different amounts of red, green, and blue values. And that's going to be in-between 0255 at 255 times 255 times another 255. That's where you get around about 16.8 million colors. Now it has been estimated that the human icon differentiate between about 10 million colors. We've got 16.8, so we should be covered for this. Now here's the thing that sometimes confuses people. Each of these sliders has a gradient. In the case of the red at the moment, it's going from a pink one end through to a kind of blue at the other. That can be a bit confusing, but all it's doing is showing you what color you'll get if you move the dot on the slider to a certain point on the timeline, like for example, the red. If I was to move it about halfway, I'm gonna get kind of a bluish, slightly desaturated blue. And sure enough, I get that. Look at the top right-hand corner. But did you notice the other two color values change their color? It's just letting you know what color you are going to get if you move any of these points, like supposing I wanted more of a green color. While I look at the sliders might come to say, oh, the B slider, that's got some green on it. So I might move more towards The green like that. And then I changed my mind and I decided I wanted a more orangey kind of a color. Will look at the red slider. If I move that up towards there, I'm getting a more orangey color. Now the RGB sliders can be a bit hard to get your head around at first, but this was the original way we used to have to define colors way back in the early days of computer graphics. Or an I'm talking about until I graduate. Mid 1990's, this is how we have to create all our colors. I'm used to it, but I understand if people aren't in a nutshell, if you take all the values down low, you'll get a very dark color. If you bring all the values up high, you'll get a very light color. If your values are set close together, you'll get kind of a neutral color. The farther apart they go, the more pure tones you tend to get. If you want a flesh color, it's going to be mainly red, little bit of green and then blue to taste. If you want that to be a more intense orange, it used less blue, for example, if you wanted a more of an orangey color, you'd use less blue and if you wanted more red or orange, you'd take away some of the green, and so on and so forth. If you wanted dead gray color, well, I can enter values able to 71 to seven. I want to seventh. There's a dead mid gray. Now you can set primary colors because all red and no green and blue gives you primary red or green. Anonymous service gives you primary green and all blue and none of the others gives you primary blue. But what about CMYK, which is what printers used to mix color and we'll talk about later. Well, that's pretty easy. Full-on red gives you red, full-on red plus green gives you Yellow, Sea and yellow carry full-on green and blue, cyan and YK, full on red and no green and blue gives you CM magenta, K, pure white, or pure black. Here's a little tip for you. If you come from a traditional background, he may be someone who likes to mix them a very limited palette of primary colors, of maybe a shade of red, yellow, and blue. Primary red. Here's a primary yellow. Here's a primary blue. Alright, let's. And make those colors join up with each other like this. Mixing with each other and not the background. I'll come to my smudge tool and start to make some more orange. You can get some quite nice colors. Yellow and blue. It's not giving me quite the greens that I would like if I felt really quite dead, I wanted to get a green from this. And instead of getting some early, rather dead gray colors. Now what about the red and the blue? Not too bad, but again, it's looking a little bit dead, so I'm gonna get rid of that. Instead, I'm going to use the colors that are print to users. So what are we looking at? We've got cyan, we've got magenta, we've got yellow, and we've got black. That's what black halftone a little bit to one side. Let's take that cyan so it mixes with the yellow a little bit more than I did have a bad time trying to mix up the yellow and the blue to get some greens. No, What about here? I'm getting some much nicer greens here. Now, what about the cyan and the yellow? I'm kind of rushing a little bit here because I know we're on the clock, but I'm starting to get some much nicer, more vibrant. So they're getting some very nice blues and also some purples. And also kind of mortgage entry reds. Can you compare what I've got here? And I'll quickly show a screenshot from what I was doing just a couple of minutes ago with a red, yellow, and blue. I can you see how these primers, the cyan magenta is in the yellows mixed together. I'll give him some much more vibrant terms, but a little tip for people who want to mix primary colors. But coming back to our Value Palettes, the last one underneath is the hexadecimal. And you can see just in this little box, which I'm certainly now, that is the hex code, which is short for hexadecimal. Hex codes are used in HTML web page code. So you get the numbers and it's old in base 16, so we have the numbers 0 to nine, but then we run out of numbers to show the remaining six values. So we use the letter a, which stands for tanh, f, which stands for 16. And all the letters in-between. The code is six characters long, which is actually three groups of two pairs. So just in case you want to know, you can work out the value of each pair by multiplying the first number or letter of each pair by 16, second number or letter by one. So the hex code for the F4 D would be a equals ten in hex codes. So ten times 16 equals 60 plus four times one equals four. The first part is a red value of 164, with a green being 223, and the blue being 77. Yeah, that was complicated. It is complicated for humans, but rarely easy for computers, because computers like to use base eight by 16. And so that's why we use them. Hex codes are useful if you're working with web pages or client gives you a hex reference of a color they wants. It means you can enter the hex value into here. So I might choose what was the one I said, a four for the reds, for the green and for D for the blue. That gives you this color. Now that you know, because you typed in the code they gave you, you have the color they want appearing on your screen. All right. The next one coming up will be the palettes menu. 30. Creating Color Palettes: Okay, so finally we have the palettes. This is where you store the various colors that you've created. And you can see, I've got a few hair skin tones, watercolors are few of those plus skin tones, most skin tones, oil hues. Now you may have noticed that each of the panels or the bottom, you get the default palette. In my case, it's oil Hughes reduced. You can see it there. You can see it there. And you can see it there. And obviously you can see it there. But supposing, I wanted my watercolor 01 to be the palate that shows up all the time. All I do is I tap Home, Set default. And now when I look at all the others, look at that watercolor 0, warm watercolor 010101. All right, so let's create a new palette. I tap, I'll have a number of different choices. Need for camera. I can take a photograph knew from a file. It will look at a file on your system and try work out some of the representative colors from that and give you a pallet or new from photos. It's the same thing. It will get a photo from the photos app. In fact, come on, let's try that. Let's try this fruit palette from image. Those are the various different colors that I got from that picture of some fruits. I can tap on the name. I can call this fruity. Look, it's not my default disk. Classic Harmony Value. Fruity appears at the bottom. I don't particularly like that one, so I will swipe to the left and delete it. Personally, I would rather create my own palettes rather than have a computer do it for me. That computer will do it much faster job, but I don't have the control. So I will create a new pallet. Supposing I want say, some of that highlight color from the squirrel fur just around there. Search around my finger to find the color I once, that is now my primary color. So all I need do is tap. Now suppose you know what a deeper color. Sarah. And I taught there. Supposing I choose a deeper color there. And oh no, that's the wrong color. I wanted more of the squirrel for. All I need do is tap a little bit and it says Delete swatch and I will delete it. So I wanted to take the time, didn't I? I want a slightly deeper version of that. So maybe around there, come back top. And that's how you build it up. So just to finish off with the squirrel, That's my tones. Now I can't do it that way where you just lay things out going from left to right, all the way down. But supposing I have a call to the side which has some slightly different colors. I'll choose the lightest tone, and I might put it there. I might choose another term which is dark and put that there and then move tone which is darker still and put that there. And the darkest there. What I'm doing is I'm clustering my palette so that grass in the background, a little bit there, a little bit. Maybe a little bit. For example, I'm starting to cluster the different things together, although maybe not there because that might get confused with the squirrel fur. So tap and hold, let go utterly swatch. Instead I'm, I put it there. You can do what I tend to do and that is lay my colors out like this. So in the case of my watercolor there, how my base color plus a lighter version of it and then a darker version of it. Or I can cluster my colors together. Now sometimes if you're working, you may be asked to come up with a series of colors that are going to form that brand identity. These are the colors that the client wants you to use throughout a range of different bits of artwork or graphics or what have you, in which case, you might find your colors and name the supposing this is not the squirrel palette, supposing this is cooperativity. Then if I want to share that with my clients, so they have the same palette as meat swipe to the left and tap on Share, export and then decide where I want to export that to our bother doing that right now, export unsuccessful, I don't care. And sometimes a client will give you something called a Pantone reference. Pantone is an international company which has specified a vast amount of different colors and how they appear on different surfaces, print and screen. And each one of them has a name or code. You can buy a series of swatches that you use for your work or at meetings and choose the color that you want next to your clients are. So for example, one of the pods on colors of the year is this one, outreach Pantone color. It has its code, which you can see at the top, but also it has color values, RGB, while you can come to your value palette and answering the RGB values. So I've got my God, 245. Two to 377, that is the car that corporate he wants. So I can always add it to my palette. And if you look on the news or the hexadecimal value, now that I've changed it, you can see I've got F5, df for dy dt. Remember those are the red, green, and blue values expressed in hexadecimal or base 16 format. And I'll look at that if I take a look back at my little screen, grab the hex or HTML color is F5, D F foldy. So that is how you get taught nicely to your clients so you both know which college you're talking about. Oh, and finally with pilots as well, you can see I've got skin tones there. Supposing I want skin tones to be moved. I can just tap on it and drag it and move things around to whatever order you want them to be in. Like I've got a skin tones down the bottom. I also have a skin tone 0 to let's take that and drag it down. You managed to listen to goes, the skin tones it together. Within procreate, there is a new feature which is here to help us. And that is if we come to our wrench icon and come to help and advanced settings, just if he come down towards the bottom, let me turn off feedback sounds because I do not need those. You get color description notifications. I'll turn that on. And compounds procreate. Now, if I hold my finger down, can you see at the top, I'm getting a little description of a color that I'm using. Dark brown, red, red, orange, light orange, light grayish orange. I can see this is going to be useful for people who are colorblind. Because also if we come to our pallets, we now have two different options. We have compact, we also have cards on Procreate makes a pretty good attempted giving general color descriptions to the various colors you see, you can see there dark green, green. There is something here called background trees. That's because I was using this for our project and the factors. You can't rename things. So cyan, I can rename that to trees. And so that's just one of the little features within procreate that's going to be useful for some people. And what I do like about this is look if you come from a traditional art background, you may recognize certain wonderful descriptions like cadmium, orange, lemon, yellow, burnt umber, raw umber, sap green. These are the colors of pigments that make up things like watercolors, all oil paints. And so if you do set up a palette, like for example, well, the palette I'm using at the moment is watercolor 0 to low oil HU one. These are the digital version of some of the colors I was talking about. Visa will be described in terms of dark red, dark red, orange, dark red orange. And again, and you can see they're quite dissimilar. But then I can come back in and rename those to the hues they are supposed to represent. That is something I would like to do so that I or someone else coming to my palette could tell the difference between a cadmium lemon and a lemon yellow, for example. Also, because I've loved the names of pigments for very many years and it makes me feel like I'm a proper artist when I use those names, The only thing I would say that is be careful because your digital version of lemon, yellow, and scarlet lake, for example, is going to behave very differently from the real-world pavement version of a lemon, yellow, and scarlet lake. Okay. Let's move on. 31. Importing Brushes: Okay, So in this video I want to show you how I'd go about importing brushes that I've bought on the Internet. I'll show you two ways. The first way, by using my computer, I'm on a Mac, I could use a PC just as easily. The process is very similar. Then I'll show you how to do it using Chrome on the iPad. Now, one thing I wanted to say right from the beginning, getting stuff into and out of the iPad is not the easiest thing in the world. It should be easier, but for some reason it isn't. And the information I give you now could be irrelevant for next time they decided to upgrade the iPad operating system. So I'm gonna play safe a move things over to the iCloud because if you have an iPad, the iCloud comes with it. Whereas things like Dropbox or what have you which some files go to, I can't guarantee you have a Dropbox account. So our buy stuff, put it into iCloud and from there into Procreate. Alright, so first of all, we're going to do things using a desktop PC or Mac in this case. So I'm on a website called Creative Market.com. It is a huge site where you can pick up all kinds of brushes. And I'm looking at this one realistic watercolor toolkit, and it's by tick, by Kate. So before I do, let's take a look at the screenshots and see if there's stuff there that I do like it looks good. Also, I like the fact she's got some blending brushes in there. So yeah, I'd like to buy this. So the next stage is go-to by now. Okay, I'm not gonna type in all my login details. Pause my PayPal details on this video now. Thank you very much. So I'll fade out and fade back in. Once I've actually bought the brushes. I bought the brushes, they came in at a zip file that ended up in my downloads folder. And then I copied the zip file over to my iCloud to basically wherever I want as long as I can remember where I did. Okay, So sometimes when you import things, apple or Procreate is good at recognizing a zip file and automatically unzipping it. But I found that to be not always the case. So before I do anything else, Allen zip file. Now when I do that, I get the brushes. I also get some procreate files, which if it's watercolor, I'm guessing they're going to be watercolor paper simulations. I'm sure they're very good, but I want those to be in a separate place. I want those to be in my papers folder, so I will take just those on our copy them into the relevant folder. Okay. So I've moved the Procreate files, but the actual process is still in my iCloud folder where I keep all my third party brushes. All right, so we've swapped over to our iPad and if I bring up Procreate, take a look at our brushes. If you take a look right in the bottom where it says imported, there's nothing there. So far. I don't see any sign of the process that I've just brought. That is not a problem. I'll go out appropriate and I'll pull down from the top to search. Now if you remember, I unzipped everything onto my iCloud account. So if I come to iCloud well, the way you will access to the iCloud if through files and sure enough, the locations There's my iCloud Drive where it was Procreate projects, third-party brushes, and if you remember, I unzipped it. So pick by Kate, realistic blah, blah, blah. There in the right PB, PK, realistic watercolor brush set. I'll tap on that. It opens up Procreate, and it starts importing. It's quite a big file, so it might take a while. Let's come to our brushes. Here we are. Pb, PK, realistic watercolors. There's my watercolors and that is how you import. If you're using a Mac, a PC is going to be a very similar kind of thing. Okay, let's try doing the same thing again. I'm on the same website, Creative Market. Here are some brushes, but this time among the iPad, what do I want? Let's try this vintage comic ink brushes. Always tap on that outer coat or by now. All right, well, I will buy now. I'm already signed in pay by PayPal. Excuse me, while I do all the payments. I've just paid via PayPal is just purchasing it now, earned. Well, I've got a choice here. I can sink a Dropbox working, download work that seem to Dropbox, dropbox, ink brushes. And there are the various different things that I bought if I tap because it's imported. And sure enough you can see flat right there. Similar splatter brush sets. You can see I can start to import the various different process and if I just call it one at random ink splatter seven, let us choose all. Let's draw on. There we are. We've got a couple of new price that's in there. Now let's go into the actual brush library itself and see about how we actually create those various different brushes that's coming up in the next video. 