Procreate: The Fast Guide

1. Hello and Welcome: Hello and welcome to Procreate the fast guide. Now this is supposed to be a fast guide. So let me quickly tell you what you're going to be doing on the course and why this course is different. In the first part of this course, you will be creating a screen full of suites. I'll introduce you to many of the tools inside Procreate. For the second project, I'm going to show you how I created an image that you will see throughout the course. And that is a child walking their pet dinosaur. Now the second project concentrates more on workflow because just learning what all the tools do isn't enough. They need to know about workflow, how to start and where to go from there. But there's more. This is what makes this course difference. After the to follow along videos, I have a whole series of reference videos which explain the various tools you can find within procreate. And at the start of each of these reference videos, I show various timestamps. So you know exactly what point in the video you need to go to to get the information you want. I've also created a PDF that you can download, which lists all the reference videos. And at what point in those videos, I talked about the various features of Procreate. That way you get the information you want quickly. This is going to be a huge, a time-saver. And what's more at various points in the first two projects, I told you where to go in the reference videos to find out more about what we're doing at that particular moment. So you have it all. You get to practice the tools, you get to practice the workflow, and you will know where to go in the reference videos to find out more about what you're doing. Again, this is a huge time-saver. Now, while on for me, well, I've been a designer, illustrator for more than 30 years. I also spent a few years being a teacher or my degree is all about how people learn. You learn. You aren't safe hands. Okay? Who that is, what procreate the vasculature about. So it's tied to go onto the next video. I will see you there. 2. Let's Have a Quick Mess Around!: Hello and welcome to Procreate the fast guide. Thanks for taking the time to invest in this course. This is supposed to be the fast guides. So let's get started straight away. I have my iPad and let's open up procreate. The first thing you see is the gallery. This is where you store various different images, but let's create a new file. So we've got something we can start painting with. Come to the very top left and tap on the plus sign. You'll have a number of different presets here. I will just go with a standard screen size. There's my new file, procreate file, which is opened consists of a layer you can draw on and the background color. And we find those in the icon I've just clicked, which is the Layers panel. And so now the next thing is I want to make marks on what I want you to do with the first session is make a huge mess. So I will come to my paint brushes. I have a whole load of different brush sets here. And I'll come to one of the official ones down at the bottom. Let's try painting. And I have a number of different brushes here. Well, let's try Nikko rule. Let's try that one. And in order to paint, I need a color as well. So I come to the very top left and I call up my color panel, and let's choose a color. I'll come to this rainbow around the outside, allow choose a red color and I can vary how dark or light it is or how saturated it is in this square. Let's try color there. And then all I do is make a paintbrush. There's my first mark within procreate. If I wanted to alter the size of my brush stroke, I can come over to these two sliders on the left-hand side. The top slider alters how big or small my brush sizes. So if I make it very big like this, I might get big brushstroke or I can make it a very small brush stroke. Let's make this bigger again. Now at the moment, I'm getting a fairly solid but not entirely solid brush stroke. So if I come down to the bottom slider, this controls how transparent the brush is. If I make it a pasty a 100%, I get a very thick brush stroke. If I drop the transparency down, I get a very thin brush strike, which gradually builds up. Now, I want to choose a different color. Let's try more of a yellowy color like this. I learned. Gradually build up my color like this. There's my first Brilliant bit of artwork, except it's not, it's complete mess. And this is exactly what I want you to do for your first session. There are a number of advantages to make a complete mess like I'm doing now. While is that? Well, you can experiment with different brushes. Let's try. It's Hamas you what that looks like and choose a different color. It's Dr. Blue. Yeah, I can see I get a different kind of brush stroke. I may come to a different price category. Let's try sketching and try peppermint pencil. Let's try vert. And let's try, well, let's try a very light color and I can draw using this. What I'm doing is getting a feel for the way my pencil interacts with my iPad. I'm also realizing that different brushes are going to give me different effect, even though I'm using the same pencil like the PubMed pencil gives me a very different effectors, say the artist crayon, Let's take a look at that and increase the size a little bit. I'm starting to figure out the brush strokes. And I'm also starting to figure out where various things are on my interface. Generally speaking, with Procreate, if you're making marks, you come to this area of your screen, the top right. If you're doing things to the marks you've already made, or doing housekeeping things like importing files or changing your Canvas site. You'll come to this part of the screen. So direct action here, caretaking stuff here. And don't forget our size and opacity slider here. Now, supposing I don't like what I just did. Underneath these two sliders, I have two little buttons. I have the undo and redo button. If I tap the undo button, you can see I'm undoing the brush strokes that I made. And the button underneath that, I can redo the brushstrokes that I've made. But one of the nice things about Procreate is that there are a whole load of finger gestures like show you just a few of them. Now, if I wanted to undo approach strike or rather than coming over to my undo and redo, all I need do is make a brushstroke life verse. And then if I don't like it, get two fingers and two-finger tap to undo. Two-finger tap to undo again and again and again. If I tap and hold my thing is down, I do multiple readers like that. But if I get a three-finger tap, I started to redo the brushstrokes and I fight three finger hold and tap. And that's what happens when I three finger hold. If I want to zoom my canvas, I pinch inwards like this. Pinch outwards. If all to rotate my canvas. I can move it around by rotating my fingers like this. If I want to move my camera around, I can just two-finger drag like this. And if I decide I want my cameras to fit to the screen, I can just quickly pinch in like that. Those are the basic gestures you really should know about to get yourself up and running in the shortest amount of time possible, which is what this first video is all about. Any brush within procreate. And you can see that loads of them around. You can do three things with any brush. You can paint with them like I'm painting now. Or you can smear with them. What brush tool I have chosen for that, Let's try smokey paint and you can smear the brushstrokes around like this, or you can erase. And by coincidence I have smoky points selected for that. And I can erase my brush strokes like this. Every brush gives you that ability. Now supposing, I have my **** brush selected. Let's make capably mark here like this. And suppose you want to use the same brush to smear things around. That's not a problem. I just come to my Smit icon and tap and hold and I get smudge with current brush. If I open it up, sure enough, there's my damp brush. I can smear with that brush instead. And can you see how the way I'm smearing with this gives me a slightly different smearing effect. The previous brush I used, because every price can be set up to have different properties. So they work in different ways. If I want to erase with the same brush, well, I can do the same thing. Whichever brushes actively selected at the moment, like the smudge brush, if I just tap and hold on my eraser, that brush it now gets selected to erase with and if I open up, sure enough, there's my damp brush. Now at some point in this video, we will be taking a brief look at the brush engine. This is where all the different parts of your brush I'll put together to make the final approach that does such wonderful things. But that's coming up later in the course. For now though. Okay, we've seen we have our brush library where you can make marks with, you can smear those marks around or you can erase those marks or with any brush. But there's also the layers panel. Every new file you create inside Procreate will have at least one layer, layer one plus also the background color. For the background color. If I tap on that, I can change the color of my background to whatever I want. Like this. But also I can create new layers. And so if I come to a plus sign and tap new layer called layer two, and then I can come to my brush. Let's choose a different brush. Let's try artistic hertz. Okay, Let's try hertz and see what that looks like. I'll choose another color. I will make a brushstroke, fair, and another a lighter brush stroke like this. And let's go for a completely white color there. Now what's nice about this is those sets of brushstrokes on a new layer. And so I can make the layer underneath completely invisible. Visible. What's more? Do you remember how I said the things on this side, I can paint, smear or raise plus layers. Along the other side, you have the ability to select and transform. So if I come to, for example, my transform, I can take the brush strokes which are only on that layer and I can move them around like this. I can't resize them like this. I can distort them like this to do kind of perspective effects. Or if I want to get really technical, I can walk them so that I get a little cage where I can warp the brushstrokes into all kinds of interesting shapes. And to commit to that, I would come in, tap on my arrow icon again, come to my layers panel and there's my layer two. With everything warped. We've seen most of the icons in the top right. One we didn't take a look at was colours. You have a number of different ways to show and choose colors. At the moment it's on disk. You also have classic Harmony Value Palettes. We will go through all of those. Let's come back to the disk and you can choose a color from anywhere around the outside. Those are all the colors of the rainbow. And supposed to get I2, say an orange color. Well, on the inside you can choose Walt that showed most intense version of it, but you can choose a darker version of the orange, or you can choose a less saturated version of the orange or both at the same time. So you get kind of a brown color, light color for a more peachy flush time. Like this. We've already seen. You can do various things, things inside that length. But you can also select parts of your brush strokes like this. And then you can also do things like you can adjust them. For example, the hue saturation and brightness. Just inside the area. Can you see the colors shifting around and getting darker and lighter? Because as I said, the icons on the top left of your screen, they tend to make changes to a brush strokes you've already made. Now, I can tap on any of these top icons to take me out of what they're doing. And finally, on the end you have your wrench icon, which gives you all the housekeeping things like inserting files, resizing, sharing your work with the outside world, and also setting things like preferences. Like for example, you may be left handed, in which case you can take these little sliders on the left and put them onto the other side of your screen. If you want, you can have a light interface. Dark interface. I will just put those back to where they were before. We will go over this stuff in more detail. But for now this was just a first tutorial, just a load appropriate and just to give you a very general orientation. Now what I would like you to do before you go onto the next video, if you haven't already done this, do what I've just done, just create layers, just choose anything at random. Could I suggest you deliberately set out to make a mess rather than a finished piece of artwork. Because when you're making a mess like I'm making right now, you're just becoming familiar with where to go with your pen on your screen to access things like the brush tool or the smear tool like this, all the arrays at all like this, or how to create a new layer, or how to choose a color. Or how to alter the hue and saturation and the brightness of everything on that layer. Because if you're trying to draw something that you recognize, you can end up frustrated because you want to do something inside Procreate to make your drawing look better, but you don't know how to do it just yet. Well, that's what the rest of this course is about, showing you how to do things as quickly but also as thoroughly as possible. So that by the end of the course, you are confident to be able to do the things that you want to do with Procreate. But for now, just have fun. Make a mess. Play around with all the sliders. And don't care about what you do. Just familiarize yourself with the general interface and how it feels to slide your pen along the surface of an iPad. Alright, Micah, couple of masses, just get rid of the files afterwards because they don't matter. And in the next video, we'll talk about the gallery has organize it and also how to create new files plus a phrase called DPI, which seems to confuse a lot of people who shouldn't really confuse. But I will explain to you why you don't need to worry about it. That's coming up in the next video. 3. Project 1 - I Want Candy!: All, let's get started with our first projects versus Procreate on my screen. I also notice we've got drizzle for the next hour. You gotta level of again, my country anyway. We knew new file. So for my new file, I will just go with a standard screen size, same size as the iPad screen. And we get our two layers plus a background color. The first thing I'll do is just reduce down the background color because I find that just a little bit bright to be working on. Some kind of a blue, but a very not bad kind of a blue. Just to take some of the glare away from the screen and come to done. Okay, so for this tutorial, we're going to be making some sweets. They're pretty simple shapes that colorful. And also I want to show you as many techniques as I can cram into this video. So layer one is selected, I could do with a dark color for alerts to that disk for example. And I will come to here. Then I need a brush. I'm in my airbrushing brush set and I will come down too hard air brush. Let's just check my size. I could do with it being a little bit smaller. So maybe around 8, 9%, something like that and do a quick test line. Yeah, that's about the size I want and I will double-tap to lose that light. Okay, So now first of all, I want to draw a lollipop. And for this, I'm going to take advantage of the quick draw in that. I'll draw my circle from my lollipop. I'll hold my brush in place until I get that ellipse created and I get something called Edit Shape. I have a choice here between a ellipse or circle. Now can you see that text which is appeared at the bottom of the screen? You will see that from time to time in these workflow videos. And that takes, lets you know the title of the video in the reference section so that you can go to that video to find out more about, in this case, quick draw. If you want. There will also be other titles which might look like this, for example. And so what you have now is the title of video plus the minutes and seconds into that video that I talked about. The thing that you're seeing on screen that is gonna be a huge time-saver for you. Alright, I will draw out the circle for the head of the lollipop that I want to do first. And when I do, rather than taking my pen off the surface, my iPad, I'll just hold it in place like this. And eventually I see that ellipse created an Edit Shape. And if I come to Edit Shape, I get a choice between an ellipse or a circle. I get that I can stretch my circle like this. I can rotate it around, although there's not much