Procreate: Solid Foundations, Part 2 - Beyond the Basics

1. Hello and Welcome!: Hello and welcome to Procreate solid foundations Part Two, beyond the basics. In part while we created our first picture and we learned about workflow plus using color, color theory and a huge brush tutorial. Now, we're going to go beyond the basics. I'll start off by explaining what selections are and then I have an image for you to follow along with while I explained selections plus how to transform them. Then we use the same image to talk about the Liquify tool inside Procreate, which is possibly the most powerful Liquify tool I've ever seen. We will cover things like assisted drawing, quick menus, quick draw feature, a flood fill. You will follow along with an exercise where I explain about alpha lock and clipping layers and explained the difference. Then I have a hole in detail exercise for you where we block in some line artwork. Blocking in is one of the core skills inside any digital art program. Then we will go on to layer blend modes. Now layer blend mode, they can confuse a lot of people, but I'm going to explain to you what are two secrets with layer blend modes? Or do you know the secrets? All of a sudden they get much, much simpler and it's the same with layer masks. They can be very confusing at first, but I'll take you through them. Demystify them, will be practicing what we've learned with exercises throughout. So if you are ready to take your knowledge appropriate to that next level sign-on for the course. And I will see you in the next video. 2. Selections, the Basics: Okay, Let's talk about selections. Okay, I should quickly mention that most of the files for this course are available in the downloads, but there are one or two files that are just too big to fit on Skillshare. In the download, there is a Word document called part to resource downloads, which gives you direct links to all the files which appear on this course. And in the case of this file, Ronnie the robin, if you want to follow along, you'll find the direct link to the file in the part two resource downloads Word file. But apart from this file, all the other files are available as a direct download. A selection is where you draw out an area using the selection tools I want you to have. You can draw just in that area. So it's a way of masking off different parts of your painting. There are a number of different ways to do this. For example, the layers panel. You can click one layer to another. You can lock a layer so that you can only draw on the non-transparent pixels or you can use something called masks. We talk about all of them on this course, but for now, we're talking about selections. And I suppose the difference is you have an icon just in the top left where I'm circling now. And if I tap on that, you have a number of different ways of drawing out an area so that anything outside that area is masked off. But look, I'll give you an example. Welcome to the ellipse and I will draw out like this. Can you see I get a little dotted line which is moving those unknowns. You're marching ants. And if I liked go any area which is clear is an area I can draw on any area which has these looks like light diagonal lines which are moving. They won't get drawn on. And sorry if I come to my paintbrush, I'm using from the painting brush set the timer or Tamar brush, a nice bright color as well. And I can draw just in that area. That is the basic principle of selections. But of course there's so much more than that. And I'll come back to my selection tool, tap it again to get rid of that selection. Just a few things. I have two files for you. One is Robbie the robin, and the other one is Robbie the robin small. I'm using Robbie the robin. And as you can see, it's got a whole load of different layers. They will be useful for showing you a couple of things that I really do want to show you what the file itself is quite large. And so I've included the other file, Robbie the robin small, which is smaller in dimensions and comes in at half the file size. If you're having problems loading up this one, maybe you have a slightly older iPad, then choose Robbie the robin small, just in case you want to follow along with the things I'm telling you, you don't need to not for this explanation, but if he do, like I said at the beginning of the video, there is a Word file in the resources section which contains links to all the files on this course. And you can download Ronnie robin, all Ronnie robin small from there. Okay, So currently I'm on a layer which is called empty because it's empty. But you can see I have a number of different layers here and I'll use them to demonstrate quality principles. Let's come back to our selections. You have four basic selections on the top you have going from right to left ellipse, right-angle, freehand and automatic. So the first thing I'll do is I'll come to ellipse. And underneath that you have various different ways of putting down the ellipse, the rectangle, the freehand and the automatic, and also editing them once you're down, Let's go to ellipse first because it is the easiest one to do. And also if you notice our circuit now I'm in add mode. So I will draw out an ellipse just on the breast of the robin. It can be fun and flat. It can be long or short. It can be somewhere in-between. If I hold down one finger modifier, constraints to a perfect circle like this. Okay, so that's my basic selection. I'm in add mode, so I can draw out another ellipse and that gets added to my existing selection. Now at the moment I'm hoping you can see this because those lines around the outside of my selection which are moving, they may not be that clear. I can do is come to my settings and I want preferences. And down to the bottom you have something called selection mask visibility. If I slide that up, you can see there is no messing around there. You can definitely see what's selected on what's not selected. I will drop that down a little bit for now to around about what, fifty-five percent. I'll do this so you can see more clearly what it is I'm doing and come back to, Let's, I've added and I'll add something again. If I come down to remove, I can still drag out an ellipse. But this time round, I take away that part of the selection. Okay, So supposing I think that selection is perfect, That's just what I want. I can come to my paintbrush now. The area is still selected, but all the controls at the bottom disappear. And I can paint just in that area. I can come to my eraser tool, whatever that is, and I can erase in that area, the selection still in place. I can watch my paintbrush tool and I will choose a darker color. That's what it just about there. Because I can also smear. You can see where I'm smearing now. If I Smith, you can see the smell goes as far as the edges of my selection, but no further. So that's gonna be useful. And then when I decide, Okay, I'm done with this, I can tap on my selection tool again and it disappears. So I can go off and do other things. But then I think on No, wait a minute, that selection was perfect and I want to do a bit more work with it. What am I gonna do? That is very easy. All we do is come back up to the selection tool. But this time instead of tapping, you tap and hold just for a short while, your previous selection, it comes back. But supposing I wanted to start again, I can come right to the end of all my lower buttons and tap on Claire and I can start again. Okay, so what did we actually do? I will just close my selection tool and come to my layers panel. Everything I did was on the empty laugh. And after having some deep reflection on this, I've decided I don't particularly like what I've done there. I'm not sure it fits in with the rest of the painting. So I'll tap on my empty layer and our choose clear. Before I go on and explain the various different selection modes, there are a couple of things I wanted to tell you about, because sometimes they're not mentioned, but it is important. Okay, So supposing at the moment, I'm on my empty layer, that is my current active layer. Welcome to my selection tools, allow choose freehand. This lets me a draw out an irregular shape like this. And I can tap on that little circle on the end, but we will explain all that. The point of this is that selection is not tied to any one layer. If I was to paint on it. Now, if I grab my paintbrush, I paint on painting on my empty layer. I will clear pattern. Then I can come and tap and hold on my selection again on the icon so I get the selection back. This time when I made my selection, I have the empty layer selected. But the fact of the matter is once you make your selection, you can come to any layer once, say for example, they took layer and I can draw it there. And then I can come down to the Robbie layer whether Robin and I can draw on there. If I zoom in on the thumbnails of the twig on the Robbie layer, you can see where I've put that green paint. That is something you do have to be aware of. You have to be aware of which layer is currently selected. Now that can be a bit of a gotcha, but also it can be an opportunity, for example, look, coming off stuff and doing that because I really do not want those green marks all over my lovely little Robin. But what I will do is I will tap on Select again to get rid of it. I will make sure that say the Robbie layer is selected. And if I want to select everything which is on that layer, rather than going through the selection tools which we're looking at, I can either tap on the icon and just second one down, I've got select. But if I tap on it, all the layers are selected. And if I come down to clay, which I'm certainly now and I clear, and I call them my layer again, I can simply just hold two fingers down on that layer. And if I do that, it automatically selects everything there is the fun bit. I can create a new layer which is directly above my Robbie layer. I could then, for example, come to my freehand tool to select it I can come to remove. If I draw out, say just where this trigger is and draw out an area around here. And you can see I've nearly closed my selection shape a bit like a half circle, I suppose. If I tap on Remove again, VRE up beyond the twig is no longer selected. So if I came back to layer 13, I can make any changes there. And the changes would only appear inside that selected area. Selections. Traditionally with any image editing program, they're there to select part of an area or part of a layer. I'm gonna get rid of this layer and come back to the empty layer and tap on my slides so I can't get back to where I was. The other point I wanted to mention, and this is an important point. Suppose, for example, I wanted to do something with that wing. Will rob, is there an inner what? I create a new layer again so that I can draw over the top of it. And I will come to my selection tool. And again, I'll choose Freehand. I'll make this larger. I think great. Okay, Well, I'll trace around the outside of my wing life is imagine you had the wing and the background. We're all on the same layer. So I had to be fairly careful about this. I'll just try and ignore those little bit of feathers where I am now. I'll come around a little bit of stuff around here, a little bit of stuff around here, and come back to the circle, tap on the circle or tap on, Add again. To make my selection, just for the sake of argument, I will choose a nice bright color, not have tomorrow, that's fine. And I will. Scribble that in. You might be thinking at this point, well, great, That's my selection, but there is a problem with this. And if I turn off my selection tools, that is all on layer 13. But if I zoom in very close, maybe you'll be able to see the problem. That selection is too sharp to work with a natural painting or a photograph. Touch won't do that because I accidentally splurged down a paint stroke there. What I will do is I will come to my spanner icon on my wrench icon, and I've come to Canvas and I'll turn on reference, make it bigger and take a look at that wall against the sky. Well, that's a hard stone wall against the sky, so that should be very hard, but in fact it's not. You get these transitional pixels in-between the wall at the sky. Now what about this statue which is sharply in focus against the stone wall in the background. Again, I'll finish this section of the forehead. And as you close in, you can see in a digital photograph, there is no such thing as a completely sharp edge where you get one pixel which is one color, and then another pixel, say in the background of our stonewall, is completely another pixel. You'll always get transitional pixels which are midway in color and tone between, save a head on the wall in the background. Let's get rid of my reference. But now you look at something like this. This is just a straight transition. You get a tiny bit of maybe one or two pixels which are neither that harsh yellow or that softer brown background. Yeah, you get one or two pixels there, but it's simply not enough. This selection is too sharp. That's where I'm going with this. So I will undo that and I'll undo my paint strokes. I'm back to where I was. But I will turn off Selection and then press and hold again, so I get my selection back. 1234 fifth along the bottom from the left you get something called feather. That is your friend. If you're trying to select areas, Let's come down to say just the bottom Vaishali. They're tough on further. And you get the amounts at the moment is set to none. But if I start further, can you see how you're getting this weird graphic around the outside which is getting bigger or smaller. That is showing a little bit beyond the border of where we are. But if I come to have that sharp border, but if I raise it by tiny amount, say 2%. And I use that as my paint brush again. Make sure I'm on clear layer. Now. I'll use snap brush for this. I will you say a medium brush? 100%. It's fairly small so I can see what I'm doing. There's my brush effect. You know what? Let's make this hard. That's my brush. The fairly Heart Age when I get to the border. Oh, look at that. I'm getting much softer. Edge. It is soft all the way around my selected area. Which isn't ideal. Because sometimes you'll want your selected area to be pretty sharp in some areas and software and others. That is just the nature of photography. Definitely am painting, yeah, the same. If I turn off my selection tool, can you see now, even with just 1% feathering, I'm getting an edge which is much less harsh. It fits with a picture much better. It's not always going to be 2%. Sometimes it might even be 1%, sometimes there might be more. That will depend on how hard your edges on your painting in the first place. It may also depend on how big your file sizes. If you have a massive file with thousands of pixels along the side of thousands of pixels going up, any sharp edges you have may require more feathering because the picture is bigger and so any hedge which is supposed to be sharp, but actually isn't that sharp, will need more of those transitional pixels from, for example, the dark brown of the wing and the light speckles tills of the background. You've got a very small file. There's less pixels that you'd need, less feathering, okay, so you can make your selections on one layer and then take the selection to any other layer. That was the first thing I wanted to mention. And the second thing was this feathering issue. Let's move on and talk about the selection tools in more detail. 3. Selections, More Advanced: Okay, Let's talk some more about the selection tools am I going to need later 13? I don't think so. So I will tell you that and I'll come to my empty layer just so that I don't accidentally draw over bits that I don't want to cover up. So let's come back to selection icon. I'll do them from right to left again because it's straightforward to do. So the ellipse we already saw, you drag out like that. That's just straighten up my picture a little bit. And you can see I'm in add mode and so I can add to it all at once. And if I hold on my finger, I get a circle rather than an ellipse. The order of this matters a little bit. If I start to drag out, then I put another finger on my canvas, then it snaps to a perfect circle. If I then decide, well, actually I wanted to remove part of this, then I can just come to my removal icon. I can remove parts of my selection like this. If I then decide, well actually that selection is beautiful. But I want it the other way round. I want to be able to draw on the outside of fat. Not a problem. You just come down to where I'm circling now, invert. And if I tap that, the whole selection becomes inverted, then if I decide what was I thinking, I want the original packet just come and press invert again. Are then if I come to my senses and I realized that selection is all full, I just come down to the bottom where I'm circling now. I tap on clear. Okay. Now what about Color Fill? This is an on or off toggle switch. If I turn it on and I've got an ellipse selected, and of course I don't have anything selected at the moment. So I need to come back to now when I drag out, my selection automatically fills with my current color. If I change that to say orange, it'll change the VAT. If I've come to add. If I change the color yet again, the whole selection changes not just the previous thing that it's selected. If you look, you can see the marching ants are going around both those ellipses plus a little bit in the middle where they overlap. And so anything which has the marching ants going around it will change it fill color. If I come to remove under water removed part of this. Yeah. You can do that as well. Okay. Now, this isn't a bit of an important thing. If I come back to it and draw out, you'll keep on getting this until you turn off Color Fill, Color Fill. We'll just happily be on or off and won't be affected by other things until you come back in and turn it off. I don't really have much time for colourful because I'd rather make my selection like that, for example. Then after I've done that, then I draw the command. Choose. I choose a medium brush, make it a little bit larger than I'd rather command and just shade in certain areas like this. I will undo that a few times. And instead of pressing and holding the selection tool to get my previous selection, I will just tap once and I get a clean canvas to start again. That was the Ellipse tool next to it you have the rectangle tool virtual. Guess what? It works in the same way. With this is with removed by two. If I came back to remove and I start dragging out, then I hold down my finger somewhere else on the canvas. It doesn't constraint to a square, which is a bit of a shame, but that's the general principle. Now here's a nice thing. I've got all these square shapes. I can now come back to my ellipse tool, turn-on out, for example. And I can move between the individual selection tools to create some very complicated hybrid solutions which are mixed all say the ellipse tool, the rectangle tool, or the Freehand tool. Let's click on Add. And 300 sold draw around like this. One. I want to close that area up. I can tap on that little circle just at the start of my freehand selection to get that. Or I can draw out again, come to here. And then if I just tap on my add sign at the bottom again, it also closes up that way. And of course I can do the usual thing. I can invert that. I can apply a little bit of a feather to it. Supposing, I think, Oh, that is amazing, That's exactly what I want. And you can come to here, you can come here to save and load Vegas selections. And if I tap on plus, I've got a solution. One, if I clear that my 300 slighted, I can draw around. Let go with my pan and tap here. I'll tap here, then I'll let go and type here by tapping it pan down, you can have straight edges. Then if I decided I wanted to tap and then drag around like a regular pencil, I can get curves. Tap back on my circle. That is also furthered. I'll tell you about back down switch sharp like that. I could save and load and I tap on the little plus sign again, and I have selection to now click, save and load the selection one. And then if I tap on selection to that selection to this point, I'm hoping you're thinking, well, wait a second. If I draw up a series of selections here, and if I kept a feather. Didn't I feather that for now, if I come to selection to that, remembers the feathering, I do recommend you use farther, but the feathering command is independent of these various different selections that you make her look at the moment we have selection tool selected. If we have selection one, it takes on whatever the feathering is set to. That is something to be aware of. And that might be a case if you're doing something advanced and you're using feathering for say, well this is selection one. It might be an idea to create a new layer and write down selection one feather of 8%. Then selection tool, you might want a different father for that. You might want an amount of 1%. So if you do use multiple selections which are really useful, make sure you write down what the feather amount you want for each selection is. Just on a spare utility layer, which you create your right down your details and then you keep it invisible for the rest of the image. I'll tap on clear again because the one we haven't spoken about is the automatic. This is where procreate tries to help you choose a certain area. Now notice I've got my empty layer selected. Come to my slideshow and automatic is selected. Now supposing I want to choose some parts of that Robin's red breast. So I'm going to put my finger just in the red breast area and I'm going to drag an, OH, what happened? This is a very common gotcha. I want to tap on Claire again. I count my Layers panel. I'm trying to automatically select pixels from a completely empty layer. It doesn't work because there's no pixels that are selected. Now, if I come down to Robbie, where the actual robin is stored, and I will come back to my automatic selection. I'll do the same thing again. I will put my fingers somewhere in the middle of his chest and drag to the right slightly. You see what I'm getting at the top selection threshold. If I drag to the left, you can see I'm getting less stuff selected on my selection threshold is going lower. If I drag again to the right, I'm getting more stuff selected. My selection threshold is getting larger. What's going on there? Look, I'll look for a second. You put your finger down on a certain area and that area has a certain color. In the case of this, I have kind of a light orange color. What procreate is doing when you drag from left to right, it goes looking for pixels which are similar to the one you're resting your finger or your pen on top of that threshold that's talking about. That's all about how different the surrounding pixels are. Because if you imagine my little selection tool is spreading outwards from the place where I put my finger or a pen down and procreate or show you what slighted by making the selected area the opposite Hugh of what it's sitting on top of. So in the case of the robin, it's got an orange pressed. The selected area shows up in the opposite color from the color wheel, which is blue. Then it goes off searching and I will happily select other pixels which are close to it, providing they are similar enough to it. Now at the moment, just underneath the Robbins I, that little patch of slightly darker orange pixels are two different for my automatic selection tool to choose. But if I come here and I raise my threshold again, just slightly going up and up and up and up and up and up, like this. Eventually look around about 2122%. It suddenly decides, oh, that little patch of slightly darker orange pixels just underneath the robin psi. But cursed, my threshold is set higher. Yet all of a sudden I like them, so I'm going to select them. The threshold when you drag around makes a huge difference into what is selected. Now you can keep on going and keep on going and keep on going until eventually end up selecting too much. I wanted to just the orange areas selected, which is about there. That's not a problem. We are set to add mode. So if I come down to that, I'm circling it now just in front of the Robins. I, I can make another selection there and it gets added to my selection. There's a tiny little bit of orange which I missed. But if I compare, I can choose that. I can keep on putting down my pen on my finger just in certain areas to really fine tune the bits I'm selecting like this. That was too far. So I'll tap Undo just to get rid of that one particular beds. That's okay. Thresholds 16.5. That's too much. 16.5. So I will drag it to my left to get rid of that area and I'm getting something much more how I want now I can keep on going at this point and are nearly there with it. But with the automatic tool, there does come a certain point where you're selecting again and again and again again, all the different areas and what used to be very useful. It jumps across certain areas and gives you this nice complicated edge, can start to backfire, can start to be a bit of pain. The bump for you, that's not a problem. I will just come to the Freehand tool because you can swap between the two of them are deselected. And I can just come to these little areas where I can see bits need to be selected which aren't and just draw a shape for my shape around them like this. If I come to the beak. There are certain bits of that peak which may be, I do want slightly, maybe just around here. I don't want the biggest selected. I want the bits of red selected. Who? There's another page just around where the eye is. You can see SAP gets selected. There's a bit just underneath the eye which also needs choosing because you will find as you start to zoom in, you'll suddenly start to notice all these little areas which didn't show when you assumed out, but now you're zoomed in over here. You can see that this a bit of that I, which I don't want selected just the undersides welcome to remove. Just draw an area like this. This is what I find the Freehand tool to be most useful for. It can work well, but I find it works best when you use it in conjunction with the automatic tool, which can quickly select some very complicated areas. But as you can see, it does get a bit messy. So you use the freehand tool to come in and clean up what the automatic selection tool is selected. That is true of an art program like this. It is definitely true of image editing programs where you're dealing with photographs with a whole lot of messy pixels around here. And now at this point you can start to see, because in my preferences, I put my selection mask visibility pretty high. It's getting quite difficult to see the bits of the orange that I need to select. So I think I need to lower my selected mask visibility for that. Then I can come in at OER this a little bit around here, which I do need to choose. There may be a bit up here. I'm starting to get a little bit too involved with the work now I'm just here to demonstrate this to you and hopefully show you some of these principles and gotchas like those tiny little bits around the eye which shouldn't really be there. But they get selected with the automatic selection tool. And once I've done that, come on, I spent a lot of time with this. I think this really does deserve to come to save and load. Selection three. I, once I've done that, bear in mind the feather is independence. I might want to set that to say 1%, just so got a bit of feathering along those edges. Now if you think I'm going to draw directly all over that Robin's chest. Think so, No, I'm gonna come and I'm going to choose a new layer. And I'm going to come to my color swatch on we've come under rag and flood the area that's on layer 13. And of course I can come and change the layer blend mode. Yes, I keep on saying we're gonna talk about it, but I promise we will change that to color Plan Mode, lower the opacity a little bit like this. I don't need the selections only mall, but now for example, I can come to hue saturation and brightness come to my layer. And I can change that color to what ever I want. How about Robin, more of a blue breast? Whatever you want. Basically, I am going to lose that layer because it served its purpose. Just a couple of other things I want to show you. If I come to Robbie and I make them invisible, you can see his leg is on the twig layer. I just supposing I want at least part of that liked to belong to a Robbie. I come to the layer which actually has his leg, that is the twig layer, and select it. And I counted my selection tools and I'll choose freehand for this. Let's zoom in so I can see clearly what I'm doing. And I will draw out a selection like this, just where his leg meets the branch, tapping my little circle which had at the start. Now if you take a look at my layers panel, I have my twig lay-up and right above that I have a layer called vignette that's just making the outsides might pitch a darker, but there isn't another layer there. I'll come back to my selections. And the one I haven't shown you yet is copy and paste. I will copy and paste. Now, when I come to my layers panel, you get this above the twig layer. You get from selection. That's Robbie is like, look, if I made it took invisible and I make from selection invisible. That came from the twig layer, but only the bit of the twig layer isolated. Rob is like so far that I can take that, drag it down to just above Robbie and I if I tap on it, I can come to merge down. And now Rob, he's got a leg. The only thing about it now is Rob is like is also on the twig layer. Robbie is confused. And so Mike, I don't like it because the ages of Rob is lag like any other edge, rarely is transparent. But when you have his leg on the twig layer plus haze like on the Robbie layer. You can see the edges of his like suddenly get more defined because you've got some semi-transparent pixels, city on top of identical semi-transparent pixels. So that less transparent. I'm getting that, I need to get rid of robbers light from the twig left. Not a problem. The twig layer is selected. I'll come back to my selection icon, tap and hold until I get my selection back. And from here, if I come to the twig and I come to clear, it will clear the land, but only the selected bits. So now I have my twig layout. I have rub his leg where it wants to be with Robbie. We are good to go. Okay. That is selections. Let's move on to the next video. 