32. The Stroke Tab & Maxiumum Brush Size: Okay, to do this, let's come to the calligraphy tab, which comes with Procreate. And I want to use mono line because it's a very simple line. You can see that here. Any brush consists of three things. The various sliders which alter the parameters of the brush, the brush head, or the shape. And that's what this brush hat looks like. And the grain, which is the surface, the shape will sit on the brush. A head or shape is basically a blob or a texture of various different shapes. And when you make a brushstroke like I'm doing now, the brush had a stamp down onto the canvas again and again and again very fast. And all of these blobs, which is that round circle which I'm circling now run into each other and make your brush stroke. Okay, now I'm gonna cut into this video because yesterday, procreate 5.2 was released. This video needs to be updated to reflect those changes. Now the brush I'm using for this is the mercury brush from the inking brush set that comes with procreate. If I make just a quick line, there you go. That is what the line looks like. Two-finger tap to undo that. So I'll tap on my brush again and tap on the name mercury brush to come to my pro studio because the tab which we're on now called the Stroke Path, used to have a slider here called streamline. Well now there are couple of new tabs, stabilization and materials. And streamline, which I'm circling now is now in the stabilization tab. And I'll create a new video to talk about the stabilization tab that will be after this video. But for now, let's come back to Stroke Path. Add update this video I want to start off with, let's take a look at the spacing slider. At the moment it is on 11%. If I slide it up like this, you see, instead of a continuous line, I'm getting a series of dots. That is because a brushstroke in procreate is typically a whole load of spots. We just split it down one after the other very quickly to make a continuous brushstroke. But you can control the look of that by varying the spacing. If I make the spacing very far apart like this, make it brushstroke. Because the individual splits that make it with a brush stroke US-based so far apart, you get this kind of effect. But if I reduce the spacing down and down and down, because the individual splatter being placed much close together, you end up with a continuous brushstroke like this. Last, just clear my drawing pad. I'll make another brushstroke. Spacing is set to non, things are crammed in very close together, but as you can see, you can adjust the spacing. Now originally it was on 11% so I can just tap, whereas those twenty-five percent and key in 11% tap away. And there's my original brush settings. Now if I increase the brush spacing, but just a little bit, now I'm going to come to the jitter slider. And if I increase that watch what happens to those individuals splits. They started to get more randomly scattered. The higher IRAs might jitter slider until we end up with a whole different series of dots. And that can be quite nice for creating a mottled effect like this two-finger tap to undo, come back to my Brush Library, come back to my mercury brush, slide that back down to 0. Now the final slider, the fall of slider will look if I tap on down just for a second, you can see I get a continuous brushstroke, two-finger tap to undo that. Now if I came to fall off, you can see the end of the stroke starts to fade away. This is mimicking the behavior where you put some paint onto a paintbrush and you put it down on a canvas or a piece of paper or whatever. And as you draw your brush stroke, eventually the paint runs out. So that's what fall off his simulating. And if I do a very strong fall off like this, make my brush stroke while I did try and do his brushstroke from the top of the page down to the bottom, but you can see it ran out very quickly. Two-finger tap to undo. So if I take my fall-off back down to 0, I can draw right away from the top right the way down to the bottom, and I'll never run out of paint. All. That's the Stroke Path covered. And now it's the day after the 5.2 release. And I need to tell you about the stabilization tab, which is a brand new tab. Just before I go onto the next video, I want to show you something with him properties. And that is the brush behavior. That's the bottom four sliders in this tab. Because look, I got my mono line. Well, let's make sure I'm not drawing on the ROLAP. Let's increase it to maximum. That's the maximum size I can do with this particular pen. And that is a little bit difference to me increasing the scale of the grain, like you saw me do with the dinosaur skin. The moment this line is just the maximum size I can have, I can make it smaller. I can't make it bigger. So if I come to properties and take a look, brush behavior, maximum size, minimum size. If I increase the maximum size, let's increase it to something stupid like 769. Now, I haven't changed any of the settings. My left-hand slider, historic set to maximum size. But now a maximum size is that big, which I'm sure you'll agree is plenty big enough. I can make it smaller like this. But now I have much more control over the maximum size of the brush from the property slider. Similarly, minimum size controls the smallest size it can be. So if I increase that, even at the smallest setting, I've got something pretty big. And underneath that maximum capacity, well, if I take that down to what, 11% tap on Done. But also here I've got my maximum capacity. And you can see the maximum capacity, even though set to a 100, now only gives me a very faint stroke. That is because I set my maximum opacity to 11%. If you are struggling and you need a bigger brush stroke, it alter it here in the Properties tab. And the same with the opacity. If you're working with a particular brush and it's just not opaque enough. It could be the maximum of pasty slider is settled less than maximum. Come in to properties and check that out. I will reset this because I don't want the brush. Like it was a few seconds ago. I will come to my layer and our Claire, I'm ready to show you some more stuff. There is one more reason why you should know about the maximum size and the minimum size. That is because whoever designs these brushes is designing them to work on canvases that are too big or too small. Now at the moment, that mono line that seems to be about the right size for this particular picture. But if I come to gallery, create something new, I will choose something stupidly big. Let's come to inches. Let's try increasing the DPI I create. And just to quickly remind you, here's my maximum brush size. If I come to this new huge file, I'll make the same brushstroke. It's looking a bit thinner. Now if I come to my gallery, create something pixels, which is say, 64 by 64 pixels. Maybe the same brush stroke. Look at the point I'm making is most brushes are designed for the kind of file sizes you see here when you create a new canvas, if you do a countless which is significantly bigger or significantly smaller, you might need to come in to the Properties tab. I'll adjust the maximum size and minimum size to take into account the different size canvases that you're working on. Okay, let's move on. 33. Brush Basics: Okay, let's do a series of videos where we go through all the settings inside the brush engine will kick off by asking, well, why would you want to do that? Because there's loads of brushes already out there. There's lots of brushes which are built in to Procreate. One answer might be, I can create my own brushes and sell them on the marketplace. Well, yeah, there is that, but I think there's a more important reason for at least knowing what all of these sliders mean and how to use them. And I think I'll actually show you an example if I come down to touch ups, old skill. Now do you remember this one? This is where I went to the dinosaur on what you can do this. You can create some lizard skin texture. Isn't that great? But while I was basically congratulating myself on finding that in the first place, it did strike me that this texture is a little bit small for that particular area of the lack of the dye this or isu. Let's make the size bigger. Drawing again. It's still a little bit too small for my needs even though it's on maximum size. While the advantage of knowing how the brush engine works is that you can come in here straightaway unthinking, it's going to be under great. Yeah, that is the texture that's giving that elicit skin. But underneath it there's a scale which is set to 42%. If I increase the scale, you can see the size of the skin getting bigger. I'll take you 77% tap on Done. And now you see that I'm getting a text which is much more the size I want. And of course it is set to maximum. I can always make your textures smaller like this. And you can see, I can vary the size of the texture simply by moving the slider, but I've affected the maximum size of that texture. Which suits me better. That I think is the usefulness of know what all these sliders do. You can edit your brushes on the fly as opposed to try to look around for a similar brush which has a larger texture, which just really isn't going to work. Eventually, when you understand how these things work, it becomes a useful to change your brush acid is to change the color sometimes. Okay, So let's come back down to about this brush and you can see it's a built-in brush because you have them made by Procreate logo and welcome to reset all settings. Yes, I do want to reset it. And sure enough, if I come back to green, there you go. Scale has been set to 42%. Again. Let's come to approach the light and made tape in DC clouds 01, I call it DC, that stands for drippy cat. So I know I've made this brush. If I come to about this brush, you can see I get made by, and while we're in the About this brush tab, Let's show you the emergency button. You can see I created this brush 12th of December 2020 at 1223. You can see at the top, I gave it a name. Let's call it 0 wall a. I can say my name for this brush, but I'm gonna write note that because I'm not about to post my signature, right? That if you're gonna create your brushes, please don't put your signature. Their signatures can be forged. However, one thing you can do is if you tap all that little logo with looks a bit like a simple person. You can import a photo. I will comfort of photos. There's a picture of me but he had some brute. Look. I'll change it a little bit like this. Supposing I decide, I don't like that. Well, the emergency button is the reset brush. So if I tap on that, are you sure you want to reset it? Yes, I'm sure so here's the big red button on the parameters are altered, just got set back to the last reset point. Now the way this works is supposing I may want to changes. I decide, Oh yeah, I like that. Well, come back down to about this brush and I will create a new reset point. You show you one. So yes, I'll press the red button again. This is now the new default state of the brush. If I animate one or two more changes to it like this, for example, come down. Well now because I just tapped on Create new reset point, if I reset the brush, it's going to be reset to what it was a couple of minutes ago for. So let's do that. That's the way it works. The reset brush will get rid of all the setting gene made since the last reset point. And if I decide, well, you know what? Oh yeah, that now, absolutely perfect. It's just how I wanted I wanted to be sure I'm safe with this. I don't accidentally erase all those settings, just create a new reset point and you're good to go. Incidentally, if I come to W1 and then I come back to DC cloud 0 WALL-E. I'm tapping on that little picture of me so I can change your photo, but for some reason it won't let me do it. Maybe that's a copyright thing. What about wherever written? Nope. Can I change that? Yes, I can't change that and not write a new signature. There. Said No. Okay. So with all of these tabs and you can see there are plenty. You always get the drawing part that's on the right-hand side. I can clear it. And as I mentioned a video or two ago, I can change the color of whatever I'm drawing like this. I can get a clear idea. And as I also mentioned, people naturally tend to make darker marks on the light-colored surfaces because we're used to drawing on white paper. And so if I come to my little wrench icon and go into preferences, well, if I turn off the light interface and then come back and then try and edit. You can see drawing black on white or read on white. Kids have very different feel when I'm trying to figure out what I want my brush to look like. I just find it easier to use a light interface. When I'm creating my brushstrokes, I just got a clear right there. What the brush is going to look like. You can clear the drawing pad by tapping on clear drawing pad. Or you can use three fingers and just rub side-to-side. And that also clears it. Okay enough for this video, let's take a look at the first of the tabs in the next video, which is a Stroke Path. 34. Brush Shape and Grain: Let's take a look at the shape and the green sliders. For this, I'll choose a factory brush. Let's try. From the painting section, I'm going to choose flat brush, but I'm going to slide right and duplicate it. So that I don't override any of the factory settings and sure enough if I come to the factory one, you can see Made by Procreate. If I come to that version of the brush, I just duplicate it and tap on it. I'm going to About this brush. It's letting you put your customer information in there. The two tabs we'd probably use the most to define the basic look of the brush are the Shape tab and the Grain tab. Let's take a look at those before we do anything else. The Shape tab; think of this as choosing which brush or pencil or stake of charcoal you decide you're going to use. But whatever you do choose to make your marks, you going to need something to make those marks on. That could be paper, canvas, a brick wall, or so on and so forth. That surface that you draw on is defined in the Grain tab. Both tabs have a lot of different ways to alter the look of your brush, but for now, let's just call up a shape. Before I choose a new shape is I just make a couple of brush strokes just to see what an effect I'm getting with this particular brush. [NOISE] Let's change the shape source. The shape source, that is that black box you can see with the white, it looks a little bit like a rectangular sponge in the middle. That is a PNG file and that's what's putting down the individual strokes. Look, if I take this spacing and increase the spacing, you can see that shape source stamp down again. Let's increase the spacing so it's continuous line again. What I'm going to do is edit this. I'll come to Edit at the top. You get to the Shape Editor. If I come to the top right, you can see Import, Cancel, and Done. I will come to Import. Now, we can import a photo or a file which I've created myself. Or I can come to the Source Library, which is all the different brush heads that come with Procreate. You can see, I get loads of them. Look, you have lots of different ways to affect your brush stroke. Let's find one to use. I can scroll through all, If there's one I remember that I enjoyed using before I can come to Search Library at the top. There's one I enjoyed using called Sparks. If I type in the first three letters of sparks, that sparks and there's my new brush shape. I need to come to the very top right and tap on "Done". Oh, look at that. That's a really effective look at my brush. I'm going to come back to Edit. I'm going to come to Import. I'm going to import a file there. If I come to BrushHeadsTextures, and heads, those are the various different brush heads that I've defined. If I scroll through, well, let's try SkinPores05 and tap on "Done". Now I get a different setting again. I come to my Stroke Path and increase the spacing a little bit. Now you can see I'm starting to get a different effect again. I'm going to come back to Edit once more and I'm going to come to Import and from Source Library and I'll just come to a medium which is a very simple brush shape and tap on "Done" in the top right. Now I get my simple brush shape. Let's decrease the spacing so I get a continuous stroke. That's my simple shape. Now, what about grain? Well, at the moment you can see it's plain white, so it's like I'm drawing on a very smooth sheet of paper. But again, if I came to Edit and I came to Import, and I came to Source Library. Well, I've got two places to choose from. The Shape Source, while that's where I defined my pencil or my crayon or whatever. The Grain Source is where I'm going to define my paper which I'm drawing on. You might choose Paper Macro like this, tap on "Done". Now, that's not particularly clear example, but if I increase the scale of this, now you can see I've got paper like this. Let's choose another one. Let's try a Source Library. Let's try Grunge. That looks interesting. Tap on "Done". Now I'm getting more of a grungy effect. I'll increase the scale as well. I'm going to lower the movement. Don't worry, I'll show you how to do these various different things in a little bit. I can affect what the surface I'm drawing on looks like. If I come to Edit and I two-finger tap, I invert the image. Black becomes white, white becomes black, which alters the look of it. Same with the shape. If I come here and I two-finger tap, then I get something rather curious here. Let's see what it looks like. I'm getting a hard edge with a slightly transparent bit in the middle because that's the way these things work. It's basically a PNG file, which I two-finger tap again to revert it. The thing which is black is not going to show up when you make a mark. Anything which is white, that's where you're going to get the actual brush stroke. If I take this and I go to my Source Library and I make this, it's hard like this and tap on "Done". Now you can see when I make a brushstroke, the sides of the brush are pretty hard. Compare that with soft, which gives me a very soft shape. Now, the edges of my brush are very soft. For both the Shape and the Grain, the black bits won't get stamped down, the white bits will get stamped down. The Grain bits will get partially stamped out. What I've ended up with is a combination of this shape, in fact, let's choose something a little bit more juicy, Ink Sponge 02, done. Now I've got a combination of my shape source, which is that ink sponge plus that grungy wall, and the two combining together are what is giving me my brush stroke. But of course, each of these has a whole load of sliders underneath. So let's take a look at those. 