point where the circle and get this to the size I want it to be. Okay, so I want to keep that so I will tap on my brush. Then I'll come to my layers panel and I will slide left and duplicate my layer, the layer one underneath. I'll make invisible. I want that there just in case I need it later. But anyway, I have my top layer and come out. Let's start as you mean to go on, name your layers as you go along, you are going to affect me for this because sometimes you can end up with dozens, if not hundreds of layers. And Earth are all called layer 12, three seventy, eight hundred forty two or whatever. You are going to have a nightmare trying to figure out what is on what lab. I will call this lollipop. Head. There we go. Okay, so the next thing I want to do is to flirt the inside of that circle with the same color. All the same color is up here in the very top right. So I will drag that and flood the area like this, that one's a bit too far. My threshold is 89%. If I slide my pan over to the left, eventually I threshold gets less and I can let go. All right, so that area is colored, but that is looking a little bit dark for a kid's lollipop. So how come to my layers panel? And I'm going to tap, and I'm going to come to alpha lock. That will make it so that I can only paint on areas which already have paint applied. Anything which is transparent will stay transparent. So for this, let's come here. I'm in my airbrushing brush set, but I want a soft airbrush. So come to soft airbrush. Now my size and opacity, I want the opacity right the way up. I want the slides fairly large like this. And I need to choose a nice bright color. All right, well, let's try pretty bright red like this. I can just paint in that area or like that because I have Alpha Lock Selected on that layer so I can't draw on the transparent pixels, but I would like a little bit more of a two tone effect of this. So let's come here and let's choose a color for this. I totally what we'll do, let's come to the. Harmony disk. And instead of choosing an analagous, analogous outcome to triadic, because I want a very bold, bright Canada effect here. Now let's come to tetrads, and that's the color I've chosen a. Let's choose this color down here, which is a quarter of the way around the circle. And I want to color in just part of the circle. So I'll start at the bottom and work my way up. Now that is too strong, so I will double tap to undo that. Instead, I will lower the opacity so I can gradually build up the effect and we can get the capacity as low as I want. I also want the brush to be a lot bigger because I want a softer transition from one color to the other. Let's start at the bottom and gradually worked my way upwards. Can you see how I'm now getting a much more gradual build-up of that effect. Okay, one thing I should say at this point is that you're looking at the direct recording of my screen. And so you do get drifting color cast. I've done my best to correct it. But if I show you a screen recording than the colors I see when I'm recording it look more like this. So just bear in mind, there is a certain amount of drift in the color. Back to the direct recording of my screen. Maybe that's gone a bit far, so I will sample my red. But just by tapping and holding until I get the red color. And I'll just drag this down a little bit down here. I know a little bit down here. Then what I'll do is I'll come to my classic tab. Just push my little reticule. That's that little circle there up to the very top because I want a slightly lighter highlight inside there. I will make my brush size smaller and gradually build up a little highlight around here. How's that looking? Okay. Yeah, no more than that. All right. So now I'd like to get some stripes in there and get them looking very swirly. So I will come back, It's my layers and I will add a new layer. Now I want to put down some paint brush strokes, but I wanted to only go as far as the edge of that lollipop head. So I'll show you the before and after for this, Let's come to our paintbrush again. I will come back down too hard air brush. In fact, now let's come to inking because I want something which has a variable width. I found basketball can do the job quite nicely with this. I don't want a plain white for this. Let's find a color for this. Let's come to disk. Will choose a yellowish color for this, I'm using very primary colors. This little circle in the middle. Let's make this a light color like this. And actually let's make this a little bit of a cool yellow. Let's test out the width of my brush. Yeah, that seems about right, but you'll notice that it goes past the age of my circle. That's not a problem. I will top tab and I will go thick, thinner and then thick again there. And I'll do another one here. Start off pressing hard and go thinner in the middle and pressing hard again. And then what I'm gonna do is come to my layer three and I'm going to select Clipping Mask. And when I do, in fact, let's move this over so you can get a clearer idea of what's about to happen. Our press clipping mask. This is another way of making parts of your layer invisible because that layer, which is sitting above, you see that little arrow pointing downwards. That lets me know that layer three is clipped to the lollipop head layer. And so you can make your brushstrokes, but they just don't appear beyond the boundary of anything on that lollipop head layer. Okay, so now I want to get a little bit creative with this. I will come to my adjustments and I will come down to liquefy, which is a wonderful tool. I have a number of different options here. If you come to push my brush size, I could move these brushstrokes around. Or for this, I want to come to twirl right, our chair, my brush size again, maybe that's about the right size. And now all I'm gonna do is just come to this add hover on that. And can you see how everything's starting to spin around? I want all of those lines to spin around, not just a little bit in the middle. So two-finger tap to undo and make my brush size quite a bit larger. Now let's try at all. Yeah, that's what I'm want. Mccann nice swirly pattern on that lollipop. Now of course, because I'm being greedy, I want to play around with the effects. So let's see what that looks like with different layer blend modes. I'll try it under overlay. Looks interesting. What about soft light? That looks nice. Hard light. Wood reducing the past to create a slightly different effect there. I think maybe about there, I quite like that, but of course I'm greedy. I want even more of an effect. So I'm going to swipe left and I'm gonna come to duplicate, to duplicate my layer, I will come down to the layer below and I will reset it to normal. Like this. One I'm going to do is come back to my adjustments and I'm going to come to Gaussian blur. Now from a Gaussian blur, all I need do is just either with my finger or my pan slide from left to right. I want to do. Can you see I'm getting a slightly blurry effect just behind those swirls. That is the layer below getting more and more blurred. Just blur it just by a small amount, maybe 3%. And then to accept that, I'll come to my layers panel. But I want to increase the opacity up so I can see that blur effect a bit more strongly. It's still not quite strong enough for me, so I'm going to swipe left and duplicate the layer so that I get a doubling up of that layer. And did you see how I got a bit more of a glow there? I like that, but what I would do is I will merge this layer down to the layer below. I can do that with merge down. There we go. Now while I'm here to do, I want to experiment with a layer blend modes to see if I can get different effects. One, I put it to light and do you see how I get a slightly different effect there? Because the blend mode you use will have a bigger effect on what your layer looks like, like ad that's looking very strong and I like that, so I'm going to keep it. Okay, So unlike what I've got here, but I could do with a bit of an outline around it maybe. So remember layer one, my initial layer which I just drew an outline on now I can use it. I can make it visible and I'll put my finger on the layer and I will drag this up right to the top so that it's at the top of the layer stack because the layers which are higher up in the layer stack cover up whatever is underneath them. Now I'm nearly there with that. But if I zoom or ride up close and personal, you can see just in this area here, that's where I started my brushstroke and ended it and you can see it a little bit inconsistent. Well, first of all, I don't need this to be clipped. Lollipop head layer, so I will turn off clipping mask, which changes the look slightly, but then I will duplicate this layer so that I get a doubling up of the opacity right there, that gives me what I want. So I will merge that down with a layer below. Come up. Let's rename this lollipop outline. But let's pinch inwards to zoom out. And I'm not, you know, with this, but I don't know about your country, but where I'm from, a lollipop needs a steak. So let's do a stick. Let's create a new layer and come on, let's name as we go along, Let's call this layer. Stick. For this. Let's come back to airbrushing brush set hard air brush. That's what I want. Now. I want a lollipop stick. I want it to be with that people at the right width. Yeah, I can go with that. Now just in case I want to keep that brush size for future reference, I can come here and I can tap on the little button on the slider. If I press the plus side, I get a little notch. That means I can change my brush size to whatever I want. But if I decide I want that size which I liked before, tap that and it comes, okay, so for this, I need I need a basically a whitish color downside. I'll make it nearly white. In fact, let's come to classic because I get a bit more control with this. These are all blue colors. I want, I want kind of a bluish white. So I'll move this down just a little bit. Come on. Just to get to the tiny bit of blue in there. Then I will draw a line and I will just hold my brush stroke. And I get, instead of a line, I get a rubber band which is completely straight, so I don't have to worry about my hand wobbling. When I create this. Also, if I put my finger here, I get one figure modify and that made it snaps to 15 degree increments. That means I can get a perfectly straight brush like that. That go on are good. Only problem with that is that look at the bottom. It's fading off a little bit. What you can do something with that now I need to move that so it's underneath my lollipop. So I will come to my Transform tab. The bottom of the lollipop stick is a little bit faded. That's not a problem. I can also flip vertically, so the whole thing swaps upside down. And now that solid edge is at the bottom. Great, good times. Now I can move this. A lot of times people try and move from the inside and that ends up stretching. But it's just as easy to come to the outside and move around like this. Now wondering what about the center of that lollipop is if I came to snapping and turn on snapping, that will give me some guidelines. So now when I move around, I see that I'm getting a little guidelines. If I move this there, you see that blue line running down the middle of both those shapes. That lets me know the shapes are aligned to the center. So that's matched up perfectly. Alright, so I liked by that is so our tap, any of the other icons to accept that, the only problem with that is the stick is lying on top of the lollipop. I need it to be underneath, so I will drag that down. It's underneath and there it snaps. I will turn on Alpha lock. How come to my colors again? Because I want a little bit of shading just where the stick of the lollipop meets the head. Make things a little bit darker like this. I will come back to my brushes. I'll choose my soft air brush again. Make it a little bit smaller like this. Just toilet bit of shading just there. Then I will come and make things even darker. Make a better, deeper shading, just where the stick meets the actual head of the lollipop. Ok, so now the next thing is I want to group all of these together so that, for example, I can move a lollipop around as whole or resize it or do whatever. It's a good idea to organize your work. So I will swipe left or right for all of these, what I swipe more than one layer, you can see that highlighted that's my main layer. These are also selected, but they're just a bit darker. And I've got this thing here called group. If I tap on group, all of those layers on a new group called new group, which I could do without. So let's tap, rename and call it a lollipop. And because they are all grouped, if I come to my Transform, I can move this around as a whole, are moved to the side there because I want to do a couple of more suites that will be coming up in the next video. 4. Make a Stick of Rock: Okay, So we've made our lollipop. Let's try making a stick of rock. That's what we call them here. When you see what I'm about to, maybe you'll recognize it. So let's come to our brushes. Hard air brush, that's what I want. Let's create a new layer and take a look at our precise because I want this to be pretty big. 100%. Yeah, that's the brush size I want, but I want it to be a lot lighter than that. So double-tap to undo that, let's create just a plain white. Let's make it slightly off-white, shall we about there? Then? I want to make like the handle of an umbrella but upside down. So I came here. If I do that and that's not looking quite how I want it. An arc is created edit shape. No, I'm not sure even though I can move the control points around, I'm gonna get the shape that I want. Kinda have to try a different way of doing this. What about quadrilateral? Definitely not. Forget that. Let's come and clear our layer. I need to do this differently. Alright, let's try again and I'll try using the assisted drawing for this. Let's create a circle shape, terrible circle. Let's come to Edit Shape and yet circle, I want that. All right, for this, well, That's a little bit big for what I want, so I'll push in, so I'm getting a much tighter shape like that. And I will tap to commit to that. Then I will come and create a new layer. I will do a simple brushstroke straight down like this, hold one thing and modify it so I get a vertical line like that. Now because these are on two different layers, this is good news for me so I can come to my transform tool. I can move it. Snapping is turned on from the previous video and this is gonna work. Is this going to snap? There? That could work? Yeah, I'll go with that paintbrush to select k. It's nearly there, but I've got a circle as opposed to a lollipop shapes. So what I can do is I can come to Layer seven. I will duplicate this in case I mess the whole thing up and make the layer underneath invisible. I'm using my hard air brush I could do with erasing, but with the same size airbrush. Well, I have my erasers here. And if I was trying to raise with that, then that's not really the effect. I want I want something a bit cleaner than that. So double-tap to undo that. My brush, I'm using the hard airbrush. Okay, so let's come here. And I can come to airbrushing and come down too hard air brush for this and choose that. Check my pasty check my size. Is it the same size as my regular brush yesterday so I can start to erase bits like this. Let's swipe outwards to get an idea of what I'm looking at. And can I get a shape like this? It's looking to be a bit difficult. I need to find another way of doing this. So two-finger tap to undo a few times to get me back to where I started. And let's try to find a different way. So I'm on my layer and I will come to my selection tools and I'm going to drag out a rectangle like this to about halfway down circle like that. I can only affect what's inside my selected area. So I will erase this bit. Then I can come to any of my other brushes. I can tap my selection tool again. I only problem with this now is I want that rounded n Now Curl. I put that rounded end using my paint brush. I'll choose another layer for this case, I get it wrong. I smudged off to one side. Let's try that again. Add there. We can see it's nearly there but not quite, but not a problem. If I come to my Transform tab, I can just move this around or just dock it into place like this. I'm doing this by eye a little bit, but that looks about right. Let's de-select. Yep, that seems okay. Now I have three shapes which are making up my stick of rock. So I will merge down and I will merge down, which