4. Transform your Work: Okay, you can follow along by downloading this file if you want. It is called transform 01 because we are going to talk about the transform tool. Now let's show you this. If I come to my layers panel, I have my background color plus two layers, the boiler and the dinosaur layer called Fido. Let's just stay on the boil F and now shall we are. And let's maybe zoom in just a little bit. We spoke about the select tools, more of a select tools work very nicely in conjunction with the transform tool. Now the transform tool, I'm circling right now, It's that little icon at the top left of the screen. And if I turn it on and just retweet my positioning, everything on the boy layer automatically get selected and I can start to do things with it. At the bottom you can see you have four different things you can do, plus a whole lot of settings at the bottom, which can affect your transform. And we will talk about that. Just for I do though, I will turn off the transform tool by tapping on it again. Let's take a look at our picture. When you are working out a composition, you will often want to do a sketch beforehand. That's what this is. And you can see, especially if I look at the boy, you can see various different sketch lines plus areas where I've rubbed out and drawn over the top again because I'm trying to work out what the shape of the boy will be, what the overall positioning is going to be, how big his hands or head or feet are going to be and what angle they're going to be at when you are in the sketching process where you're working out ideas. Traditionally where the pencil and paper mate some light lines when you might rub them out or whatever. But we've already seen you can rub outlines completely so you can get some cleaner surfaces. You can add an extra layer to draw on top of your sketch layer, but you get an extra layer of flexibility when you use the transform tool. It is great for helping you hammer out your ideas. So that's why we have our initial sketch here. But let's take a look at the boy again and show you some of the simpler moves. Our tap on my selection tool, everything on that layer gets selected. And you can see a box going around the outside of the boy. If I make fido invisible, I tap on selection again. You can see that box, well, that's known as a bounding box. That is the smallest bulks with horizontal and vertical sides that will fit every single pixel which is in this layer. If I zoom out and I'll make fido visible on the boy invisible. Now if I come to Transform, you can see the bounding box around Fido, and it is the smallest box that will fit completely around fido, right? Let's put both things on at the same time, I would choose The boy again, come to my Transform. And I have four different ways I can transform the boy at the moment, uniform is selected. Well, that's pretty straightforward. Look, if I drag a corner around, the ball gets bigger or smaller, which might be useful if I want to make dinosaur page be bigger. I can put my finger or my pen on the inside of that box and drag the boy around. Or I can put my finger or a pen anywhere on the outside of the box to drag them around. If I put my finger or a pen or one of those little blue nodes, than I make him bigger or smaller. We're in uniform mode at the moment, I was dragging using that top right blue node. If I come to the node just below it in the middle of my bounding box and drag, my image gets bigger or smaller, but it doesn't stretch. So it gets tall and thin or short and wide. And while we're here, if I tap on one of those blue notes, you can see the dimensions because we're in uniform mode, things are locked. And you can see that if I circle that little chain in-between those two fields, at the moment, the boys won 477 pixels wide. But supposing I wanted to make him just a little bit bigger. I can type in 1600 and he resizes. And because we were in uniform mode, the height will increase or decrease by the same percentage. So you keep the ratio of width to height, Our top of weight to lose the numeric entry because there are a couple of other nodes here. And if I move the boy at the top and the bottom, I have a green node and the yellow node. The green node rotates and you get a little numeric readout. If I stretch the green node away from my bounding box. So now we get a longer green line and I move, you can see I can move by much more precise or slower amounts right away. And you got verifying control over what angle the boys at. Okay. That's nice. But sometimes you want that surrounding box or the bounding box, which means the smallest box which surrounds all the pixels you're dealing with. You might want that to be horizontal and vertical rather than at an angle that is not a problem, come to the yellow node at the bottom, which is square, which maybe gives you an idea of what it does. If I tap on that and move, you can see the boy isn't rotating but The bounding boxes. And you can see I can get some pretty precise measurements, fair? And I can move it background. If I drag away, I get more control over it. The zeros. So now the bounding box is reset and I can move it around again like this. Okay, so that's the basics of the blue nodes are resize. The green node rotates, and the yellow node underneath rotates the bounding box. That's in uniform load. Now what about if I come over to free form and mode? The only difference between this and uniform mode is that the middle node on the right-hand side? And now if I move, you can see I can squash or stretch whatever is inside my bounding box. Similarly, if I come to save the top left blue node and move that around, I can move the width and height independently of each other so I can change the aspect ratio that is going to be useful, especially if I want to squash or stretch things. Okay, So let me the subtle little bit. So he's looking a little bit more how he was originally because now let's take a look at distort. Again, you get the same square bounding box. But now if I drag the top right blue node, now the entire box distorts. If I come to the bottom, I can distort that. This is going to be very useful if, say you have something squared, but you'd like it to appear more in perspective because this box that I'm drawing now, that looks a little bit like, say the side of a house, but in perspective, and if I move the middle node, I can move the entire side of my boundary box and everything follows along. I can also slide up and down so I can share what I'm doing. I will press reset for this just to get things back to where they were. That's what I originally had because now I want to show you warp. This is the final mode. You get a four nodes on each corner of my bounding box. And if I drag that around instead of it being straight, you can see how it's curvy like this. You can even fold it back on itself like this. Even more interestingly, you see two lines going vertically and two lines going horizontally, well, where they cross to these 1234 areas, those are pinning the little bit of my drawing where they intersect. And if I move, say the one I'm circling now, you can see the bit underneath it follows it. I can warp my illustration like this. Now if you're doing something like a gestural study, this can be very useful because if I come down to the bottom one, I can move this up. And you can see I can squash and stretch my image in all different kinds of ways. It doesn't have to be where the lines into site I can come to any part of the line. Just say that bottom most, I am circling it now. If I put my pen there, move that around. You can see the whole line moves up and down. So I can get some very expressive, swoopy looking curves to my figure. And of course I can always come back to uniform and take what I've already distorted, make the whole thing smaller like this. Okay, So supposing I wanted that, I think brilliance. All I need to do now is come back to my selection tool, tap on it again, and those changes are committed. But then I suddenly decided, you know what, That's awful. I hate it. I hate it at fine. I press on do I get back to where I started? 5. Transform in Use: If I'm working, one of the things I will do is I will come to my layers panel and I will duplicate the boy layer. Make the bottom most layer invisible. So I can work just on this layer and if I like it, I'll keep it. If I don't, I always have the invisible Boiler as backup. Rarely, the transform tool comes into its own when you use it in conjunction with the select tools, which we took a look at. So I will come to my Slope tool. I have freehand selected. Alright, well, let's take a look at this hand. I'll select just that. Then I'll come to my transform tool. And supposing I wanted to make the hand bigger, not a problem. Uniform mode is selected and hand gets bigger and I can move it around either by putting my pen or finger on the inside or the outside and drying is around. Maybe I want that hand to be a little bit more cop to one side like this, which I kind of prefer. I can put that down there. And if I decide I like that, great, I will tap on another tool, say my paint tool to commit to that. And then I decide, well actually if I'm gonna do that, then I want this hand to be bigger as well. Don't I? Come to my Transform tool this time I'll come to free form because I might want it to be a little bit taller than wider, but I want both to be a bit bigger. So maybe I'll do that. I don't really want the angle change, so I will just position it and I can tap either on another tool or you can tap back on my transform tool to commit to that. Now this is an example of why I think this is really good when you are sketching out your ideas and you're working on proportions and angles and what gestures you want. Because I think I prefer him with a bigger hands. But if you take a look a little bit closely, well, it was already a sketch, but if I can write in, I'm realizing that for a sketch, that is okay. But if it was a line drawing that would need cleaning up a little bit because I'm getting this area here on this area here, which has some stray lines after I did the transform. So I may, for example, come to my erase tool and just rub out that line there and maybe this line here, it's still a sketch. I don't need the lines to look perfect. I just need an idea of where I'm supposed to put my more finished lines when I might come and choose another layer here and choose, Let's try syrup. Make that smaller. Now, I've got my sketch in place. I can concentrate just on the lines underneath. And just concentrate on getting a nice quality of line because I'm just tracing over the top of where my construction lines are. And if I make the boy layer invisible, That's how you would go about doing it. You use the Select Plus transform tools to get your sketch exactly how you want it. Then do another layer on top, maybe faithful layer underneath so you can just about see it. Then you draw your nice neat character for lines over the top. Anyway, let's delete that because there's still some more things to say about the transform tool. So supposing, I just want to select the whole boy again. We've already done Freeform Uniform Distort, blah, blah, blah. If we take a look underneath, we have some simple buttons. We have flip horizontal. Flip vertical. We have rotated 45 degrees, that will take you clockwise like this. I will zoom out because the next one is fit to screen. Okay, so I'll tap on fit to screen. And what happens is everything inside the bounding box. That's the box that goes around the outside of all the pixels on this layer gets as big as it can when it meets an edge, it stops. In fact, what I will do is I will come to reset and I will make the dinosaurs invisible just for a second. So you can see this more clearly fit to screen. But if I come to reset and then I'll turn to a snapping, I'm going to turn on Magnetics. And I'm gonna do the same thing again. I'm going to fit the screen with magnetics turned on that bottom link box just stretched until it found the maximum edge it installed at the top, at the bottom, it stopped at either side. I'm starting to lose some of the boy. That's not really what I want. So welcome to reset on our turn off magnetics. Just for a second. I'm going to duplicate the layer again. You can see just this layer because there's suddenly I wanted to show you, I will choose a uniform, going to make the boy very, very small like this. Then I'll come to any other tool, say my drawing tool. And there you go. There's my boy looking very small. Then I'll turn on the boy which is underneath, and I'll come to Transform again, uniform is selected and I'm gonna make this boy a certain, pretty much lines up exactly with where it was. Then come back to my layers panel. I'll turn off the boy underneath. Take a look at that. That is the boy which I scrunched down. So it is very small and then made it. Baker again, and you can see when you compare it with the original layer, there's a whole load of detail in the original layer which got completely messed up and scrunched down while I made the boys smaller and then bigger because procreate is a pixel based paint program. And when you use the transform tool and you do your various changes and you're resizing and then you come out of your transform tool, procreate will work out the new size and the new angle of everything you've transformed and stamp it down. And when it does, things will be changed. And in this case, a lot of the detail was lost. So the point here is that resizing is going to change the pixels of your layer. Let's get rid of that. Turn the other one arm. Because if I come to my Transform, Again, you have something called bi-linear. If I tap on bi-linear, you can see that you actually get three different options. By linear is the default. Think about it in order from top to bottom. Nearest neighbor is sharp. Bi-linear is middle and by cubic is smooth because weren't procreate or any other image editing or art program resizes a clump of pixels. It has to interpellate. And that can mean it deciding what pixels It's either going to throw away from the original to get things smaller, or what kind of pixels it's going to add to the original if you're making things a bigger, generally speaking, if you're sketching, like I'm sketching now annual going to make it say smaller. You might go for nearest neighbor that keeps things crisp. However, that just when I'm sketching and I'm not that bothered about the quality of the line. I'm much more worried about position of the various different elements of my boy in this case, I will undo that and come here again, bi-linear. That is a happy medium if you like, because the top one nearest neighbor, that can give a sharp and accurate result, but also can leave the image with slightly jagged edges by cubic on the other hand, that is good when you have a more finished piece with some smooth gradations in color in the area that you're transforming. It gives you the smoothest interpolation out of all of them. But if you make the image much larger, for example, you may get a slightly soft look to your image. That's just the price you pay if you want to do some resizing by cubic takes every pixel and looked up a four-by-four area of all the surrounding pixels. That's why it gives a smooth finish by linear looks at a pixel and also looks at a two-by-two area of pixels surrounding the pixel it's looking at at the moment. Bi-linear as default, that has a happy medium. If you want things Sharp, go for nearest neighbor, choose by cubic if you're going to increase something, especially if it has some smoother areas of tone or color inside the array you are transforming. But even with those in mind, just bear in mind if you make things a lot smaller than a lot bigger, you can see that problem we saw a few minutes ago where your nice sketch suddenly it looks like it's made out of Lego bricks. All right, I'll make some changes to this just for the look of a thing. I'll come to warp, do this, and maybe come back to uniform. But now I'm gonna come to snapping. And I have two things here. I have magnetics and snapping, and I will turn on magnetics. Now when I rotate, I'm snapping to 15 degree increments, which I'm kind of glad about because well, rotate 45 degrees. That's a little bit crude. I need a little bit more control. And 15 degrees is kind of a standard that you see in any image editing program because you get 15 degrees, you get 30 degrees, you get 45 degrees. You had a lot of flexibility there. That's useful. Also if I'm everything's around, can you see I'm getting a little blue line that's keeping my image sliding smoothly along a horizontal line. If I take it directly up, it's going smoothly up and down. It's not wavering from side to side because the magnetics turned on. It can also mean you can move at 45 degrees or 30 degrees, 15 degrees. That's useful. Now you do find the closer you get to your origin point, the more it starts to get a little bit all critique and see it's moving around very fast. With this. Do yourself a favor, move away and then you get more sensible snapping line. That is very useful if you want to move something along horizontally without moving it slightly up or down. So I do like that. Okay, so I'll tap my brush, come to my layers panel and you know what, what did I do? I did some warping on it. I moved it around, I made a few changes to it. But being faecal, I've decided that I'm not too happy about that, so I will just two-finger tap. And all the changes I made in that previous transform are all God. And while I'm here, I wanted to turn on Fridays or have another layer to look at because I wanted to do transfer once more. But just before I do, I'm gonna come to my ranch. And you can see I have various different things here. Not the end, I have help and I'm gonna come down to Advanced Settings. It feels like I've gone out of Procreate for a second, but these are some of the iOS system things that Procreate is giving me. This one here, which I'm certainly now simplified undoes. What that is doing is lumping all the changes I make inside my transform tool into one Undo. I will turn that off. Welcome to the top right. Come back to Procreate, and once more, I will come to my Transform. Now snapping is turned on. I'm going to tap on that again. I'm going to turn off magnetics and instead I'm going to turn on Snapping. Now, if I come and I move my boy around, you can start to see I'm starting to get these little lines. What they're doing is they're letting you know, for example, if the bounding box where the boy is just touching, where the bounding box of the dinosaur would be. I get that little blue snapping line like that. If I move him over. Now he's pretty much midway height-wise against the bounding box of the dinosaur. I got that little yellow line. And if I move around a little bit, you can see I hit various different snapping lines which let me know where my boy is in relation to things on other layers. Or if I come to the side, oh, look, I got a little yellow lines and let me know that that boy is right up against the side of my working area. Welcome to the top. The same thing again. A little yellow or is it ambulance? The snapping is just letting me know where my object is in relation to other things in my composition or other layers or the side of the screen that can be very useful. But what I will do is I'll move him up a little bit like this. I'll turn off snapping. I will come to the stores or make them a little bit bigger like this. Maybe I'll come to warp and drop this bit down here and drop this bit here. While I'm here. You may notice that in the warp mode I get this little thing down the bottom which says Advanced Mesh that on. And you can see various different control handles for your warp, I get more nodes and a little dotted line which lets you know which bit of this little cage of 16 crossover points and no pillows too. Then I said, You know what, I really liked that. But I just want the whole thing just to be a little bit smaller like this, then I think, Perfect. I choose another tool. Then, because I simply can't make up my mind, I decide I want to undo some of the steps, but not all of them. I told a step backwards. Well, that's not a problem because I use my two fingers and I tap because I did that thing where I went to the Preferences and I turned off simplified undo. I can now come back in and step backwards through all the changes I made and supposing I like that point there, then choose any other tool or just tap on my Transform tool again. Because I turned off simplified and do I have the option of stepping backwards through the various changes I made with my last transform. I'll carry that is selections. Let's move onto another equally useful thing, and that is the Liquify tool. 6. The Wonderful Liquify Tool: I want to show you what I think is the secret weapon of the digital artist. I think for this, I will come to my fido layer and I'll duplicate that bottom layer invisible. I'll work on the dinosaur they are instead, because look, if I come, I sketching my peppermint and I come and I choose the same color. If there's something in here which I'm not quite happy about and I want to adjust it cell-like back of her head. I wanted to make it longer. Well, in the old days you'd have to draw something new here, maybe or about that bit. And there comes a certain point where you get a bit of a mess of eraser marks plus the sketch lines in that particular area. Altogether, it doesn't work very nicely. So I will double-tap a few times to get rid of that instead. Well, we've already seen how we can use the transform tool to warp or distort or increase or decrease various different areas of your picture when you used in conjunction with the Select tool. But I think this is kind of hidden away and I think it should be in a more prominent place. If you come to your adjustments icon, that's where I'm circling now. In the top-left, I like tap. I'm hiding away practically the bottom of the list, minding its own business is the liquefy adjustments up on that. And I get a whole lot of buttons and sliders, a bottom, and you have seven different ways to alter your paycheck. Let's take the one you're probably going to use the most, the one I'm circling now that is push. And I can adjust the size of my brush. Pressure set to max, distortion of certain non momentum has certain NADH. Now if I come to that area of the back of her head which is sketching earlier. And I started pushing. You can see the size of my brush. It is big, but look, it's taken the bathroom, the dinosaurs head and it stretched things out. And then if I want to make my brush a little bit smaller, maybe I want to push the front of the snout forward a little bit like this. Maybe I want to make that horn bigger but it's raising some of the surrounding areas. So I'll make my brush a little bit smaller and just drag up the tip of the whole. And so now instead of me having to really sketch in certain areas and arrays other areas, I can now take my existing sketch lines or my finished lines and just pull them around like this. This is amazing. This is a really, really useful thing to have. And along with a few other things which I've said in Procreate, you get liquefy in various different image editing programs. And our programs, I think the Liquify tool within procreate is one of the best, if not the best that I've seen others. Onedrive a good reason for that. And that is in a lot of other programs because this is a powerful function, requires a lot of processing power. You get a separate window with just the way you're looking at and to adjust it. So that can make things a bit difficult to adjust one layer relative to another layer, both procreate and you see all the layers and you just get the Liquify tool popping up and doing what you wanted to do. Okay, so I will come to reset just on the end where I'm circling and everything goes back to normal. Let's take a look at some of these tools. First of all, I'll start off with a couple of golden workflow rules. First thing is you start off big, then you get smaller for the final adjustments like supposing I want that to be a little bit nobly, I'll make it even smaller. My final adjustments like this make it really small to get the individual novels and what have you, which maybe I want there, an autopilot reset. The reason being is if I start off small and start to nurture, nurture, nurture like this. I'm getting some very wobbly lines there. And then if I think, well, actually I wanted it to be big on, I'll make it bigger than those novels get dragged out. It is far better to start off as large as is reasonably practical like this. And then go in and do things smaller and smaller and smaller. The other golden