35. Smooth your Lines with Brush Stabilization: Just before I start talking about the new stabilization tab which was released with procreate 5.2. I just want to show you something on the left-hand side if I come to basketball because I want a smooth line for this, take a look at the size slider in the left-hand side, and I will zoom in a little bit so I can draw right next to the two sliders on the left-hand side. And that's my brush stroke. At the moment my brush size is set to maximum. And by now hopefully, you know, you can adjust the size of your brush stroke with a slider like this, but now with a five-point to release, take a look. You can see a little gray horizontal line about halfway up the slider, that is a notch. If I tap on it with my pencil, my snap to that point. Now, here's the really nice thing. If I come down to say size 6% and I draw it, I think that's a really good brush width for me. Then all I need do is tap on my slider. And it says size of five per cent, but also I get a plus sign and if I tap on that, I create a nod to that point. And now supposing I come up to size, however big that was decided, yeah, that's the other size I want for this brush, I can tap that all my little button on my slider and come to my plus sign again are the size 64% now has a little knots. So now rather moving the slider around like this, I can tap on my bottom notch. I get size 5%. I can tap my top-notch, and I get size 64%. And I can just tap on these notches to get my pre-made image sizes are my brush size snaps to that point, this is hugely useful because in more than 1 on this course, I make the suggestion that you create a layer which is just for your brushes, where you give an example of the brush stroke plus the name of what it is next to it, so that you can remember which brushes you used for your particular piece of artwork. And I also recommend you make a note of the brush sizes that you are drawing with so that you're not constantly playing well, was it 3% or 4%? Well, with this, I can just tap straight there and go, Oh, no, it was 5% after all. This is hugely useful. And guess what? You can do the same thing with the opacity like supposing I want a capacity of 40% for this line. That's and offset y. Well, do the same thing. Capacity 40%. There's my notch. Now I know with a five-point to release the big features, the 3D painting, and there will be videos for that. But this little workflow enhancements, I must admit this, the thing that's gotten me the happiest, it's not as attention grabbing and it's not as glamorous as the 3D stuff. But this is the one feature I've been the most happiest to see. Don't get me wrong. I still recommend you make a layer and call it brushes and jot down the names and the sizes of the brushes you used. Because supposing you buy a new iPad and you load up your ALDH image from two years ago and your new iPad with your new version of Procreate may not remember these notches, but for day to day work, this is a great feature. Anyway, I am going to tap on my layer thumbnail and I'm going to clear my layer because I do want to talk about the stabilization tab now before 5.2, the streamline within the Stroke Path tab. Now, because we have two more options, stabilization gets its own special tab. Now what I'm gonna do is take all of these sliders down to 0, so we have no stabilization whatsoever. I will clear my drawing pad and I'll draw a blind. Let's do heavy line going to thin it and like that. Okay. So in the long distant past well, the day before yesterday when we had 5 you had one slide out that was streamlined and it had one slider which was amount. And if I move that slider up, you see that? If I take it up to 99%, while let's take it up to maximum, shall we? Did you see how the ends were starting to be smoothed off that brush stroke? If I take my streamline down to 0, come to Don and I will reduce my brush size a little bit of command. Let's use our little notch, my opacity up to a 100%. And let's do a little autograph, shall we? So Mary and I can do that. I can get my sharp lines, I get my thick and thin, I get everything. But now, let's come again. Unless increase the amount of stabilization to ninety-nine percent. All come on, let's make it 100%. Now when I draw, I can draw a much smoother line. Now it's difficult for you to see this. This is a feeling rather than something you can see. What's happening is I'm drawing my line and it's being smoothed out. And so if I try and do the name Mary again, now, I just tried to do the same brush strokes that I did for this signature at the top. But because I have smoothing turned on, the line gets smoothed out. Now you may be looking at this and thinking, well, the name Mary is indistinct. But let me put it to you another way. If I come, I take my streamline down so there's no stabilization arm, make my brush size a bit smaller. I'll do a jittery line. Can you see why you won't be able to see, but my hand is trembling while I'm drawing this line. That can be a problem if you want to draw a nice smooth line, especially if you're starting out, it may be a bit nervous. But if I come and take streamline up, i'll I'll change my life to an orange lines so you can tell the difference. I'm going to make a very similar brushstroke. And I'm gonna do jitter my hand as I make it just as much cited without white brush stroke. Now, you see that the stroke becomes much smoother. That's because the stabilization is smoothing out white brushstroke. This is gonna be very useful for things like calligraphy or while you're doing linework way you want long, smooth sweeping lines. Let's clear my layer. Let's take a look at some of the other things. Now I've been playing around with these different sliders and the streamline, the stabilization on the motion filtering, they look quite similar. It's more about the field you get when you're doing your drawing rather than noticing any huge changes in effects. But anyway, let's come back to streamline on all. Make a fake brush drug and a thinner brush stroke and a thick brush stroke and a thinner brush stroke like this. Because if I raise the pressure, watch what happens to the thick and thin of outline. See that with this particular brush life, many brushes, the harder I press, the thicker the brushstroke. But what the pressure slider is doing is affecting what point the pressure kicks in on a stroke when you press. So you can see when I turn it up, I get a longer, smoother application of the pressure. But as I turn it down, my brush stroke is going to respond much more quickly to the changes I make to the brush pressure. Alright, let's take those down to 0 and let's take a look at stabilization which you can see what it does. It just smooth out the strokes as before. It's taking a moving average of the strokes that I'm drawing and draws that on Canvas at the highest stabilization, the more averages out all the different wobbles or thoughts about, say around about the halfway, mark it down and I'll make a slow process stroke like this. And you can see I'm getting some nice sharp corners on it. Now, I will do something very similar. I'll make a process per k, but all of a sudden I'll get much faster and then much slower at the end with stabilization, the faster you do your brush stroke, the more it's smooth out the brushstroke. Now that is going to be quite nice for doing careful lines. So supposing I'm doing, supposing I was redoing the line of this person's face. I'll clear my lab. I can do my thick and thin. And if I move fairly slowly around here, I can do this. But if I move faster, that brushstroke is going to be smoothed out much more on that particular area. Let's come back sex depolarization down to 0 and make another brushstroke like this because we also have motion filtering. Now apparently this is like stabilization, but it's a little bit more advanced. What motion filtering does is deletes the extremities of the wobbles that really, really sharp bits without squashing things or averaging things out too much. The waste stabilization doesn't if I increase the amount. This is a very subjective thing. I think this is one of those things. You have to experiment with it by setting your sliders and drawing with it. So I've got sharp corners, faster corners, fixed sweeping lines and sharp allies. I wonder how much of this brush stroke is going to disappear when I let go. Quite a bit of it. But with motion filtering, you can see what it rarely crying to. You get a stupidly smooth line. But you can adjust here. When you actually draw. You won't be able to hold your brush strokes the way I'm doing now. So it's case of experimenting using your drawing pad to get the fields that you want. In a nutshell, the way this is different from stabilization is that you can do smoother and stratus strokes no matter what speed they're drawn. If I do a slow brushstroke and fast brushstroke, I'll still get the same amount of stabilization. So that's the main difference with emotion filtering over the stabilization slider. But also underneath you have expression. Now this only works when you've got some motion filtering on. And if I take up the expression, once you take capacity, you get a bit of a sudden jump. But the higher erase it, I'm still getting smoothing in the longer straight apart on my brush strike but the little corners Procreate tries to keep the character. If I just circled one little bit here and I move this around, you can see the expression when it turned off, the amount turned off on motion filtering, you get a squiggly line, you turn up machine filtering and the lines starting to get smoothed out. But if we're the expression when you bring that up, starts trying to bring to the little bit of the original postdoc in there. Now, the two brush sliders are going to be very dependent upon each other. The higher the amount of motion filtering is set, the last expression slider is going to affect it. So if I make it a little bit lower and start fiddling around with the expression, you can see I'm getting a little bit of a sharp corner there, just in that little area, but other areas of less effected. As I say, this is one of those things where you develop a feel for it. Streamline. It's just straightforward enough. It averages things out and you can vary the pressure. Stabilization, smooth things out. And it has less of an effect on the pressure. Motion filtering averages things out that the expression slider tries to keep some of the little character in detail just in the smaller, finer sharp changes of direction. What I recommend you do is experiment with this, but also take a look at some of the brushes for Procreate half because the brush engine has been updated and there are new brush presets. But you can see for this brush the streamlines, slider, et cetera, Thirty percent and the stabilization is sets twenty-five percent because you can have more than one slider active at any 1. It really is a case of experimenting, playing with the sliders to come up with something that feels natural for you. Just in case all this new stabilization within 5.2 is getting your feeling very giggly and happy. I've got a bit of a treat for you. I have a brush here, selected mercury. You can see it's got a little bit of stabilization on it. And you set the stabilization for every single brush. But also if you come to your wrench icon and come to preferences, There's something here called pressure and smoothing. This is new if you tap on it, as well as getting your graph which controls the sensitivity at the bottom, you also get three sliders, stabilization, motion filtering, and immersion filtering expression. These affect every single brush within Procreate. What if I try and draw with that? Now? That is what I call a stable brush. I'm gonna come back into my pressure and smoothing. And I am going to set this down to 000 because I prefer to have all my stabilization on a per brush basis because some brushes, yes, they already benefit from stabilization. Other brushes, especially in the kind of brushes where you split down color just to give you a very quick example, damp brush. You splat down color with that. And I wouldn't want that stabilized because I want human fail my brushstrokes, but global stroke stabilization is there in case you wanted. All right, let's go on to the next video. 36. Shape and Grain: Okay, let's take a look at the shape and the green sliders. For this, I'll choose a factory brush. Let's try. From the painting section, I'm gonna choose flat brush, but I'd be able to slide right and duplicate it so that I don't override any of the factory settings and ensure enough if I come to the factory one, you can see me by Procreate. If I come to that version of the brush, I just duplicated and tap on it. I'm going to About this brush. It's letting you put your customer information in there. Okay, so the two tabs we probably use the most redefined, the basic look of the brush, the shape tab, and the green tab. So let's take a look at those before we do anything else. The Shape Tab. Think of this as choosing which brush or pencil or stake of charcoal you decide you're going to use. But whatever you do, choose to make your marks, you going to need something to make those marks on. That could be paper, canvas, a brick wall or so on and so forth. And that surface that you draw on is defined in the Grain tab. Both tabs have a lot of different ways to also the look of your brush. But for now, let us just call up a shape before I choose a new shape is I just make a couple of brush strokes just to see what kind of an effect on getting with this particular brush. Let's change the shape source, the shapes source. That is that black box you can see with the white, it looks a little bit like a rectangular sponge in the middle. That is a PNG file and that's what's putting down the individual strokes. Look, if I take this spacing and increase the spacing, you can see that shape source stamp down again and again and again. Let's increase the spacing so it's continuous line again. What I'm gonna do is edit this. I'll come to Edit at the top. You get to the shape editor. If I come to the top right, you can see import cancel and done I will come to import. Now we can import a photo or a file which I've created myself. Or I can come to the source library, which is all the different brush heads that come with procreate. And you can see, I get loads of them. Look, you have lots of different ways to affect your brush stroke. Okay, So let's find wanted to use. I can scroll through all if there's one I remember that I enjoyed using before I can come to search library at the top. There's one I enjoyed using called sparks. So if I type in the first three letters, sparks, that sparks, There's my new brush shape. I need to come to the very top right and tap on, done. Oh, look at that. Rarely affected. Look at my brush. I'm gonna come back to edit. I'm going to come to import. I'm going to import a file. If I come to a brush heads, textures, and heads, those are the various different brush heads that I've defined. If I scroll through, well, let's try skin pores at 05 and tap on Done. Now I get different settings. Again. Welcome to my Stroke Path and increase the spacing a little bit. Now you can see I'm starting to get a different effect again. I'm gonna come back to edit once more and I'm going to come to import and from source library allows us come to a medium which is a very simple brush shape and tap on Done in the top right. Now I get my simple brush shape. Let's increase, sorry, let's decrease the spacing so I get a continuous stroke. That's my simple shape. Now what about grain? Well, at the moment you can see it's plain white, so it's like I'm drawing on a very, very smooth sheet of paper. But again, if I came to edit and I came to import, and I came to source library, I've got two places to choose from. The shape source, while that's where I defined my pencil or my crayon or whatever the grain sources where I'm going to define my paper which I'm drawing on. You might choose paper macro like this, tap on Done. Now. That's not particularly clear example, but if I increase the scale of this, now you can see I've got paper like this. Let's choose another one. Let's try source library. Let's try who will I strike grunge? That looks interesting. Tap on, Done. And now I'm getting more of a grungy effect. I'll increase the scale as well. I'm going to lower the movements. Don't worry, I'll show you how to do these various different things in a little bit. I can affect what the surface I'm drawing on looks like if it comes to edit and I two-finger tap, invert the image. So black becomes white, white becomes black, which alters the look of it. Same with the shape. If I come here and I two-finger tap. And then he had something rather curious here. Let's see what it looks like. I'm getting kind of a hard edge with a slightly transparent bit in the middle because that's the way these things work. It's basically a PNG file, which I two-finger tap again to revert it. And the thing which is black is not going to show up when you make a mark. Anything which is white milk, that's where you're going to get the actual brushstroke. And if I take this and I my source library and I make this, it's hard like this and tap on Done. Now you can see when I make a brush stroke, the size of the brush are pretty hard. Compare that with soft, which gives me a very soft shape. Now, the edges of my brush off very soft. For both the shape and the green. The black bits won't get stopped down, the white Bates will get stamped down. The grey bits will get partially stamped out. What I've ended up with as a combination of this shape and fathers choose something a little bit more juicy. Sponge 0 to done. Now I've got a combination of my shape source, which is an ink sponge plus that grungy wall on the two combining together are what is giving me my brush stroke. But of course, each of these has a whole load of sliders underneath. So let's take a look at those. 