merges everything into one layer. I do not need this anymore, so I will tell you that I will duplicate that in case I mess things up. You notice how as I'm going along, I'm creating safety layers. And that's just one of the things that our layer is useful for. Not being silly with this onto I come on, stick. Okay, I'm gonna do a quick timeout here because while I'm recording these videos, I'm actually recording two videos at the same time. I'm doing a direct screen recording of whatever I see on my iPad. I also have a camera position to overhead, which is recording my hand movements. But I'm starting to find my hands are getting in the way a little bit. And also the direct screen recording simply gives you a better color reproduction of what I'm seeing on my screen. So I'm going to swap over to my direct screen recording now. And unless I have to go back to the overhead recording of my iPad, I'll represent where I'm touching on screen with a little red circle. It'll show you I am, but without my hand getting in the way out k, Let's move on. Well, it's a bit boring so far. So let's create another layer, and I will create a clipping mask on that layer. Come on, There we go. Now. I could do with some spirals on that rock. I will come to my color and I will choose red is right, popular color for rock. I'll make it a little bit darker there. Now, can I get this? That's looking a little bit thick for my purposes, I want to make it a little bit thinner like this and make things bigger. So I have plenty of screen real estate to draw with also my color as well. Come on. That needs to be brighter. So now let's come add, just makes them brushstrokes alive, but they're not like that. I want more of an angle, don't tie. Bit more like that. Not fair. Just compare. I create some strokes like this that is working. I will create another layer. This I will also clip to the stick layer. For this, I want some shading on this. So what I'm gonna do is set my layer blend mode to add one of the dark and blend mode like multiply. And here's a little tip for you. If you are painting with layer blend modes to your opacity and drop things down to around about halfway. That way you can make your brush strokes. And if you decide you want the whole effect to be stronger, you can slide up your opacity. Whereas if that's just set to a 100%, the only thing you can do is reduce the effect it to around about halfway. It doesn't have to be exactly 50%. And then you can make the effect stronger as well as weaker. Okay, so for this, let's come soft air brush again, Let's choose that. Let's take a look at my pastel, all my past to each beat, fairly consistent, but my size to be a little bit smaller like this, and I need a color to do this with. Let's sample that are very light gray and maybe make it a little bit darker and a little bit more saturated like this. Let's put a bit of color in there. Now, let's see what we can do with this. Can you see when I make my brush strokes, I'm getting a darker effect here. But because I changed the layer blend mode, it's not just drawing over the top of the red and the white without blue, it's making everything darker. So I'm getting darker reds, darker grays rather than than just drawing over the top. That's the nature of it. Let's get unalike bit of color which is darker again, and I want to just drink. You just run the outliner like this. I think I fully wondering with this, if I want to blur this a little bit so it's a bit of a softer effect. Let's try that. Let's come to adjustments. Let's come to Gaussian blur and slide along with top. To just make the whole thing a little bit softer overall, Anya, I prefer that unlike the effect to be a little bit stronger. And the good news is because we set our opacity to about halfway weekend, make it stronger and look at that. Just by sliding around, I can adjust how hard I want this to be. Now I could do with a little bit of highlights on this. So I will create another layer and I will clip it there. And this time I want this set to one of the lighter blend modes. Let's try something like screenshot. We sample the original color like this. And my airbrush lets make it just a little bit less opaque. Lower pasty means I can gradually build up the effect and the brush I want to be a bit smaller. Let's zoom in on this area here. See that? What am I doing? I'm not following my own advice. Come here around about halfway opaque so I can vary the strength of the effect. So it's more as well as less from what I saw. There may be make my brush size a little bit bigger. And let's create just a little bit of a highlight just in this area here. I'll make it a little bit stronger just on a curve like this. Maybe my, my brush a little bit smaller so it's tighter down the side wall. What caused that wobble? I've no idea. That's come down a little bit. No, I don't like that. Let's make the brush bigger and gradually build up the effect around here. And I'll do what I did before. I will Gaussian blur that just a smooth things up. I don't need very tight highlights about that. Let's mess around with the opacity that's completely invisible. And I'm not looking at this number here. Because if you start trying to design or create things by looking at numbers, you're not looking at your canvas. Just look at what you're doing. I know I'm sliding around, but I'm not looking at my slider. I'm just looking at the effect. That's too strong. Let's try about their half a much worse. But I can also do things like I can play around with the layer blend modes to see if that makes a difference. Color dodge. That gives quite a nice saturated highlights, which I do quite like. Maybe I'd like that to be a bit stronger. So what I will do is I will take my layer and I will duplicate it to double up the effect that is way too strong. So I'll take that back down. So just the top layer of these two colored dodge layers and gradually build up a little bit more. To get about there, maybe a little bit more. It's sweet. It's supposed to be vibrance. Alright, so now with that, I don't need my layer seven anymore. That was just my backup layer. Delete that, but the rest of them, Let's group these together. We will call this stick. All right. There is the next to my suites and come on. Let's move it off to one side just up here. That's at the way, because the next thing I want to do is some gummy bears. 5. Make a Gummy Bear: Okay, Let's carry on. We have our lollipop, we have our stick of rock. Let's come and create a gummy bear. Now to do this, I want a symmetrical shape. I can use the symmetry feature to help me for this. I come to my actions panel, which is also known as the wrench icon, and I can use my drawing guide. Now at the moment it's a grid. I don't want that, I want the symmetry, so I'll come to Edit Drawing Guide. I have various different options down here. I want the symmetry at the end, and that's all I want. I don't want to adjust it anymore than that and I will come to done. Now let's check my layer because I need to be able to see that it says assisted for that layer. And if I tap, you can see Drawing Assist turned on. Let's find a brush, hard air brush that's fine. Color. I'm probably going to vary the color eventually, but I'll choose a kind of a mid green for this because we haven't gotten the green and it's not bright and colorful enough. Now what about the brush size? About virtue you think? Okay, let's zoom in a little bit. Create. The shape. Will be the head. Is that's a bit too sticky out he isn't it? Let's do it about, shall we indeed a body? You'll notice how the symmetry is helping me to draw both sides at the same time. Create some legs down here, make this fairly nice and smooth. We also need some arms as well. Don't wait. Let's do that. Does that look like gummy bear? Maybe make a little bit round around here. I want the feet, but not quite as well as defined as they were about there shall we go? That's make the arms a little bit more sticky audi like that. Let's pinch up. Like a gummy bear shape, doesn't it? And now I want to move that around and maybe resize it because I think that is a little bit big compared to the other two suites. But if I was to try doing that now, look with transform on. Well, I can't do that, but I'm a bit worried about the assisted layer starting to mess things up. So I'm going to turn off drawing assist. And I don't want that line going down the middle of my screen anymore. So it come back to our wrench icon and turn off Drawing Guide. Now, I can make that smaller by choosing my transform. Just simply coming down like this. About that size. Do you think? I think about that size? Tap to choose that. And let's zoom in a little bit. Before because I am paranoid, I'll duplicate this, but he'll do yourself a favor. Let's rename this before I duplicate it. Duplicate. So now if I mess things up, I shouldn't have a problem. I'll do what I did before. And I'll create a new layer. And I will create a clipping mask so that I can drop to the edge and not beyond. Now what I would like with this as a little bit of frosting because they have a lot of sugar on them. To do that, have a little search around and if I come to spray paint, which you have, that flicks, and my brush size is about around about 10%, unless just scribble across. That didn't work because I need a lighter color. Let's choose a very bright color. Let's choose this completely white and let's make it completely white like this. Allie, quick scribble across and I get that frosting effect. Maybe that's a little bit much so double tap to undo and even quicker scribble across there. All right, So now as with the sticker rock, I could do with a little bit of shading on this. So I'll come down to my belt layer and create another layer as before, I will turn this into one of the dark and blend modes. Multiply, opacity, set to around about halfway. I need a softer brush for this. If I've now come on, let's try medium nozzle, which looks like a little bit of a grittier brush. I'm going to choose the same green that I have. But because I've set my blend mode to one of the darker blend modes, if I paint with it, I will get a darker effect. Now what about the size of it? Needs to be smaller, doesn't it? Take down the opacity, so it doesn't build up quite as quickly. Let's try this now. That is giving me a darker effect, but that brushes to smallest until let's face it, Let's increase the size of it. You can see I started to build up the side of my gummy bear like this. You'll note that because I'm painting underneath the left 15, I'm still seeing I'm still seeing the sprinkles. But I'm getting a slightly textured effect because I'm using a more texture brush. Now let's not be shy without shading. Let's do this. It a little bit around the edges in general, we go, I have the general level of shading that I want. Let's come back at, let's take a look at the opacity. A little bit higher is given me more the effect I want. And I think that's good for general purpose sharing. Maybe I wanted something even deeper in there as well at some point. That is my shading. What about highlights? As before? I'll set this to one. The lighter blend mode screen is always a good word. Start off with it gives them fairly natural highlights. So it's about halfway. And watch. Because it set to a lighter blend mode. Even though I'm using the same color, because the blend mode is set to lighter, it lightens things like this. Let's undo that because that is a bit big for my liking and gradually build up some highlights around the head area. The top of the chest, abdomen, little bit smaller, a little bit on the side of the arms, one side a little bit more than the other because I'm imagining the light is coming in from this direction. Just a little bit, maybe a little bit around the feet as well, a little bit down here. Now I'm looking at the sprinkles on top and they look like they're just sitting on top. They're not really interacting with a shading underneath. So I will come to my sprinkles layer. I'm going to change the blend mode. Maybe. See what happens when I do all the different kinds of effects I get. Now, overlay is looking interesting. It looks like sprinkles are really starting to interact with what's underneath. Hard light. That's an interesting one, are vivid light. Let's try more. Some of the lighter blend modes. The screen I was using before. That's fairly interesting. Color Dodge, I get more color in the highlights. Add is a very strong effect. Can I reduce this down a little bit like that? Maybe. I'm looking at this and thinking, well, I like the effect I've got, but not all over the place. Maybe it's some of the shaded areas. I'd like to see less of those sprinkles. So this is what I'm gonna do. I want to tap to create a mask for this. This is a layer mask. What I have to be careful to do is not to choose Layer 15 with the sprinkles on, but choose this layer which has the masks on that. I'm going to come to my simple soft air brush and I'm gonna choose a black color when I take the opacity fairly low, the size fairly small. And just to remind you, I'm painting on the layer mask of the sprinkles layer. Now, when I start to paint, can you see this? Wherever I paint and gradually fading out the sprinkles. That is because our layer mask makes your layer visible or invisible. Depending upon whether you paint in black or white. Black conceals. White reveals. If I show you that again, you can see what I'm drawing in black, black and sales. So it's hiding the sprinkles on layer 15. Raster layer is white. So you see the sprinkles on layer 15. It's only when you start to paint in black that you start to get this invisibility. Very nice thing about it is supposing I decide, well, actually, if you wanted to, areas of Gordon way too far, all I need to do is come to white. Let's take a look at this. I can paint the sprinkles back in. And if I come to black again, I can paint those sprinkles out again. That's the beauty of layer masks. It hides details from your layer, but it doesn't delete them, has got to be good. All right, so I've got my gummy bear. Let's take a look here. I quite like that. Let's just check the opacity of this. Let's make it just a little bit. That's way too much in your face. Let's change it to about there. And as before, I'll take my bear layer. I don't need that anymore. I'll delete it. Ballet is now selected and our slide and group everything and call this. But I want to do a bit more of this, I think, because I can duplicate my entire group and I can move it off to one side or like this. When I do that, I'm going to open up my group because I wanted to take a look at various parts of it. For example, the bad layer. Well that's a basic green and I've used basic green on top of that as well. But what about if I had a slightly different color shading without layer selected, I will come to Adjustments, Hue Saturation and Brightness. And Alverno, the hue. I want. I do. Can you see how I get different shading on that bear. That bad now has a slightly different shade, the fact to the original pair, and you can see that because they're next to each other. I can also have saturation of it as well like this to get a slightly more, less saturated or more saturated effect. You can also alter the brightness to really create a strong shadow or a much milder shadow. I'll keep that around halfway, but I just wanted to let you know that there are ways of altering the shading using this technique. We can do the same thing for the highlights. Let's see if we can get something interesting with this. What's happening here, because you're not seeing the basic green, you're seeing the basic green, but with the screen layer applied to it. So if I look at that, I've actually got purple there. Look, if I come to normal, That's kind of a purple color. So let's set that back to, set it back to color dodge, because that tends to retain some of the color of the highlights. And let's come back to our hue saturation and brightness. I move this around and oh, I'm getting a very intense effect here. I'll go with that. A lot of it I'm just thinking as I go along because part of workflow is solving problems as you go along or coming up with new ideas and just try them out. Like with this, I've got it set to multiply, which gives you a fairly neutral dark tone. Color burn will take more color in the shadows. So that's try that hue saturation and brightness. Let's move that around again. Direct choose the right layer. No, I wasn't. I want Color Burn layer. Let's try Hue Saturation and Brightness