rule is if you're going to use this, the bigger the dimensions of your picture, the better the end result is going to be. This image is fairly small. Let me just check. Welcome to reset. And I'll come to my wrench icon and I'll tap on my Canvas icon crop and resize. Let's take a look at my settings. Yet this is 5 thousand pixels, y by 2854 pixels up. That is large file size. And so I've got lots of different pixels, just saying this area here to make my distortions. Or if you have a much smaller file, you've got less pixels. And so because you're pushing and pulling them around and stretching things out in compressing things in. Pretty soon, you're going to start off with a rather blocky, unpleasant looking effect. So if you're doing something like construction, yeah, it's great. Look, let's come against liquefy. In my slides, a certain size ambiguous, it's a sketch, it doesn't really matter. I'm getting a good line because this is a large file size, but it doesn't really matter about the quality of that line. Let's tap on reset. But if I create a new layer and I will come to inking and supposing I've got syrup. And let's choose something dark. It's not gonna be yeah. There you can see I've got my fine line. Come to look at fine. Now. I started to push it around. Let's make it a little bit smaller to look him a certain point where it look at that. Once you push it beyond a certain point, you're gonna get certain distortions. That is not going to look nice if you have that finished line layer, which I did in the previous video where you draw over the top of your construction lines to create a nice character lines. So I think liquify, yes, you can use it on more finished work, but if you do be careful of any crisp outlines that you've got smoother areas of color which gradually transition into each other. That's gonna be less of a problem, the larger the file size for lesser problem. But if you have a fairly small file where not many pixels along the bottom and going up the side. And you've got a lot of crispy artwork and the Liquify tool may end up giving you some problems. I will, it's up somewhere else and I will get rid of that layer and come back to my fido layer, zoom-out, come back. So I liquefied tool. Now at the moment, I'm using the Push tool. That's probably the told you we're going to use the most. Like it a little bit bigger. Let's take the end of that tail and drag it up a little bit like this. Now at the moment my pressure is set to max, so I'll undo that and I'll make a light brush stroke and it gets a little bit of movement. If I come on, use my pencil, but this time I press much harder, things get dragged out much more. I will undo that. If I take my pressure throughout, say well thirty-five percent, I'll make a similarly hard brush stroke. Because the pressure was set lower, even though I made a hard approach stroke with more pressure, the whole thing moves much less. Personally. I find with that, I'll just normally leave it on max and just press really lightly. If I want a little bit of movement, then suddenly press a lot harder. If I want more movements, distortion, I'll leave just for now, but instead, I'll come to momentum. That's a max. What that does is once you take your pencil off, the momentum will carry the brushstroke forward. So with the same area, Let's make it a bit bigger. I'm pressing harder and let go. Did you say carries on going a little bit beyond I'll do that again. Pressure on, uh, let go and let go. It starts to give the brush a life of its own. And so once you tell your pencil off, it'll carry on going depending upon how much momentum you have set that. I think, well, it's not that much useful what we're doing now, it starts to become more useful when you're using things like the twirl tools, which we'll take a look at because I'll take the momentum down and now I will choose, Let's try twirl, right? And I'll make my brush bigger. And I'll praise my brush just about where I'm certainly now where those two little spikes that he had at the tail join the tail and I'll take my distortion down to none. Then. We'll look at that. The whole tail starts twirling to the right. I'll tap on reset. And if I 12 volt left. Now, see if you can guess what happens now. It 12 to the left. I will double tap to undo that and come back to 12, right? But this time I want to add some distortion when I do it. Okay, So distortion, just crank it right to the top so you can see what's happening. I'm going to press light so it gradually applies the effect. You can see as it's twirling, it's also putting in various different distortions. And if ever you've seen a modeling exercise done in Procreate anything. Well, how did they do that? This is how they're doing it, is the distortion slider in the Liquify tool. Let's tap to undo that. Let's take the distortion down a little bit more, quite a bit. And I'll do the same thing again. So now we're getting it twirling, but I'm just getting some very light distortion added to the overall twirl to the right. It's a case of riding these different sliders to get the effect you want. Now if I wanted to get really silly look, I'll take momentum right over the distortion write-up and I'll say stop when I let go. Stop. You can see it's got a life of its own and it's doing all kinds of weird and wonderful things. Let's take momentum down and distortion down. Tap to undo it again. Just very quickly. If I come to push, make my brush size a bit smaller as well. You can see as I start to pull, I got a little bit of distortion. Just pushing and pulling the lines around the distortion. While it tends to have a bit more effect when you're not using the Push tool, when you're using one of the others. So 12 right to the left, we've done pinch to unless take distortion momentum, so they are off. So we just see the effect pinches gonna be quite obvious. One, I made my brush if I come to the eye and I just rested my pencil against my iPad. And you can see it pulling everything in so everything gets smaller. Tap to undo. Now, welcome to expand. And no, you're not gonna get a price or guessing what happens next because I'll come to the same area. And this time everything gets bigger. Distortion is set for this particular slider, which I didn't check, so I will take that down. Then. Everything starts to bulge outwards, which is giving my dinosaur bit more of a puppy dog look, which are quite light. So I'll keep it. Alright, crystals, There's no distortion. The moments by size make it fairly large. Let's just try a random part of the diastolic is take his thigh and just draw along there. Can you see how I'm getting? Kind of crystalline type effect? Let's zoom in. That's quite nice, but I'll tap to undo that. That's up the distortion a little bit and see what happens with it now. Oh, now I'm starting to get some nice effects. Not so much for construction here, but if you wanted to create an interesting texture than this is a nice way to do it. In fact, whoopee, unhappy. So I'm going to do some more around here. Then I'd slide, you know what I like in some areas but I don't like it in others. So rather than coming to undo, look, I've got a little brush here and reconstruct brush distortion. Certain known momentum is set to none. That's what I want because I want control with this brush. My size, I'll make it a little bit smaller. And now if I come to that whole area which I've affected, and I'll start off just around the friends. Let's make it a bit smaller. The reconstruct just takes the area that you're brushing back to its original state before you called up the Liquify brush in the first place. Need I say how useful this is? Because come on with something like this, as well as being able to push the lines around, which is a huge help for construction drawing, sticking a bit of chaos in with a twirl or the crystals. Why didn't you? Some interesting effects. And so it's nice to be bold, but take for example that lead. Suppose you don't want just the lead. Be unaffected. Well, I can just draw around where the lead is, a takeaway, the distortion just from that area, which I think is pretty useful. Okay, I will reset it again because the one I haven't taken a look at is edge. Let's make that a little bit bigger. Now supposing I wanted parts of the world to be much thinner, I'm going to come to that languages at the back. I'll circle it now. And I'm going to draw up and down with this. Can you see how it's pulling the two edges into each other like this. If I undo that and come slight aside, it's not really working. You have to draw along the area where you want to pull the edges in like this. And if I wanted to come to the other leg, which is going more horizontally but slightly down. You just want, You can see what my brush is doing is just pulling things in as I draw along the two parallel lines. But now I suppose that's way too strong. Well, the brush I haven't shown you is adjust and you get an amount slider at the mode is set to max. Watch what happens to that leg when I take this slider down from maximum. That was before I apply the brush stroke. Now I can progressively apply for last brushstrokes that I made. Anywhere between wherever the top like this, nothing at all or anything in-between, maybe like that. Then when you decide well, okay, That is absolutely fabulous. Just come to any other tool and you're ready to start working again. When you are doing what I was doing here, where you're sketching out ideas, layers, your first friend, because you can put things on different layers. You can duplicate a layer and work it up some more and see if you like it so you can be bold and not worry about messing things up. Selecting parts of your layer like this, you can just concentrate on those. That is also your friend. The transform tool is going to help you some more like this. But then of equal value for him to push. The Liquify tool is your other friend. And just because it's tucked away down in some menu, do not disregard it. Just be aware that it can start to distort lines. But when it comes to working out the details of whatever it is you're doing. This is a sketching revolution. If you are sketching things out like this to construct or to work out a composition. Please, please, please use these tools. You are going to find them so useful and it's going to transform the way you work. All right, let's move on to the next video. 7. Draw Assist: Drawing guides, procreate has a number of different ways to help you when you're drawing out a big one is the Drawing Guide. Let's show you the basic principle behind it. I have a very simple file here it is. I think a standard Procreate A4 preset. And I have background color and I have a layer one with nothing in it. I'm using the peppermint sketch or from the sketching brush sets. And I've got blue and there's my brushstroke. So two-finger tap to undo that. We come up to the top left, we come to our wrench icon and second icon along we have a toggle button here called Drawing Guide. I will turn it on. Let me get a whole load of little squares. These do not show up in your final image. It's just a grid help you position things. Or if you want to draw some horizontal and vertical lines, it can help you as a guide. And so I can draw up here and you'll notice I'm, and also I can try a horizontal line as well. And again, my drawing skills are not very good today, but the guide is that, uh, help me. And I must admit I'm being a little bit disingenuous because there is so much more you can do with drawing guides. For example, if adult app twice to get rid of my paint strokes are now, I'll come to my layers panel. I'm drawing on by a one, which is the only layer I have to draw because you can't draw on the background color layer. And I will tap and three up from the bottom I have something called Drawing Assist. This is a toggle button. I can talk about on or can toggle it off, our toggle that on. Now, I will do the same thing. I will draw a vertical line. Amazingly, my drawing skills who have got much better. What's happening is that with Drawing Assist turned on procreate is constraining my lines so that when I do draw a vertical line, it is absolutely vertical. I can only draw completely vertically. Or if I draw a horizontal line, yeah, I can get a perfectly straight horizontal line because now my brushstrokes will only go either vertical or horizontal in the direction of the two grid lines. If I try and draw a squiggly line like you saw me do a few seconds ago. Oh, it won't do it. I'll try that again. Squiggly line and I can't do it. I have to draw horizontally and vertically. Now, here's a little bit more information. When I was drawing my horizontal and vertical lines, I was drawing on the lines themselves. But there's nothing to stop me from drawing in-between like I'm doing now. I'm drawing a vertical line which falls in-between the lines of the grid. Those lines you see they're just a visual guide for you to show you which direction your lines are guaranteed go in when you draw. The reason I mentioned this is because sometimes people think that when you see this, you're going to have to draw directly where you can see the grid. That's not true. Okay, supposing I'd slide, I've had enough of those beautiful vertical and horizontal lines. Just tap again and turn off drawing assist by tapping on the name. And sure enough, I can do my squiggly lines all I want or I can do angled lines. Let's come and clear the layer and I'll turn on drawing assist. But this time, look at the name layer one. When I turn on drawing assist, you get something though he says assisted. Alright, so let's show you a little bit more. If I come back to my drawing guide, I can have it on or off. It's a toggle switch, but things start to get more interesting when I tap the text underneath, which says Edit Drawing Guide. Alright, so now I can zoom in a little bit. This is my drawing area and I can see my grid. First thing to note, if I come down to grid size at the bottom, I can make it bigger or smaller. That is useful because once you get used to the idea that you can draw in-between the grid lines. Like I was saying, having fewer grid lines like this gets just a little bit less busy. You feel like you're getting just a little bit more space to draw with or without a whole load of grid lines there. Also, you have too little nodes are blue and the green one. If I derive the blue node around the entire grid, moves every bit. As interestingly, if I come to the green one and I drag that around an animal grid now that will be useful. But supposing I don't like that, I can just tap on the green node and come to reset. Same with the blue node. I can tap on that and come to research. So now about to where we started, at the moment, the greatest kind of almost black color. But I have kind of a rainbow effect at the top with a little node. And if I drag that note, I can change the color of micro to whatever I want. That can be useful because sometimes you'll be doing adopt drawing. And so a dark wood against a dark background, that's not gonna work. So you can change to whatever color you want. You can increase the thickness of your grid. You can make it very thin or thicker. You can alter the opacity. So it's very strong, very subtle like this. Let's just move it around. Let's do an angle like this. And just down the bottom right you can see assisted drawing. This is letting me know that once I tap on Done in the top right, the currently active layer will be assisted by this grid. But the fact of the matter is you can turn drawing assist on or off inside the layers panel. So this little button down the bottom assisted drawing, I find it a little bit redundant. I don't need it. Look if I turn it off and then come to done, you can see it's the same toggle switch that I have, my Layers panel. Now I can draw anywhere I want here. I'm getting my lines running either on the grid or off to one side of the grid I can see. But all my lines are going in the direction liquid is telling me to go. Okay, So supposing I add a new layer and you can see the new layer doesn't have drawings this turned on because you don't see that little Assisted underneath the layer two, I will change to a red pen. If I draw on my layer, you can see there's no grid. I can draw what I want. So I'll double-tap to get rid of that. But if I come to layer two, it also has drawing assist so I can turn on assisted layer like that. And now all my layer too, I'm getting my red lines. If you make tartan pattern is for a living, Look at this point I'm making is at any one time, you get one way of assisting your drawing. Now at the moment I'm using grid. There are other Drawing Assist which we will talk about. But even though you get one drawing assist at any one time, you can have it on any way you want. You can have it on all the layers. All you have to remember to do is turn on drawing assist for that particular layer. Like I now have layer three and it's on and it's off. That might sound like a bit of an obvious thing to say and maybe a bit unnecessary. But the fact of the matter is it can be very tricky to figure out what's happening with your drawing assist until you open your layers panel. And then just look underneath field name of the layer and see whether it's assisted or not assisted. And if you want to turn it off, just turn off drawing assist. That is very nice. Let's show you a practical application of the grid method. Before we go on to talk about other ones, I'll talk to my gallery. And I have this image here. I got this image off the internet. Could I suggest if you're following along, can you just get a picture of someone you like? It could be you, it could be somebody else. And just import that picture via the photos app or whatever into procreate. And what we're going to do is we're going to set up a grid on this picture to help us with a drawing of this face in case you don't know what the grid method is. It a very, very common and longstanding way of helping you to draw things. You take a photo or another drawing or whatever, and you put a grid on top of it. And then you come to a new piece of paper, for example, and you draw a similar grade. It could be bigger, it could be small, it could be the same size. And you use the various different reference points on the grid in your original picture to help you draw your new picture, I will show you this in action and why there's one or two advantages to doing it in Procreate. Okay, so come to my spanner icon and I'll turn on drawing guide. I get my grid. Then come to Edit Drawing Guide. I'll make this a bit bigger because with your grid, well, it's procreate so you have flexibility. I will take my blue dot and I will drag it so that I mean, more or less the middle of her face. I will zoom out a little bit because what I want is that little green dot. Because now with green dot, I can analyse round because her face is it a slight angle? It's not straight up and straight down, but because I'm using Procreate, I argue my grid to fit her face much more smoothly now trying to get it so it's going down the center of her face and I've got it pretty close there. Now the next thing, my grid size, I want to make my grid size or larger because the grid method is very useful. But when you have load of tiny little squares like this, it feels safe. I've got lots of different squares, so that'll be a lot of different reference points that are gonna help me. But when you come to try and do your drawing, based off this, you've got so many squares there that it becomes almost impossible to do anything decent. Say you want to find a balance. The more confident you are, the biggest squares are gonna be. Like if you're feeling very confidence, you might have a square of that size. If you're feeling a little bit less confident, you might have squares that size. I will go with around about there. Now what I'm doing this, I'm looking at various points on her face. And the bit I was looking at was the corners of her mouth. If I draw just a couple of little circles now, you can see I've got the grid intersection line just fairly close to where the corners of her mouth are. But more than that, what about the eyes? Because the eyes are always the most important thing of any portraits. I'm just wondering if I can make this a little bit bigger. Maybe move this up a little bit. And so I get it. Now that's something I do prefer. My center line is going down the center of her face, but look where her pupils are. I've managed to get it so that I've got two lines intersecting on each of her pupils. That is probably going to help me very much. I still also got a line going pretty much exactly where her mouth is. The main features, the eyes and the mouth. They're taken care of with this grid. That's great. I will make the opacity a bit stronger. Do I want that color grid? Yes, I'm okay with that color because I'm gonna come to done. And you know what, while I'm here, I'm gonna come back and I'm still in my Canvas tab. I'm gonna come to crop and resize and welcome to the side. And I will drag in like this, like this. That's looking a bit too square for my likings. I want a more of a portrait aspect ratio to my drawing. And I'm doing that thing that people do where we would look up at the bottom of her shoulders are not allowed to go beyond there because that's a shoulders. Now come on, get real. You can quite happily go beyond. I'll go with that. That's a little bit more portraits. And I'll tap on Done. That picture is now filling my frame, which is what I want. Because now this may vary depending upon your particular model of iPad. I'm using an iPad Pro, I think about 2018 or 2019. I think on the opposite side of my charger, I have my two volume buttons plus my Is it my home button? I want to press my volume up button, press my home button. At the same time I want I do that. I take a screenshot of whatever's on my iPad. You can see in the bottom out. So now what I'm gonna do is make that layer invisible and create a new layer. And then I'm gonna come back to my wrench icon. And I'm going to come down to reference. I'll tap on Image, import image. The very first picture I get in the top left of my photos album is the screenshot. I can put that make it bigger. You can see there my grid lines, the exact same grid lines I have here. So now just for example, I don't want to assist it. All I want is just the grid there so that I can draw freely. I will choose a blue color. My apartment sketch was selected. Okay, so now I've zoomed out on my reference picture so I can just see the sides. Now I stopped counting squares from the bottom and ignoring partial squares. I've got 12345 up from the bottom. That's where the center of her lips are. What about to the side? And that's a bit more difficult to see. I've got 1234 and from the side, again, not counting partial squares, I've got 1234. And from the slide is that we are making a cross and that was what, five up from the bottom. 12345. Yeah. That little x marks the spot. That's where the center of her lips are. And now I've got that. I can start building outwards like the bottom of her face, that's one square plus how many? Four tenths down the next grid lines we're about there. That's bottom of her face, but also looking at the side, I've got a couple of extra points here which I can anchor, and that's the left side of her chin as I'm looking at her going up for next grid line, just here, That's what eight-tenths of the way along that square from the left. So about there, do you see what I'm doing? I'm using the grid of the original to put in my various different points on my actual drawing. This is a very old technique, but you see what I'm doing here? Once I do this, I can just join the dots like this. Okay, I'm speeding this up a little bit now, but I want to talk over the top because I now editing the video, I think I might have made a mistake. I think of my discounted why the center of our ellipse is relative to the picture. I think this square is off by one, but I thought I'll leave the mistake in there for two reasons. One is that if it happens to you, we've already looked at the transform tool, we can move this picture around to wherever we want it. And the other point is getting your initial landmark points like the standoff her lips can be quite a difficult thing to do because you're counting squares. If I have a fairly large grid size like I have now, that's quite easy to do because this last squares, if you do much smaller squares, because you want to feel more secure in what you're doing. There's also a chance that you're going to make these off-by-one errors. I'm pretty soon you can end up with something that you think will lyse it not working. I've counted the squares and just one off by one square error can be very difficult to pick up when you have lots of little squares to try and get the balance right. Care the squares as big as you can. And as you get more practice, you can make this grows bigger and bigger until eventually you don't need them. And then you're drawing without squares. And that is a perfectly valid way to learn how to draw. I don't want to do more than that because I wanted to show you the general principle here. If you've not seen this method before, then it is a good way to practice your drawing because you're still do what you would do if you weren't using a grid. You're measuring distances, you're measuring angles. If you are familiar with the grid method, then you can see just how using assisted drawing, even in its most basic form, you can see how it can help you get up and running with the grid method very quickly, very easily. Okay, let's go on and talk about some other kinds of assisted drawing. 