37. Shape Settings: Okay, let's come back to our brush studio after I've created another new brush because I wanted to take a look at some of these other settings inside the shape tab, which at the moment is looking pretty boring. So I will come to the top and tap on edit. I will come to import. And this time I'll come to, instead of the source library, I'll come to import a file. Yeah, I'll try this one here. Watercolor splotches 08 small because I like to give my brushes, imaginative names, notes up on Done. There's my brush. I will come to my Stroke Path. I will spread that out so you can see it a little bit more clearly. And maybe I'll come down to properties and increase the maximum size so you get a larger preview. Alright, but we want to take a look inside the shape tab. Actually I'll come back to the stroke path because if you remember, we have jitter which sounds the brush heads off in different directions like this. But in the Shape tab we have something called scatter. This is different. We'll look. If I raise the scatter slider, you can see the brush head isn't going off in different directions. It's going off at different angles. So if I make another brush stroke, you can see that if I compare that with a rotation at the moment, everything, you can see he's going at a certain angle. The brush heads going in the same direction as the preview that you can see where I'm circling now. But if I come to rotation, you can see that the brush heads are all going off in the same angle apart from the very first one, for two of my brushstrokes, but not the other one. This got me confused for a long time and I wondered if it was a bug, but look, outcome to clear the drawing pad. And I'll make a postdoc. I will maybe increase the spacing just a little bit. We can see the brush heads clear from each other. And I'll come to my drawing part and I will make a brushstroke like this. The top one suddenly flips over and I'll do the same thing again. The very first brush stamp that I put down is different to the rest and I was wondering what's going on with that. I think the reason being is look, if I come here and I put down my brush and I make a stamp and then I move. The very first standard that I'm doing doesn't have any direction information from my pen. If I come and I make a sudden brushstroke, all light fat where my pen is moving. While I make the brush stroke, I will clear my drawing pad and do that against you that I've got to move fast. Otherwise that top one, it doesn't know which angle is supposed to be at because my pen isn't really traveling fast enough to give it that information. So if you see that happening and you're thinking, oh, what's going on, That's what I think is going on. I'm going to come to scatter and reset it and I'm going to come to rotation. Let me go to reset that. Just tapping on a lot of these different sliders on the end brings up the numeric pad where you can enter in values exactly. Now what about counts? All right, let's clear again and make a brush stroke. This time I'll increase capital. Watch what happens? It looks like the brushes just getting more opaque and darker in this case, let's change this to, let's give it a nice blue. But what's happening now is every time the brush head gets stamped down, it's getting stamped down four times that by itself. Well, it increases the opacity of the brush, but there's other ways of doing that. I think this becomes useful once you start increasing the account, git, look if I take that up to a maximum. Now when I make a brushstroke, you getting between 14 stamps put down every time the brush head gets split it down. Look, if I increase the counter to something silly like 11. You can see there's variations in the opacity or the intensity of the color with every brush set. If I come to my Stroke Path and I reduce the spacing like this, and I combine that with scatter. Now can you see that I still wanted to get a very smoky effect with this, which is quite nice. That's because I'm getting random variations of that standard brush head that can be useful for creating smoky brushes, more natural media brushes, things like that. Okay, Scott, back to 0, rotation on 0, count back to one, which means count jitter when making much of a difference, Nevada won't make any difference because there's only one count every time the brush get stamp down. Well, alright, my drawing pad, and I'm gonna make 123 different brush strokes. And you can see the brush all stays in the same orientation. I'm going to turn on randomized, and I'm going to clear my drawing pad. I make three more brushstrokes. Now, every time I make a brushstroke, can you see how the brush head is altering its rotation with each single time, I start making a brushstroke. If I take that and I must round with the count plus rotation plus the scatter. That gives me an extra degree of randomization to my brush. So I didn't get some nut chaotic effects. Okay, the next thing as a math, Let's reset everything again. I'll tell her for randomized up there, my drawing pad. I'm gonna take my brush and I'm just going to make a standard brush stroke like this. Hopefully you can see just in that little spur just on the side of my watercolor brush stroke. All the brush heads are going in the same direction. I will clear that and I will come to Asimov. Now I'm going to make a brush stroke, but I'm going to take my brush and I'm going to angle it around like this. Hopefully you can see what's happening. Look, I will come to my stripe path and I will reduce, sorry, I'll increase the spacing. Can you see how the brush head is changing its angle based upon the tilt angle of my pen. If you look at that little spur, it started off in the top-left, but it ends up pointing down into the right. Let's just do that again. Tilt my brush and the angle of the brush heads alters according to the tilt angle. My pen, I will turn that off. Flip x and flip y. All right, There you go. Some brush heads. If I flip the x, I get an extra version of my brush head, but facing in the opposite direction horizontally. And guess what, flipped wider. Same thing. Vertically. Simple and straightforward. Now let's come down to the bottom because there's more. You have this little circle gizmo, watch what happens to my individual brush heads when I take these blue dots when I stopped pushing them in. Okay, It looks like we're getting close together, but what's happening is the whole brush is getting squeezed vertically. If I come to the little green dot on the side and an angle that you can see the angle in the top right-hand corner. As I increase it, the brush head consistently goes at the same angle. Now that can be useful because if I come and increase my spacing, I'm sorry to keep on coming back to the stroke path and altering the spacing while I'm explaining the Shape tab. But sometimes you need to see the brush heads close together. Sometimes you need to see them farther apart. The whole point of this is, I've set my angle here and now because everything squeezed and close together, for example, if I come like this, it's good for things like calligraphy brushes. Where you need your brushstrokes to be consistently thick in one part and thin in another. While this gives you that I will clear the drawing pad stroke path. Make a brush stroke and see what my spacing is doing. Come back to shape. And I'm gonna make this a little bit more suitable for what I need to show you. And of course, my Stroke Path now is too far apart. Let's do about that. Because underneath all of that, I have pressure roundness. Alright, let's crank that up to the maximum. I'm going to start off by making a very light brush stroke. Then as I continue drawing, I'm going to apply more pressure, so nice and light. Heavier. You see that the roundness of my brush head is responding to the pressure iPod with my Apple pencil. Nice and light, getting heavier. Similarly with tilt, my drawing pad, I'll start off upright, that I will go lean all the way over like that. And you can see the same effect. But this time instead of pressure, brush heads around on, I'm upright and got his flattened one until my pen over. And of course you can do that the opposite way, round. Like that. These are all just various different ways of randomizing your brush stroke. Which if you're doing more expressive autistic paintings, is just what you need. Now, the very last thing, shape filtering by default, it's set to improved filtering. What that is, well, look, my shape is a bitmap, which is basically a lot of different pixels, that is to say a little squares. Some are black, some are much lighter colored, and some are medium gray color, but it's still squares. And if your brush head was to get big enough, I probably can't do it with this, but Chris, maximum size, so it's very big. If you take a look at that, you can see them, make them a certain point where you get to see the individual different squares that make up your brush stroke. You don't necessarily want that filtering is there to try and smooth out those individual pixels. So you see, hopefully attach your brush stroke rather than a brushstroke with lots of individual pixels in there. You've got no Filtering, classic filtering and improved filtering. Generally speaking, you just want to leave it on improved filtering. Unless you have a particular reason for wanting a very crunchy, pixelated brush add. Generally speaking, leave it on improved filtering. Those are all the slides for the shape. Now, let's take a look at grain. Let's do that in the next video. 38. Grain Settings, Part 1: Okay, so we've spoken about the shape now. What about the grain? If you imagine a shape as being like this little cutout shape I've done here on some paper. Now our drug, the paper over the desktop. And you can see the grain of the wood showing through, but it's not changing. It's not getting dragged along with the shape. But it's changing as I drag around. That's because the shape is moving but the grain stay still. That's what the grain is. It's the texture which sets underneath. Now in the case of this, it would, it could be paper, it could be semantic, could be anything it's attached to that's drawn inside the outline of the brush head. But of course this is digital, so the color won't be the wood color. It'll be whatever color you tell the shape to be, but it will be dark and light variations of the color. You said when you set the color of your brush, how dark and light is up to you. But let's take a look at this inside the brush studio. So let's make a new brush. I'll just do it now. I'm going to leave my shape as a very simple round circle, but let's come to the Grain tab and tap on Edit. And I'll import something from the source library. These are all files that come with Procreate the whole bitmap files. And I can search by name if there's why I fancy, like, I like some of these canvases. So I search for Canvas. I'll choose raw canvas. There we go. Tap on Done. I cannot see too much at the moment, but if I swap over to texturize that, you can see the grain. It's a simple brush shape, but the grain is given me that effect. By law come back to import and I'll import one of my own files. So import a file and I'll choose old would crack 01. There it is. Now I can double-tap. So the dark colors become lightened. The light curves become dark. Double-tap again. Or I can rotate 90 degrees with a two-finger rotation swipe, I suppose you'd call it. All right, there's my texture or let's do something with that. So I'll tap on Done. Okay, so there's actually two sets of sliders for the grain you have moving and you have texturize. I will start with texturize because it's the simplest. And you can see if I make a mark, my shape is a very simple outline shape. But because the grain is this old wood texture, you can see the text is showing up underneath my stroke. Now one thing I should point out is that the old would crack texture that I imported work because it is a seamless texture. Which means if I make copies of it and align the cop is next to each other, you don't see a same light. This example, what you're looking at is four copies of the same texture. I just imported. Two side-by-side with another two side-by-side on top. And you see that dark mark I'm circling right now. It does repeat. You can see it to the left and you can see it towards the bottom. But there's no obvious break when the toast just starts to repeat itself. However, if I compare that with a non seamless version of the same texture, take a look at the dark mark again. You can see at the edges of the texture it jumps sideways. That's because I didn't take the time to match up the bottom edge of the texture with a top edge. And it looks ugly and not really suitable as a green terrorist job because a grain texture doesn't need a tile nicely so that you don't see the jumps in the gaps like you're looking at. Now. If you take a photo of something like would be used as a grain texture, it needs to be edited so it's seamless. That will be something you do in a program like Photoshop or Affinity Photo, both of which have a more suitable set of tools for the job. You can get both of those programs for the iPad. But at the moment, I have to say Affinity Photo is much more fully featured on the iPad than Photoshop is. Or you can look at the auto repeat function, which might help. If I come back into my graph editor. I'm just circling where you go to next Auto. Repeat. If I tap on that, you get this kind of an effect on what this does is try and autocorrect a bitmap you import into appropriate so that things match up. Now for this, you would start off with grain scale. But interestingly enough, do you notice, look, if I take it down to one? Well, that's pretty much what I've got and I've got a seamless texture. You can see repeats. I'm circling for them right now. But if you increase the grain scale because I am increasing the grain, you're starting to see when I do that, can you look just on the borders, that changing border? You can see procreate try to match up a bitmap with all the neighboring versions of it so you get a seamless texture. I'm holding my finger down now and you can see some slight gaps if I let go, it does a pretty good job of jumping things around so you get a continuous crack on that would, for example, that's working for this because the lines are going fairly parallel. So it's fairly easy isu for the auto repeat function to deal with. If I rotate ISI, you can rotate things around. Maybe things get a little bit more complicated there so you can mess around and see what you can do with it. Well, that's not too bad. If it's straight up, straight down, possibly one of the most useful features is mirror overlap. And if I turn that on, this flips every other version of your texture map, instead of just placing them side-by-side. It's a bit like if you were to put some paint on one side of a page in a book, and then you close the book in your stamp it down and then you open it again so the paint peels off onto the other side. You get a mirror image on the other page of the book. That's what this is doing here. Because you're getting mirror images. It can be easier for things to line up. I will turn that off for now. When you're making a seamless texture to the edges of the bitmap you need to worry about. And so you have border overlap. Can you see when I'm moving from maximum down to minimum, Can you see that the border in-between to joining textures gets smaller? It's less room to work with. So you might get that slight jumping effect. So maybe I need to make that a little bit bigger. The mask hardness controls how hard that border is looking at the moment it's a very hard border. I'll try taking that down to, whoops, I'm sorry, I drag directly on the actual texture. So, well, I should mention that you can move the texture around like this, but I make the border overlap pretty big. Then I'll make the mask very soft. It might be a bit difficult to see, but now I'm getting a blurry border between all the squares. If I take border overlap right down and then increase the hardness, you can see things going on there. Basically board overlap controls how large the border between two textures is. Unmask. Hardness controls how soft or how hard it is. Now you may think, well, okay, well, big border, I'm a soft overlap. That's going to give me the best chance of blurring everything into each other. But that's not always the best way of doing things. If you've ever used anything like the clone brush tool on programs like Photoshop or Affinity Photo, you'll know that if you have a big soft area that you're trying to blow into another one? Yes. Sometimes get indistinct edges which is not always what you want. It's a bit like making a photo very, very soft focus so you don't see the various wrinkles on a person's face, but you make it so soft focus that you can't see the face at all. Everything just becomes blurred. So it is a case with border overlap and mask hardness of looking at what you're doing and just riding the controls until you get something that you feel you can live with. With that I think that is too narrow, might need to make it a little bit larger. Maybe a little bit softer. Harder is not really working. So there, while you're here as well. Or final one is pyramid blending. This just controls a method that Procreate is using to do the blending. And it's supposed to make a better job of making things seamless needs at the moment it's on. If I turn it off, you can see I do get a different effect, which looks a little bit more steps. If I turn on pyramid blending again, yeah, It's in this particular case, I think it's blurring things better. Okay, so that's Auto Repeat. It can be useful. However, I want to tap on council because I already made this texture seamless in another program, that that would be my preferred way of doing it so that I can do things manually and really control the process. Now one more thing I wanted to mention with this is if I come to Edit and I come to import my source library, do you notice that all previews are square with slightly rounded corners? That is just a graphical effects, so it looks nice. In actual fact, every grain source is completely square. And most of them, yeah, they're going to be seamless and they need to be like that so they can tile nicely without any plant bits. If I compare that with a shape source library, that's where we get our shapes from. You notice how the shapes don't go to the borders of the preview. Now the shape needs to be like that or it'll get some hard edges when you make brushstrokes which you may not want. In fact, you probably don't want. Similarly, if I come to shape them to edit and I import, well let's come to import file. Let's come to hurts. You'll notice that all of the heads I've created, like watercolor splotches 08 small which we used. The white and gray bits are surrounded by black. I can invert it, but that will give me a strange effect. I'll two-finger tap again to invert it back to what it was. The shape needs to be like this. And if I tap on Done, now, I'm getting a mixture of my shape plus migraine and the two working together. What's giving me my brush? 