with this. Now the shadows are being altered. I can change the saturation, the brightness. Let's make it not quite as dark. But I can play it. Oh, that's interesting. Getting a curious mix of colors here. I can make it a little bit more subtle or a little bit more in your face. Quite light. We'll look at that. And in fact, I'm gonna come down to my bear layer, our turn on Alpha Lock. I still have my basic green selected, but I want to try a green which looks close to that. We're not quite the same. And welcome to my Harmony tab. And I'm going to select analog, which shows you colors which are close to the color Y'all painting with like at the moment I'm painting with this. Why don't I try something like that? I'll tell you what else though. I will not be a bit more bright, a bit more in your face. Let's just see what this looks like. I am going to choose soft air brush, lower pasty, large brush like this. Looking interesting. What layer on my own, I want the bear layer. Maybe that is a little bit too bright. Let's do that. I've come on. Let's just make it a little bit more of a yellow tone. I can affect the color. Just in certain areas like this. Normally. Sure, that's working. Let's try another color out. Tap undo to get rid of that. And let's try it on orange color. And now I can get a multi-colored gummy bear. Now, getting close to the stage where I want a few more these sweet scattered around, but I'm not sure about the highlight on that lollipop. I'd like that to be a little bit stronger so I calm down and I close up my layer and I make sure I get the right layer. I want a new layer sitting on top of the lollipop layer. Let's move this off to the side so we can see what we're doing. And I'll set that to one of the lighter blend modes. Let's try screen. Start off with it down to about halfway. I want soft air brush is fine and I want a simple white highlight like this. Pasty low to build it up and my size, Let's try part there. And I just want to build it more of a highlight just in this area here, which so it sits on top of the red, but also those yellow swirls. If you make it a little bit more opaque. And the smallest size just to pull the proprietor highlights. That didn't work out. So audio maximum. So what I would do with that is come and choose another layer and set that to screen. Let's make it a little bit more opaque than the previous one. That said 73% opacity. This one is set to 46 opacities. So let's see if we can do anything with this. Yet sharper highlight just there. Although that's a little bit too sharp. So I would just come and I will blur that out. Now this is one of the reasons why I flip between my hand doing the drawing and recording the actual screen because with my hand that you can actually see what I'm doing. So I will fade back to about there. Okay, I will go with that and one more layer as well. I don't want to set that to set that to color burn. Take it down to about halfway and choose, Look, I'll choose some of that purple opacity, low size, nice and big. I just wanted to build a bit of darkness there and look, I made a mistake. What I should've done, this clip that led to the layer below. Let's do that. Yes. Now it's clipped to the layer below. Just put a little bit of dark. Let's alter the opacity of it because it's looking a little bit light for my tastes. Yet, see that when I increase the opacity, I'm starting to get some nice dark or effects on the yellow swirls. Okay, these are my basic shapes. Now, what I want to do there is just take these elements and scatter a few of them around. 6. Putting our Candy Together: Okay, I think I'm nearly ready to start making a bit of a composition out of this. Now, before I do though, I will come to my gallery and I will share as a Procreate file. Let's send it off to my iMac. You get exactly what I'm working on. Candy 01. I think the first thing I'm going to do is I want to come to my lollipop layer because I think that black outline is a bit too dark, so I will tap on the layer and I'm going to reduce the opacity. So you're seeing parts of the lollipop through it like that. I think I've got the next thing is, I think I'd like some kind of a background for this. And also, I wanted to show you a couple of more things. I'm going to create a light and I'm gonna drag this down to the bottom. I'm also going to change my background color to something a little bit more, but we'll go. The next thing. I have my last slide now I could do with a paintbrush. Let's come to, let's try medium hard airbrush. Check my size. Maybe about that big. And also I need a color for it. That would be a good idea. Let's find, Look, I'm not going to be subtle about this. Sweets are not subtle. So the next thing is I'm just going to draw a series of lines like this. Doesn't have to be brilliant artwork workers weren't going to be doing something with these anyway. What I am going to do is come to adjustments and come to liquefy because I wanted to store these and make these a little bit more interesting than the hour. So I will try coming to twirl, right? My size, I want a fairly big size I want, Let's get a bit of distortion in the pressure. Now. You go, can you see that? I'm getting some wavy lines? This way is so much quicker. I'm trying to draw this all by hand. You're getting some very nice marble effects, shall we say. Let's do that a little bit more and a little bit more. Thinking. Ripples in ice cream, stuff like that. But I want a bit more than that. So let's come to crystals. What do I have here? Size, again, fairly large pressure, maximum distortion or maximum. Let's see what this does. Yeah, I like what that's doing. It's a nice crystallite effects in there. Can I just talk a little bit more? Let's try twirling, right? See what happens with that. I really want these to be Ripley. Going along the lines and also across allies to really shake things up a little bit like this, okay, that'll do for me and I may be a little bit more with crystals because I think last twirl I did some of the crystals out. Okay, So we've got that. I'll come to my layers panel which will accept that and I'm going to alternate Alpha Lock. And I will tap on duplicates. And at the moment I'm just throwing ideas around, see what will work and what won't. Okay, at this point, I'm about to start doing some work which will not pick up well on the overhead camera. So from here on, I've used the screen recording software to show you what I'm doing for this. If I come to my Transform panel, I will just flip this horizontally. And at the moment, it's looking rather intense. But if I take this one and I change the mode, the layer blend modes and maybe something like overlays looking at interesting or let's try overlay. I'm going to choose my soft air brush. I want that medium opacity, large size. I did have this green. Well, I want different colors of a similar brightness. Allah have my classic panel selected. So all I need to do now is just come to the hue slider and just choose some different colors and just see what they do on the layer. Let's come to the layer at the bottom first, alpha lock is on so I can put whatever colors I want. This is starting to look quite nice. Let's choose another color. Let's choose something a bit more purply pink. And try that. That's working. Let's try maybe something a little bit. Orangey. Put that in there. Let's come to the top layer and do something similar. Let's try orange on that layer. And can you see how I'm starting to get a nice patchwork of lots of different tones there. And the fact that one layer is set to overlay mode means you are getting some rather interesting colors here. You can tell I'm really working pretty fast. That's because, well, you're on the clock and this is supposed to be a fast guide. Okay, I like that, but I'm wondering that might be a little bit too much for the various Which one I lay them out there. So I'm going to put a layer over the top of that as kind of a master layer which can control it. So I will come. And I can have any color I want, as long as there is a little bit of color in there, I don't need a gray, I don't need a white. I just need a bit of color and any color will do. I will have my layer selected, so I will come to Fill layer that turns the entire layout one particular color. And again, I'm going to experiment with the opacity. Let's take this down to somewhere around about there. And also the layer blend mode. And I'm starting to get some interesting colors coming through like this. It's just simply a case of playing around with them to get something that I may like. All of a sudden that's looking quite automated. I quite like that. You don't know what you're gonna get because you've probably used different colors. And that's the thing. It doesn't have to look exactly how mine looks. We've used a lot of tools which randomized things, especially with the Liquify layer where we added all those little ripples in crystals into our brushstrokes. So don't expect it to look like mine. If it does, it does. If it doesn't, I'm sure it's just as good. All right. That's looking okay, but here's a nice thing about this. Let me just take this bucket, say something fairly high opacity. But now if I come to hue saturation and brightness, if I move it around, you can see I can change everything all in one go because it's all operating underneath a master layer. If I change the brightness, I can change it so it's completely bleached out, all looking really quite deep. So you have that layer of control just by having a little think about different ways. You can use layer blend modes. They really are the digital artists secret weapon. Let's do what we normally do. Let's group these altogether and we will call this bk to Stanford background. Don't forget also, I still have my background color and I can change that around just how much flexibility would you like? Okay, So next thing I want to make multiple copies of my bear stick lollipop. Well, there's different ways of doing it live, but let me show you something if I come to say the bear and I can duplicate this. But I don't want to have all these different layers because I want multiple copies of the bear and the lollipop and the stick. And at each single one of them has got 123456 layers per bear. I will end up running out of RAM. I've made my basic changes. Soy, don't eat that with all the layers in there. So all I need do is tap and come to flatten. Now I just got one layer called bear, with all the layers that made up the bear all merged together. So I can make the barrier underneath invisible. And I can repeat the same thing with a stick. I can duplicate it. Add flattened that. I can make that invisible and comes the lollipop and duplicate that and flatten that little lollipop invisible. So now I'll do a little bit of organization. Let's come here and drag that underneath Carmen. Did you see what happened there? I messed up when I drag down a little bit. So now I created a new group with a stick plus the individual layer inside there. So all I'll do is I'll undo select Layer, undo group items. Okay, They're all my layers. I'll come to this one and drag this to the top there. And welcome to this one. And I'll drag this one up to the top there. Now for some strange reason, the lollipop got renamed into a stick, which don't really need. So I will rename this. Let's just call it pops, and I want to change the color a little bit. In fact, I will come to the other layers and I will turn on the Alpha Lock for those. I'll try and keep the bear as a master layer now, do I want it that size before I start making changes? Yes, I'll keep it outside, but I will duplicate it. Then I'll come to my transform on our move it and I will rotate it. And I'll know I don't want to resize it. That will happen sometimes if you try moving from inside something about there's not enough space in there, so it ends up resizing. But if you move from the outside, you can move it to the top on Transform to lose that. Then I can come down to my original bear and duplicate it and move that to another place there, for example. You see what I'm doing. I'm gradually building up the bears in different positions that do the same thing again, that's come to duplicate, and that's come to Transform and move that down to here. So it's just peeping out of the bottom. Whoops, I accidentally resized it again because I was trying to drag from the inside and I did it again, tap to undo that. I think what's happening is I'm aware that time is moving on. It is supposed to be a fast guide, so maybe I'm rushing a little bit. Let's put the bear their hand. I will come to the top and I will merge down. I will merge down again. I have three pairs all on one layer. And if I duplicate that and transform, instead of doing it one at a time, I now have six pairs. To play with, Let's try and make sure they don't overlap each other too much. Maybe like that's tough to do that. I'm going to do the same thing with the lollipop and the stick. I will probably fade out and fade back in again because it would just be you watching more of the same. You are on the clock. Same as me. Okay. I'm fading back in again. I think I'm nearly there with this, the originals, the ones which I didn't rotate around, I'm going to make invisible. I don't want them to be part of this because it's always an idea if you do something like this to keep the original which is standing straight up and down. Because if you need to do more construction, It's easy to do construction on an object which goes horizontally and vertically than it is to do with things like this, which are at an angle. Let's make our invisible because I've done that. Let's do a little bit of organization. Let's take pops, the original Delta V. Stick down to the bottom as well. Now I've got a lot of layers there. Do I really need them to be in separate layers? Eventually I will flatten them down, but I'll keep them in a separate layers just for now and you'll soon find out why. Just before I do that, Come on. We need more beds. We need lots of them. These are supposed to be sweet. That's supposed to be loads. Let's put some about that. I will take this layer and I will drag it to the top because at the moment all the bears are sitting at the bottom. We need a little bit of a shakeup of the various different layers so they look like the old jumbled on top of each other, rather than all the bars at the bottom, all the sticks in the middle and so on and so forth. And FAD, come on, I want more bears. All right, so we've got lots of different objects in lots of different layers and they're all looking a bit Samy. I wanted to do something about that. So let's take just that one there. Look, if I come, I can come to hue saturation and brightness. And I can change the ear. You can see the pair that I can change it to whatever I want. If I come to these two bears and do the same thing, Hue Saturation and Brightness, smoking change with whom? What ever I want? I can go through the whole thing, or I can try something different. Let's come to this ballet. Merge it down, add another layer on top of this. And I will turn that into a clipping mask, and I will change the blend mode to color. Now what happens is whatever color I put down, let's take a yellow, let me just show you and then explain it. Soft airbrush be smaller this time, about halfway opaque unless you just find out what which pairs of those bears. All right, so my clipping layer of slides. We'll look at that. Let's make this a bit bigger. The bears are taking all the color of my top layer, which has set a color blend mode, but gets the saturation and the dark to light or the light underneath. On the upshot of that is, you can color in these bears really quickly and easily to whatever color you want. Instead of having a bear which is just green, I can have a bear which is a mixture of green plus blue. Anything in-between. And it all just goes so much more colorful. There you go, three different shades of bear. And I can do this as any layer that I want. What are the bears are part of this layer. Now I think I've got most of them, but you get the general principle with that. Let's try this pops layer here. Let's just try converting this and change the color as a whole just so it looks different. Let's try this thick and I can come to hue saturation brightness with this. But you know what? I think I'll do the same thing. I will create a new layer. I will convert this to clipping mask layer, and I will change my layer blend mode down to color. I can color this in to whatever I want. There you