8. Draw Assist Part 2 - Iso, Mirror & Radial: Okay, So we looked at the basics of the drawing assist. I have a new file created. It's the same A4 preset that I use the previous time. I have one layer. Let's come to drawing guide again, turn it on. I have my grid, but there are different kinds of drawing guides. I will come to Edit Drawing Guide. We've seen the 2D grid and the various things you can do with it, like change its color, its size, its angle. But you actually have four different kinds who assisted drawing next to 2D grid, you have isometric. And I really could have done with this 2530 years ago because just before I did Roller Coaster Tycoon with Chris soya, we did a game before that called transport tycoon, an old graphics for that, we're also isometric, but they were all hand drawn. I didn't use a 3D package to render them out. So this could have been very useful for me. Okay, So what I'll do is I'll make my grid size a bit bigger. I won't bother changing the ankles or anything like that. Instead, I'll just show you the general principle. So there's my grid. And isometric is a way of showing things in a kind of perspective. And what I mean by that is if I come to layer one and I turn on drawing assist because I didn't turn it on when I was setting up my isometric grid. I'll turn on Drawing Assist. Now I can draw in one of three different ways. I can draw a line going up like this. I can draw a line going up like this, or I can draw a line going straight up like this, just to carry that on. If I draw a line like this and I draw a line, another line here, can you see how, for example, I'm getting something that looks a bit like a cube, but it looks like maybe it's going back into the picture. It's nearly obeying the laws of perspective. And the way it works is imagine this is part of a house, for example, any vertical lines like the walls of the house going straight up. Well, they carry on going straight up, as you can see with this line here, this line here. But any horizontal lines, instead of drawing them flat or horizontal, you draw them at a slight angle. That angle is around about 30 degrees going up on either side. That can vary depending upon the program. It could be 29 something else, depending upon the aspect ratio of your pixels and blah, blah, blah. There's a complete course just doing this, I'm sure, which I might take a look at in the future. But for now, general principles. So supposing those are the walls of my house. What about if I wanted to draw roof on the house? Well, let's pretend that's the end of my house. I can see I have another isometric line going up. So if I just draw a line like this, like a sketch line, and I'll make a point say about here. What I want is a line going from that point there down to the two corners which I'm circling now. Well, that's not so easy to do at first glance because my lines are being constrained. I can't draw a line going straight down because it just obeys the isometric lines. It's locked in there. Unless, look, if I just draw a line and I'll just wait. I'm holding my pen on the iPad for a few seconds. I get something like this. It's like an elastic band, which I can use to take the hint of this. When I let go, I get something at the top called Edit shape. We will be talking about this, but not right now. Instead, I'll just do the same thing on the other side. I'll come to my start point, drag a line out, wait a couple of seconds and I get this elastic band, which you can put it. Then I can draw the roof of the house going back like this. And now I've got a bit of a problem because I want a line going from the end of the roof down to that corner point which I'm circling there, but that line needs to be parallel to the line I'm highlighting now, that's not so easy to do, but one thing I will do is I will come and I'll add a new layer. And I will come and just do what I did before, create an inelastic. And I will make that elastic band lie directly over the line. I needed to be parallel, so now it's parallel, but it's needs to be somewhere else. Not a problem. I come to my transform tool. I can just move it to wherever I want it to go. I will move it so that the bottom bit lines up with the top corner of the house. And if I put that there and then touch like, oh, there's my parallel line, then I can just come to my lead two and I can merge down. Now it's part of my house from there. It's pretty straightforward. I can just draw in lines wherever I want lines and I can very quickly build up a little isometric house. Let's do windows, just lightly. Sketch in the windows wherever I want them. And then I can come back in and add slightly heavier lines or different color lines or use a different layer or what ever I want to do. Oops, there you go. I can zoom in a little bit more. I can add depth to those like this. I'm working pretty fast here, but this would have been early, rarely useful. A few years ago. Actually. I might do a little mini course on isometric drawing because there is more of this things like ellipses. There's irregular shapes, there's trees and what have you. In this animation, but for now, there's my animation assist using isometric kind of pseudo perspective. And I will clear that and I will turn off assisted. Because I say pseudo perspective. There's also proper perspective. And again, this could be a complete course all by itself, but this works using perspective point and you can have 12 or 3 perspective. Let me show you the very basic one. Let's just tap to create a point and I get perspective point there. Oh, come on, logic, turn on assisted drawing. What's happened is if you take a look at my little rainbow slider at the top, it's almost at the very right-hand side. Maybe what happened there is one I tapped on down, I accidentally not the point on the slider, so it became very light. Look, I'll take it down like that. So now we get a clear idea of what we're looking at. A whole lot of lines radiating outwards from a point in the center. So I'll tap on Done for that. I have Assisted turned on and the classic one which everyone seemed to learn, I think first of all is, okay, I've got my pencil there. Layer is assisted. And imagine you've got a railway track going off into the distance like this. And the lines converge more as you go into the distance. But also you can draw horizontal lines that represents the sleepers. Control the horizontal lines and draw the sleepers like this. That would be a little bit thinner, wouldn't it? Because the more you go into the distance, the narrow those horizontal lines are going to pay. I'm working at very fast speed with this. Just show the general principle. Things get smaller as they go off into the distance. I can also draw vertical lines as well, which is nice to give the sleep is a bit of thickness. Then supposing I have a telegraph pole running to the side of the railway tracks. Well, everything's going off to that point on the horizon. On the horizon in any perspective drawing is your eye level if you align on the grounds that vanishing point on the horizon would be very low in the picture and everything would appear to go upwards. If you are on top of a tall building looking down on the railway track, that little dot on the horizon or the vanishing point will be very high in your picture and all those radiating lines would go downwards. But for this, the top of the telegraph pole is going to be above my eye level. So I draw a line like this that just represents the telegraph line. And the telegraph poles are gonna be by the side of the track like this. Let's give it a little bit of thickness. You're going to get what the horizontal ball's going across like this. Couple of those. Then typically what you do is a little faint guideline there. To use the guide for words. Next telegraph, paul might be lucky. It might be where for example, with a bar going like this, bar going across, going like this, and with a little bit of thickness, of course, it would go down as far as point there and then you'd have another target pool there, another one there. As they go off into the distance, they get close together. That is one-point perspective. I explained very simply and omitting a few rules. I will clear this layer and I will come back to edit drawing guide. Because at the moment I have 1 now I can tap on it to select it, or I can delete it. Now, I'll tap a point here and a point here. Now I have 2 perspective. I'll come to dance. So now what happens is this is a little bit like the isometric drawing we were doing earlier, but the difference is, instead of those lines going up at 30 degrees and the lines stay parallel as the governs the distance in the case of this, aligns get close together as they scale off into the distance towards those two vanishing points. And as before, if I want to draw out a line, I draw an edge, just hold until I get the elastic pants. There's my roof and do the same again, hold until they get an elastic band and there's my roof. And that top bit is going to go back towards the horizon like this. And let's do a door. A door is going to be taller than me out hope the top of the door is going to be above the horizon line like this. This is the basic principle and that's to couple of windows like this little tip for you. If you are doing perspective drawings, you always draw your lines from the bit which is closest to you. In the case of those Windows, AD start off with a bit which is closest to me and I'd draw towards the distance. If you draw from the distance towards you, it's a bit harder to judge the relative heights of things to each other. So start off close, go into the background. But the very nice thing I like about Procreate as opposed to when I learned all this stuff using pencil and paper school, is that when you use a pencil on paper at school, you only have the edges of the paper to really help you the perspective. And if I make this more exaggerated, I'll prove the point to you. Edit drawing guide. Just drag in the perspective points like this, like we used to have to do. And clear this layer and make sure that drawing assist is turned on. Well, okay, closest part of White House is hair. But now when I go off into the distance, I'm getting these really, really sharp angles. It's like I've used an extremely wide angle lens to take a photograph of something and then I'm trying to draw it. Everything looks really kind of two angled. So I will clear this, come back into Edit Drawing Guide. And this is so nice. I can zoom out all I want and move my perspective lines. Whoops, I don't want to delete that. I want to select it like this. Now instead of getting rarely crammed up close together pharmacy points which you can have at any angle you want. I'm getting a much more natural perspective effect if I do that, for example. Now when I come to done and I draw my line, well, things are going off into the distance as they were before. But at much more of a natural angle. This looks much more like the kind of thing you'd expect to see if you're looking at it just with your own eyes rather than a wide angle lens on a camera. Elastic band. The elastic band down to all of a sudden life is getting a lot easier. And incidentally, if we can declare it, we've done 1.2 perspective. You can also have three-point perspective. I think for that, that could really do with going up quite a bit. So I don't get such extreme angles when I do my drawing. Now, extreme angles can be good. It can be fun. If you're drawing something which looks atmospheric in dynamic. But in general, the further away those lines are, the more natural effect you're going to get. Now in the case of this, when I draw, you can see my vertical lines are now falling into perspective as well, which looks a little bit strange on that outcome to clear out onto my edit drawing guide. And I can either just drag that complete down like this or get rid of it altogether. It doesn't matter. But for this, you can see I'm changing the color there and maybe make it a little bit less opaque. Tap on done. And so all kinds of weird and wonderful effects to be happy with this. That three-point perspective. As I said, when you're doing stuff like this, zoom right out. Unless you're going through some really quite interesting dynamic shapes in your picture. The further away. These lines are easier time you're going to have it. That's isometric perspective. Now what about symmetry? And it's easiest is just a line going down the middle of your drawing. I clear everything here, etc, using my pencil. Let's come to inking. Let's try something with a little bit of thick and thin. Let's try syrup. Let's try changing the color. You have a line going down in the middle. Let's make my brush a little bit thicker. Now, I'm gonna draw on the right-hand side of my picture. I get two lines because I'm using the Mirror Drawing Assist. It gets married on the other side. If I crossover, crossover, I can move it around like this so I can draw at an angle. Let's reset that. But also, I have options. The moment it's vertical, horizontal, well, you can guess what that's going to do. Quadrants. Now, I draw on one side and I get it in four separate places. But for that, I will come to my Edit Drawing Guide, come to options. And at the moment rotational symmetry is turned off. Our turn that on, come to done. I'll choose another color. Let's choose fairly live with green. And now, can you see how that's different? I didn't do previously, I had a mirror effect. If you take a look at say, this point here, I draw a point and it was like I had a mirror horizontally. And similarly at the bottom, mirror things vertically. But now when I draw, basically it's radial like this. Clear that come to Edit Drawing Guide. We also have radial scenario can have rotational symmetry on or off. But now instead of four, I get different shapes like this. If ever you like doing things like Mandelbrot drawings and what have you. This is going to make you very happy. Okay, very last thing with assisted drawing, I've called up another file and if I turn on drawing guide, I get the default grid as turn that off because I don't need it. Now I'll come back to my gallery and that's what I was working on. And you can see the assisted layer has remembered that particular kind of drawing guide I was using for this. But supposing I turn off drawing assist so it's no longer there. I also, I turn off Drawing Guide. Alright, well, let's come to mark gallery. Load at the picture I had just a minute ago. Drawing guide is still the grid. Come to Untitled Artwork now will it remember it's previous setting drawing guide and what he now, yes, it does. That has gotta be useful. Especially if you're doing something like an evolved perspective drawing. Because trying to set up two or three points of perspective, that would be pretty hard to do. Luckily, you don't have to because procreate remembers your previous drawing guide settings are right. I think it's time we moved onto something else and I'll see you there. 9. Quick Menu: One of the things I really like about Procreate is the fact that it is portable. I can take it anywhere with my iPad, but also it's elegant. The interface is elegant. I have a lot of power at my fingertips. But as with any paint program, you get to a certain point where you're in the zone where you like to paint a nothing takes you out of that zone than having to start searching through various different menus to find the things that you learned about a couple of months ago, but you're not sure where they are or even if you do know where they are in the act of tapping on my Layers panel and then maybe adding a new layer so I can paint on that. It takes me out of where I want to be, which is with a paintbrush or smudge tool or an eraser and my hand making marks on my iPad. So to that end there is something inside Procreate which is useful and that is the quick menu. To find it come to wrench icon and you want gesture controls. Now there's a lot of different gesture controls here, but the one we're interested now is quick menu. At the moment I have it setup, so it's a three-finger swipe down on, off. These are all toggle switches. If I come to done. And I'll do that three-finger swipe down. And I get this quick menu 01 in the middle with six different things I can do around the outside. Like for example, if I wanted to come and flip horizontally, the whole canvas flips horizontally. Another three-finger swipe down and flip horizontally. Again. This quick menu with lots of different options around the outside is very useful. It means I don't have to go searching for flip horizontally. Wherever is it, converse. Flip Canvas Horizontally. Isn't that quicker? Now, this is very useful. But everyone's got their own different way of working. And so you might want them different commands, setup here. What you can do that if I tap and hold, but you can see I get a whole load of different actions that I can choose from. Like filters. I can do a filter on a layer or a pencil, or I can do flip vertically or whatever. Can I make a recommendation? Leave, flip horizontally where it is and leave quick menu one, as it is, don't change it for two reasons. One is that I enjoy learning new programs. But one thing I've learned to be a little bit wary of is when someone like me comes along and says, right, change your default setup, it works better like this. And so I change my default setup. In the case of this, what's around these six different positions and what commands they do. And then six months down the line, I'm doing a tutorial from another tutor and they say, well, go-to, for example, the quick menu and choose flip horizontally, but by which time I've changed my defaults and I don't know where I am because I can't remember doing the tutorial from six months ago. Instead, let's add to it. You have quick menu one, but if I tap on it, you can see I got a plus sign here. If I do that, I get quick menu too, and I can come and I can rename it, I'll call it my menu. 01. Well, let's call it 02, so we definitely know that that's the manual I've created. And there it is. If I choose that, you can see I have six, no action buttons. Last, not a problem, just tap and hold. And let's do something, let's try. I've got plenty of things to choose from. Let's try. Copy. This next one down. Oops, let's call it up again, my menu 0 to tap and hold, and I'll come to paste, son I have copy and paste. Let's try this one down here. Let's tap and hold. I might want to open the Layers panel with that one for the one at the top, tap and hold and let's try what new layer I'm always going to my Layers panel and creating a new lab. Or what about this one? I'm often merging down there so I can merge down my layers like this. So now I've got my menu 0 to, well, I think my last panel and I can pull up, Let's get rid of that. Let's get rid of that. But now I'm drawing away and I decided I want a new layer, swipe down and new layer. New layer. There's my two new layers. Now suppose the hotter merge down my layer, rather than having to open my layers panel, I came to merge down and the layer is merged down. This speeds up your workflow. And also it keeps you in the mindset you want to be where you are creating, rather than having to go to different menus or different parts of your screen to access various different functions because there is something about doing this and then just tapping that keeps you in the right zone much more so than having to come up to the Layers panel. And I'm going to tap there. And then going back to where you were working, It's like you keep your eye on the painting rather than having to go away and choose a new paintbrush from a drawer or something like that. Last thing, we have my menu 0 to there. If I tap on that, you have the original quick menu. My menu 0 to whatever is highlighted. When you tap away is gonna be the next thing that comes up. Like I have my menu 0 to there. If I was to choose quick menu 01 and tap away, the next time I swipe down quick menu one is there. If I decide I don't want that manual anymore, I can always slide across and come to delete it, but I don't want to do that because I like my menu 02. Okay. Those are the quick menus. It a little workflow thing, but it can really speed up things for you and keep you where you want to be, which is painting, rather than searching through menus. 10. Quick Shapes: There is no point in me learning a program like Procreate because I can't even draw a straight line or a circle to save my own life if you've ever said anything like that, well, I got some good news for you. There is a feature within procreate called quick trial, and this is how it works. I have my peppermint sketch pencil selected, and I've just got a standard blue and I have one layer. That's all. That's my pencil stroke and two-finger tap. To undo that. Now I'm gonna do the same thing. I want to draw a stroke, but this time I want to try and draw it straight. Nearly. All right, Now, I'm gonna do the same thing again, but this time when I finished my pencil stroke, I'm going to hold my pencil on the surface of my iPad. Bit wobbly. And you see that all you do is hold your pen on the end of your brush stroke on the surface of the iPad. And now I get this, it's like an elastic band and it is completely straight. And there you go, one straight line. Now here's another thing. I'll draw another brushstroke hold until I get my elastic band. And this time I'm going to use a one finger modifier. Now look at that. It's constraining the angle of my line to 01530456075 at 90 degrees, 15 degree increments. This is the quick draw function in action and it is very, very useful, but it's not just lines. You get different shapes as well. Let's take, for example, say a circle or an ellipse or I will look, there you go, There's an ellipse. I get an ellipse. If I move my pen around, I can make it bigger or smaller or rotate it. I wonder if I do a one finger modifier. Yeah, it's suddenly constraints to a perfect circle. Let go again, and I'm back to an ellipse. But supposing I have it to about say there at the top I get this Edit Shape. And if I tap on that, we have seen these little blue nodes before. I, whenever you see a node, you can drag it. Now watch, See you there. I'm dragging just this little blue node here to drag out my lips. I can also make my ellipse narrower like this or wider. If I drag on the inside, I can move it around or if I drag from the outside, I can also move it around like that. I tend to prefer dragging from the outside because if I make my ellipse very small like this, and then I try dragging on the inside. I ended up driving a node, which I don't want to do. There's no lips tapped. Commit to that. If I want to undo low two-finger tap, I get the quick shape again. And if I tap again, it go through the various different things that I did with my ellipse until eventually I get to my original badly drawn an ellipse. There's more than just a line or a circle or an ellipse. Procreate has a number of built-in different shapes. When you make a brush stroke and you hold your pen at the end of the brush stroke, procreate will call up either the shape it thinks best suits the brushstroke you made, or it'll give you some options. Like say, I do this polyline created edit shape. In this case I get a polyline like this. But if say I do something which is vaguely square-shaped, quadrilateral created edit shape. Yeah, look at that. I get a whole load of different options. Quadrilateral, four-sided. Actually, I can't remember all my geometric terms and school, but quadrilateral rectangle, square, regular squared, that's useful or a polyline where I can draw out the various different shapes like this. But if I take it back to something like a square, all the notes snap back to a square shape. And I can make it bigger or smaller and rotate it. What have you? The other one I want to show you is if I do that on hold, I get an arc Edit Shape. I can move my arc around like this. This can be very useful for building up a series of sweeping curves. And that can be very useful for building up a series of curves. Like if I commit to that. And then I draw another curve here. Edit Shape. I can connect the different shapes to each other. Like this. This is a bit like having your own set of built-in French curves. You know, French curves which people use to help draw sweeping lines. Okay, so let's give you a practical example. I will clear my layer. And something which a lot of people like to do is to draw an eye. The thing which people often find very difficult is having to simply draw two circles which are concentric for the iris and the actual pupil. They have a problem drawing a perfect circle, and also they have a problem trying to make the circles match up nicely with each other. That is not a problem as long as you understand the power of quick shape. So for example, I will draw a line, wait until it goes straight, wanting a modifier, and now I have a vertical line. I will do the same thing with a horizontal line modifier. That is now my crosshairs. And so now I want to draw a couple of circles, will look. There's a circle. Tap and hold. I'm I saying tap and hold. You don't tap and hold, you just hold. Then Edit Shape. And I want a circle. These little nodes appear at equal distances around my circle and I can use that to my advantage. Look, I can move and resize the circle by grabbing the outermost part of it like this. Then I can move it to where I want to go. You see that those notes are now lying where the lines are. I know that the center of that circle is going to be where the lines meet up, tap away, and then I'll do the same thing again. I'll make another circle. As before, our mood around like this. What I tend to do in a situation like this is to make the circle almost the same size as the other circle so that I can match it up more easily like this now can see that's pretty much lie on the same axis as the largest circle and then just push in to make it as small or as big as I want. I can have it very small for a mean looking eye, or I can make it very large for nice big puppy dog eyes. So I'll go with a medium around that tap. There are my concentric circles. I can use that to draw an eye on top of it by creating a new layer, taking this layer borrowing capacity. And on my top layer, I can draw over the top of that to create an I. So the next time you say, I can't even draw a straight line. Well now you can't, I can't draw a circle. Well, I did hear that with Leonardo da Vinci. If you wanted to be a painter working in his studio, you have to do one thing. And that was turnip and draw a perfect circle. Well now, thanks to procreate Leonardo, can I work in your studio? I make it really good cup of tea. 11. Flood Fill: When you work with layers in any image editing or art program, the ability to flood an area with a color starts to become more and more important. Well, you can do that within Procreate. It's very simple. I have three circles here. One has got a very hard edge, one has a slightly smoky edge, and one has a very textured brush stroke. Alright, so let's take a look at the one with the hard edge. I will come to the very top right. And I have the same color selected as I drew the strokes with. And if I just tap and drag and hold that, eventually that area floods with color. I will talk to undo that. I don't need to float with the same color. Let's choose different color. Let's try red and tap and drag. And I can float with Andy color. I want, let's tap to undo that. Tap and hold until eventually I get my original color. That's the basic process. That was with a very sharp edge. Look, if you take a look at that, I have a very hard edge to that circle. Now what about something down here where I have a slightly more smoky edge? Well, okay, let's tap drag and oh, what happened there? Well, what happened there is that I have a slightly smoky edge or a rough edge to that circle. It's not smooth like the first one. The way any fluid-filled tool works in any program is you drop a point of colored down and then it spreads outwards until it finds a border and then it stops. But the golden question is, how much of a border do you need for the floater decide, okay, it's now time to stop flooding outwards. Or another way of putting it is what threshold do the flooding pixels have for pixels that are like them? If you have a very low threshold as soon as they meet a pixel, which is a toll different from them, they'll stop flooding outwards. Whereas if you have a high threshold, the pixels which are floating it outwards are much more likely to say that pixels a bit different from me. I don't care. I'll still keep going and you can control the threshold as you go. So if I double tap to undo, and I'll do the same thing again, I will flood. See a top. I have a color drop threshold. And the higher I make it, the more area gets flooded. Look if I make it very low, you can see a large areas which are plotted. But if I slide my finger to the right, the threshold gets higher so the flooding pixels become more tolerant of pickles which are different, and so you get a stronger flood effect. But here's my problem. I've run out of iPad screen. That is not a problem because procreate will remember what the last threshold was if I just tap to undo and redo the whole thing again. It remembered the previous threshold. Now if I take it up, oh dear, I've run out of space again, but my threshold was up to something like 60%. So if I do that again, you tend to find you have this problem more with objects which are on the right-hand side of your screen because there's less space between that point and that point there. Then if I had a shape on the left side of the screen, so I have more space between there and there. Let's try it once more and take it up until eventually nearly. Let's take it at flood, then move up to see that color drop threshold of 100%. The threshold is now so high that the flooding pixels will flood everything. The trick with flooding is to take it up so it floods out like this and then just take it back ever so slightly until you just get to the point where it's not flooding everything. And if you take a look at that circle now, it's completely flooded. All okay, let's take a look at this one here. Let's do the same thing again. Flood add all my goodness. Everything's been floated. I want to have to drop my threshold down by quite a bit until eventually. Can you see that? Because I have a whole lot of blue and white in the actual brushstroke. I'm getting a rather curious effect here. The thing about the flood, if lonely flood with a solid color, it won't flood with a pattern. I end up with that rather strange effect. Okay, let's just undo a couple of times of K. So now I have a fairly hard brush selected. I will make an area like this. And our flood that no matter what threshold, it would flip everything because you can see I have a little gap there. You need a closed area. Also, under normal circumstances, the flood will work on the layer which is currently active because I have two layers here. I have layer-2 with all my circles on and-a-half, layer one which has nothing on. And so with that, if I was to come to this area here thinking, Oh, I'm gonna flood it out. The whole area got flooded because on this particular layer, there's no brushstrokes, which means there's no borders. So even though you think you're flooding to a border, that circle which I tried to float two is on the layer above, and so the whole area gets flooded. Incidentally, you can see I have a bright red color there, but I flooded too. Pale pink. In case you're wondering what's happening there is because layer one is not set to a 100% opaque. If I raise the opacity up to maximum that you can see where I floated. Alright, so that's the basics of flooding. But I do want to stick with this because there's a couple of practical things that I want to show you this and also to demonstrate a being able to afford things within an art program can be very useful. That's coming up in the next video. 