39. Grain Settings, Part 2: Okay, so I've got my wood grain. Before I do anything else, I will come to shape and I will edit and I will import from the source library. And I'm just going to use a very simple brush. That way what you're looking at and all the changes I make are directly because of the grain and not the shape. And it has some sliders, as I said before, the sliders you get, I'll go into depend on whether it is moving or texturize. Alright, so let's take a look at some of these sliders. The first one is scale, which is twenty-five percent by default. If I make it bigger, you can see the size of migraine gets bigger. If you make the scale very, very large, you can get to the point while you start see the individual pixels and give you a little bit extra if you are making some grains for appropriate, the size of the wood grain image I used is 1024 by 1024 pixels. If you are creating a texture, you want to work in multiples or divisions of that because the computer works with binary. That is, it likes numbers like 248163264128256512 or 1024 by one hundred, ten hundred and twenty four like this one. If you wanted a very large texture, you might have to work on something which is 2048. By 2048, if you use something like 2048 by 2048, you're going to get a lot of detail in your grain, but procreate most daughter struggled with a sheer size of that bitmap. So although I've used 1024 by 1024 for this one, because it's quite complicated. You can't get away with 512 by 512 or 256 by 256. Now, it's looking slightly blurry. That is because if you take a look underneath, you have grain filtering. If I switch it back to no filtering, see that those are the individual pixels that are making up my wood grain. You may not want to see that. And that is a good example of why you have filtering. No filtering at the moment. Classic filtering, that's for old versions of Procreate. And then you have improved filtering that I think was introduced in the current eval Curry brush engine. So unless you've got a particular reason to choose no filtering, just stick with improved filtering. That's fine. Now let's take the scale down a little bit. The depth that controls how much of the grain texture you see in the brushstroke. If I take it down, you can see it's having no effect whatsoever. And as I start to slide up, you're getting more and more of the texture affecting the brushstroke. The brightness slider controls how overall bright or dark gray. Whereas contrast is going to increase the contrast between the darkest point on the lightest point. If I take it right up, you're getting a very contrast the image there, if I take it down, you're getting a very soft, grayish type image there. Those will make a big difference. So look of your brush on top of that, you have the blend mode at the moment it's set to multiply. If you tap on the name, multiply, you can see I have a whole load of options here. I will be going into detail about the blend mode and later videos because they are very important. But for now, what you need to know is that changing the blend mode, alter the look of your grain texture when it's set against the basic color. Look, if I tap on a few, you can see it has a big effect on the look of your grade. I will set mine to watch. We try tried to linear burn for now. That's all the parameters for when the behavior is set to texturize. It is simple repeating pattern. If I draw with it, the texture you're drawing stays the same no matter where I start and stop my stroke. In fact, I will show you this. Let us come to industrial gives some good examples of that. We've got Stonewall. And if I draw with it, That's Stonewall. Now I've taken my pencil off and then I'm going to put it back again and make another brushstroke down here. And can you see the placement of the texture doesn't move. I don't get a stonewall image with a slightly offset Stonewall image. Every time I place my pen on my iPad, they can get darker like it's done there, but you can see the texture stays in the same place. Let's get rid of that and come back to our brush studio. Come back to DC brushes and untitled brush. That's all very well. What about moving? I will also come down a little bit and I will lower the brightness and increase the contrast. So I've got a very clear idea of what it is I'm doing. The top slider movement at the mode is set to rolling or maximum. And the brush is very similar to what it was texturizing. But as you start to reduce the movement slider, can you see what's happening? The texture is starting to follow the direction of the brush stroke. Maybe make that a little bit. You to see by playing with the brightness slider, this is good for giving more natural brushstrokes. I'm thinking about things like acrylics, for example, where you get some variation from the brush and how the paint is applied to the canvas. Because at this point, it's not behaving like a canvas or wood texture that you draw on top of anymore, you're starting to turn the grain into an integral part of the brush. Now bear in mind the shape is still just a blank circle. If we were to add a shape there which had a more interesting texture, we're going to get a massive amount of variety in the kind of brushes, but you can create. So under that, we have scale that makes things bigger or smaller. Along to that, we have Zoom. Now this really only has much of an effect when movement is set to maximum or the right side, you have something called cropped. That means the touch, this stays the same no matter what size the brush is when you are painting. So let's look at that. Let's tap on Done. Let's make my brush size quite small and I will scribble attached your size. If I make my process size much bigger, you can see the texture isn't changing its size. And that will be based on the scale of the texture. But if I take the zoom down a little bit, Let's take it down to follows size, up on down. Let's make it up. Brush size, fairly small, and let's zoom in a little bit shy away. There's my texture. Change it. See that the texture follows the size of the price. So if I have that brush set to very large, I'm going to get a large texture. If I set my brush size to very small, I'm going to get a very small texture. Let's clear that come back in rotation. That only really works again when the movement is set to maximum or rolling. And look at that default 0, nothing happens because the green is locked in place if you raise it. So we'll look at Follow Stroke and the grain will guess what? It'll base its appearance on the direction of the stroke. Let's move that down to minus a 100. Let's try something in-between and you get a partial following of the stroke. Underneath that depth. That works like it does when the brush is set to texturize. Depth minimum works with depth jitter. I will set the depth to about 50%, and I'll set the depth jitter, the depth minimum, maximum. I'm gonna check my brightness a little bit lower. This is behaving slightly differently because my blend mode is set to linear burn. You change the blend mode and you're gonna get some different behavior there. Yes, I know it's complicated, but that is because you have a whole load of options and options can make things complicated. But I'd rather get to know the ins and outs of this and have all the options than the other way round. I want to take the contrast down as well. And that's make a stroke. You see how I'm getting slightly blotchy effects. That is the depth jittering or it's varying the depth every time the brush shape gets dumped down, which is very similar to what you get in the Shape tab. It's just another way of varying the brush stroke in different ways. Let's put a drawing pad command. Let's choose another color. Let's try nice magenta. Anthony thought, Offset Jitter. This is a toggle on or off button. And you can see it makes a difference. With it on, you get something that looks a bit more lighter than natural brushstroke. In fact, come on, let's load up somebody who's done a little bit more interesting. Let's try Ink Dry. See what that does. I prefer the look of that grain. With offset jitter with it on you get something that looks more like a natural brushstroke, but you need to make sure this is off if you want to lay down a pattern that keeps his plan instead of mushing into a brush stroke. 40. Brush Taper Settings: From the start, I do have to say that the taper tab is one of the harder taps to figure out. Some brushes don't seem to be affected by this tab when you moving the sliders around and some brushes like saving medium hard blend airbrushed, don't use it at all. And the reason for that is that there are other settings in, for example, the Apple pencil tab, which will affect the look of your brush much more and may override the settings inside the taper tap. Actually in general, the fact of the matter is there are many sliders in the brush studio and some do a very similar job to others. And so they will compete with each other for the look of the brush. But I'll explain what's happening here. And if you're using the taper tap and things don't appear to work as you'd expect, then there's possibly a slide or somewhere else that's making more of a difference. For this, I'm going to use the hard air brush from the airbrushing tab. So tap on that. What tapered does is control the size and transparency at the start or the end of your brush strokes. It helps your Apple pencil with a start or the end of a stroke. And it helps if you're using a finger instead of a pencil to get a more natural end or start to your brushstroke of the two, the finger settings or possibly more useful because your finger isn't pressure sensitive against your iPad screen. So you can vary the width, the transparency of the stroke by pressing harder or softer. That's probably the main advantage of using a pencil like the Apple pencil, which is pressure sensitive. So the Pressure Taper, that's the top set of sliders, they control the staff and of your pencil strokes. Whereas the touch taper down the bottom, those sliders affect the marks you make with your finger. Okay, So what I'll do is I will clear my drawing pad and let's choose another color. I'm going to make a vertical stroke using my pencil. I will make another one, but this time I'll start off soft and I'll gradually increase the pressure as I draw it downwards. So soft stuff getting harder, getting harder. And you can see because of the way this particular brush is setup, if I press soft with my pencil, it becomes opaque. Alright, I'm gonna do one more stroke, but this time I'm going to use my finger and I'm going to drag downwards and I'm going to vary the pressure as I drag. So here it goes. Soft, pressing very hard, very hard, co soft, go hago soft again. And you can see there's absolutely no difference in the size or the opacity because an iPad can't read how hard I'm pressing with my finger here and here. I've got these two little boxes with dots and I'll come up to the top one. Allow move the left slider. Watch what happens to those air brush strokes. When I do. You see the start of the stroke I made on the right. I started off by pressing hard, so I got a very opaque brush. Now also notice that my opacity slider that is set to max. Let me try and explain what happened there. If I slide that back, watch the top of the right most brushstroke. Okay, so I moved back. Now. You can see if I move that little dot on the Pressure Taper. Gizmo. The very start of that brushstroke is getting more or less transparent. The more I move my little dot in, the more transparent it becomes. And what the Pressure Taper is doing is trying to help me with the start of my stroke. When I made the brush stroke, I started off by pressing hard and pressed hard all the way down. And so I got that effect. If I move it in one small, I get what I suppose is a little bit of help just at the start of that stroke, which started off hard, the tapers helping ease in the brushstroke. And similarly, if I come to size and I move this size slider, you can see the start of the brushstroke is getting thinner. That little blue dot at the top is affecting the size. And if I move it around, you can see no effect. A tiny bit of effect. Another move in, you get a more smooth effect. If I move the size down for a little bit. If I move that in, you will notice the start of my pencil stroke on the right gets affected, but the pencil stroke in the middle isn't affected. Look well, it doesn't appear to be affected as much. You can see a bit of an effect. But for the middle stroke, I started off pressing soft and then pressed harder. And that is going to be affected by various settings. In, for example, the Apple pencil tab, which controls what happens when I press hard or soft. The taper tab is helping to a certain extent, but also some of its controls are being overridden by the Apple pencil tab. But then when I alter the size, you can see they both taper off at the beginning of the stroke. Again, if we come down to the Apple pencil, well, we'll get onto that. But if you take a look at the top where it says pressure and then size, this brush is set up so that if you press soft or harder, the brush doesn't get bigger or smaller. It makes sense that you're going to see more of a difference with this size slider, because there aren't any other sliders somewhere else inside the studio that are affecting the size based on pressure. Alright, I've been talking about the start of the stroke now what about the end of the stroke? I'm not sure we've got an example here that's going to help very much with us. Because one thing I've noticed is that the Pressure Taper seems to affect the start of the stroke much more than the end. Let's see if I can do a stroke where we do get an effect. So the first hard and soft off to one side. And again, I'm not really getting any difference to the end of my stroke if I came to the store? Yes, I do. The end. Oh, yeah. I'm seeing just a tiny difference there. As I say, this tends to affect the start of the stroke much more than the end. Okay, so if I come to link tip sizes right at the top and turn that on, if I move one slider than the other slider updates to follow. Okay, so I'm gonna set my size and my pasty up to max. And now I'll start bringing up the pressure. You can see quite a dramatic change to the look of my brushstroke with the pressure. The pressure slide is controlling how strongly tape it is in relation to the pressure you are applying with your pen. So instead of saying pressure there, it could say how dramatic the effect is. Alright, I want to take that down to non or 0 again because I wanted to show you what happens when I move the tip slider. It does need a value in the size slider. So I get to show up beginning. But if I move the tip, can you see that? It's controlling how rounded the taper is? Nothing. He had a very sharp, thin point. As I move it up, you get a thicker, more rounded start point. Okay, So finally with the Pressure Taper, you have Tip Animation which is on or off. If it's on, the taper effect will be applied while you're drawing out your brush strokes. With it off your draw your brush stroke, and then the taper effect will be added afterwards. Okay, So that is the Pressure Taper which controls the pen. Now what about the Touch Taper which control the stroke's made by your finger because you can see the strokes I made with my pencil. I've been affected, but my fingers stroke, that's the second one in from the left that hasn't been affected at all. So you come to the little gizmo underneath which is the Touch Taper. And if I move that around, yeah. You can see the start of my finger brushstroke is being affected. I can put on link tip sizes and you can see it updates. But again, the start of the stroke is much more effected by this than the end of the brush stroke. And it works pretty much the same as this slide is for the pencil above it. But the only difference is it affecting marks you make with your finger? Taper properties classic taper. Look if I turn that off. That was your classic taper, which you have to fast around with quite a bit. If I turn it on, you get a much more responsive effect. 