go. Whatever color you like. And notice how you're still getting the dark and light on the stripes on the rock is just the color which is changing. If let's do the same with another one of those sticks, let's try this stick. Same trick as before. Clipping mask on the clipping mask to color. What color would you like that? How easy as that. Now you're gonna a little bit overboard with this. Because what I wanted to show you the technique, why did I come here and try fading that opacity of that layer. So I get slight hints of different color for that stick of rock, but not too much. Now the reason I kept all of these in separate layers with the Alpha Lock turned down was because I knew I was going to be making some very free and easy brushstrokes. And if, say, all gummy bears were on one particular layer in which speed things up, but I would spill my brushstrokes over onto the various different gummy bears. I don't necessarily want that, but we are nearly there. If I could stop breathing, all these various different things. But instead, now that I've put everything on that, well, I can come to this top layer that's controlling all there unless I have a quick play around with this because maybe that background is looking a little bit bright for my likings. I desaturate things. You know what I'll do with this, I will stop. And I maybe I will just change the blend mode to a just a simple normal way this a little bit. And that one file hue, saturation and brightness. I can just control what things look like in the background. Maybe something like that. Now for the very fine nothing, let's just take a look and see what I've got here. I want everything. I want all of our model layer, but I also want to keep the individual layer so I can't very well turn around and start grouping all my individual layers. So the final trick, I want to take my background and I will make it invisible. I want to take my background color. I'm gonna make that invisible. So now I have a whole lot of transparency behind of those sweets. Now what I'm gonna do, I'm gonna come to my actions palette and see here we've got Cut Copy, Copy Canvas, paste. I'm going to copy canvas that takes every single layer that you can see. If I come down here, create a new layer, come back, I've got paste. That new layer has everything that you can see all pasted onto one left. Good time. So background color on BK on this one. Notice how it's sitting underneath all visible objects. I'm gonna come to my Transform. I'm going to drag it down like this, which at the moment looks rather confusing. Notes are worried. I will come once again to good old-fashioned hue saturation and brightness and turn everything black like this. Then I'm gonna come again and I'm gonna come to Gaussian Blur. And I'm going to slide until eventually everything starts to get blurred. I don't want it too blurred. I just want to give the idea of a shadow. From here. I might set this to one of the darker blend modes because you do find that the darken blend modes tend to react a little bit more nicely with the background and I can vary the opacity of that as much as I want. I will take it down. So it's more of a subtle shadow, but it's there. I can just play around with how far away I wanted or how close I wanted my original sweet. It's just helping to lift them all out from the background. And by now I think I've shown you enough stuff, certainly enough warm project. So I hope the various references which I put up with the names of videos was useful to you. And so it's time to move on to the next video. 7. Downloading Assets to the iPad: So I just finished the tutorial when I noticed three little dots at the top of my screen. This has come with the latest iOS updates. And if you want to know how to import files, well, with iOS, there's been a number of ways and some of them are a little bit obscure. But Travis, those three little dots at the top of your screen tap, you get three options of a moment, you're in full screen. Tap on the middle icon that split your screen in half. And it's asking me to choose another app. In my case, I'm going to choose the files app. I'm just circling it now. Just in case it's not on your iPad, you can download it from the app store. If I tap on that, I have files and at the moment I'm in a folder called downloads, which is all my iCloud Drive. I will tap where it says iCloud Drive. And I will tap again to where it says files. Look at all these Locations. Icloud Drive on my iPad Dropbox. Well, if I've just downloaded something, come to downloads, well, here's one lines deluxe drawing brush set. Let's try downloading that. I will tap and it automatically imports. So that's important, that was called the lines to look, drawing brush set. I'll come up to those three dots on the top of my Procreate side. And I'll choose full-screen again. Now let's come to our brush studio. And I bet you if I come up to the top line still lugs drawing set, we are good to go. 8. Project 2 - Sketching our Ideas: Hello and welcome to this tutorial. At several points on this course, I use an image of a boy walking his pet dinosaur as a backdrop to show you various things like selections, adjustments, and what have you. And then I thought it would be a good idea to show you that workflow, how you go from having a blank canvas for something like the finished article. So let's do that. Let's come to our little plus sign in the top right-hand corner, and let's choose a file. I'll just go with A4. And I will turn it sideways because I want to show you how to go about sketching this. Now one thing I should say at this point is this is supposed to be a fast guide and I'm already worried about how long it's getting. So this won't be a complete walk-through where you see every brushstroke I make. And rather than you watching me paint everything, I will fade out and then fade back in when I have something new to say about the process as a whole. Okay, so first thing I want to do an initial sketch, I will come to my Brush Library and take a look at what I have here. I'm in my DC brushed basic set, and I'll make this available so you can download. And so now you can download them and have a few custom brushes. I'll start off with DC sketches, and I want to choose a color for this. I'm going to choose fairly deep red like this. It doesn't matter what color it is. Let's just check my brush size. That seems about right, because one way I normally start if I'm doing something human is to make a gestural sketch. That is a sketch which defines the overall flow of the figure. For this, I know I want a human figure fairly young, and I want them to be being pulled along by a lead attached to something big and powerful. I think there's gonna be a lot of lean back for this and for this you work faster. I'm thinking of the overall flow of the body could be locked. There's the actual head to be up here. I know it's looking very rough, but that's the whole point. Is it gestural study? It's not big on the details. There's gonna be an arm somewhere around here which is going to be pulled very, very straight outwards. And I want them to be waving at the same time with the other arm. So that would be it might be here and I'm thinking of a foot is going to come down to here. I want the foot to be digging its heal in a little bit like this. And the other thought, I need to be backwards upon itself so it's supporting the weight of the body like this. I want the toads be pressed up against the ground like this. And yes, I know it doesn't look very much like a person right now. It's just that to get the overall form, the overall movement of the figure. And let's put a couple of things and maybe a little notch there and I'm not there for the hand. It can be pulled like this. And the lead is going to be traveling in the same direction because I want the arm to be pulled so tight that the arm is gonna be straight and traveling in the same direction as the board. Also, I'm thinking as well that shoulder is going to be pulled down. So you might get something a little bit more like this. It's making bold flowing lines at this particular moment, but I'm starting to get a little bit of a blob around the shoulders. We're currently see what it is I'm supposed to be doing. So I will come to my eraser and DC brush basics. And I'll come to DC sketch or I'll use the same brush as I'm using to actually make a pose that's a little bit small, just keep it nice and fast and free flowing like this maybe. And come back to my pencil and there's gonna be a hand waving as well for the head. Do I want it like that? I'm not sure. Look, while I'm here, let's use some other tricks that you use because you're painting digitally, which means you can do things that traditional artists can't do. Let's come to our selection tool. I have freehand selected. Second one alone. I'll draw a selection around the head and then I'll come to my transform tool and I can rotate that around a little bit. Maybe. He's leaning his head right the way back like this. Maybe bring it up a little bit here and I can go with that. There's a question, Do I want him to be looking up or don't want you to be looking straight at the viewer. I want him to be looking straight at the viewer. So maybe I should draw a central line like that. Might be around here somewhere. I want it to be happy though. So a bit of a smile going on there. Isn't it looking very rough, but I don't care. I'm just working fast just to try and get some flowing movement in there while I'm here as well. Here's the other nice big thing that you can use if you come to your adjustments and come down to liquefy, I have pushed selected. I don't want my brush size to be big because I want to make some big movements with this because I'm looking, it is tall, so maybe that could be even more exaggerated alike. This also while I'm here, let me just push his foot up so it's level with the other foot because he's on level ground. Maybe the arm could be going up a little bit. I think for the arm, just exaggerate this a little bit more and maybe more of a sweeping line going from his neck all the way down his body, down through that front like to his heel. Okay. So I'm gonna come back to my selection tool because I think this arm could do with being just tilted a little bit more. He's gonna be pulling along with Dinosaur. Dinosaurs are big and the direction of that line is going down towards the ground. I want it to be rotated around a little bit more so it's more level or even slightly upwards because he's walking along with something big, maybe, something like that. Okay. I quite like that. I'm gonna make it a little bit smaller, so I got a little bit more room to work with because his hands starting to disappear. Off the top of the screen. I'm in uniform mode as well. Maybe positioned about there. Now one thing I should say at this point, I'm still keeping this in the sketching stage. That is because I know what I'm going to end up doing. I'll name my rough sketch and I won't care about the quality of the line or anything like that because that won't be fixed yet. I've done my gestural drawing of the boy. Then I'll do my rough sketch of the outlines, the clothes, they expressions, and what have you. That will still be rough because that still lets me rotate things around or stretch things are squashed things with the Liquify tool. And then I know he's going to be walking a dinosaur. So I'll do the dinosaur on a separate file and then create a new file after this and combine the boy and the dinosaur together. Just a rough sketches. And it's at that point that I'll worry about the quality of the line and getting an outline to this boy. Anyway, that's my gestural. I will fade this down. So I can just see it to act as a reference and I will create a new layer. I'd use my same brush, DC SketchUp, but this time I'll choose a different color. I'll choose normally, well, I'm doing sketching. I prefer some kind of blue that's probably from my old days when if you sketch it in light blue, it wouldn't show up as part of the printing process. That's why there's a certain color called process bloop. Anyway, let's come back to my sketching brush. What size do I want? My brush? That should be about right? Because I wanted to draw a bit more detail. But if I haven't really thin and mean like this, it just doesn't look nice. When you do an outline with everything that thin, it may look precise, but you want a certain thickness of line. Just keep your eye happy. Let's put it that way. All right, so double-tap to get rid of that. And so now I'm gonna start putting in various different details with boy, I'm still working rough with this or not trying to do finished the lines at this point. I do like that. Bear in mind again that this is not like traditional painting because once you rub something out, it's gone for good. You don't get that problem. You get with regular drawing with a pencil, where if you keep on robbing something out your, where are the paper with this, you're not going to wear out your iPad no matter how much you erase things from it. So let's just keep drawing with this and see what we can come up with. On her shorts. A kid. So that'll come around like body a little bit skinnier, I'm not sure. Whereas is going to be the top of your shoulders around here, isn't it? We'll have them wearing a t-shirt as well. Not go to a fancy dress policy or anything like that. Now here's the thing I'm doing more of a construction drawing at the moment with a gestural drawing, I was very happy stretching his arms out. Now this is getting a little bit more finished and pay a little bit more attention to how big is arms off, for example, unless you just rub out a few things here, because I need to put lines down to search out where the form is. Like you see, I've done several lines around his back trying to figure out where his backward B, I'm going digital with this so I can rub out those searching lines once I find the line that I like, like this, gonna need a little bit on the end of his slaves, which sticks out a little bit. And also I'm thinking maybe that other arm, maybe I want that to be a little bit more raised up like this. Now let's just do a quick arc and that makes his elbow roughly about there. So let's do that. In fact, is Forum has gone way too long, husband it, so I will come back to liquefy my brush a little bit smaller. Let's just play around with the proportions like this. I want to make it smaller. I can always construct it on a more local areas to build up forms. Maybe like this. This is another reason that I'm keeping this free and easy, but I haven't committed to the actual line which will make part of the final picture. And the reason is mentioned as elsewhere. If I push something too far, you start to get stretched out pixels and that will not look good on my final image. So I will two-finger tap a couple of times to get rid of that. And also to a certain extent, look, maybe that head. I'm still not quite happy about the shape of it or maybe the size of it as well. I will select it, I'll come to my transform tool. I will choose free form for this so that I can stretch this and squash it, as well as angling it and what have you and position it. Honestly, this is so useful while I'm doing the sketching, I don't want my snapping turned on because I don't want that selection snapping to other bits of my drawing. So I will turn Snapping off. Right now there may be wanted to rather traditional artists looking at this saying, it's cheating. Animal can make good art. If you have all these tricks at your disposal, won't know that's not true. Good art happens with what I'm drawing now, the space between the years. It's not the technology. If that was the case, then I like it. I like playing guitars and I wanted to quite expensive ones. It doesn't mean that I'm a brilliant plan. Simply having the technology doesn't guarantee anything you have to practice with what you know, figure out different ways of doing things. It's not cheating skill because you have practiced. Monday. I'm gonna be a rock star. Look, I think I've shown you the general principle of this. I'm just drawing out sketch, which is most instructional. I've done my gestural that's in the background. I used that as the basis. Sticking with construction or sketch on top of that, it's not quite as free form like the arms have got a bit shorter and a bit more in proportion. And I'm adding thickness in detail in various areas which I didn't do with the gestural because with a gestural sketch, you don't do that. You're concentrating on the big forms and how they move and how they bend in space with us. I'm putting down various details and we'll do traditional cartoon hand with only three fingers. And actually with that, that finishes me more splayed out. What am I doing? I won't do that. I'll take all of our hands like this and come to my Transform. I'll come to distort because I want those things to be more splayed out. Rather than close together. I can do this and you can see what I'm doing this. I can work out the formal bit better. It's very quick and easy. When I do that and zoom in, those lines are going to get thicker. And so that is another example of why I'm not doing this as a finished bit of it looks sketchy, but it's final artwork, if that makes sense. I don't want this to end up looking like a pencil drawing with some thicker bits and thinner bits which you wouldn't get in the real world. I know I'm doing digital, but for now, all I want to do is concentrate on getting the overall form, how I want it. Then when I come in and do my final pencil sketch, it will still look pencil or like a fuzzy pen or whatever, but it'll have what I'm doing now in the background so I can divide up the tasks. I've got gestural to get the overall shape construction which aren't doing now to work out the actual details of what I'm drawing. And then on top of that, I will draw my finished line drawing. You can still look fresh and natural, unlike the kind of thing that you would see with a traditional drawing. But we've got all this technology backing me up. Okay, I'm gonna fade out and fade back in with a new file for you to download. So you can carry on with the next stage of working at this picture. 