12. Alpha Lock and Clipping: Hello, This file is called clipping flowers. It is available for you to follow along if you want. Because in this video, I want to talk to you about something which I've mentioned before, but let's do its own video. I want to talk to you about clipping layers and also alpha lock, because one of the big advantages of using any art program is that you get different layers where you can have different things on different layers. Like I have my outlines on one layer and I have a series of blocked in flowers on another layer called bad clipping. And also I have some colors in the background. You can separate out the layers. And the big advantage of that is being able to make some nice free brushstrokes using this wonderful Prussia engine that you get with procreate. And also you can come back in and edit the individual layers afterwards, which gives you loads of flexibility. In the previous video, we were talking about using fluid-filled to create efficient layer so you can efficiently work and be efficiently efficient. But before I give you an exercise, I just want to mention things like Alpha Lock, clipping layers and some of the differences between the two. Let's start off with this layer called Alpha Lock, which if I make the other layers invisible, is just a series of blocked in colors with green in the background and an outline sitting on top of it. Here's the thing I want to paint onto those layers and I don't want to affect the background greens, I just want the flowers painted in. Well, let's see what I've got. I'm using the sketching brush set and I've got Bonobo Chalk selected, and I have a red color. Instantly, there is a top layer which is called swatches. These are just a series of colors which I took from various golden age of illustration images, the kind of illustrations of L's at various and stuff like that which you used to get in the early part of the 20th century. So about a 100 years ago, around about that time. Let's choose a color from here. Choose fairly light red or fairly intense. Richard, I say Add a, make sure I've got the right layer selected Alpha Lock. And then I started to paint like this. It's quite a bright color, but you can see the problem. The brush I'm using. What's called a nice textured edge. But the textured edge is going beyond the edge of the petals. I do not want that. So I will come to my alpha lock layer, tap on the thumbnail and I get my options, our body and now I have an option called Alpha Lock turned on. When I do, do you notice on the thumbnail I get some mid gray and lighter gray squares in the background that is just about any image editing or art programs way of letting you know that all the transparent pixels on that layer and are locked. Because when you see the word Alpha in an art program that's talking about the transparency, transparent pixels or the alpha layer pixels. They're all locked, which means I can't paint on them. So now if I come back in and I'm making Hopefully you can see, you know what? I'll make that a little bit lighter so you can see more clearly. Look at that. You can see I'm making some pretty free and easy brushstrokes. But I can only make the brushstrokes where there are already pixels on this layer. In the case of this fat kind of brackish red color. Now what about the dark brown area? Yeah, that's on the same list. So here, alpha lock means I can only paint on the bits of this layer which already have pixels. Now already you can see that's going to be very useful because it means I can make my free and easy brush strokes like this. They don't go beyond the edge of the flower. Let's tap undo a few times to get rid of that. Tapped wants to many soy turn off alpha lock and suppose you, I didn't realize that mistaken, I think. Okay, Great. Oh no, what happened? That could happen to you quite easily. So let's include it in this video. That's alpha lock. You can see it's quick, it's easy. It has its advantages, but it's not very flexible because for example, supposing I come to this area here and I turn on Alpha Lock and make sure I have the right color selected. I will choose a lighter version outcome just around the area like this. Paint in those areas. I'll maybe choose a much brighter color just for the tip of flowers. Straightaway properly, you can see one of the disadvantages. Look, see that brown flour in the background. Well, that's part of the same layered store belongs on the alpha lock layer. And so I'm painting over that area even though I don't want to. This is working for anything which is set against that green background, but other flowers. I want to have the same problem. If I make a big long brushstroke, it cuts right the way through everything, which is all that layer, whether a pixels undo that. The other disadvantage is that one look. One of the great things about digital artists flexibility, you can go back in and alter what you did. So supposing I come back to this in a month time and my artistic genius as developed to a point where I say, you know what, I want to turn down those very bright highlight. I don't want them as bright. Or you've got a client who says the same thing because they're an idiot, will look. I can choose the color. I've got. The less brighter highlights, but everything's on the same layer. So it's very difficult to affect those lighter highlights without affecting the entire layer. So it's not very flexible, works in certain circumstances. And actually I'll give you a good example of that. Take the outlines. For example, if you've got an outline layer and you want to alter the color of it. It's a very simple thing to duplicate the layer so you have a safe backup. Then if he come to the outlines layer and turn on Alpha lock for that, well, let's choose a color. I'll make a deeper version of it. I will come to my airbrush, soft airbrush, make it not quite 100%. And that you can see I'm painting in the stems of the flowers and I can do this very quickly and very easily. First, outlines because they're thin and because there's a lot of space in-between the individual lines, I don't have that problem. If I don't have as much of a problem of painting in one particular area. And then it straight into another area where I don't want my new brush strokes to go. If you have something like this with key lines or outlines, Danielle, alpha lock is great because it only uses one layer. Anyway. I will delete that and turn on my original outlines. I will turn off alpha lock and I will turn on bad clipping. And I'm going to use a different approach with this. I'm going to clip layers to this bad clipping layer. And then I'll explain why it's called bad clipping in the first place. My back clipping layer is selected. You can see it's just a series of blocked in flowers. They're all the same color, that's fine. And I will add a new layer. There it is, lay a turn. I will tap on the thumbnail to get my options and I will come to clipping mask. Watch what happens just to the left of that thumbnail. When I do this, you see that I get a little arrow that points downwards towards the bad clipping layer. That means that layer is clipped to the back clipping layer. And if I choose a color, darker version, now what brush am I using again, let's try something else. Let's try chocolate. Let's try willow chart now, let's try vine charcoal from the charcoals process that comes with Procreate. Make it fairly big. As before. Make sure you are on layer turn which is clipped to the pub, clipping layer. I'm just going to make some darker brushstrokes, just around some darker brush strokes around, some darker ones around here and so on and so forth. But then I'm going to resample my layer and choose a lighter color. Now when it came to the edges, as with alpha lock, you can see I don't go beyond the border of the flower, so I still have that flexibility. Still not paint on the background. So far it may be looking at me doing this. You may be thinking, well, okay, great, Well, what's the difference? I'll show you one difference right now. I'll open up my layers panel and our counter, my bad clipping layer. I will choose my eraser. Come to justice section here. Let's make my eraser small what I got from my eraser, well, hard air brush. Know what I'll do is I'll come to charcoals and I'll use the same vine charcoal brush. Opacity is set high as well. I'll turn outlines off. Make sure I'm on the back clipping layer. And I'm going to erase part of the clipping layer like this. Make my brush a little bit bigger. I'm getting a more pleasing edge. That flower like this. Supposing I'll come around to this bit here and I'll make a huge brushstroke because I'm erasing parts of my bad clipping layer. But when I do the brushstrokes I made on layer turn are also disappearing. Because with clipping layers, layer is clipped to the pipe clipping layer. That means that you'll only see the brushstrokes on layer tone, whether a brushstrokes on the bad clipping layer if you'd like its parent layer. But, and this is an important point. That doesn't mean that the brushstrokes I made in layer turn-off also being a raised, they haven't, that's still there. And if I come to my back clipping layer again and I'll choose my brush. I made sure I just paint in the same color that I've used for the piping lab. When I brush my stroke back in, you can see all those brushstrokes I made on layer ten are coming back. I'll show you something else as well. You saw how, say in this bit of the picture which I'm circling now, I made some nice free and easy brushstrokes in that lighter pink will look. I'm on the board clipping layer. If I come here and I add a brush stroke. To the edge of that flower, I'm getting my nice soft, slightly textured edge there, but I'm also getting some of the brushstrokes that I painted in that lighter pink, Let's see, mindful little bit and rarely makes it very bold brush strokes like this. What is happening there? Look, I added those extra brush strokes to the bad clipping layer. But Malaya ten brushstrokes, even though I painted beyond the age of the parent layer and you couldn't see the brush strokes I was making on layer turn are still making the brushstrokes. And in fact, I will show you this if I close my layers, zoom out a little bit. I'm on layer turn the Walmart made all the nice chalky different colored brushstrokes. And if I come to Transform, and I move it around, look at this. There's a whole load of brushstrokes which you never saw me make because they were all hidden because layer is clipped to the layer underneath, but I still made the brushstrokes. And if I undo that, so it goes back to where it was and come out. Once you realize that, then you realize you can come to your bath clipping layer and you can edit the outline of these roses, for example, let's just turn on outlines. Clipping layer is selected. I will start erasing that outline which I did there. Because I know there's brushstrokes are sitting there which are hidden by this layer. I can come back in and edit my flower anyway I want, and in the case of that, I'm taking away. If I change my mind, I can come back in and I can add and the brushstrokes I made all my clipped layer I stole there. Let me show you something else. If I create another layer and I'll do the same thing, I will turn this into a clipping layer by choosing clipping mask that I'm gonna, I'm gonna choose my color ANCA to make a very, very light color. And I'm going to come right to the edge of this particular flower and just add in some very light colors around the edge. That's great, anti, wonderful. And then because I'm an artistic genius. Now, supposing you decide because you are a genius or your client decides because they're your clients. Those highlights with just a little bit too bright. The same problem we had just a few minutes ago. Well, rather than having to go in onto this particular layer and having to try and paint down those highlights by painting on them. All I can do is just come to, for example, my opacity. Just lower the opacity. I can take it all the way down to 0 and gradually dial in the amount of highlight I want on that layer. And if I decide that's enough, where are my 72% opaque for this one particular layer? Or I should come to the layer underneath and I can alter the opacity of that. I could also alter the layer blend mode if I want. So you can get all kinds of rather strange and wonderful effects like this. This particular case. I'm getting some rather weird effects rather than useful effects. But the fact of the matter is, as well as changing the opacity. You can change the layer blend mode. So you have that built-in auditability. Auditability, you get flexibility and that is something you really want from edit digital program and clipping masks give you that. But I do have a problem and it's the same problem I had with alpha lock. Look if I come to my layers and I decide I want to have, say, a little bit of shading just around the edge of Wildflower against the other or great. I'm not getting a problem with the edge of the flower against the background. But I am getting the same problem with the edge of the flower I'm doing now against the edge of the flower in front. And in fact, with that, I knew that was gonna happen, so I was being more careful with my brush strokes. If I just undo that a few times and I try and do what I was doing beforehand. Nice big brush and make some nice big expressive brush strokes in different areas. But when I come to the border of these two flowers, if I try and make the same expressive brush strokes, I've got that problem by the brushstrokes affect the flower behind the flower in front. That is why this layer is called bad clipping. It's because I have a series of flowers here somewhere in the background, some further forward and many of them are overlapping and so great I can use clipping layers, layer turn on layer 11 with all the advantages they give me. But what I'm not getting is the ability to color those flowers independently of each other. I can only color them in nice and freely against the background and the outline as well, because that's on a separate layer, isn't digital. Wonderful, you have layers. So what I need now is a way of painting onto those different flowers or not have my nice free brushstrokes interfere with the different flowers that I have. 13. Alpha Lock & Clipping, Part 2: If I turn off bad clipping, I have a group here called separate clips. If I turn this on, you can now see I have three separate layers here where I've blocked in a flowers, but on separate layers I have rare clip, that's the deeply flowers. I have mid clip, which are those garish pink flowers, and I have front clip, which is way too bright yellow. Why did I call the flowers? It's such an unnatural tone. That is to help me when I'm planning out my painting. Because if you use this blocking in technique where you block in different areas, so you can paint freely in those areas. You need to be a little bit analytical. You need to look at those flowers and say, Well, which flowers I've got borders with which other flowers. If you take this center section, for example, you can see my clip. Those are a set of blue flowers. And if you notice, none of those flowers are touching each other. They're touching a pink flowers and they touching the yellow flower, but they're not touching each other. That means when I paint on those layers, I don't have to worry as much about my free brush strokes because those free brush strokes won't stray into the bordering flowers. What about the middle clip? Again? Those pink flowers all touching each other. They're touching other flowers. And in some places they're quite close to each other, but there are no common border between those pink flowers. The front clip, that's my yellow flower. That's only a wildflower. So I don't have to worry about that. Three different layers where I've blocked in the different flowers with no borders. So look if I come to my clip and add a clipping layer, clipping mask, Let's choose a color for this showy. Let's call up our swatches. And let's choose, choose a fairly bright pink. It's not screaming in your face paint, but it's it's bright. Make my swatches invisible. For this layer, I don't want to use a nice texture brush to worry about textured effect, I'm gonna come to say airbrushing. And I'll choose hard air brush which has a hard edge. It's on maximum size, maximum past tea. And I'm just going to block in those colors like this. Now, my Luftwaffe was clipped to the rear clip layer which had those dark blue flowers, but now it's completely hidden. What about mid clip? Let's try that. Let's add a layer and clip it to that. I'll do the same thing again. I'll block in solid color so I can't see any of that bright pink and the construction layer and also front clip. That's one way to describe these layers, either a construction line or a utility layer. It's useful and it's used for construction. But it's not seen in the actual painting itself. Clip to that. Now they're all colored in. Now I can come back to what was I using? Charcoals, vine charcoal. Okay. I will go with that again, but this time. All right. Well, that's come to Rick clip. I will slightly at 12 outcome two plus to create a new layer, an alternate into a clipping layer, color selected. Let's try a deeper version of that. Shall we do about that? Or am I pushing a slightly darker central area like this? Also in this area here. When you're doing this, you'll probably forget which layer you're supposed to be painting on. So if that happens, just scribble out those little AS undo. And so now I remember that was that layer. There is also this layer here. Now I want some even deeper colors just for the freight, deeper, deeper, deeper area there. And also I want a little bit of shade with that one peeping way in the background. Those are my darker areas. I'm working very fast here. I haven't done things like following the petals of the flowers like this because I'm here to demonstrate a technique rather than I spent a lot of time doing a finished painting. But now I'm going to create another layer. And again to clip that the same area. This time, I'm going to choose a much lighter color. Maybe dropped my opacity down a bit so we can gradually build up some lighter edges like this. Because I have three separate layers, all with clipping masks attached to them. I can build it the flexibility, use as free brush strokes as I want and I'm not having to worry about the surrounding flowers. This is really freeing up my hand to make artistic brushstrokes be a little bit free and a little bit easy. Now let's try something with this. I've got the dark layer selected neutral blend mode. I wanted to put it into multiply another lower the opacity a little bit. I'll take. One with a lighter brush strokes. Let's change that to screen. Because now supposing I counted my layer 12, which has the base pink put on top. I didn't want to come to my hue saturation and brightness. And I'm going to adjust this entire layer when it came to my hue slider and we're gonna change the color. Can you see how the flowers are changing, curl up when I do that? That is because I'm changing that. What is it? That kind of salmon pink color. But because I set the blend modes of the layers above to a dark and blend mode and then the layer above that to align blend mode, they are following the hue that I'm changing. So you can change things very quickly like this. And then I can always try experimenting. I said that to screen did I? Let's change it back to normal so I get some of the original pink back or you can take it Practice Screen or color thought, which has given me a much lighter color. And I can vary with the opacity on that. So I'm getting all the flexibility that I want from a digital art program. And I'm getting it where I want it, which is just on those particular flowers. Without everything's splashing over onto the other layers. I will tap onto a few times with this so I can take it back to where it was. Okay, so I've done that with my rear clip layer. And if I make just that invisible, all the layers which Eclipse to it and get made invisible as well. So now I have my mid clip and I have my front clip and I can do them. But right here is where you start running into a little bit of an issue. It is great having clipping layers and how you can stack them one on top of each other to get all kinds of interesting effects. But look at this for those 1234 flowers. I have my base layer where I blocked everything in. Then I've got 123 layers on top of that, which has given me the final look of those flowers, be able to That's the thing though. I have my mid clipped layer on my front clip layer that's ongoing to need 123 layers on top of each of those decorate the same effect. And so we'll look. Alpha lock. I was quite limited in what I could do with it. I got much more successful and I used alpha lock on the outlines layer. But for the actual flowers, I was limited what I could do, but it was only one layer for my bad clipping layer. Or the problem with that was that I had a load of common borders, so I couldn't be very free with my brush strokes because one brush stroke would go from one flower to another. But I had what, three layers would give me the same effect as I'm doing now. But in my separate clips I have 123 different layers. And it's great. I've got all this flexibility, but each of those lasers going to need 123 layers on top of that to get the effect. I want the alpha lock. That was one layer for these separate layers which I'm using now while I've got the original plus three on top and the three of them, so three times 412 layers to get all this flexibility. That is the downside of using clipping layers. They pretty soon start to add up and stack up. I just wanted to ask you should do as well because I want to show you fine charcoal. If I came in on a site, I want to raise just part of this flower layer. At any layer which is clipped to this base layer is also going to be made invisible. So now I can make the highlighted layer invisible and the dark layer. I can make that invisible as well. Yes, I'll end up with 12 layers. But I still have all this flexibility of being able to take all of these layers which are sitting on top of my clip layer. And I can take up bits or Abbott to them as much as I wanted. Everything will be affected, which is clipped to the clip lamp that said 12 layers to do the flowers. And from that, it follows that the fewer layers you have, which are these blocking in layers, the less clipping layers you're going to end up with by the end of your projects. And being able to figure out which layers to create which don't share common borders with each other. So you can use them to clip layers on top of that is a little bit of a skill. And so in the next video we're going to do just that will take a simple piece of line artwork. I'll put in these blocking in layers. Like they may clip, like array, clip like the front clip. And again, you can follow along with that and get some experience from that. So that's coming up in the next video, and I will see you there. 