41. Brush Render Properties: All right, let's look at the rendering tab inside the RStudio, the rendering tab controls what kind of look you're going to get with your brushes. And what I mean by that is if say you were doing a watercolor and you start off by doing a light pencil sketch that will have a certain look on your page. Then if you add a light watercolor wash on the top that will have a different look. And then maybe you want to use him go Ashe, again, that will look differently on the paper. And then you decide you want to get all Leonardo da Vinci experimental and you start adding oil paint or acrylic onto your watercolor paper. And again, that's going to have a different look. So rendering emulates those various different looks to show you, Let's come to our brush library. I'm in the painting toolset and I'm gonna come down and I'm going to choose Tamar, Tamar, or however you want to describe it and tap again, I will clear my drawing pad and I will make red brushstroke applied in various pressure a little bit, and then I'll choose yellow and I will draw the yellow over the top of that. So I have two different colors, one sitting on top of the other. And in fact, Come on, let's go for gold. Let's get the rat again and do a quick brushstroke over the top of the yellow. Okay, So let's come down to rendering. And straightaway, you can see you have full glaze rendering modes at the top and underneath that you have to blending modes for glazing, think watercolor or diluted oil paints, where you see the Canvas or other layers of paint underneath, underneath that. For the two blending modes, think about thicker paint like on diluted oil or acrylics, whether brush strokes hide what's underneath. So let's go through the glazes at the top. In general, like Lays, has the least amount of effect. And as you go down through the glazes, the paint appears to get stronger. Light glaze is very diluted and you can see the effect. They, I changed that from one of the Blending Mode to light glaze. And straight away, you get a different effect. You can see the brush strokes underneath each other. Light glaze can look a little bit strange with soft edge brushes just on the edges where one stroke meets another. Now uniform glaze. Well, compare the two. Likewise, uniform glaze. You can see it's a bit stronger and uniform glaze is more like photoshops, glazing mode and uniform glaze, along with intense glaze, will react much more than likely as to how hard you press with your pencil. The middle to glazes, then nice for varying the opacity in a lateral way. Bear in mind though, that the varying of the pressure will also be affected in the dynamics tab or maybe the Apple pencil tab. So it's another example of different tabs within the brush studio doing different but similar things, which can be confusing at first, but it does get better with experience. Out of these two uniform and intense uniform can be a little bit more predictable when you're layering brush strokes, which is probably why it's called uniformed. But then again, intense glaze is a little bit more chaotic and you may want this slide more chaotic nature of the intense glaze. It is up to you. So intense, heavy glaze, very similar on these two modes are affected a bit differently by the next tab down the wet next tab, which we will come onto. If I swap a bit more between the intense glaze, heavy glaze. The heavy glaze tends to keep the texture of the brush a little bit more. All right, so those are the glazes. Now, what about uniform intense blending? They're good for layering up brushstrokes. So when you're working, even if you have your opacity set very low, the paint will build up its opacity. Let's make that a little bit bigger and a little bit more pegs so we can see more clearly what we're doing. You can see, I can lay it up the brush strokes like this. I start off not too opaque and gradually build up to full coverage. But here's the thing. I will make my opacity a little bit lower. Scraping with my pencil and then scrubbing and scrubbing. And I'm scrubbing backwards or forwards and backwards or forwards and backwards or forwards and gradually build up the opacity like that. Let's come back into my process studio that was with intense blending. Now I will switch to uniform blending. It's the only thing I've changed. I'll do the same thing. I'm scrubbing and scrubbing and scrubbing and scrubbing and I'm scraping and I'm scrubbing and scrubbing and scribbling, scribbling. I'm not getting a buildup of my opacity the way I did before. I can bring my brush down and go over that area, which I'm doing now. And I'll take my brush off, put it back down and come back again. If I take my brush off and put it back on and make repeated brushstrokes. I can build up the opacity that way, just on its own again, but I'm just going around a circle is I'm trying to build up. You reach a limit with any one brush stroke no matter how hard you scrub, in this case, of what, 14%. And you won't be able to go beyond that until you tell your pencil off and put it back down again. And repeat the process and I'm repeating a building up, back up to something a little bit more recognizable and graduating Mike repeated brush strokes to build things up. That is the principle difference between uniform and intense for uniform think uniform opacity, no matter how much you scrub with one brush stroke. Whereas with intense yet, you can build things up gradually with the same brush stroke. Now the paint interacts with a canvas or paper you're working with, but it also interacts with itself when it's still wet. That's clear that and choose. Brush. Another brush there. In the real-world, paint interacts with a canvas or paper you're working with, but it also interacts with itself when it's still wet and that is altered inside the web MIX tab. That is something that really comes into play with the intense and uniform blending modes. Underneath the rendering mode, you have a number of different sliders. You have the Flow slider that controls how much of the digital paint comes off your digital pencil. That controls how much digital paint comes off your digital brush. Your pencil underneath that, there's a wet edges. If I choose that. If you've used watercolors in the real world, you may already know about this. If you have a wet part of your paper next to a dry area, the watercolor paint naturally spreads out in the wet area and stops when it gets to a dry border because the paint behind it is still spreading outward, you get a buildup of color on the edges. Usually it means it gets a little bit darker just on the edges of your area of watercolor paint. The wet edges looks to emulate that effect. I'm gonna make sure my wet edges is set to maximum. And you can see I get a very definite dark edge around that. Well burnt or inches that emulates what happens to the edges of the paint stroke, how they look. It's linked to burned edges mode, which is just underneath. A couple of videos ago, I mentioned layer blend modes. Well, you've got them here as well. Look at this by altering the burnt edges mode. You get a huge difference in the look of your paint and see how the work is changing either in the stroke itself like that. And I'm thinking that's really starting to look kind of dirty acrylic saw granulated watercolor. But you can see it changes, twist huge amount depending on what mode the burnt edges are, is changing the edges, but it's also changing the look of the paint stroke itself. That's going to give you a lot of flexibility in the look of your paint. And of course, you can vary the amount with a wet edges and the burnt edges. And it's playing with these various different sliders in relation to each other. That's gonna give you the various different effects. Similarly, Blend Mode controls the overall mode approach delays down strokes. For this brush, it's set to normal by default. But again, you have all the various different layer blend modes. You can you see how the overall look of the brush is being affected by this? That's looking rather interesting. That set to screen. If I take the burnt edges mode and I said that you can see the burnt edges mode. Yes, it does affect the look in certain areas, whereas this one, the blend mode, that tends to change the overall look of the brush bike wider. As you can see. Overlay is giving me some nice wash effects. As I expected, difference in exclusion. They're giving me some rather strange effects. But you've got all these different blend modes to play with. And just to say it again, I will be talking about blend modes later on in the course. There'll be a whole video or set of videos devoted to this because you can see just how important they are. Lastly, we have a luminance blending. Turning this on alters how the brushstrokes alter the dark to light values wherever brushstrokes are laid on top of each other. So I'm gonna set the blend mode of this to normal because this is going to end up being a really strange. Otherwise. Let's set that to normal. Let's set the burnt edges. Let's take down burnt edges and wet edges a little bit as well, shall we? So if I click and I have PLO stroke and red stroke. While the yellow is brighter. If I set the brush blend mode. So you see a big jump in the brightness values. If I turn off luminance blending, can you see I'm getting a different effect where the brushstrokes overlap. Subtle here, it can be more marked in other places if they're, for example, That's one effect that's entirely unknown with it on, you get the kind of effect you might expect to see in the real world. In general, it tends to be brighter, which may not be what you want, but also it helped stops colors from getting too muddied when you lay them down on top of each other. 42. Brush WetMix: Right, Let's talk about the wet mix. I'm using the brush I was using before. That is the tame our brush or Tamar brush from the painting brush set. What I'm gonna do is I'm in the rendering tab. I'm gonna change this to uniform blending because you find wet mixed tends to work a little bit better with the two blending options inside rendering also bear in mind. This slide is in the wet mix tab, interact with the sliders in a rendering tab. And they depend a lot on each other sometimes because once slider isn't set a certain way, the slider we want to use, or we're fiddling with a tears to do nothing. Also, you may find that a very simple brush with no grain can't muddle up the paint and nicely the way a more complicated brush can. If you have something with an interesting shape and grain, then you're going to see some nice results with this. Well, hopefully, the wet mix is emulating what happens when you're painting with watercolors, for example, you get different kinds of brush stroke depending upon a lot of things. On two big ones are how much water you have on your brush compared to how much paint you have. If you have a lot of water but not much paint, you get a very dilute mix that gives you a long brushstroke, but the paint is gonna run out quickly so you're left just making a water brush stroke. Or you could have hardly any water and a lot of pigments and you'll get a strong color put down. But the stroke is going to be very short because there's not enough water to make that pigment slide along your paper. If you have a lot of pigment and a lot of water, you'll get a lot of intense color. And a larger brush could hold more of both water and pigment, and a small won't count, and so on and so on. This is why the wet mix tab comes in because it's emulating what happens with the paint versus water makes. Ok, So at the moment I've got this as my brush stroke, the dilution slide or other top emulate how watery the brushstroke is or how much water or turpentine or white spirit or dilution agent you're putting on your brush. If I bring it up to say halfway, I get a very diluted stroke. The charge, on the other hand, decides how much paint you rub your brush. And I've set my delusion to about halfway, then I'm going to bring up the charge. Can you see what's happening to the start of the brush stroke? If I make a brush stroke, it starts off fairly strong but gets diluted pretty quickly. And this is rather annoying with a drawing pad, you make your brush stroke and it updates itself so you can't be that clear about what's happening with it. But if I set my charge high, that means I've applied a load of pigment on my brush already. You can paint for days. Look at these two settings. Rarely do like to play with each other. So it's up to you to see what works. At the moment my dilution is set to lower. So I get a stronger paint stroke like this and it goes on for a long time. Move down my chart so it's slower and it starts off strong, but eventually it will start to fade out. Once it does start to fade out. Can I get that happening? Let's up the dilution a little bit with this drawing pad, I'll choose black because that'll give me the most contrast. Once it starts to run out. You can press as hard as you'd like with your brush and you won't get any more pressure. But the attack, well, if you erase that, no charge dilution about halfway attack set high. Getting hardly anything but if I suddenly press harder, yes, I do get the paint stroke. Now I'm pressing softer. You can see, rather interestingly, it can take quite a long time until I let go. Procreate, alters my brush stroke. I wish he wouldn't do that. Alright, let's set this to about that. The higher the poll setting, the more of the brush will drag paint with it. When you make your brush stroke, that includes paint that's already put down. So this slider can be a great way to get some smearing organic effects, grade sets, how chunky and contrasty paint is, and I'm sick and tired of that black color. If I drag the blur up. Currently see the paint starting to blur slightly. But one thing I've noticed with this is that the shape blows, but the grain doesn't. And you can see the green is still quite well-defined even with a blur set right the way up to the top. That makes sense because this is supposed to simulate the paint blurring, not the surface that you're painting on. Like if you're painting with watercolor, you can blur things. You can blow lots of different paints into each other, but that cold press watercolor paper underneath, that doesn't get blurred with it. But you can vary the amount of blur the paint gets with a blur. Jitter slider. Now, it's some places the paint will get blurred, but in other places weren't. Again, it's good for adding a bit of random chaos inside your painting. With us only going to be noticeable if you have the blur slider set high enough. Similarly, the wetness jitter that controls how much water is put down a different part of your brushstroke. The wetness jitter in conjunction with a blurred Logitech can give you a whole lot of chaos on your brush strokes, which can give some really nice blotchy effects. That is the wet mix tab. Stick with me. We're getting there. 43. Brush Color Dynamics: You keep on saying the word jitter in these videos about the brush studio. What that means in any image editor or paint program I can think of is that you can randomize things so that when you're working and making brushstrokes, you can, for example, have each brushstroke a slightly different color. Or you can vary the color or the brightness or the saturation within the same brush stroke. This can give you some very realistic and attractive brushstrokes. And the color dynamics panel is where you do this. But I think in order to do this, let's make a simple brush because we're talking about all the sliders. We're not actually making any things. Come to our brush library. I'm gonna come down to my main brush section, DC brushes. I made a brush that I didn't want it anymore. I'm going to delete it. Yes, I wanted to leave that as my DC brushes. I keep on getting that name lost in all the other libraries that I've imported or created myself. So quick tip, SAP and rename. I'm going to stop right at the beginning. I'm gonna come down to my emojis. Pick one at random. Some little guy holding his hands up looking confused. Yeah, sounds like me. I can even choose let us choose a good mid color for that council, my space bar. And now whenever I'm going up and down, I've got that little emoji there was just separates out that particular process from all the others because I can see the little emoji use whatever you want. You can use different colors, different emerges just to separate out all of these imported or created brush sets within procreate a plus sign to create a new brush. And I want to come to my shape. I'm going to import one of my own brushes or one of my own PNG files which I can use as a brush head, that is tuples 01. And you can see it's just a black background with a few dots of varying different intensities on our tap on Done. There I have my dots, but I want to come to my Stroke Path and I want to space these out a little bit like this. And I want to jitter them a little bit so they're a little bit more scattered about. I want to come back to the shape. I want to scatter these some more in different directions, alter the rotation. So we're getting more of a random effect compared to my Stroke Path. And I wanted you to these a bit more so I'm getting much more. Random effect. What I'm looking for is just a whole series of dots, a bit like that. I want to come down to the properties and increase the maximum size or getting much more pronounced effect. And if I clear my drawing pad and I'll make a red brushstroke like this. That's given me the basics. But now I'll come to color dynamics. I get four different sets of sliders and they all the same sliders, but they affect different things. For example, a stamp color jitter. Can you guess what that does? Well, every time I put down a brushstroke, I stamp down my brush head. If I erase the hue of this was happening, every time I get a brush head stamped down, it becomes a different color from my original red. If I have that set to 100%, I'm getting completely random hues stamp down. If I get lower, say around 