9. Blocking In Shapes: Okay, I played around with this. I went away and he came back. And I use more than one layer to draw various bits of detail plus final part to detail or what have you and ended up with something like this. Now I'm going to do the same thing with the dinosaur as well. I will do that as a separate sketch and then I'll combine them together. But one thing I found was you can't insert one procreate file into another procreate file. So what I'm going to need to do is come to my layers and I'm going to turn off background color. So I have the blue lines against a transparent background and then I come to my Actions Icon, all my wrench icon come to share. And I'm going to export this as a PNG file because a PNG file will squash ever the Antoine lab. But if there's a transparent background like we have now, you will keep that transparent background, which is what I want. So AirDrop, send this off to my Mac and then I can re-import that into a new file. What I'm done, and that's what I've done with this image. This file is called walking 5001. It's available for you as download. Or what I did was important the boy into a new larger file. I think that's about 5 thousand pixels along the long edge. Then I did a separate drawing of Fido, the dinosaur imported that. And you can see if they're both on separate backgrounds like this answer now the next thing I want to do is start blocking in these different layers. Now blocking in as a technique where you put colors in behind your line drawing, which you can paint over the top of. And because the blocks are on separate layers, you can use techniques like clipping layers or alpha lock on those layers and paint pretty freely in various different places and not have to worry about the paint spilling over into other areas of your picture. All right, so let's do that. So let's come and I'll create a layer and I'll call this blocks 01. For this, I don't need a texture brush. My brush set, I have something called hard block it in and it is mine. No nonsense brush. Because you can paint fern, you can paint thick, which is good for getting into crevasses. But if I zoom in, that has got a hard edge on the actual brush itself has no texture in it whatsoever. I don't need that at this stage. Eventually, yes, I would like texture. But for this, no. Okay, So supposing I come to the dinosaurs head and I'm going to twist it around like this. Because I want to paint along just the edge of the dinosaurs head like this. Wherever I think I want a different color, for example, that hole or the eye of the dinosaur paint up to the edge but not into it. Because I want to use another layer to color in those areas. I want discrete areas of color which don't interfere with each other so that when I make my brush strokes, my morning natural paint brushes, I don't have to worry about the skin texture spilling over into the eye area. With digital art, that makes sense because if you're using, say, a paint brush for example, you probably know that you can use various different parts of the brush, the tip of the brush, the side of the brush, and what have you to vary the amount of paint you're putting down. Now with Apple pencil, you can do the same thing, but while you're looking at a hard plastic tip as opposed to a changing, moving sort of bristles which you can monitor an effect. It's not as easy to create the thick and thin that you need alter angle of paint brush like I'm angling now to get the effect you want a little bit around here. Certainly do need disability with digital art to be able to isolate certain areas to make your free brush strokes knowing full well that without lack of control you have with a regular paintbrush, you can't control what happens with your brush when it meets the borders that we're defining now, I'm just coming to the edge of my block like this. And if you notice, I've painted around the outline of this area and I've made sure there are no gaps. There is important because what I'm gonna do now is put either my pencil or my finger just where I'm circling now. And you've already seen me do this in the Maker mess video and I just drag across, I'll flood the entire area. That is a time-saver. Okay, you can see I've got rather a lot of work to do here. Tracing around the outlines of areas can be a bit time-consuming, but it is something that can help you sometimes. And I'll explain that if I come to our layers, I'll come to my Fido lie on our tap on the thumbnail. And there's an option here called reference. I will turn on reference. Now, other layers can refer to that layer and the outlines that it has. If I come back to block 01, it's going to refer to the fido lab. Now if I come to this bit here, okay, so now I'll do what I did before. I will drag and I will I've dropped it in and it flooded too much. But take a look at the top. I have something called color drop threshold at the moment, etcetera, about 49%. I haven't taken my pen off the surface of my iPad yet. Instead I will start sliding it to the left and not as I do with that. The color drop threshold goes down, down, down, down, down like this, until eventually it only covers the areas that I wanted to color in. At that point I let go because look, that's too much. That is just enough and you want it to be just enough before you let go. And the reason being as look, I'll just show you a certain area, say around here. You can see where the flooding has started to bite into the borders of my rough sketch. If I do it again, I can't say this bit here. And I'll jiggle around the color drop threshold there unless it is like at the moment It's what, It's just over 10%. It's not cutting into the borders very much. I needed cutting more because that's too much that's just enough analyte go. The reason being is eventually these flooded areas, I want to paint over the top off. And if I come to the next one down and there's hardly anything flooded because my color drop threshold is very low. While I still have some areas here which I've got to paint an enemy because it hasn't cut in enough that will show up as an empty space in my final painting. At which point you have to say, well, what's the point of the reference later in automatic flooding? So it's a balancing act. But I also have another problem with this, not so much with a dinosaur, but let's come to the boy for example, you can see there's a lot of heavy sketch lines all over the place. So if I come to the fido and I turn off reference for that and I come to the boy, I make that the reference layer because you can only have one reference layer at any one time. Alright, well, let's double-check. Blocks is selected. I don't want to start flooding the boy layer. That is a very common mistake, not selecting the right layer. Supposing I come down to the shoe area here, well, that's flooded it, but I can play with my color drop threshold. But the fact of the matter is I've got loads of borders in here, which is making my job really, really hard. So at this point, you start thinking, well, maybe try to flood in all these different areas before I've done my actual line work isn't such a good idea. So this is what I'll do. I'll come to my blocks layer. I'll just clear it for now. I'll keep it there in case I need it, but I will. Now, while I'll turn off my reference, I don't want really want to use that anymore. I will lower the opacity so that I can still see what I'm doing. But it's not going to interfere with what I wanted to do next. Because what I want to do next is come to the blocks layer and create a layer on top of it. And I'm going to rename this layer to linework. But this is the point where I stopped doing my finish line work. Now I need a brush for this. This is sketchy or DC 3D sketch. I'll go with DC sketch for this. I just want a simple black for this. I will double-tap at the bottom of my color disk. Then I'll come in to the area now I needed slide how thick I want my lines to be. That's not bad, that might be a little bit thick. What I'm doing is I'm gonna play around with this size and we're going to make soft strokes increasingly pressure than decreasing the pressure because I want the thick and thin. Thick and thin is character. And it gives a more human-like quality to your drawings, which you're not gonna get with. For example, hot air brush. That is very uniform line, that can be rather boring. It can be nice for graphic style illustrations where you want a slightly computery feel to it, but I want this to look more natural than that. So I will come back to DC brush basics, DC sketches. Let's just try a little bit of detail with us. Welcome. Sketch different bits. I'm zoomed in while I do this because I want this to be fairly accurate to what I'm doing. But there's a danger with this. That is, when you draw zoomed in, things can look fine. Look, I'll do a thin line here then I will make it much thicker as it goes down. And at that point I may be thinking, well, that was probably getting to be too thick. But when I zoom out and take a look, all of a sudden that looks a little bit better because when you're zoomed in, you get a very different sense of what is thick and what is thin. That when you're zoomed out to the actual size the image will be. When you're testing out your line thickness, zoom-out to actual size and actually looks not too bad. One, Umayyad, I'm on slide 6%, I want to change that to 5%. So it's just one thinner, maybe 4%. For file this size which is about 5 thousand pixels along the top, I think that is likely to be the size that I want. So I will clear this, fade out and fade back in. Once I've done this. I've done that and I've zoomed out. I think I'd prefer that line width. That works for me. I'm gonna come to my slice slide on the left and I'm going to tap that button and I got a little plus sign. And if I tap on that plus sign, I get a little notch. That means that I can change my brush size to various different places. But if I tap either notches, I go straight back to 4%. This is gonna be very useful because you saw that even if I adjust my brush size by 2%, it changes the look of my line drawing. Now supposing I do half of this on one day and half of this on another day. And in the meantime, I changed the brush width. Well, may not be able to remember that, but now with procreate 5.2, you can correct little notches on your size and your opacity slider. So I know my favorite sizes and the opacity that's very useful, but I want to be even more safer than this. I'm going to create a new layer and I'm going to call this brushes. And now what's the name of this brush? Dc sketcher? I put it on 4%, so I write d, C SketchUp, full percent. This is a utility layer and I can make it invisible and it won't appear in my final artwork, but it is there in case I come back to this in two years time, for example, with a fresh install of procreate, that notch isn't there anymore. I can just call us up and say, Well, I like the look of that line work. How did I get it? I got it by using DC sketcher 4%, providing I can read my own handwriting. So it's a utility layer and they are very useful and I recommend you get into the habit of using them. Okay, so now what I need to do is to do all the line work for this. You can see what my sketch looks like with all those rather busy lines which can look quite nice. And if I'm blocking in just by tracing around the outlines and then flooding in, that's fine. But if I want to use a reference layer, then that is going to give me an easier time. This whole idea of using something as a reference layer. It can work and it can work very well with hard edged line work. But the more painterly you will outlines get, the more involved it becomes, and the more you may have to go in and touch up the flooded areas in your blocked layer to get the result you want. Okay, so you've seen the general principles and watching me work is really just going to waste your time. I'll fade out now I'll come back in a new video once I've blocked in this artwork. 10. Start to Paint: All right, This file is available for you as a download. It's called Walking fido blocked 01. And as I was drawing in the outlines I made wanted to change us mainly around the face. You can see the eyes. I worked those up a little bit. But let's take a look at what I did with a blocking in. Let's make this a bit smaller so I can see most of the drawing. I created a group called flat and these other areas blocks I created, and if I make them invisible and visible for a second, you can seek lock one was just a general outline around everything. But then on top of that block two is the reds, and you'll notice that they are separated out. For example, the red for the spines on the back of the dinosaur are separate from the rest of the eyes or the tongue or the underbelly of a dinosaur. And same with block three, the yellows know to yellow areas touch each other like the t-shirt and the hair. They're separate, the eyes and the teeth, they're separate. And the reason you do that is precisely because now I can paint using those blocks. And that if I'm painting using say, the block to the red blocks and I'm painting the spines of the dinosaur. I can be a little bit free and easy with my brush strokes. Normally they're not going to interfere with the main body of the dinosaur, but also those holes on the tail or the underside, the red scales. Also what I've done look, I've got my brushes there, but I've also created another utility layer called swatches. Or what I did was I played around with my colors. Personally, I prefer to use the classic and I choose a series of colors for, for example, I've got red, orange, lighter shade, lighter shade, and a lighter shade. And rather than having to keep my palette open all the time to choose some various colors, all keep on selecting colors. From here, I have a reference here. The various colors I'm planning on using fall, the dinosaur on the boy. Instead of having to have this panel open all the time, I maybe have my brush panel open and at anytime I can just press and hold on any one of those swatches, grab the color and start painting with it. It's like an on-screen palette. And of course it is a utility layer. So afterwards, I make it invisible for my final export. Okay, so now it's a case of just filling in the different areas. I've got a choice here. I could always just simply turn on alpha lock and then choose a brush. Let's try. I don't know, texture buildup and I can choose the color now, I would like the dinosaur to be this kind of color up. Start painting handle on this. I'm going to use my lighter colors to choose my lighter areas on already. You can see with that brush, I think that's quite nice. That texture buildup brush, It's given me a rather textured finish to this dinosaur. And if we wanted to choose darker, a bit smaller, and I can start coloring in the areas like