14. Exercise Time! Blocking in: Okay, let's do something practical with some of the previous lessons that we've done. I'm gonna come to import and I have a file on my system called Wu Zu 01. I will tap on that. This is available for you as a download. There's a line drawing that I did so I can demonstrate the process of blocking in artwork because yes, I should explain the tools and how they work with the appropriate, but using them as part of a practical workflow along with one or two gotchas along the way. And you will see one or two gotchas along the way. That is every bit as important. So anyway, here's my artwork. And one thing I do want to say, all right, from the start before anybody writes to me and says that symbol in the background, the Taiichi symbol, it should be up and down rather than side-to-side to which I would apply or you're absolutely right. And furthermore, the symbol in this picture is not only round 90 degrees, but it's also mirrored. And also the Taiichi symbols doesn't have a non concentric circles surrounding it either because the symbol and this picture is not intended to be the tie cheese symbol. I put it round on its side. So the fingers and the face of suit lineup with the two little I's. Also later on I will be covering in part of this simple, given the original symbol on which this is based, his well-respected by many people, it is not my place to put the original into this artwork, and I have no desire to offend anybody by painting over the original symbol. I wrote down the name of the brush I used, DC technical. I also wrote down the sizes are used to create these different lines. Because if you notice the important lines, the key lines, they're thicker. They were done in size of 60 Around Sue, around some other areas. And they used a pen size of 20 for some of the final lines. And if he come in on some of these, you can see I varied the width, little bit of thick and thin, which always makes life a little bit more interesting. But I do not need that pen information on my list, so I will come to my select tool. Freehand is selected. So I will draw around the name of the pan and tap on my little circle so that everything is selected. Then, if you remember a few videos ago, I set up the quick menu so I can swipe down with three fingers and I get my menu. I have this setup on my menu 02, and I'm gonna come down to copy. That selection is now copied. I will swipe down with three fingers and I will come to paste. I get this. And that is on a new layer called Inserted Image. Thing is though, if I make it invisible, I still have the name of the pen on this layer, so I will come to my Erase tool. What eraser to a half hard air brush. I'm sure that will be fine. The size is good as well. And I will just erase that little bit of handwritten text. Now I have inserted image and layer one. That's where all my artwork is. Okay, I'm going to practice what I preach and I will rename this layer to linework and for Inserted Image, how renamed that as well. Let's call this brush names. Okay, so what I want to do is what I explained in the previous video. I want to divide this image up into blocks of various different colors, and each color is on its own layer. So I can add layers on top of them and clip those layers to the blockchain colors so I can build up my artwork efficiently. Alright, well, to do that and we're going to need later on we saw as a layer, I'll call this block the 01. Let's choose a color. Let's choose a slightly fleshy tone. Let's start off with putting in some of the skin areas. My layer is selected and here's the first mistake. You may, you go down to the skin layer and you'd like go at everything, just floods out. The reason being is there's no pixels on the block one layer. If you're going to flood areas, you need a border of pixels surrounding the flooding area so that the flooding knows when to stop. We'll look at totally what here's the bad old way to do it. I will zoom in on the hands. I need a solid area pan to do this width. So let's come down to Yep, brushing a selected hard air brush. And let's check. It must be a 100% opaque. I don't need any transparency in this burst size. Let's make it about that big. I will put my block want underneath my line work by dragging it down. So that when I put my area in like I'm doing now, I can see where the paint that I'm putting down is disappearing behind the artwork. I don't need to go and beyond that fake board, which makes it a hand. Okay, so there's my outline and then when I come to my float tool, drag it down. Habits filled in that pits filled in. And so now all I have to do is go around every single area of this picture, drawing the color in underneath the outline. Let's come to this bit here and start drawing. I'll go right the way round and flood everything in. And then I'm good to go and that is going to take absolutely ages. So here is a much quicker way of doing it. I will come to my blocks 01 layer and I will clear it. Then this is the important bit. Come to your linework layer, select it, tap on the thumbnail and you can see something here. He says reference, tap on reference and you get a little bit of text underneath the layer name which has referenced, that is what you want. Now I'm going to do what I did before. I'm going to come to an area, let's say her face and I'm going to flood the area. What happened there? It didn't completely flood even though that block one layer is empty. There is no pixels for that is because I made the linework layer a reference layer. So when it comes to flooding things, afloat tool, what we'll look at blocked 01 or any other layer, the owner layer it's going to look at is linework because the line work is the reference layer, the Flood tool is referring to the layer called line work. So let's put in a few more areas. Fair? And where else are we here? That's good. And how much quicker is this than having to paint route all the individual areas like I did a couple of minutes ago and then flooding in. So if you take nothing else from this lesson, remember the reference command and use it on your line work layer and used on the layer you want the Flood tool to take any notice of. Okay, so I'm going to clear this layer again because there is another more refined way of doing this. Everything is done as before. Block on a selected my line work layer as a reference layer. And I will come as before and float in an area I want to do you see color drop threshold or the top that will stay there for as long as you hold your finger or your pen on the area where you've just flooded? I want to slide to the right. Rarely as far as I can take it because I want the flooded area to bite into the lines I've drawn on my line art layer. Let me try and show you what happens from I don't, I've just two-finger tap to undo. I'm gonna come down. Then I will drag my color drop threshold back. And you can see I got to a certain point there where the threshold got so low. And we have spoken about the threshold before that certain bits of my image didn't get flooded. So what you have to do is write a threshold. But now even with the area flooded like this, if I come to certain areas like down here for example, you can see there's some hard to get areas where the flood tool couldn't get to these little areas I'm circling now which didn't quite make the cut where Procreate was flooding because maybe the threshold of such a bit too low. What I want to do is clear my layer again and I will come to flood. What I want is the threshold set as high as I can get it. That is too high because now it's flooding too much. And so now I dragged back just until the clothes she's wearing odd flooded and that's the point where I let go. Now, let's take a look. If I come down to those areas I showed you before, they have flooded in much more successfully because the threshold was set higher. But if I circle in one or two areas here and here, for example, there's still some areas there which haven't quite made it. One thing I am going to have to do and I'm sorry to have to tell you it has come back in after I've done my flooding with a brush on color, all the areas in which I didn't quite get the first time round with the flood tool. Let's zoom out a little bit because there's also another refinement with this. The first thing is I'm gonna take my block 01 and I'm going to drag it above my line work. Did you see what happened when I did that? In fact, I will do that again. I'll drag it below. There's all my linework and then I'll drag it above. Because my block one layer is sitting up above my line work. I am getting a more of a clear idea of what's actually flooded because I can see the entire block one layer because it's sitting on top of the line work layer. Now I can still flood. Look, if I come here, I can flood. If I come to the hand, I can still flip that. But because the layer I'm flooding is sitting on top of my line work. I can see exactly how far the flooded area is cutting into the line surrounding it. It doesn't look very pretty, but that doesn't matter who cares what it looks like right now, because we have a job to do and this way is more efficient. Now I'm going to really annoy you allow, I'm gonna clear this again because there is also an extra level of efficiency which we can add on top of this, I will flood the head area. Then I get this thing at the top, continue filling with re-color, which just disappeared because I was explaining it. So I will undo again. I can drop. And then continue filling with re-color. And I am glad that happened. It looks like I've accidentally flooded that area in the background, which is something I don't want to do because the whole point of me blocking things in is that I have a series of layers of different colors which don't have common borders. Now the back of that yin-yang symbol is bordering her face or this is bad. But I do have a little crosshair which I'm circling now. What have to do is put my pen or my finger right on that crosshair and dragging across to the area I want flooded. In the case of this, I've got the hand. Now, do you remember that threshold where I dragged from left to right while I was flooding? Well, at the bottom I have a little slider which sounds flood. This does the same thing. And if I raise it, can you see? I'm glad it's working out like this. If I take the float lower, you can start to see I'm getting various different areas of the hand which are being covered last successfully. I do not want that. I want the flood set as high as I can get it. The flood threshold to what? Take it up to a 100%, the entire layer gets flooded, but I wanted to draw it just back a little bit. I've got it on what, ninety-six percent. That is pretty high, but you can see the entire area has been flooded very successfully. And if I come down to the thumb and I just tap the crosshair move to the thumb area. And so that gets done. Then if I tap on the arm, the arm is getting done. All this a little bit just here, which I won't flooded. And this is starting to work much more efficiently for me. Now let's come to this area here. I can start to flood in these areas, all that is too high. So take the threshold back a little bit and then tap in various different areas. I can quickly start to flood areas. There will come a certain point where you can see there's two little bits around the ear, which look, I can flip that but it's getting so fine in detail that at this point it starts to become more realistic to come back in afterwards with a brush and just draw over those areas? The eyebrow, yes, I can do those. Top lip, yes. The nostril? Yes. And let me show you something which can happen so easily. Let's come to this hand to demonstrate. So I tap because I still have my fluid-filled tool selected and down here and hit O. What happened? Let me zoom out. What I've done there is instead of flooding in just that little white area which I'm circling, I position my little crosshair a little bit wrong, just off to the side. And if you're not working, zoomed in like I am, that's all too easy to do. What I need to do is move my crosshair by dragging it until it goes to the little area which I wanted selected. And even there I'm looking at it and realizing, Oh dear, I floated into my so I take down the flood slider until they get the look I wanted oh, I mustn't forget the arm as well. You can see I'm flooding in things a lot faster. I will create another layer. But this time I want to drag it underneath the line work. I'll make my block was 01 layer invisible for a second. I supposing layer for supposing this is what I'm using to block in various different areas, drag-and-drop. And yes, I'll continue filling with re-color. All my little cursor is in the middle of my screen. I do not need that area blocked in, so I dragged my cursor over like this. This is all very well, thank you very much. And I carry on like this and drag and drop there. That's wrong. I need to go back a little bit and I'm having a great time. But the problem I've got now is I think I'm doing okay, but because I'm in the middle of the workflow or maybe I was zoomed out a little bit too far, but I haven't realized is that one I was busy using the flood fill. Thank you very much, which is doing a great job because layer four is underneath the line work. If I make the low Mach invisible, I floated in just about the entire layer with my blocking in color. Because the line workers, fair, I might not notice that. It looks obvious now when you're close up and personal because well, you can see it like fat, but it has happened to me before where I think I'm doing okay. And I go way down the line blocking everything in. And it's only when it gets to this point here that I realized all my linework has got a fleshy toned halo around it. And if that happens to you, the only thing you can really do is come in with your eraser and start rubbing out the key lines where you don't want them, which just means a huge amount of wasted time. That is the other reason why I always suggest when you're working the layers that you're flooding in, put them above your reference layer just while you're blocking everything in that way, you can see how far into your line work. And also you don't end up with an awful situation where you're just trying to flood in a small area and then you realize half an hour down the line that you flooded every single part of your line work layer. That is not a happy surprise. Okay, I will stop for now and I will pick this up in the next video. 15. Refine our Line Drawing: Okay, let's pick up where we left off. I have block one selected. You've seen me flood in the various different areas. And wouldn't it be lovely if I could just move on to the next layer and start flooding that in. So I have a whole load of separate layers with blocked in colors that I can work with. Well know two things about that. If I come in, It's only when you zoom in, you start to realize there's various different bits on this layer which you've missed. If I leave it like that, the no matter what I do on my block 01 layer, I still have these transparent areas around the hair, around the ears, around the eye, the corner of the mouth. So I need to block those in. Not using the fill tool because I've already used that about as well as you can use it. So I come I got hard air brush selected from my airbrushing. I come in and I start drawing over those areas. You might panic and think, Oh no, losing all my linework when I do this. It doesn't matter at all. In fact, it's a good idea to go over all these areas with all these little corners and crevices on your line work and target those areas. Because that way, you know, as long as I don't go beyond the outer parts of that line, in fact, come into play, save, I'm gonna make my brush a little bit smaller. Do that. I don't want to see if it's here. And now when I come back, if I put my line work at the top where it will end up eventually. There you go. A beautifully flooded in area, which is a combination of flooding using the linework layer as a reference plus the flood fill tool and then coming back in and paint it by hand, There's various different areas. You may think this is a bit time-consuming and yet you're right, it is. But if you want to create a really nice drawing, you need to put down some really nice foundations first. The other thing as well as, okay, so I've got my block one layer, Let's put it back up top because I'm still constructing with it by dragging it up and letting go. At this point, I think all great. I've used my plot one light put in all the skin tones. Let's go and create a new layer for the shallow in suit that she's wearing at the moment as another new layer for that yin-yang symbol in the background. But don't do that. Do you remember when we were talking about blocking in a couple of videos ago, we can end up with loads of different block layers. We're going to be adding layers, possibly multiple layers on top of each of the block layers to create the effects we want to create. And so what I need to do is get as much blocking in information on this layer as I can. If I just think of this as the skin layer and then the next layer as the address layer. I'm doing myself a bit of a disservice. I need to think of as blocking in layer as just areas of color and forget about what the areas of color is supposed to represent. Once I do that, I made my life a little bit easier. For example, if I come and I flood in this area here, as long as it doesn't share a common border with any other area of color on the same layer. I'm good to go. So now it's a case of playing, hunt the areas which I think would be good candidates for flood again, for example, that aerobe coming down off her thigh. I want that to be a different color to the actual suits. So I'll come in a flood in that area and continue filling with re-color that robe on the top? Well, actually, yes, I would like that to be the same color as the bid I've just flooded in. So my little crosshair, my little crosshair, it's fine where it is, but I must remember to float that area, that area. And I did it again. Zoom in, drag my cursor here, so I don't make the exact same mistake I was telling you about in the previous video. Let's try this little area here. I think this area here that's not working. Can I I can't do I take the flood write down when that happens, you start playing, hunt the gap where the flooding went through. If I circle just this little area here, if I know, I'll zoom in. Can you see there's a gap in the line artwork. And so to deal with that, I take the flood tolerance down, but when I do, I realize I'm getting his MS slight fringing of the color that I'm putting down against the blue outline. But the problem there is if I take the flood up like this so that I cut into that area, I start flooding the whole rest of the suit. So rarely with this, I can't when I'm not working as efficiently as I would like because I need to cut into the outline areas. But if I do that, then I'm flooding too much. So if I take it down until I don't get that problem, I've got the fringing problem. This is something that you can do about it. I'll start my paintbrush on, double-tap, double-tap a couple of times until I get to this point here because up until this point I was doing okay. This is what I do. I come to my line work layer and duplicate it. And then I'm going to rename it line work. Closed. Now I want this layer to be my reference layer. So now if I come, I tap on reference. Can you see how the name reference jumped up from the linework layer to the linework closed layer. That is because you can only have one reference layer at any one time. I will make my linework layer invisible. Then where was it? It was down here, wasn't it? I will come and I will select, Let's try inking. Let's try fine tip for this. And I'm going to select the same color that I'm using for my line artwork. Is that gonna be big enough for me? No, I need something a bit bigger than this. Let's try technical pen. What kind of a stroke that's given me the kind of the strike I won't, but I wanted to be opaque and thin. And then I'm gonna come in just to close up that gap where I want the flood lines to go. Okay, so now my block 01 layer is slighted. It's sitting on top of everything. And my linework closed layer is my new reference layer. Without annoying little gap closed up. So now when I come in, it floods and I don't have that little fringing problem I had against the line work without a habit for but because I put that little block a line in there, I can flood this area much more efficiently. Let's choose a few more areas. That's where the threshold taken down. And so you work around like this. You use your linework closed layer as a reference layer. And if I have the same situation where the scenario that I really want flooded, but it won't flood properly. I can just come back in and add any guidance lines to my line work closed layer. And in fact, I can even take that further. It depends on how complicated the job is. Like if I come to this scarf here, for example, you can see I've got lots of different areas there, which are going to be rather fiddly when it comes to actually flooding in the area. But if I can draw the line work closed layer and my hardware brush is selected, I'm gonna get a hotline. I can just rub out that these areas here that when I came to flood the area, I'm not going to have to worry about all those little final lines right up here. These fine lines will no longer give me a problem when it came to flood in the area. As long as I don't go beyond the border of where I want to actually feel like if I was to cut across the key line like that. Now, not a good way to work, but look at these little fine areas down here. I can get rid of those and do pretty much what I wanted this area because it will be flooded. And then once I've finished, I can discard this layer, leaving only my original line artwork layer, which has all these lines. Anyway. Let's say I've covered all of the areas here and I'll choose my old layer four layer. I will drag it above our rename it to block 0 to. Now this is important. I want to choose a different color for this, and for now, I want it to be a very different color. I don't care how loud or garage or bad taste the calories. In fact, that can work better because what I want from this is to see without any possibility of misunderstanding what colors belong on which lamb. So now if I come to this area here, continue filling with the re-color. Move my little crosshair up like this, and tap this area here. This area here. Play around with a flood threshold, take it as high as it will go, then drop it back just a little bit. And now I want to have to come in and fill this area. We can do that just in one or two little areas. I wanted to do my final artwork. I can either hide or just get rid of that layer and put on my property line work layer like this, drag it above my blocks. That whole area is filled in nice and efficiently above monitor areas which I forgot. Like these little areas here, block two, fill in. These are just the areas that I forgot to erase a few minutes ago. But you can see areas which I'm circling now. These bits have been filled in very nicely. Thank you very much. For the most part. The more careful or job I do, my light work closed layer, the easiest time I'm going to have when it comes to doing what I'm doing now. But actually there's a much easier way to do this. I imported a PNG file with all the detail on one layer because while it's a PNG file, it doesn't support layers, but we've got Procreate, procreate support layers. And so what you do is you put all your big detail on one layer and then on a layer on top of that, if you put in all the fine detail. So you have a big outline layer and then a fine detail layer sitting on top of that. And then you use your big detail layer as your reference layer and do all your flooding using the fine detail there doesn't matter. That means you don't have to go through the whole business of having to edit out all the fine detail like I did just a short while ago. What I'm presenting here are a whole load of problems you may find. But if you just have two layers, what were the big shapes and then the little detail on another layer. Life is gonna be so much easier and faster. My linework layer, my final, you know, what? Final line work. So I can look at my legs and know exactly what's supposed to be doing, what my final line work is at the top. It's invisible for now, my linework closed is my reference layer that is underneath my block one block two layers. Now I've got a little job for you. I want you to carry on with this. I want you to create some new layers called blogs 0102030 or four, however many you think you need to use. I want you to block in this artwork. Now the first thing to say, I will do this behind the scenes and in the next video, the blocked in line welcome will be available in case you don't want to do this exercise that I recommend you give it a try because it's only by doing what you've learned that you really get to grips with the ideas and concepts. Now the challenge here is to try and create as few layers as possible with everything covered. The two little dots in the Yin Yang symbols, I'm going to leave those transparent, but everything else needs to have some color from one of the blocking in layers. So see how you get on if you don't want to do it, as I say, there will be a file waiting for you in the next video, but good luck and I will speak to you soon. 16. Start to Paint: Okay. How did you get on if he found this exercise difficult? I'm sorry. Before I started this, I thought about doing something much simpler, but I had already explained the principles in previous videos. I wanted to give you a real-world example because giving you a simple exercise to do is often a good idea. But then what happens is you start trying to apply the same principles to a more complicated piece of work and you run into problems because you have no experience of it. Instead, I gave you something a bit more complicated with me talking you through it. Okay. So this is Wu Siew 02 with everything blocked in. It is available as a download. And I found this to be a mixture of flooding using both bits of line work as referenced layers, and then painting in areas which didn't quite work. And going searching into all the fine areas, try to fill in all fine cracks. Were times when I was thinking what idiot drew this thing in the first place and then I realized it was me. And so I'll say to you, if you are an artistic genius, sometimes you still have to put in the hours blocking in things carefully. Okay, so I got to five block layers. If you did it in more, it doesn't matter if you did it in less. Good for you, as long as you can paint confidently on this without worrying about borders and stuff like that. A couple of things to note. Block one with all my skin tones plus extras on flooded into the hair area. But then when I did block for I just painted over the top so you can see block one, there was still lines there but we've blocked for it covers over those lines. That is okay. As long as you don't start messing around with the order of the blocks. Like if I take block one and then I decided I wanted to drag it above block floor. I get this kind of effect which is not a good look. And also can you see there when I was using my flood fill and I wonder if you did the same thing. I suddenly flooded in parts of the tuning because when the fluid-filled kicked in, the cursor four goes into the middle of the screen, which is right where the tunic is. Let me show you what I mean. Block want to select it. I come and I choose a that bit there and I flood it an account to continue filling with re-color and look, my crosshair goes right into the middle of my screen. And then for some reason you don't realize that you forget about it and you don't drag it off to where you want it to go, you end up filling in that bit. And rather than going in and correcting it, I thought I'd leave it there for you. So you can see that mistake. So I will undo a few times with that. And also Allan do it once more. Input block one back where it should be there in my blocks. Well, the first thing I'm gonna do is select all of them and I'm going to group them and I'll call my group blocks. The next thing I'm gonna come to all my blocks and I'm going to Alpha lock them because I'm confident now that I'm not going to change the borders of those blocking in areas. And so we'll put on alpha lock so that I don't accidentally do so. I want to keep this safe. Okay, so now I have five block layers, and I colored them in old and pretty bright garish colors so that when I was coloring in things, there was no mistake in my mind as to what layer on what color I was using. Now that I've done that, I know I don't really want to change the border of the blocks or anything like that. I can kind of take a hybrid approach where instead of just using these in their original form, maybe I can start using the blocks themselves to do some painting with and then add stuff on top of that. And that will save me a few layers. And so really what I want to do now is look, let's take Block one and I'll take the color that I most wanted to change and that's probably the skin color. And I'll come up to my adjustments or outcome to hue saturation, brightness. And I will select a layer because I want to select the entire layer. I can play around with the hue a little bit like this. Maybe make it a little bit red, a little bit less saturated. I think. Brightness or darkness. Just play around until I get a color that I quite like. Yeah, okay. I can do with that. So just tap on another tool just to set that in stone. And I'll do the same with the other layers just so I get something just a little bit more like I'd like to see as a starting point. Tunic. Okay. So I filled in the various different areas. It worked for the most part, but I did run into a problem. Take for example, the layer block 0 for, well, I use that for the bottom part of the yin-yang symbol, which I think should be a light color, but I also use the same length or her hair. I want that to be darker. That is not a problem because everything's on its own layer. The Alpha Lock is selected anyway, just to make things extra safe so I can come to my selection tool, 300s slighted, and I'm in add mode. I can zoom into this area. Be careful I don't get that part of a tunic which has the buttons on. That once I've done that, I didn't come to hue saturation and brightness because I've selected only that area, only that part be affected like this. So I can change that to whatever color I want. Answered with that in mind, now I can go through to the various other areas and do the same thing. So I can have more localized color. Actually, I haven't covered adjustments yet, but this is far too good. A real-world opportunity to show you something. I'll make sure I have a fairly solid brush selected, hard air brush, that's a no nonsense brush. And I will come back into hue, saturation and brightness. But instead of tapping on layer, I'm going to tap on pencil. Now I get the hue sliders, but also if I circled it, my brush has suddenly gone blue with a couple of little spot goals there, which is very nice. And so supposing I come to that scarf which is on her front hand, and I start drawing on that. I'll make my brush bigger like this. And I can alter the brightness of this plus the hue plus the saturation to anything I want. But I can carry on painting. Just all that area. Whoops, I got it wrong there. I cut in to the outer part of that yin-yang symbol. Not a problem. I'll come to my eraser and it's still got blue sparkles. And it can also erase that bit, make it a bit bigger Xiaowei, and erase that particular bit. Come back to my brush and carry on painting. Just the areas I wanted to be affected by my hue, saturation and brightness. I want to finish making changes. I can just tap on my little adjustments symbol in the top-left again. Well, let's carry on doing that because I liked the way that worked. 