10%, this is where I really started to like it because I'm putting down different colors by that very Asians of my basic red color. If I come to say my blue or cyan, I'm getting variations of cyano by writing that around, I can get some very subtle book colorful effects. All right, so I've cleared my drawing pad. I'll choose a midtone light magenta, for example, after getting my variations in hue. Now, what about something like lightness with ADH is going to do is take my basic tone or brightness of my color and produce variations which are varying amounts of lighter off that base tone. And if I increase the darkness, I'm gonna get varying amount of tone which are darker than my base color. Now I'm getting a huge amount of difference in the dark and light. I didn't see much difference there with magenta, but what I will do is I'll choose a black and I'll clear my drawing pad. Then if I make a brushstroke that now you can see I'm getting variations in the lightness from no variation whatsoever to varying shades of gray, up to very light gray, hopefully not Fifty Shades of Grey. Please know. Let's choose a nice bright color like red or saturated color. And I can alter the saturation so I get some very vibrant saturated reds plus and very not backwards. Again, it's just. The varying the base color. So you get these lovely 1 holistic effects. Now the only one left now is secondary color. So where does this secondary color come from? I will crank that up. I'll tap on Done. If I come to my color studio. Well, look, you can see I have a red color. I also can get a yellowish color, making my brush stroke now, I'm getting variations from the red and the yellow. If I specify two colors, I can have all the various different colors in-between. Now I say colors. That doesn't have to be just q. That could be, for example, let's choose a light pink color, a darkish bluish color, and put that down. And again, you can see the variations there. Okay, let's do an afternoon's worth of points holistic work right now. God, I love computers, how? Well, you can curse them out sometimes that's okay as well. Let's come back to our brush. So that base for the individual stamps. Now what you get and look if I just set everything back to what it originally was and make your brush stroke there with a stamp color or the top set of sliders that affected every stamp that makes up the brushstroke. Alright, well, Let's up the stroke color jitter and make one strike and another stroke and another stroke and other stroke and another one on another one. Can you see how every time I put down a different stroke, I'm getting a lot of variation. The variation is consistent for as long as I draw the brush stroke. If I clear, that's all the variations of blue. That's all variations of teal, That's all variations of green and so on and so forth. And of course, saturation of the lightness and darkness. Secondary color. They work exactly the same way as the stamp color jitter. That is the five topics such as sliders. Let's take all the stuff, the outline, this color pressure. There's my basic brush stroke that's increased. The color pressure is gonna be nice. I will make a very light brush stroke at the top. I will increase the pressure as I come down and the more I do. And of course the osteoid disappear to be procreate. Let's do that again, shall we? I'm pressing hard. I'm pressing soft. I'm pressing hard. Did you notice that? Of course it disappears. I will clear this again. And let's just play around with the various other slides as well. I'm pressing soft. I continue to press soft and I still getting the same kind of color. But as I increase my pressure, which I'm doing now, I'm keeping the pressure heavy now, I'm getting consistently heavy color. One of us saying a consistent color based upon the pressure and if I lighten again, I come back to that's like kind of a mid pressure and that's bad light and it all disappears. But hopefully you get the point from that. You can vary things based upon how hard you press and it will stay the same. If, for example, you're pressing out 30% hardness for your entire brushstroke, you'll get a consistent brushstroke. If you increase to 60% hardness halfway through, you'll get a new set of use, saturation, brightness, or secondary colors based purely on the pressure. Similarly with this color tool to look, that's just shift everything up. I'm holding my pen upright. Now. I'm moving my pen over to an angle. My pencil is now lying almost flat against my iPad. Bring it around, and then I'll bring my background to the upright position again. And I get consistent variation in colors based upon the tilt angle of my pen. How nice is that? 44. Brush Dynamics: Here's a file called Fox in a pickle, and it's available as a download in case you want to follow a long-haul practice your inking in brushstrokes. I have done the sketch and I want to create a new layer because I wanted to trace over the top of our sketch using a pen so I can get some variations and interesting pen strokes. That is the layer I want to sketch over. If I count my brush studio, I have a brush here called the slow, fast ink. I'll tap on it and you can see I'm in the dynamics panel and take a look at the slider at the top, I've set the speed slider so that the size of the brush will be affected by the speed of my brush. Let's show you that in action. Layer four selected are not checking my brush size. Let's make it good size. So you can see the brushstroke pretty clearly. I'm set to block my opacity is on a 100. And I will move my brush slowly like this, then are suddenly come very fast. You see what happened? If I'm a river slowly, I get a certain width of my brush. I get variations in. If I press harder. But then if I move very fast, the brushstrokes suddenly gets thinner. That's what the dynamics tab does. You can set it so that when you move your pencil faster, the size of the brush stroke and get narrower or wider depending upon where you set the slider. At the moment, I have it set hard, right? And so slow, fast, slow. If I just did so it's the other way. You have that kind of an effect. You can also adjust the opacity so the stroke fate in the middle or on the ends come out. That's got to be really, really useful for getting some natural brushstrokes or padded strokes or pencil strokes are case. I've mentioned twice before that the slide is in one place, will affect sliders in another place because with the Apple pencil, you can alter all stuff like this according to how hard you press with your pen, what angle you set your pan, that's where the Apple pencil tab. But for the dynamics, if I have it, how originally was, you can do the slow, slow, quick, quick, slow. And that is really, really useful of creating some natural effects. If you want your artwork be interesting, they need to learn how to blend opposites in a creative way. Dark and light, saturated, desaturated, and thick and thin out. That is a really big one, especially when you're dealing with something like this. Which has lines, because you might want, for example, a fast line. Let's make this a little bit. Finish our way under a test line. Maybe a little bit. For example, you might want a fairly fast line for the top of the year. But as you get them all to the shadow areas, you might want a thicker area there for key lines. That is areas around the outside of the object or the fox. In this case. You might want those to be a bit thicker. Shadow areas you might want to be thicker. Highlight areas may want to be thinner, and it's the thick and thin, which rarely, rarely makes a difference. He provides character TO lines by using the dynamics tab, you can get those kind of effect in conjunction with the Apple Pencil tab for the jitter? Well, I think in the previous video we spoke quite a bit about jitter and what it does. If I max out the jitter, I'm gonna get little variations in the size, which are also being affected by the speed in this case, what about opacity? I get even more randomized lines. You'll still need the top two sliders to be set to some value in order for the jitter to work. But once you do get them setup to wherever you want them, then you can mix things up a little bit using the jitter sliders. 45. Set up your Apple Pencil: Following on from the dynamics, we're still in the same file, but I'm going to use Nicaragua from the painting paint set because it's got a nice texture. Let's just clear that. Choose a color. We spoke about dynamics. Now, what about the Apple Pencil? This tab controls what happens when you apply different amounts of pressure with your pencil or you angle your pencil relative to the iPad, you tilted over. These settings will probably have a much greater impact than any other settings. So it's important to get them right. And the thing above this little quarter circle diagram, which I'm circling now, it has to do with how hard you press your pencil. Anything below this diagram has to do with how far over you tilt your pencil or pen or brush. People use three words to mean the same thing. So I'm going to clear it once more. I'm going to make a couple of brushstrokes. I will vary the pressure there. And I will also vary the angle. But I'll try and keep a consistent pressure when I do a norm which is happening there because I haven't adjusted any of the tilt sliders. But going from the top with the pressure settings, the higher the size, the more you get thick and thin strokes based off how hard or soft you press your pencil against the iPad. Soft, hard, soft. The higher the capacity, the greater the range from solid to transparent, you get soft, hard, soft. And again, that depends on how hard you press. The same thing with flow. Flow is already set to maximum. You get more paint the harder you press with flow when it's set to the right which it is looking fight Altermatt. You can see how opacity and flow work with each other. Sometimes it's a bit of a subtle difference between opacity and flow, but it is, they're not bleed makes the grain more contrasty. Up. As you get towards 50%, the grain gets less. But as you go past 50 towards full strength, the more the shape starts to dominate, more grainy, more shape-based. This is light pressing your brush down harder or softer against him, textured paper or canvas. The more you press, the more the paint goes on and hide the canvas. Now smoothing controls how smoothly all of the above slide is the fact that stroke from small settings to larger if the other settings are pretty large, which let's face it, they are. You can see a massive difference in the overall look of the brush with smoothing. It's tending to smooth things out so you get less of a difference. The smoothing slider is a good one to do what you said all the others. And as you can see, that dramatically altered so log, so it's always worth trying out. See how you can publish your strokes using smoothing. Now you can enter your values numerically. Now you can enter the values on the slide is numerically. But one thing he might miss because for some reason it's almost invisible is the pressure curve. We haven't looked at the pressure curve yet. So let's do that now. I'm going to cancel. And instead I'm going to come to my TPC brushes. And I'm going to choose my heart, block it in a brush. Tap on that. It's a very simple brush. It's just there so I can quickly blocking colors. It's not very imaginative. But the reason I'm using this is because there is a big difference in brush size when I press some soft to hard look at that, that's massive. But you can customize how every brush in Procreate reacts to your pencil and how you use it. If I go into the wrench icon, then come to Preferences. And then you can see edit pressure curve. And if I tap on that, There's my pressure curve. It is set to default and doesn't affect the brushstrokes you make. And if I increase my brush size, Here's a sample brush stroke, thick to thin. But if I add a dot and pull it right the way down like this, I'll try and make the same brush stroke again. I'm pressing soft or pressing hard and hard. I'm pressing really hard now. I'm running. Oh, that's hugely hard. And if I drop off the pressure just a little bit back to that really thin line. That is because I altered my pressure curve. Now if I raise my blue dots so it's very high, I'll make a brushstroke again. Soft, soft, soft, authority much thicker. And then it suddenly leaps to being really, really thick. And now I've got a press lightly, but I'm still getting quite a thick brush stroke. That is because the pressure curve is a graph showing some before and after values. Think of the bottom line as the before Access where you get no pressure on the left and a 100% as hard as you can press on the right. And so the harder you press for this brush, the thicker the width of the stroke or as opaque as it can be if the brushes setup. To vary its opacity based off how hard you press your brush. You have the before values running along the bottom, naught or 100%. But you also have it after settings running up the side of the graph from 0 per, at the bottom to a 100% at the top. If I press at 50% hard, I get 50% of the width based upon what the graph is telling me, that 50% there. But now if I move it up, all my Before value is still set to 50%, but now my after value is set to 75%. Now I want to make your brush stroke. If I press it 50%, which is what I'm doing now, I'm getting a thicker brush stroke because the pressure graph is now telling every brush in procreate. When your user presses at 50% hardness with the Apple pencil, I want you all to do 75% of the work. We're new, we're only doing 50% before. Similarly, if I take my 50% dot and drag it down to 25%. Now the fresh graph is telling my brush, right? He's changed his mind. He's pressing at 50%, but I only want you to be twenty-five percent wide. Don't ask me why he wants you to do it, just do as you're told. That's what the pressure curve is. It's a middle manager telling all the minions, your brushes, what the boss you are supposed to do based off how hard you press. Now that's the principle and it is there because everyone draws differently at some appropriate let you customize itself. If you have a light touch, you might want to note the curve a little bit upwards and a few more heavy handed, sorry, expressive. You might want to drag it down so you get a smoother experience when you're working. Bear in mind as well, that you can have multiple points if you really want to customize it. To put it another way, making a mess, I'm just vary my pressure a little bit and I've got no idea what my brush is supposed to be doing. Because my graph is set weird. Don't get me wrong on like weird quite a lot. But not in this particular case. Let's reset that. So I'm getting the default behavior from my brushes because we need to come back into Apple pencil. If no, I will come back to painting and I will choose my Nicaragua brush because I like it. If I come to something like the Flow slider, we saw the numeric, but you can barely see next to that bright blue numeric. You can see almost while it is grayed out pressure. If I tap on it though, oh, I get another pressure graph. So now I can customize the Flow slider based on how hard I press my pencil down and you get a different graph. For every single slider. You also get a response slider or top, which smooth things out depending on how fast you make your brush stroke. So look, if I come to my size, I come to my pressure graph. I can alter, oh, I can alter it like this. Anyway, our wants and i shape, that's a very popular shape For graph like this, which are there any other name is known as a curve graph where you can put points. That's a curved, which has been a source of confusion for many of Photoshop or Affinity Photo or name your art program of choice which has curves. That is confusing unless you've listened to my explanation of how curves works, in which case, it's easy. That is Prussia. Now what about tilt? Well, we already know you can tilt your pan when you work on that diagram with a quarter circle, that's you decide what angle you can tilt it and looked at for I do this. I want to come back to my pressure graph, smooth it out a little bit and take my slides back down and find out how or click Cancel, then come back into reset for my sliders. Now what about tilt? Clear majority part? Let's choose green. We have not had crania, know we haven't. Let's try green. You can tilt your pan when you work at that diagram, which you can see with a quarter circle, let you decide at what angle you can tilt your Apple pencil before the sliders underneath and start to work this little gizmo, I'm certainly now is known as your tilt graph. Imagine that line with a dot on your pencil. On the bottom of the graph is the iPad surface. So at 90 degrees like this, your pencil is pointing straight down perpendicular to your iPad. But as you started till this over, imagine this is your Apple Pencil going up more and more of an angle. Now by default, I think it's set to, I think it's nine degrees. This means the Pencil Tilt is effectively disabled because when you tilt an Apple pencil over until it's past 15 degrees, it's such a tilted angle that the tip doesn't actually touch the surface of the iPad, so it won't work. The pencil can also give slightly inaccurate readings between 15 and 30 degrees, maybe beyond 30 degrees is the sweet spot. If you want the tilt to work with a pencil, I've got my Nicole Rowe Price selected and I will 0 out any pressure settings. So I'm only looking at the tilt and I'm going to set my tilt angle to 90 degrees. And I'm going to make for parallel brushstrokes to each other. With this one, my brush is facing straight down towards my iPad. The next one I'm going to tilt over a little bit. The next one, I'm tilting over quite a bit. And for the fourth one, I'm tilted really quite far over. Then I'm going to move the tilt angle down. And as I do, can you see once I started getting passed certain angles, the brushes start moving. Oh, look. That's the first that tilt angle moves the stroke over slightly. Now, we've got the sliders. Opacity works like Prussia, but