this. This is the quick, simple, and dirty way of doing it. But I will talk a few times to undo this. Because the disadvantage of doing something like that is supposing some point I want to select the spines, for example, I can swipe lock to layer if I come to my selection tool, if I zoom in just on a few of those spines and I come to my selection tool, there is an option here called automatic, and that works I suppose, in a similar way to where you drag and drop colors into Philip certain areas. And with that, if I just tap on that area, it selects all of that red area because it's looking at the later and it's all a nice simple read. I won't do that, but just supposing of care, I've got my red layer with alpha lock on an icon when I start painting various bits like this. And then I come in and think, okay, I want to select that entire area, so do what I did before come to automatic guns. It's found a border on that layer because instead of being a simple red, it's now a mixture of simple red plus these various areas which I've painted in. And the more I paint in, the more those areas are going to be filled up. So if I wanted to keep that flexibility of being able to just select certain areas to isolate them. Don't do this. Don't really need Alpha Lock. Instead, let's come to our block. One layer on what I do is I create a new layer. I come to clipping mask. What that means is I won't be able to paint on this new layer why there aren't any pixels on the block one layer, I'll show you what I mean by that. Touch your build-up is selected. Let's find our brush like this. And I can come and paint like this. And then painting quite free and easy. Then if I turn off clipping mask, That's the area I painted. But if I turn clipping mask back on, those areas are hidden. So that clipping mask stops me from painting over the borders of the block one layer, think of it as being the parent layer until they attend. And it's telling layer turn where it can and where it can't paint. That's what I would recommend doing with this. Unfamiliar. Simply a case of choosing a layer, selecting your color, adjusting your size and your opacity, and gradually building up the layers like this. Like for this. I'll choose my base color layer like this quickly scrub over. In everything. Then I might come here, although my opacity and start to build up the top part of my layer like this and choose the areas where I think the light is gonna hit. I want you doing this. Try be generous with it. Quite often you see something which is looking really quite a big flat area of one or two tiny little highlights and wanted to tiny little shaded areas, not slosh that paint down at this stage. Gradually build up. I'll make my brush a bit more paint but a bit smaller because I want to get smaller shaded areas. Maybe that's a bit too small. Worked like this. I can always choose colors from the actual painting itself just to add a bit of transition in these areas here. You start to work that way. Like I said, this is a fast course. I'm not going to paint this before your very eyes or anything like that. But here's some of the tricks are used. When I was painting this last time. I can create a new layer. Maybe change the blend mode to something like site overlay for example. And I'll choose brown watch or I use for this, I'll use, I'll use my DC 3D sketch. I made the size quite a bit bigger than a steward test, strike that. Yeah, I quite like that. I'll make this darker and supposing I start doing frustrates like this to do some stripes down the side, the dinosaur alive. Then if I come back to my LED turn and not start to exaggerate some of the highlights and low lights. I'll try swapping a brush because sometimes when you're doing stuff like this, just experiment with brushes. Especially when you're not familiar with the brushes. Just do an experimental painting. Size a bit bigger and make my pasty apart there. And I'll start to increase the highlights in certain areas around here. Now, do you notice when I'm doing this, Let's zoom in because the layer above is set to overlay mode interacting with the layers underneath it. Even though I'm painting on the layer underneath, you can see the layer above where those little stripes, they're also getting darker and lighter as I apply dark and light. The main coloring and land. Starting a cobol, let's get a little bit of yellowish orange and just paint that in just a mix up the hues a little bit. And can you see that? Look, if I change layer 11, if I change the layer blend mode back to normal, it just sits on top and it's looking rather dull. If you change it to overlay or soft light. Hard Light, vivid light, that's looking interesting. You can paint your dark and light areas, but anything you put on top because it's set to another layer blend mode is taking on the dark and light of things underneath it. And of course, I have that layer selected beginning where my stripes, if I come to hue saturation and brightness, I can play around with the hue of it. I can have green stripes, I can have more ready stripes supposing a long green, but I say that's too saturated. I can make it less saturated, so it blends in a little bit like this. I can also alter how light or dark they are. And I can play around with the settings all I want. But that's the way you do it. That lab. What am I doing that should be clipped to the block one lamp and that's how you work the picture up. You start off with block one. All the areas which are this light green paint in those areas and experiment with the brushes, and generally speaking, work large to small. Also don't forget that stripe layer. You can vary the effects like this so it's completely invisible. Or dial in or out as you want. Things you could never, ever do with traditional artwork. But it really does invite you to experiment with the layer opacity, with the layer blend mode with a different process to see what kind of effect you can come up with. 11. Walking Fido - A Review: Alright, so I spent some time working with up. I played around with colors. Let's show you what I've done, my flats layer. If I open it up, you can see I did quite a bit of extra layers. And you can see with a block one layer, the one we were working on, I've used to put basic lights and darks in that. Also, I experimented around with different textures, layer 15 in there. And I changed that to color burn because I wanted that to darken things a little bit. But also when it was darkening things, I wanted that to be a certain amount of intensity of color because this is more of a cartoony illustration than realistic. On top of that, I put another layer in overlay blend mode. And you can see it's adding some extra highlights to create a more 3D form to the dinosaur. And block two, well, that was the spines. If I make that invisible, you can see where the lines are gone over a little bit, but it doesn't matter because block two is blocking them out. And you can see the various different things I did with this, same with block three and block four. On top of that, I have my actual line work that sits on top of everything. And you can see without the line work, it's suddenly becomes very hard edged and a little bit not too nice. I'd refer with a line work home. I put alpha lock on for this. The reason being is if you look at it, some parts of it are kind of a dark green color and some parts of it are a brown color, especially around the time. So if I come to the boy, similarly, if I just circle in the area around his cheek, that's a fairly light brown. If I come to the other side, it's a darker brown. And around the t-shirt and shorts, It's kind of a grayish bluish black. And that's because with Alpha Lock turned on, Let's show you. I'll quickly get my brush. Dc charcoal, turn the opacity up with my line work layer selected. I can color that line whatever I want. I chose to cover the lines so that it had some of the local color inside the t-shirt or the color of the arm, the green of the dinosaur. On top of that, I had highlights. If you take a look at the dinosaurs I that is set to screen layer blend mode, which is one of the lighter layer blend modes. And I put in some highlights just on top of the eye, just to give a little bit of life. At the bottom and Anthony flats layer, I just put a ground layer, background sky, my background color. I can change that around to whatever color I want to give a slightly different feel. In fact, maybe, maybe I prefer something like that. That is the basic process, or should I say that is one basic process? There are some people who post artwork online saying I only used one layer and if they want to do that, that is fine. But my job with this workflow with a dinosaur and the boy was to make you aware of the various tools within procreate and how you can use them to create artwork effectively. You do your initial sketch, you can trace over the top of it. You block things in and you can color in areas nice and freely. You use various layer blend modes and you can really affect the look of your picture in all kinds of nice ways. And you experiment around with the various different brushes. The size, the transparency on putting things in various different layers allows you all kinds of flexibility. If I come to the flats layer and I take a look at the dinosaur and I come to my overlay at the moment it's set to maximum. I can also fade it down so it looks more subtle. I can always try going for Hard Light, which gives a more extreme look. Vivid light which has changing things again. Now it's up to you to experiment with it. You have the base files I've supplied you in case you want to go and practice with sketching or building up the paint. And I'm pretty sure that for all the amazing things that digital art can do at the moment, we're still just scratching the surface of what people like you are capable of doing with an iPad and an Apple pencil. Learn the tools, learn the techniques, and just see what you can come up with. I'll see you in the next video. 12. The Gallery and File Formats: Okay, let's open up procreate. When you open up procreate, the first thing you see is the gallery. This is all the various different bits of work that are either created or imported into procreate. And every one of those bits of work gets their own little thumbnail so you can see what they are. And if I want to load up a piece of work, I just tap on, say Sanita e 01 and it gets loaded to come back to the gallery, go right to the top left where it says gallery and surprise, surprise. I'm back now for any one piece of artwork, if I come to the thumbnail and I slide to the left, I have a choice I can share, I can duplicate or I can delete. If I share, I can choose my image format. If I want to post this online, I might choose a JPEG. It exports and it gives me a destination where I can send it to. I will send it to my iMac via AirDrop, come to Dan and export successful wabe. Sometimes when you're working, you might want to save different versions of a file. If you like the work you've done and you want to do more, but you're not feeling very confident, not a problem. Slide to the left, come to duplicate and you get a duplicate. If you do that, it is important to tap on the name. And I'm going to rename this to sunny day 0 to two. That way I know that sunny days one is the original and sunny days III is the one which I will work up. And you can see, let's find an example of this. And the angular from the solid foundations course, you can see where I've done this. I've taken the various different stages of mine development and I group them altogether with a whole load of different names so that the one on the end and or the angular finished. I know that's the one I got sent out into the world. And to get out of that group, I'll just tap on the top-left. Because that under the FMLA is something called a layer stack, which is a group by any other name. To create a group, we'll look, I've got all these 3D objects that came with a five-point to release. And that's taking up rather a lot of space in my gallery. I will come to, for example, a soda can tap and hold on my finger and drag it over to the surfboard until I get that blue Look, I'm when I let go, I get something called a stack. If I tap on the stack, you can see I've grouped those two files together. If we want to either another one, Let's add the skateboard. If I get over with my finger and eventually the stock opened and I can drag that to where I want. This might be a glitch within Procreate, but I've noticed that with a five-point to release, everything is looking great out. But if I come to where it says stack top and rename it, Let's call this three and hit Enter. Once I do that, I get a thumbnail of what's inside the stack. The moment is the soda cans. If I take the skateboard and drag it over with my finger. So that skateboard is the image in the top left when it come out by tapping on where it says 3D, the skateboard becomes the top image. You can see what's there. Now there are rather a lot of them. So if I come to where I'm circling now it says select, I get a little circle next to the name of the various different things. So I'll come to the sunglasses, rollerskates, ceramic parts, electric guitar 3D. Let's come to the 3D above. And I have an option there to stack them together. They all get placed together, and that's my stack. I'll tap the little eggs in the top-right to come out of the select multiple items mode, I can take that stack and drag it to another place. If I come to the top middle one, the kicker is 0 for backgrounds and slide for left. Well, the final option is delete. I don't want to do that, so I will just tap away. If I want to import a file, I can come to the top right and tap Import. My case. The last thing that happened was inside my iCloud Drive and I can choose any of these files to import into procreate. There are other ways of doing it as well, but we'll go on to that. That's my gallery in a nutshell, do yourself a favor as well for your files to share them and download them somewhere else so that you don't risk losing any artwork with any updates. The next thing is, in order to draw and paint something appropriate, I need a new file to paint it on. To do that, come to the plus sign in the top right, you get a series of presets that you can just tap on by supposing I want to create a new canvas. That's simple enough. I come to this little icon which I'm circling. Tap on that. And I get this untitled canvas and you get a number of fields to fill in. Every piece of artwork you'd do can be measured in pixels. Those are the little blocks of color that make up any computer-generated image. The image you're looking at right now is just a series of different blocks of colors laid out in a grid arrangement. And they can all change whenever you may have paint stroke, everything is pixels. And so here I have a width of 2700 px or pixels. And a height of 1800 pixels. The maximum layers is something that you want to take a look at because this is letting me know that if I create a file this size, I'm gonna get a maximum amount of layers of a 106. That is good news. But if I was to come to the width, I'll make a really huge file. Let's try 8 thousand pixels by 8 thousand pixels. Now the maximum amount of layers I can draw with goes down to four layers that will vary depending upon your model and year of iPad, the new modern iPads, we'll let you have more layers because they have more ramp. The older iPads, I'm not sure it could even do an 8 thousand by 8 thousand pixel image. The smaller the amount of pixels you have. Like say if I chose for 80 by four AT well, that gives me loads of layers, but I'm not going to have a very good painting experience with such a small file size. This simply not enough pixels along the width and the height to give me some good-looking brushstrokes are so I need a balance of a decent amount of pixels. Let's try say, 3 thousand by 2 thousand. That will give me enough pixels to do some decent brush strokes, but it also gives me plenty of layers to work with. So maybe outside, That's what I want. Now, DPI, I need to tell you about this because the sheer amount of silly information I see from people saying, Well, when you create a new file inside Procreate, blah, blah, blah, set your DPI to 450 pixels or set it to 300 DPI. Dpi stands for dots per inch. That's how many individual pixels make up every inch of your artwork. If you're going to send out your artwork to a printer, then this starts to become important, but otherwise, it does not matter a bit. Did