17. Adding Dark and Light: Okay, I've loaded up another file for you called a Wu Siew 03, which is what we're looking at now. But blocks are colored in different colors. But just before I go, I wanted to show you a little technique. I have my final linework layer at the top, it's selected. I'm going to duplicate it. Then for this, I'm gonna come to my adjustments and I'm going to come to Gaussian Blur, Gaussian Blur, Gaussian Blur, however you want to pronounce it. I've heard lots of different ways and are selected. And I want to select the entire layer, tap on layer. I put my pencil or my finger at the top of my screen and I stopped a slide from the top-left. Tools. Alright, and I get a little blue bar. When I do that, you can see I'm getting a blurred effect on that entire layer. I'll say that to about, say, 20% around about there. It doesn't matter. But the point is that entire light is now blurred. And if I just tap on either my adjustment icon again or on another icon like my layers panel that gets fixed and look at our rename it blurry lines. Now because my blurry lines layer is sitting on top of my final art work. I'm still getting that sharp, crisp outline, but I'm also getting a blurred effect. I'm gonna make that blurred effect even stronger by duplicating my layer. I have two layers, both doing the same job and the whole effect gets much stronger. And you can see how I'm getting a slightly hazy outline around my various different images. I can always merge it down so they too blurry lines layers become one layer. And I can also adjust the opacity of this anywhere from no effect at all, right, way up to full on in your face kind of effect. But there is so much more I can do with this. I'm going to duplicate that layer, again. Make the bottom layer invisible. That will just be a layer stored in case I want it. Because what I'm gonna do with this new duplicated layer is I'm going to drag it down to, for example, block 02. So tap and hold, drag it so it's just above block 02 and let go. And I'm going to use clipping mask to make sure that blurry lines layer is clipped to block 02. So now you can see I'm only getting the blurred effect where there is paint on the block to layer, which makes the whole thing much, much easier to control. Next thing I'm going to do is turn on Alpha Lock. So now let's show you for my brushes. I want my soft air brush selected. I want it fairly large and I'll have it on full opacity. That's good. Let's come to this top bit of the Yang symbol where you can see the effect. I'll select the basic color that I've got there. I'm going to make a much lighter version of it. Now. I'll take my opacity down so I can gradually build up the effect. But if I draw here, remember, we've got alpha lock on so I can only put down brushstrokes where there's already that blurry light, but you can you see that? Can you see how I'm gradually building up a halo Around Sue? And if I make it even brighter, made my personalize a bit smaller, I can build quite a sharp halo around her. But I'm going to leave the paint acids original color because I like that deep red where the top part of the yin-yang symbol is. Okay, well that's working and what else is on here? I'll come up to my blurry lines again, duplicate it, and I'll drag it down to block 0 for a could do with being visible, couldn't it? But now I will clip that to block 04, so it's only showing up in that area. And as before, alpha lock, in fact, let's make the master layer alpha lock as well so that I don't have to keep on doing it and possibly forget to do it. So my blurry lines layer is on block 0 for it's affecting the look of that lower part of the yin-yang. But I don't like the look very much at all. That blue is a wrong color for that. So let's try something else and maybe what I'll do, I'll come to hue saturation and brightness. Counting my pencil and our color in that area. Just because it's clipped to that layer, I can cover the whole area very quickly. Now, what color do I want for that? I'll go with that. So that scarf in front stands out a little bit more once I'm happy with that type of way. And so I can just keep repeating this. Duplicate my blurry lines layer, drag it down to what say block number one, make it visible and clip it to the block one layer. For that particular layer, there's a lot of skin artwork and think it's overwhelming the skin color a little bit too much, but let's let's choose a color. What about more of a deeper red skin tone for that? Compare. Actually, that's quite a nice skin tone. But the thing is with this, there's a lot of fine detail here. I'm not entirely happy with it. What I might be tempted to do would be to come back to my final linework. Do the same thing again, but this time have a less blurry layer and use that on block one so I can do more of a finer detail with those skin tones. Just while I'm here, I wonder what happened if I was to take something approaching her skin tone but make it a lighter, maybe reduce my brush size. I can kind of work as well. I can get a lighter areas wherever I want it. What I'm showing you here is a very simple technique. It a trick if you like. You know what, while I'm here, I would crank up the opacity, come to Hue Saturation, Brightness. My pencil again. I'm gonna come to these areas here, which are suddenly got a little bit murky because it's the wrong color sitting on top of them. But I can come in and I can adjust that to whatever I want like. That might be a little bit nicer. But by using these techniques, I can put in shading. That's what I'm doing at the moment. I'm putting in shading in various parts of my image just by blurring all that line artwork and then re-coloring it in and using it as a clipping layer wherever I want it. Come on. Let's do it once more. Duplicate, drag it down to block 03, which is where the main Geurnica make it visible and then clip it to block 03. And I think it's only the tunic which is affected by this. Or I can come back to hue, saturation, brightness and in fact the entire layer and get that to more of a color that I want. I quite like that blue effect. What about making something very different? Just while I'm doing this, It's worth just playing with the sliders to your heart's content. That's what it was. The brightness. Wondering if I can get a slight iridescence, look to her tunic. Little bit like silk. And if I decide I like that, my paintbrush choose my basic color, make it a much lighter version like this, and maybe make it just a little bit more greenish in turn. Opacity down, press size up. And is this going to work just on the highlighted areas of a tunic? I'm just doing the top of her arm there. What about bit smaller? Top of her arm. All I'm doing is making decisions about what color I want to see there. And because I already have that Gaussian Blur, Gaussian gaussian Blur, which is clipped to that layer. Because I know how to do this in procreate. Lot of complicated shading work is being done. For me. Maybe just a little bit. For example, if want to make it even brighter, I can do that. I think it's because I spent all this time showing you how to block in something. We'd go on and use this production technique just to show you the kind of things that you can do, I will leave it that you experiment with this all you want. And don't forget this while you've got conventional techniques, like just add another layer on top clip that the tunic layer, just paint whatever you want. We will see you in the next video. 18. LayerMasks, the Concept: Okay, so we've been looking at various different ways you can draw on layers and making it so you can only draw on parts of your layer. We have seen alpha lock and we've seen how to clip one layer to another, but there is another way and that is something called layer masks. Now layer masks are a little bit more confusing to understand at first, but try and stick with it because layer masks off your level of complexity and flexibility that the other two just don't. Okay, so I've got my file here. It is very simple and it consists of two layers. Layer two is just a blob of red on the layer underneath that layer one is a blue blob with some yellow streaks of paint over it. So I will make lead to visible again. I'll make sure it's the selected layer. Also notice that the color I have right in the top-right corner is a kind of a blue color. Okay, just to very quickly go over what we were doing before. If I turn on Alpha lock for layer-2 and I choose a pen hard air brush yet, That's fine. I can only draw on this layer where they're already pixels. That's an awful lot for you. So two-finger tap to undo that. And then you have clipping lamp. If I turn off alpha lock and I turn on clipping mask. With a clipping layer, you only get to see the pixels on layer two, where there are already pixels on layer one. We've done a whole tutorial about this. So I will turn off Clipping Mask button. Now, I'm going to turn on mask. Watch what happens to my layer two when I do and also look at what happens to that little blue swatch in the top right-hand corner. So I'll turn on mask now. And above layer two you get something called Layer Mask. And if you look at the thumbnail, it just looks white. But I also have black selected in my color palette. Now I'm going to come back to my layer, make sure the layer mask is selected. I'm going to draw on the layer mask or to what happens when I do see that all of a sudden that layer with a blue and yellow stripes is now visible. Because what a layer mask does is let you paint on it in black or white or any shade of gray. And where the mask is white, you see the top red layer. But where the mask is black, the top red layer becomes invisible. And you can see layer one underneath with the blue and yellow stripes. That is the basic principle. The layer mask is just a collection of black, white, or gray pixels, but you don't see it as fat. Instead, the layer mask is controlling the visibility of layer to whatever layer mask is white, you see the red splotch and where the layer mac is painted on in black and only where it's painted on in black layer to where the red splotch becomes invisible. So far you might be thinking, well, I can do the same thing just by rubbing out the red paint on layer two or no. Look if I come to my colors and instead of black, I'm now going to choose white. And I'll do the same thing. I'll draw on this layer. I can paint the visibility of the red blob layer, layer two back in again. And if I decide I don't like that, I can come to black. Make this layer invisible, come to white. Make it visible wherever I'm painting. And I can repeat this all day because with a layer mask this various different ways to remember it. I have a couple of favorite ways. When it comes to a layer mask, think about what it's doing to the layer it's on. In this case, layer to my red blob layer. Black conceals, white reveals, and that's how you remember it. The other way I remember it, if you're into space at all, is black hole. Wherever I'm painting in black, I'm getting a hole in the red layer. And if I choose to paint it white, well, white gives light, which means the top layer is revealed like this. Now I'm using a hard airbrush here. I don't have to use a hard air brush. Maybe I'll use a soft airbrush and I'll change back to black again. And I will paint and get a soft edge like this. Or if I wanted, let's come to something a bit more artistic, shall we? Let's come to while artistic. That's try hearts. Let's try that. I'm still painting in black. See that we can use any brush to create any edge I want an immediately, I'm getting some more interesting textures. Let's try that with something else. Let's try it with SASA for us. Nice name. Bit bigger there. If ever you wanted to reveal one layer. It doesn't have to be a hard edge. It can be any edge you want like this. There's even more. Look, if I come to my Layer Mask and tap on the thumbnail, I will come to clear that gets rid of all the marks and reset it back to its default, everything in white. So everything is visible status because there is more to this. Look, if I counted my opacity and take my opacity down, my brush a bit bigger and I start to draw. Now. You can see I can start to gradually build up my black brush strokes. Now part of this layer is now completely invisible and part of it is partially visible. And if I come to my Layer Mask, look at the thumbnail. You can see the marks I've made where I've done black. You see all of the layer underneath, but where I do that semitransparent black like this, you get just a little bit of the last showing up and you can build this up, which is exactly what I'm doing now. Similarly, if I come to clear again, I'll take my opacity up to a 100%. But what I will do is instead of painting in black will look, I'll tell you what. I'll make a black brush stroke. There you go. Then I will come and make a dark gray brushstroke. I'm still seeing the layer below, but now there's still a bit of a layer above remaining. If I come and paint in a lighter gray, I'm seeing even less of the layer below. And if I paint in a very light gray, I'm seeing hardly anything. And if I paint in just a slightly off-white, just a tiny bit of a layer below is peeping through. Because a layer mask is just a black and white layer, which is put directly over layer to my red blobby layer. But instead of showing just black and white, it shows visibility. Instead of those black and white pixels just being a series of black and white strokes. It's a special kind of bitmap layer where the visibility of layer-2, my red blobby layer is controlled by how dark the brushstrokes are on my layer mask. You can see it working right? Okay, so what are the differences all look. I will clear it again. I'll make this entire layer invisible and I'll come down to layer one. If I make that alpha lock Allow, choose another color. Let's try an orange color because it's not bright enough. Well, all I can do with an alpha lock is make my brush strokes like this. And if needs be or you can come to my Erase tool, rub out those bits. Those bits are gone. They're gone. I can't bring them back again. Well, I can't, but all I can really do is undo like this. Let's turn the Alpha Lock off for that. What I'll do is look, I will get rid of my layer mask just for now. I will turn on my layer so you can see all of my layer. Then if I turn all clipping mask, it works how you would expect it to work. And again, if I come to my eraser, I'll come down to layer one. I can get rid of those areas on the bottom layer, which means the top layer still only shows whether a pixels all my bottom layer, which okay, that's great. Now supposing I want to add some bits that well, I cannot my brush strokes, but as with the Alpha Lock, it doesn't remember where my original brush strokes were. If I had decided at some point I wanted what I wanted to go lobby layers. You can see in order to get back to that, I had to undo plenty of times. And so as with Alpha Lock, once I start erasing brushstrokes, they'd gone for good. I can add extra ones, but the original ones won't be there. But with a Layer Mask, let's just undo that with a layer mask. And let's choose a black for this again, I can erase that. I can paint it back in and I get exactly what I started with. And that is one of the main advantages of layer mask. 19. Layer Masks in Practice: This is a file called Wu Zu masking. You're probably recognize this from the previous videos, but I thought I'd have another go at it. And let me show you what I've got. Okay, Look, let's lose blocks 01 on block 02. By the way, this is available for you as a download if you want to follow along. Now, the one way we're interested in is this block 0 to build up that has a whole lot of clipping layers attached to it. If I just make them invisible, I'm not just take a look at the top part of the yin-yang symbol. I've got several layers which are clipped to this. I have clipped 01, which gives me some lighter highlights I have clipped to, which really starts to emphasize those highlights in certain areas. I have clipped 03. Well, that's something we did in the previous videos. It's a blurry version of the line work. And on top of that I have clip for, which is basically a paper texture effect, which has given me a nice finish to that top Yang side. Now underneath all those, I have a simple layer called black back, while actually it's a very deep purple because I'm gonna go off to see my clients. They're a little bit anxious about how the design is going on. So they want options, which okay, that's fair enough. And so what I'll do is I present this to them. And of course there's a few of them, so it's a committee. So I'm going to get a fair few suggestions. The first suggestion they come up with is we'll look this layer here, clip 02. We like a highlight, but not in all places. As well as being a clipping layer, I can also add a mask to it. So I have a layer mask there. And I was choose black and I will choose my airbrushing, soft air brush, my size about the same. Maybe they want that highlight just at the top of the symbol Tony down a bit in certain areas. Or I can do that because I have my layer mask selected. I'm drawing in black on it. So there. How about that? Let's take a look at it. Before and after. Great, Okay, That's looking a lot better they say, but not quite as harsh as that. Maybe a little bit more there. Okay, not a problem that's come and choose white again. Maybe I'll lower my opacity a little bit and maybe make my brush size a bit smaller. So now I can paint back in wherever they want. Like that. Yeah, yeah, we're really liked that, but what about making it hard edge just in certain areas? Short, not a problem. Let's choose black again on our choose my heart airbrush and make it a little bit smaller. Where do they want it hard, maybe along that top edge. So there you go. What about that? You know what, I don't like that we'd like the bit underneath, but we don't like the bit on top, so I can either undo it or if they come back to this in ten minutes time, Layer Mask is selected. Choose my white, Let's choose my soft air. Brush it again, bring it up and I can paint that area back in like that. Okay. They say, Yeah, we like that, we prefer that. But looking at some of these things, can we have it lighter behind the back of her head but just at the back of her head? Yeah. Not a problem. No problem at all. Turn on mask for hats. Now this is where things start to get a bit confusing because you want to make that area behind lighter. In your head, you're thinking, well, I need a darker color. No, you don't because with this lab, the darker color is being supplied by the layer. The layers underneath a lighter. So I need to make the darker layer on top invisible. So the lighter layer below shows yes, I think I got that right. So in this case, I need black. Make my brush a bit bigger. Yeah, that worked. And so you see, I can have my layer mask on various different layers. It doesn't matter if they're clipped. And the clients just turned around and said, Well, actually, you know, with that bit being elided, can we make the top highlights a little bit brighter more how it was? No problem at all. Yeah, sure. The clients there you go. There it is nice and bright. And there is one thing as well. Can we make the bit in-between the two highlights a bit darker? Yes, of course you can. Yes. But without the texture either? Yeah. Yeah. That texture on the top, just in the middle area. We want no texture there and definitely don't want any of those highlights. All we want is a little bit of that darker background, that bit. Now the point I'm making here is that I've applied layer masks to various individual layers. But with other art programs, you can apply a layer mask to a group. Or when you do that, every layer that is sitting inside that group is made invisible. At the same time, I'm sure you are realized just how useful that is to take a whole load of layers, all of which make up one effect. This effect with all the different colors and all the highlights and all the shadowy areas and make everything invisible. The same time. Yeah, that's really useful. But you can't do that within Procreate because at the moment, you can't apply a layer mask to a group. Maybe I should double-check that. Let's select all my layers like this, and I will group it. Now if I come here, no, I can flatten things. I can merge things down. I can combine things down while no, that's no good to me. But there is a bit of a workaround and that is, I come down to the layer where everything is clipped to that is blocked the 0 to build up. And you can see that is my base layer. Without it, none of the above layers work. But the thing about it is I can apply a mask to this layer. I'll choose black. Because black conceals white reveals my hair brush is soft. I'll take the opacity down so I can gradually make everything this area where I'm painting visible. Notice what I'm doing that I'm starting to reveal that deep purple color underneath all these layers. Not only am I getting rid of the colors, I'm also getting rid of that texture in that area. If they decide they want the whole thing extending downwards, Let's make it a bit bigger and I can paint in this area. Now, those highlighted areas are also being made in visible light. This we love it but not quite as intense in the top area. Yeah. No problem at all. I get completely where you're coming from. There you go. Is that how you like it? Maybe just a little bit of the lighter bits around her face. Of course, no problem at all. There you go. We really like that. But we were wondering if instead of that we can have the name of our glorious founder written there instead his name is Brad. Yeah, of course, yeah, I would love to do that. Okay. So tap on clear for that. Let's choose black. That's come to our hard airbrush. Make it a little bit more of the right size and let you go. Brett, there's his name. Sorry. Brett's only spoke with one T. Right? No problem at all. Let's make it white and get rid of that T. There's an accent on the a. Okay. So his name is Ray. Die. You go. Oh, could we try that out with everything candlelight reversed around. What you think you mean? If you tap and tap on invert like that. Yeah. Absolutely love it. Carrying out a little bit more of a halo around the bread. Yeah, you absolutely can. And whatever I'd have to what do I have? Soft airbrush. Make it nice and big. Breaths. Yet we absolutely think it's wonderful. Can we go back and start again? Yes, you can. Now, here's the mistake you will make. You will notice that my layer mask for this layer is selected. And I want to make things invisible. So I choose black. But somehow I managed to select the blog CO2 build-up layer instead. And I come in here and think right, I'm gonna make parts of it invisible and I will happily start painting away and painting away. I'm thinking it's not the effect I was expecting, but I'll carry on doing it. Okay. That's not a problem. But look in the top right-hand corner, I have kind of a gold color selected. What I've done is I think I'm drawing on the layer mask, but I'm actually drawing on the layer itself because it's not the one which is highlighted. Let's undo that. A couple of times. You need the Layer Mask highlighted. I know it looks semi highlighted because it's all pale blue, but you want the deeper blue showing on the layer mask. When I do that, that little yellow swatch turns to black or a shade of gray. And then when you do it, then you know, you getting the effect you want, which is not very nice anyway, so I'll stop doing fats that layer masks. You can have it on an individual layer or you can put it on a layer which has clipping masks touch to it. And it will hide all of those clipping layers. And it will only make that layer invisible. If you paint in black, it will make the same layer visible again, if you paint in white and it will make your layer partially visible. If he painting Grey. If you lower the opacity of your brush, you can gradually build up the invisibility or bringing visibility back again. And you can use any brush you want to get the effect. And it's only making my block 0 to build up layer visible or invisible. It never destroys the pixels. So you can come back in any point and just paint out or paint in whatever bit of your layer you want just by painting on the layer mask. That is why they are hugely powerful. That is why they're used all the time. As I said before, they are a little bit difficult sometimes to get your head around. Like when I was painting in this it here just behind the back of her head on this layer mask. Even though I was painting in black, it was dark. Things became lighter and now I painted white again. Things become darker because it's controlling the visibility, not the actual tone of the layer it's attached to. That's layer masks, very useful. Have a play around with them. You will end up at some point, I think you're painting on your layer mask, but you're actually painting on the layer that you want to hide, but stick with them because they provide the ultimate amount of flexibility over blending a layer with whatever is underneath. Okay, let's move on to the next video. 