it's based off the tilt, angle. Gradation or fatal stroke for every individual stamp of the brush. In fact, you know what I'm gonna do? I am going to share my drawing pad and I'm going to make my angles a bit more extreme. So I've got directly facing. A little bit more of an angle. Must be about 30 degrees and one more brush stroke. And this is tilted over About Us thought as I can go. So hopefully I'll get a more obvious effect. Let's take a look at this. Opacity. You can see things altering based on how far override tilt, gradation that fades the stroke for every individual stamp of the brush. So now if I come and I have plus use a black stroke, shall we start off perpendicular? And as I go down, I fade and I fade, fade, tilt much more over as the stroke goes. It did it again on perpendicular. And as I go down, I tilt my brush over more and more and more and more and more and more and more and more. And I wish the top half wouldn't go suddenly get lost. But you can see as I move things around, capacity is being affected more and the individual stamps are being affected more. So the more I tilt, the more faded effect I get. Bleed works like the bleed precious slider in the grain gets more contrasty. You can see that there. That's going to be good for things like pencils and pastels and charcoal. Because sometimes you'll angle your pencil against some paper to put down areas of shading. Or when you do that, the pencil doesn't dig into the paper as much. It glides across the top, so more and more of the green shows up. Now, I'm gonna give you three guesses what the size slider does. It's actually quite hard to see because it is. But trust me, it does vary the size based upon how far over you tilt. Can I get that to work? Perpendicular to an angle? I think for this I'm gonna come to cancel. And let's come to sketching. And let's try it, the appropriate pencil. It's up on that come to Apple pencil. You can see they've set the size so that if I draw a triangle and then if I bring it over, can you see that? There? I'll draw a line so I'm perpendicular, then I'll start to angle. And once it gets past a certain 0.12 degrees, the pencil starts to get bigger. And again, that makes sense because now I'm holding my pencil the way I would hold it at an angle if I'm shading. And because more of the graphite is coming into contact with a paper, because I'm holding my pencil to angle the wider the pencil stroke I get as opposed to when I'm told him my point on the pencil, that is extremely useful, again for things like pencils, charcoal, pastels, and what have you now finally, a size compression that controls the size slider. It stops it from getting too big, too fast. Often when I work, I prefer to set it off because I like to have a large size when I'm laying down areas of tone or color when I'm working. But anyway, that is the Apple Pencil dynamics. Very important. Well-worth getting this note and well worth experimenting with. 46. Properties & the Joy of Smudging: Okay, So next up we have the Brush properties panel within our brush studio Pro I do. I have sketching, procreate pencil selected. It's all Maximum Size, and I've chosen a dark gray and it works pretty nicely as you would expect a pencil to work. That's me, sketch gets a normal angle if I am alright over I'm getting a much broader coverage. Yeah, that's quite a natural experience. Tap a few times, two-finger tap to undo that. Let's come to appropriate pencil and come down to properties. I've come here a couple of times before in previous videos. Now let's take a look at what's going on with it. Let's take a look at the bottom slide is first the brush behavior. You get maximum size, mineral size, maximum pasty, a minimum opacity. These come into play when you're working on, you're altering the size and opacity of your brush using the two sliders have the side of the screen. So I've got maximum size here. I can take it down to a much smaller size and get a much finer stroke like this. Let's undo those of u times. Similarly, there's maximum opacity. There's less opaque layers, less opaque, and there's almost transparent. It's the sliders on the side reach out just altered. Those are the things we're interested in. For this. If my maximum size is set to one per cent or my minimum size is 0%. At my maximum opacity is set to maximum and the minimum capacity is set to none. If I come back, the maximum size I can get is 1%, was it? That's my maximum size. Even though it says a 100% in my brush size, I've got a 100% of a 1% which is allowable inside the properties panel. But if I come back in, I increase the maximum size, say to 34%. Upon done. All of a sudden I can get a much bigger brush. Now I can still alter the slides on my price so I can get a similar slide to what I had before. But now I have the option of going much larger. It looks different. It doesn't look like a graphite pencil anymore. It looks a little bit more blobby than that. Let's come back. Maximum size of one set to one, wasn't it? This kind of makes sense because if we're using something like this procreate pencil, we expect it to work in a certain way. We expect it to have a narrow point or we don't expect it to be able to cover an area as large as a medium-size watercolor brush, for example. That's fair enough because whenever you use paint package like Procreate, It's nice to have the feeling that we're using real pencils, unreal watercolor brushes. But once we accept this is not real media, it's digital. We can start to give ourselves a little bit of an advantage if I come to say my DC sketches. And I've got DC peppermint sketches chosen. And I'm getting that kind of an effect. Incidentally, the DC apartment sketch it. If I come back to sketching, there is a pattern that sketch of that all I did with DC sketches was duplicate from sketching and then I move the duplicate into DC sketches and renamed it to DC pattern minute sketches. I kept the original lame, I just put DC on the beginning. So I know that this particular brush is very, very similar to what I had before. The only difference I made with this was that I set the maximum size to max. Now, I can have a thin brush stroke and I can have a huge brush stroke like this plus everything in between. Of course, I can vary that by increasing the size of the brush based upon the angle or the pressure. So now when I'm working, I can set my brush size too small and I get a regular pencil. But because I've altered the maximum size so it can go much larger, I also have the option to just increase the size of my brush head. And now I can cover larger areas much more quickly, which I wouldn't be able to do with a traditional pencil. Well, I can by tilting a real pencil over to one side and using the side of the pencil tip. I've already set up this brush in the Apple Pencil Tab to do just that. Size set to maximum. Now, I have the best of both worlds. I can make my price small like this. I just felt my pencil over to get a larger size. Or I can make my brush as large as I like and tilt over and get an even larger size. Hope by now it should be obviously at the maximum capacity. If you lower that down the most you're going to get. Well, let's try it on 15%. Nice big brush stroke. But I'm really, I'm just scrub hard to get anything. If I make repeated brush strokes. I get it harder. Incidentally with that, whether you decide to limit the maximum capacity is up to you or whether you decide to write the opacity here. Have you ever done that thing? Let's take this back up to maximum way of shading and you're trying to get a smooth buildup. And it's not that easy exam pressing very soft, and now I'm pressing harder. You lower the opacity down. I can press reasonably hard, reasonably hard again, and reasonably hard again, but I'm just concentrating more on the end of the brush stroke. For something which is supposed to work like a pencil, I can take the opacity down and gradually build up my brush strokes like this. And so I can get a much smoother shading. I know you can't do that with a traditional pencil. You can only work by varying the pressure, but this is Digital. Do yourself a favor and take advantage of the possibilities that digital gives you. And if that means you can make something that looks like very smooth pencil shading, which you can gradually build up. Great. Do it. Going back to the Properties tab, we have, use stamp preview at the top. All this does is give you a preview of the shape and the grain of the brush and the form of a single stamp instead of a brushstroke. If I turn it on and come down here to where it says peppermint sketch. All I'm getting is a single stamp. Turn it off again, pulleys. And now I get a proper brushstroke. Oriented screen is something you can only see when your brush has a definite up or down direction to it. Like for example, a calligraphy brush, which makes narrow vertical strokes and brought horizontal strokes. If you turn on orient to screen that calligraphy brush will keep making the same brushstrokes if he physically turn your part. So it's either landscape or portrait. Preview controls how large the brush strokes appear when you come to select your brushes the moment it's set on maximum. My permanent sketch, it looks like that. If I come to a maximum size and make it smaller, become hair, Pac-Man sketches suddenly gets a lot smaller in the preview. Even though it behaves the same when you actually draw with it. For that personally, I'd rather sad about the maximum size that can be nice for some watercolor brushes which appear to be so large. Can I find some examples of this? Dc watercolor chaos 03 preview, even though I said it to 1%, it's still a bit too big. Take it at 51%. Look, it's just, you can't see a thing. If that happens to you, take down the previous far you can go. And at least you got some idea of what the edges of the brush looks like. Finally, we have this much slider. This is an important one. It controls how far you drag your paint around when you use any paint brush as a smudge tool. What I've done is I've set up a file called smudges 01, available as a download. And they also have a brush set called DC smudges. And I'll choose the DC scratchy smudge. I will also make this available for you to properties. Smudge at the moment is set to 41%. I will take this down. So it's about 1%. Tap on time. Make sure I have my layer selected. I will choose the layer underneath, just a simple, hard edged Saturday, yellow and red brushstrokes. And I'll make sure my smudge it is selected at the moment. The paint brush is selected, but my smudge, it isn't. So I will tap and hold on my smudge until I get that smudge with current brush. Dc scratchy, smarter. You can see I can drag. Now, I'm gonna make a large brush stroke from the top all the way down to the bottom. You can see I'm getting a little bit of smudging and smearing with that. I will undo that. Now. Well, he came to my smudges smudging library and tap again. And I get to the brush studio, has before, and drag my smudge slider all the way up to maximum come to done. And I'll do the same thing. I'll start at the top of the red and come down to the bottom of the yellow stroke. You can see my brush head and look at that. It's dragged the blue all the way across both of those pencils. And if I come in the middle somewhere, you can see I get a massive amount of smudging going on. That's because my smudge slider has been set so high that it's just dragging the paint all over the place. Let's undo that a few times and choose what I hope is happy medium. What was it? 42%. That was what I originally had it at. Tap on Done. Come here and start to smudge these around. If I drag very lightly, I'm getting a fairly smooth effect like this. If I press hard on getting a much harder smudging with my smudge set to 42%. If you get used to smudging, which I hope you do, you may end up thinking of the brushes as smudge tool every bit as important as paint tools, especially because now you know that if you come to the Smudge slider, you can fine tune. Half of that brush could smudge things. But it gets even more interesting because if I tap on the number, yes, I can edit numeric values, but I also have a pressure graph for this. You have to turn it on by turning on pressure enabled. But if you start to alter this around, this can vary your smudging even more. Now, I can get a lot of variance in how I smudge this. The graph is kicking in. I can fine tune and how I smudge using just this one particular brush. What this is doing is now, the harder you press your pencil on your smudging, the more smudging you apply. And so you can get a nice little curve geographic. And if I take mus much value down to some low value, say around ten or 11 or 12%. And let's find a hard edge here. If I press very lightly, I'm getting almost nothing. But if I start to press harder, I'm getting much more of an effect. So pressing light, pressing harder and harder. That pressure graph now is great. Because harder I press, the more smudgy ITS that makes sense because if I'm, say use my fingers on some oil paints to try and blend two areas in. If I tap very lightly, I'll get a little bit of smudging. If I press very hard, I'll get much more smudging. I have another layer here. All I've done is laid down some simple soft colors on top of each other. Welcome to my smudge tool. I'll have a couple of extra brushes here. Dc has merged large and DC has much smaller. I'll choose a large if I came to my Settings, you can see I've set my smudge to 75%. This is going to be quite strong, but I also have my pressure graph enabled. So now it's, although it's linear, the harder I press, the more I get a smudge effect. It doesn't have to be like this or like basically just simply be a straight line. So the harder I press, the stronger the smudge effect. Now, I will come to the light area and I'll just drag lightly like this. And then I'll start to press a little bit harder, harder, harder or softer? Softer. So I can vary the length of my smudging based upon how pressing I want. I start dragging between the different bands of color. I start to get an effect that looks a bit like hair or fur. This is how you can do things like hair or fur. I have to say you got a whole lot of different programs, has lots of different smudge brushes. I think Procreate is the best I've seen. Ronnie. Ronnie can't do some quite spectacular effects. I'm just working pretty fast. Dragged down a little bit of more of the hair here and around here. If I want, I can come to DC hearse much small because how large gives me a whole lot of strands, has much small gives me a smaller set of strands so I can do little stray hairs and what have you. That gives me some really interesting effects. Now the reason I have a large and a small is because look, the only difference between the two of them is the shape. For the large. I've got lots of different dots. For the small. Well, I've got a three little dots, but all the other settings are the same. But when you are creating things like hair, sometimes you want to create a large bodies of light. This doing now. Sometimes you want to get the feeling of that is just wanted to little stray hairs going off into the distance like this. By having a series of brushes which are designed to work together, you get a consistent look because with any art program and procreate is no exception. Now you have the tools work is great, but knowing how you can make the tools work together, that's when he starts tap into the real power. 47. About and Combine Brushes: Finally, we have about this brush. Actually I'm calling all of these things hit Tabs. The official name for them is attributes. Now I've already covered this stuff. Other start of this whole process session. Thanks. I don't want to go over it all over again where I talked about how to rename the brush, how you can put your own photo in there plus made by about how you can create new reset point and reset your brushes. So hopefully, that is one very extensive tutorial about the brush engine inside Procreate, just in case you feel like your brain has been fried after seeing all the various different sliders and possibilities, Here's one final thing to stick your brain in the oven with some garlic and paprika and slow roast it for the next five hours. I'm gonna come to a couple of my brushes. Let's try scratchy much. I'll duplicate it. Allow come to my house much large, wide and I will duplicate that. Drag the top one down. So it's sitting right on top of the other duplicates. Or I might to duplicate us sitting next to each other. One brush is selected, I will swipe across the other ones, so it also selected. Now did you see what happened when I did that? At the top, I have something called combine our tap on that and those two brushes turn into one brush. If I tap on that brush, take a look at the very top left. I have my smear brush and I have my scratchy blender brush underneath. I've got two brushes, each one with its entire set of sliders and attributes. They work together as one. You can independently adjust all of the sliders. So we come to this one, make your brush stroke like this. I can come to the spacing. I get this. I can maybe hold of a hue and saturation. I came down to this one. I can have this brush set against this brush or maybe that gray behavior is going to be that affecting things. I'd say you get all the power and all the attributes of each individual brush, but they stamped down together as one. Now in this particular case, I think it looks absolutely all four without a whole lot of work, so I will just swipe to the left and delete it. But that you can combine brushes together to create wonderfully, marvelous, versatile, meticulously complicated brushes. It's a ridiculous amount of power. But if you're twice as confused now, take two deep breaths, spend twice as long as learning how everything works. And then you've got all the power of the Procreate brush engine multiplied by all the power of the Procreate brush engine. You have the power of the brushes squared. Just think what you can do. All right, that is the brush engine. Videos are wrapped up, well-done for watching.