20. Gesture Control: This file is Dobbins 01. It is available as a download and I've just got to the stage now where I've blocked in some colors are now at start. Like to using a mixture of my paintbrush plus my smudge tool to start working in a bit more detail. If I come to my layers, are my colors, you are to head that layer. You know what? In case I start to get nervous and a bit timid with my work, I will duplicate the layer, make my original layer invisible. So now I can be a lot happier. Now I've got a backup, so I can be a bit more confident when I work. So let's zoom in just only the white area above the eye paintbrush tool. I've got medium airbrush. And if I sample a color by holding my finger down just in this area here, my pastor set fairly low swiping, gradually build up my color like that. But my smudge tool, I'm in the touch ups brush set on the 101 is short hair. Opacity is on full. My size is around, around 40%. But now when I start dragging, can you see about, I can start at emulate little bits of fur. But in order to go back to my paintbrush, I have to select my paint brush and add a little bit more of detail there. And I have to keep swapping between my brush, my smudge tool, one click, I know, but it's taking me away from the area where I'm working. I'd like a slightly easier way to work with this. Well, that is a whole lot of preamble because I want to introduce you to the Actions panel or the wrench icon, go to Preferences. And just under halfway down we have this gesture controls. And you can see I have a whole load of different categories here where I can customize how my interface works. In a previous video, we spoke about the quick menu, where you activate the three-finger swipe to bring up your quick menu, customize it. That's all nice. But the fact of the matter is for a lot of the things you do like Smudge eraser assisted drawing, you're gonna see a lot of this tap, officially known as the Modify button. But I always think of it as a little square thing with the round corners. And then if I turn that on, I would have tapping the little square thing with rounded corners will toggle Drawing Assist on the current layer. Well, let's take a look at where that is. They are talking about this little button. What I'm certainly now in-between the brush size and the brush opacity. And now I have this setup for a right-hand side because I'm right-handed, although I could swap that over if my son is using my iPad because he's left-handed. But what I want to do is come to smudge the one at the bottom, little round square thing Plus Apple pencil. I'm going to turn it on and tap on, Done. Now my brush is selected and I can add bits of white and maybe have a little bit more of that brown to this area here. But now, while I'm painting, I'm just going to rest my thumb on the Modify button. And I'll also put a red circle on the screen so that you know, when you see the red ring over the Modify button, that's what I'm holding my thumb on it. So on it am painting with my brush at that hold down and I get my smudge tool, even though top-right, my paintbrush symbol is selected. I'm actually smudging using my current smudge brush. Then I'll let go and I can paint the whole down again and I can watch that go and I can paint. I know getting repetitive but hold out and I can smudge. That saves me having to go up to my brush symbol or my smudge symbol and tap on it just so I can come back to what I'm working on. It streamlines the way I work and anything which keeps me in the creative zone, instead of me having to navigate the interface has got to be a good thing. That really is Gesture controls in a nutshell, a couple of things to mention though. For almost every category, if you take a look, I keep on getting my little square thing Plus Apple pencil. If I can do assisted drawing, little square thing Plus Apple pencil. Or the moment I have that little symbol plus Apple pencil turned on. But supposing I came to erase anode side. Well, actually I prefer to have that erased on there. When I did that, did you see a little yellow exclamation mark next to smudge? Well, if I come to smudge, you can see that's now turned off. The reason for that is because there can be only one thing that happens. You go enough to things going on at the same time that would just be a bit messy and confusing. And so if you try and make it do two things at once, procreate will take away the previous thing that you have active. I don't want to erase with my pencil while I'm holding down my symbols. So I will come back to smudge and turn it on. Watch what happens next? Two arrays. One, I do my little exclamation mark again, and if I come through arrays, it's turned off. So the other thing I would say is I'm mentioning the gesture controls fairly late in this course because hopefully now you're getting a feel for what Procreate can do and how to use it. I think that is the right time to start customizing any interface because I like learning new software. And sometimes if I'm following a course, sono say right at the beginning, customize your interface this way. By the time it gets to the end of the course, I forgotten how I've customized it, and then I might go off and do a YouTube tutorial. And the interface works differently to my interface because I've customized mine. I can't remember how, I can't remember how to get it back to what it was. So Gesture controls, well, yeah, they're useful. You've seen it can be useful right here. It can really smooth out my workflow quite nicely. But at the same time, I waited until a new Procreate a little bit better before I went in and started customizing my gesture controls. Because by that time I'm more confident with the interface. And also I've developed a personal style of working within procreate. I know what I wanted to do, I know my style. I want you to know what your style is. Well, the good news is you have plenty of different places where you can customize your interface. So it works how you want, okay, That is it for this video. 21. Working with Text: Hello and welcome to the video. This image is available for you to download it as called tulip text, but rarely It's just a placeholder image. While I talk to you about the wonderful world of text within procreate, I have a couple of layers here. I have my background color, I have my image layer. But if I come to my wrench icon in the top left and tap, the app panelists lighted. And right there you can see add text. I tap and now I have what do you know? Text. Let's add some text in there. Let's call this Tulip Mania. And there's my text. But I realized that I got that wrong. I won't be m of the mania to be in capital letters. So I tap with my pan or my finger and you can see my cursor blinking. I'll press backspace and Shift M. You go Tulip Mania, which incidentally, there was a thing called Tulip Mania. You can Google it if you want. It's an interesting read. And even though it happened quite a few years ago, It does feel disturbingly familiar. There you go. I hope I've peachy curiosity now, but anyway, that's the basics. But of course I want to have a little bit more control over this. So I come to the right side of my screen just where I'm circling to that little sign with two a's and I tap on it and I come to the various things that you can do in Procreate with text. If you've used a word processor and I'm assuming you have, a lot of these controls will be pretty familiar, but we'll go through them. First thing, let's increase the size and nothing happened. All right, well, let's change the font and nothing happened again. That is because I have to select the text before I can work on it. To do that, let's come to where it says mania. And I will double-tap. I get my keyboard at the bottom, I get a couple of controls over the top, the word mania has been highlighted. And it's highlighted because it's surrounded by blue, which can be a bit distracting sometimes. But I also have a little blue node just to the top left of the word and a little blue node just to the bottom right of the word. I have found with these that moving the bottom one, I can move that around just fine, just by tapping and dragging while that little blue dot is the top one, it can be a little bit glitchy. Sometimes. It worked that time, that's fine. If it doesn't work for you, you can always just tap in the middle of that M just where I'm circling and drag it around like that. So now everything is selected. I want to change the fonts. I've got some controls at the top, and I can do a couple of things with that little mini many appearing just above the tags like copying and pasting and selecting all and what have you. Personally, I'd rather get all the controls in workplace by tapping again on my little symbol just at the side where it says, a, great, Let's go through some of these things. Marker felt, well, that's okay, but I'd rather another font. I'm quite founder optima. Some of the fonts you see here, you may have in your system or you may not, because some programs install extra fonts. If you don't have all the same programs as me, you may not have all the same fonts as me. But either way I'm gonna go with optimal because I like it. Let's make it a little bit bigger by coming to that middle panel where it says to design, and I'll come to my size slider and make it bigger. If I make it much bigger, you can see there's a little blue box surrounding my text with a little dot on the left side and a little dot on the right size. And if I make my text and he Beggar, you find it wraps over because the text is too big to fit on one line inside my text box. That is not a problem. Come to with a little dot just on the right side and drag it outwards. And also the same on the left side. Once you make your text box big enough, everything clicks back onto one line and I can move it around all I want. And I've chosen optimal, but I have a number of different styles within the fonts. I have regular chosen. I can choose italic, bold, bold, italic, extra black, which I don't like. I prefer the original regular. I think it's got a nice open field to it and it's not too formal. Now the next two ones down kerning and tracking, these can be a bit confusing. I will start off with tracking and I'll make my box or a little bit wider. Because when I increase the tracking, you can see all the letters increase until eventually they flip over because there's so much space in-between all the letters that the whole lines got very wide. So I will reduce subtle little bit like this. This can be nice when you are getting a little bit fancy with text. Generally speaking, you don't want to do this when you're writing a paragraph of text. But when you're doing a title or someone's name, or you want to get a little bit graphic and a little bit playful with the letters, then yeah, Sticking space in-between them can work. Let's compare that with curving. Same thing happened. What's the difference? Well, when it comes to procreate in practice, there's not a lot of difference, but I'll explain it to you. Tracking first one we saw that puts an equal distance in-between all the letters. Kerning has to do with how a fault looks on the page. It is optical in nature rather than mathematical, which means that some professionals who are very used to working with fonts, I've comment and made various changes to a font and I'll show you what I mean. Take a look at the word mania. Take a look at the two letters on the right side, the I and the a. Look at the distance in between them. There's a certain gap there. Now take a look at the two letters on the left between the capital M and the a, look at the space between it's much less What's going on. Well, for hundreds of years, professional typographers, I've been obsessing about how text looks on a page if you lay text out. So there was an equal amount of space in-between every single letter. Well, yeah, that sounds simple, but it doesn't look right. In the case of this, the letter I on the right-hand side is going straight up and straight down. And it's a thin letter so you can get a certain spacing got looks right between the I and the a. Now take a look at the M, the assignment on the M that straight lines sticking up is slanted inputs and so it's leaning away from the a. If you were to put the same space in-between the m and the a as you have between the I and the a, that would now look too far away. And so we're the good font with a good typesetter or good photographer behind it. We'll look at all the letters, all the numbers, all the symbols, and figure out what is the best set of spacing in-between all the numbers, although that is all the symbols and every other letter, number or symbol, which as I'm sure you can appreciate, is a big task. And so tracking has to do with the overall space between vulva letters. Kerning has to do with a space in-between individual letters, and it is quite a precise art. I will come on mouse choose just my m, and then I'll come to counting on that. Can you see when I increase the kerning, it's only happening in-between the m and the a. So if there was something about the font, I didn't quite like, I might be tempted to change it. Or here's another example. Suppose you, I'll make that bigger. If I was to do that, then I might decide, well, actually, maybe I need to alter the kerning there so it sits separately or I was to alter the baseline. The baseline that will raise or lower a letter compared with all the unselected letters on the same line. And if I was to do something like that, then yeah, I might want to alter the kerning so it optically, it fits a little bit better. And can you see how that blue highlight around that M can be rather distracting. Calcium very happy about that. Anyway, that is Kerning and why it's different to tracking it. Okay, so we've covered most of this stuff now, what about baseline? Yes, We already covered that. Let's choose everything again. Zoom out a little bit. I will make things much bigger. Let's make it so we can actually see two lines of text there. Because letting, all letting does, is increase the space in-between two different lines. If you come over to attributes, there is something here called TT. And if I press my little button there, everything becomes capital letters or uppercase letters. Capital letters are uppercase letters and the small letters are lowercase letters. But I've noticed that when you do pressure little TT button and make everything capitals, unfortunately, it turns everything small again like this, which I'm not too happy about. So if I tap, get rid, shift and there, and there, then tap on my little aa symbol against take us back into where we were. We're not only that, let's just, let's select all by tapping the little icon at the top and come back in. Because really the last things that you must know this stuff and more word processor or the moment the tulip and the mania are two separate lines which are spaced evenly. If I come to this icon which I'm circling and I tap it, I get justified left, which means the text lines up on the left-hand side. If I come to this icon, it right justified, which means it's lines up on the right-hand side. And if I come to the icon to the right of that, that is justified both sides. And if I tap on it, you get a not very nice effect. So be wary of that. I'm gonna come back to center justified. And if I came to the U, that underlines all the text, if I come to the o, that turns all the text into outline. And if I come to the button on the end, something strange will happen. But if I make the size smaller, you can see what actually happened is that it's converted the tax, so instead of being horizontal, it vertical. But let's turn that off, Please make my text bigger. Move it around. I'll move it to there. I've got a nice big text. Now finally I will come to where it says Done. And there's my layer of texts. Couple of things to note because they are important. Now you can see my text layer called Tulip Mania because the tech says Tulip Mania and the icon instead of a little bitmap, you've got the letter a that lets you know that you have a text layer and you can come back in and you can edit that layer. If you just tap on the thumbnail, there you go. Edit text. Come to my AA sign. And I can go through the whole thing all over again. Click on Done. There is another command though called rasterize. Let me explain some things you really do need to know to explain that. I will come on our slide left and our duplicate my layer. I'll use my transform tool to drop it down a little bit like this. Just tap anywhere else on my Layer icon just to reset. In fact, now what I will do is I will come to my transform icon. It's set to uniform, and I'm going to make this text very small. Tap away. And then I'm gonna come back again. I want to make it very big again and tap away. And I still have some lovely crisp text. That is because a text layer is different from any other layer in procreate in that it is a vector based layer. What you're seeing there is not just a collection of pixels all clumped together to make up the words Tulip Mania. It's vector-based. You're getting instead series of points which are connected by lines. And this is all done mathematically. What that means is, no matter how close you zoom in, you're always gonna get a crisp looking text. No matter how small you make it or how large you make it, you're always gonna get some crisp text. But now I will come here and there's a command called rasterize. When I press rasterized, the layer I have selected will get converted so that instead of being a vector-based layer with a series of points in lines, in spaces or mathematical, it will get converted into a bitmap layer, which some people call raster layers. Now, bitmap layers, That's what we've been dealing with throughout this entire course. How clump a little pixels altogether to create some lovely artistic effects. So I will do that. I will come to rasterize. Texts, layers rasterized. And you can see instead of my little icon with a black eye on there, you can see a little thumbnail of what's actually on that pixel layer around it. So I will zoom out a little bit. I will come and do what I did before. I will resize this, I will take it right out like this and tab away. And now I'll repeat, I will come to Transform and I'll bring it back to its original size. My word what happened? But what happened was I converted the whole light into a load of pixels and then I made the whole thing much smaller while I made it smaller and etc. The settings then, because it's not a vector layer, it's a bitmap layer. Procreate did what any other image editing program does. It has to cram the words Tulip Mania into a much smaller set of pixel. So it does what it's told to do by you. In order to do that, it throws away a whole load of information about how hard the edges are, what the curves are, and they want to make it bigger again, will all you're doing is taking a few small pixels and dragging them up to where they were before, but a whole load of information has been lost and you're left with that, a blocky mess. That is why it is a very nice thing to keep your text as a text layer. And can I do something? Can I just slide to the left and get rid of that awful layer? Because I'm going to duplicate again. I'll come to my Transform. And just in case you want to get a little bit creative and start playing around with the shapes of the text itself will look if I come to free form and I dragged down like this, everything got stretched and then I tap away to accept. That will still stay as a vector-based layer because with text, you can stretch it vertically and you can stretch it horizontally. So that's great. I'll just tap to undo that a couple of times until eventually, come on. Now, I'll do something similar, but instead of free form, I will come to distort. Do something like this. I'm getting a little bit perspective effect. Then I will tap away and watch what happens. Text layers rasterized. That is because with a font, you can stretch it up and down or side to side, but you can't distort it in the way that I just did. And once you do something with text that you can't do under normal circumstances, it just gets converted into a bitmap. Let's get rid of that. Answer. My advice to you is, yes, you can start getting creative and start adding and taking away an altering the look of texts. But before you do, what I suggest you do is you can duplicate, comes transform under uniform, make it as big as you can, like that, or maybe created on another file which has a lot more pixels to it and import, but there That works. Then you can do all your spelling and stuff like that. And then if you want to come back and say you want to warp the texts like this, getting this kind of an effect and maybe drag that down like this. I'm basically just playing around with the text. Once I accept that, we'll get rasterized. And then if I come back, come to uniform, supposing I wanted that Tulip Mania just down in the bottom right like that. I will make my taxes because I can make my changes to it and then it gets rasterized and then I take it down there so that it remains crisp rather than some small text distorted play games with it because I have less pixels to play with. When I do that, it takes big do you changes, do what he creative work, then bring it down to size. Alright, let's get rid of that because there are just a couple of extra things that I want to show you. Leave that duplicate my lab. I will take the layer underneath. No, no. I'm gonna move it down a little bit like this, then comment, edit the text. Make it black. Most of all I wanted to do with it. But then what I'll do is come to my adjustments. We use Gaussian Blur and just slide along until I get the softness that I want. This has been converted now, so it's not vector-based anymore, it's now bitmap. It didn't tell you that. But if I come to my layers panel there you can see the layer underneath is now a bitmap. Incidentally that was black, but I would change that from normal to multiply because you do get a slightly nicer effect with the shading in the background. And you can see I still get crisp text, but now I have a drop shadow there. And if I decide that I can always lower or raise the opacity to whatever I want. Very final thing, I'll add a layer and I will make this layer clipping mask. What brush do I have? Soft air brush that's fine. Low opacity, large size. And choose a color at random. Because I'm painting on that layer. Clipping mask. I can paint in wherever I want the text to be a certain color. All right, that is taxed pretty straightforward. Just be aware of the differences between a vector layer where you can edit the font and a bitmap layer, which is like everything else we've covered in Procreate, where you can't edit the text and you can't edit the font, but you can do some nice bitmap or face because the very final thing to say is I've got my vector layer selected that's come to my smudge tool. I can't use my brushes, all my smudges on my erasers directly on a vector-based layer. It's saying, Do I want to rasterize the layer to convert it into a bitmap layer? No, I don't. Because then I lose all the flexibility that our text layer has to offer me. Let's move on. 22. Working with PDFs: A new feature in 5.2 is the ability to work on PDFs. So if you want to bring a PDF into procreate from the gallery, choose import in the top right. What do I have? Hip blend mode 01. This is a PDF I produced for the Affinity Photo course. But if you take a look at it, you can see the various different pages of the PDF. I can scroll through the pages with a page assist feature which is at the bottom or like this. The reason I chose this particular PDF is because yes, it's written for Affinity Photo, but it does go through the various different layer blend modes. And I haven't checked, but I'm pretty certain Procreate has the exact same layer blend mode. They may not all be called by the exact same name, but the plant modes within procreate other blend modes you find in just about any image editing programs. So this may be useful for you over and above. Explaining the page assist. Now you can do various different things like if you take a look in the bottom right, this is page nine, but I can take page nine and I can drag it beyond. So now I have pages 810911. In this particular case, not so useful, but it can be useful for you if you are setting up a PDF because yes, you can export a PDF. You can't do things like edit the text directly that's been converted to bitmaps. And I will under the page order. But one thing you can do if I come to say the first page and I send it off to the editor. And by using Procreate as well, they can do mark upon it like for example, if they decide that word before should rarely be in bold, they can always write. Well, the only problem with doing that is because I've drawn directly onto my layer. I don't want to do that, so I will two-finger tap to undo and undo and undo. I keep on doing until I get back to where I was. Well, okay, let's come to the last panel. I'm on layer one, and let's add an extra layer to edit that. The only problem with that is now when I come to my page assist, I've got page one, my new blank layer, then page two, that's not quite working for me, but that is very easy to sort out. Come back to our layers panel and comfortable layer one, swipe right to select the layer two and group them. And it will be sensible to rename this to one. Now it reads correctly, and if I come to my new layer and I type in bold, now when I come to my page assist, it all reads as his shirt. Incidentally, all of these layers, you can see the little tick marks going all the way up the left-hand side. All of these layers are visible, but under normal circumstances, you'd only see the very last page because it's highly all the others. But with page assist, you see whichever layer is active and it's not hidden by everything on top of it. That's a useful feature they've thought through. Just on the bottom you can see I can add a new page instead of going via the layers panel, and I can drag that to different places if I want. I don't need that page, so I will swipe left and delete that. Now the editor wants to send this back to me, and so I can always come to my wrench icon, count my share. And sure enough you have an option here now for PDF. And you get choose PDF quality good, better best. Now, I would imagine the PDF quality good, better best, that we'll refer to things to how many dots per inch if you're far gets exported out to us. And also how much compression you can get on your various Devin images. Couple of things to say about this. When it came in, it converts to all my texts bitmaps. So unless I'm missing something when you export, it will also go out as bitmap artwork. So you won't have the ability to do things like edit text that does limit its usefulness. I wouldn't recommend this as a fully featured PDF, but that's not really the point. The point is, this is going to be useful for people who are maybe doing things like comics or for people who don't procreate tutorials, we want to export PDFs directly from within procreate about things like brushes and how the different brushes work that will be useful. If you have prepared a comic, then all you have to make sure that you do. If Allie, one-page is made up of more than one layer, make sure you group the layers like I've done with page one. Then when you export, things should read just fine. So that is another useful addition to procreate. So yet another well-done to the makers of the app.