you notice maximum layers is set to 85, my DPI is set to three hundred, three hundred DPI is generally considered to be the amount of dots you need on a piece of paper so that when you are looking at it, normal reading distance, you can't see the individual dots that make up that image. This is not a technical number. This is just a number that was agreed on over the years by people looking at images that came out of printers. And if there's 300 of those little dots or pixels inside every inch that you're looking at, you can't tell where the dots are. It is not a technical limitation. You can feed your print or whatever you want. But if you're looking at an image on screen, the dots per inch does not matter one single bit. This image, which is 3 thousand pixels by 2 thousand pixels at 300 dots per inch, gives me 85 layers. Well, okay, let's set the DPI to 3 thousand dots per inch. Now have an image which is 3 thousand pixels by 2 thousand pixels and 85 layers, nothing has changed. The only thing you need to worry about if you're creating something for the screen is your width and your height in pixels. That's it. Dpi does not matter. It only starts to matter if you come to inches. Now, I've got an image which is 3 thousand inches wide by 2 thousand inches tall, that is way too large. So our backspace to 300 dots per inch card is still way too big. So I will come to my width and I'll make an image that is say, ten inches wide by six inches tall. Now, dots per inch starts to matter because now I have a width of ten inches at 300 dots per age, which means 3 thousand pixels because ten times 300 history thousand and my height, well that's six inches by 300 dots per inch, so that's 1800 pixels and maximum layers of 95. If I change my DPI to 250, which is what a lot of magazines are printed out at. I'm talking about good magazines. I now get a maximum layers of a 139. If I set my dots per inch to 450 dots per inch, I get 40 as my maximum amount of layers. And sometimes digital illustrators, when they are printing to get sent off to a publisher, they might print out at 450 dots per inch because that means even less chance of people being able to see the dots that make up the image when it is printed out on paper. Let me say that again. If you're dealing with inches dot per inch matter, if they were pixels, it doesn't matter a bit. Okay, so what did we say? 3 thousand pixels by 2 thousand pixels. And forget about the DPI because it's in pixels and the maximum layers of 85, that does mean. Now what about color profile? Again, this depends on what you're going to see it on a computer screen or whether you're going to see it as print. If you can see it as a computer screen, then you don't choose CMYK, you choose RGB, and you choose what display? Display P3, that is what this iPad normally displays out. And it can display a very wide range of colors. Not all computer screens or tablet screens can display as many colors. If I paint something which has a huge range of colors, and then it gets seen on another screen. That other screen may not be able to display all the colors. I can see the images going to look a bit different. If I'm worried about that, then instead of Display P3, which gives me all the colors of my iPad, I might use another one called sRGB, not sRGB can't display as many colors, but it is safe. And it computer screen or tablet I can think of is capable of displaying an sRGB color profile. Now if you're going out to print for a printer can display even less colors than a computer screen. And so if you are designing for prints, It's an idea to choose CMYK because RGB stands for red, green, and blue. Those are the colors that make up a computer screen. Supposed to CMYK, which stands for cyan, magenta in yellow and black. Because any printer I can think of has at least those colors of ink inside the printer. And if you're going to print out, I suggest that you CMYK generic CMYK profile should do the job just fine. Unless, for example, the print house you go to asks for swap 2013, S3, blah-blah-blah, image case, give them what they want. But for this, I'll go for generic profile time-lapse settings that if you want to export out to a video, you choose the video resolution you want. If you want it to look really fancy, you might set it to their cameras properties. That just depends upon the background color you want. So welcome to create. There's my file where my background color, the color I specified. But I can change that to whatever I want. There's my layer one, which every new file starts off with. I'm in CMYK. And you will find the colors look rather more muted than if I was doing it in RGB profile because these are the rather more knocked back colors that are printer is capable of producing. And so all I need to know is come to my brush menu. Choose any brush I want. Start to paint on my layer. I will start talking about layers in the next video. 13. Layers - Group, Merge & Utility: Okay, Let's talk about layers. I'm in my gallery and I have a file called Fox 0 won't, I will tap it to load it. This is available as a download. This image is made up of a number of different layers. If I come up to where I'm circling now, that is the Layers icon. And if I tap it, I get my layers panel. And from this, you can see that this image is made up of a number of different layers. Most of the work that is done in my layer called main colors. And to show you that, I will come to the little checkmark just where I'm circling and I'll tap it. This is a toggle switch and it makes things invisible of visible. But the background as well is comprised of different layers. Like I have some vegetation around the foxes feet plus some more vegetation around the foxes feet in the layer above that layers are one of the big advantages that digital art has over traditional art, because you can have as many layers as your iPads memory will allow you to have. Okay, so let's make a layer to start off with. I will come up to the plus sign just where I'm circling now and tap it and I get a layer called layer 17. If I come to my brush, Let's come to pay with Daisy. And just making a huge mark, which is a little bit more intense than perhaps I would have liked. So I'll open up my layers panel again and I can swipe to the left and I have a choice of things I can do with it. I was going to delete it, but instead, look, I'll show you if I lock the layer like this, you can see a little padlock. Now if I try and draw on this layer again, and let's choose a different color. Now, can't do it. I get locked layer selection. Would you like to open the layers? No. Cancel that. Swipe left again and choose Unlock. If I decide I really like that for some reason, then I can always come and I can duplicate my layer, which gives an exact copy. And if I can buy select icon, I can move that around to where I want. And then I decide I don't like that. So I put my finger on the layer and slide to the left and I choose Delete. As for my original layer, what can I do something with this will look, there's a little n just where I'm circling. And if I tap on that and I can do a couple of different things, I can alter the opacity at the moment it is set at a 100%. If I slide down, you can see the layer becomes more and more invisible until eventually it's completely invisible that I can set my past due to wherever I want it to be. I'll tell you about backup to maximum because the other thing I can do with this is change the layer blend mode. And you do that by coming down to where it says Normal new slide and drag up and down if your pen or your finger. And you get lots of different ways of showing this layer compared to what's underneath it. And you can combine that with the opacity to make the overall effect much more subtle, invisible, subtle, getting stronger until it's quite in your face. We will talk about layer blend mode in a later video. Well, actually I quite like that effect, but for now, look, I don't need it, so I will slide to the left and tap on, delete. Every procreate file to create starts out with two layers, at least wanted to draw on. Plus also at the bottom you have background color. And if I tap on that little beige swatch, I can change the background color. Welcome to done, because this is an important point. Every new layer starts out completely transparent. It has no pixels, no brushstrokes, nothing on it. It's only when you start to make brushstrokes that the layer becomes useful. While I'm here, let's show you this. I'll create a new layer. I will put my finger, tap and hold to choose a color for my background. Let's choose another brush and the brush will do DC smoky paints here a one, and I will my brushstroke. And if I open up my layers panel again, you can see my brush stroke is sitting on top of the fox. If I hold my pen or my finger on the layer, do you see it suddenly jump up? That means it's active and now you can see I can drag it down underneath where the fox is. Let go. And all of a sudden that paint stroke is behind the folks. That happens because all these layers are stacked on top of each other. It's known as the layer stack. The layers above will hide what is below. That will affect the way you draw your image. I will slide to the left and delete that. You'll also notice with some of these layers, instead of having a letter to the right of the name, you have a little arrow pointing to the right. That is because these are layers that have been grouped together. And if I tap on that little downward facing arrow, drag upwards, you can see my background is made up of a number of different layers. And if I make my background grouping visible, every layer inside my background group becomes invisible. And that is very useful for organizing things. Also has a nice thing if I make this visible as a whole, the background group is selected. If I come to my transform icon, I can move everything inside the background as a single units. I will two-finger tap to undo that. But if I want to move just one of the layers within there, if I come to layer nine and do the same thing. Now just that layer moves around. Finger tap to undo that. Now I have done a deliberate bad practice here. I didn't rename my layers. I'm looking at layer 99, which is also a duplicate, and I'm not sure what these layers are supposed to be doing. I can try attacking them on and off to make things visible or invisible. But for this particular layer, if I'd rename that to long grass, it makes my life easier because I don't have to play the, let's tap a layer and try and figure out what it's supposed to be doing game. In order to name this lamp, I'm going to tap just where I'm circling, which is the Layer icon. Once I tap on the Layer icon, I get a number of different options, right? The top, I have something called Rename. I tap on that, allow for this long grass and answer. And now I know what that is. If I want to group layers together, like I have two layers here, Layer Layer 13, which I should have renamed our tap on layer eight. And then I will slide to the right on layer 13. And you can see it gets a slight highlight. And as soon as I do that at the top, I get something called group. When I tap on it, I get a group called New Group. And as with layers, I can chop just where I'm circling now and I get a number of options. I will rename this to a grass, France. And now I know what's in that group. Now as it is 13 and everything on there could happily be sitting on one layer. So I want to combine them. Well, the most straightforward way of doing it is Lear 13 is sitting on top of layer eight. So if I just tap again where I'm circling on the Layer icon, I have the option second from the bottom to merge down. And if I tap on that, both layers get merged. That means I get more layers to play with further down the line, which is a good thing. I will two-finger tap to undo that. Because my other option is they're inside a group and if I tap, I can merge down and everything gets merged into one, at which point I don't really need those inside a group. There's no point. There's only one layer. And so ethnic group, I can come select that layer and drag it out of my group, come to my group, and then swipe to the left and delete that group. This is most of the basics. If I tap on the thumbnail, you can see I have a list of things I can do with them. We will talk about that in the next video. But just for now, I want to finish this lecture by showing you the utility layers. They are inside a group. And if I come to the bottom of the two and make it visible, I have a layer which I've named swatches. These are colors which I have sampled from another image. And I put down a little series dots. These are the colors I've used for my painting. Now instead of having to come to my palettes panel, I can just rest my finger on any one of the colors and I get the color dropper tool. I'm once I let go, that color is selected and I can paint in that color. And the other thing I've done, if I zoom out a little bit, is created a layer called brushes. And with this, any brushes that I found myself using, I created a layer, I renamed it to brushes, and I wrote down the name of the brush, which brush set there in where to find them and how big the brush worse, and in some cases, how transparent the brush was. That means when I come to this work a year down the line and I can't remember which brushes are used because you can never remember which brushes you used. I have all the information right there with the file. So I can drop straight in a year later and carry on with the painting if I want to, because I know which brushes I've used. Now I call these utility layers. And for the final artwork, obviously, you make things invisible, but utility layers are really useful. Not everyone uses them. I suggest you try it and make your life a lot easier. 14. Layers - Hide, Combine & Reference: Carrying on from where we were in the previous video, I did say that there are a number of thumbnails which gives you a little preview of what is on your left, like in the case of the main colors layer. Well, that's the main Fox layer, layer eight, if you remember, was the foreground grass, but also the thumbnails. If you tap on them, give you a number of options. And I've shown you a couple of days, but let's go through them now. Well, the first one is what I should've done in the first place. So I don't get confused. Rename. And I'll call this fox grasp because it's right in front of the fox. And the next thing, if I come down to my fox layer, my main colors layer. If I tap, I have something called Select. And if I tap on that, it means that everything on this layer that has some kind of paint or pixels, which are the little squares that make up your picture gets selected and any completely transparent pixels don't get selected. Now from this, you can do a number of different things. But one very useful thing for this, if I come down to where it says copy and paste, if I tap that, you go into the selection tool, we will talk about that in a future video. But for now, if I come back to my layers panel, you can see I have a brand new layer called From Selection. It's duplicated everything on that layer. Now I don't really need that, so I will slide to the left and delete. Okay, The next thing, copy will copy, copies, whatever is on that layer that gets copied onto your iPad Clipboard, which means you could paste the contents into another app. Fill layer of care. We'll look, let's create a new layer. So I will come to above BK sketch and create a new layer. If I tap on it and it says full layer, look at the color I have in the top right. If I come to Fill layer, the entire layer gets filled with my current color, which hasn't already added too much to the picture. So I can tap again and come down to Clear. And that clears everything from your layer. Now underneath it, I have three different ways to mask out parts of my life. What I will do is with my brush, smoky painting 01 is selected and I won't make a big splurge brushstroke light of this, then I will come to alpha lock. Watch what happens to the thumbnail when I do that alpha lock, I get a little checkerboard pattern that lets me know that this layer has been alpha lock. What that means is any pixels on this layer which are completely transparent are now locked and I can't draw on them. And if I come and I choose a nice bright yellow color and I'll draw across those brush strokes that are made. Can you see that? I can only draw where there are already pixels and the transparent areas are completely unaffected. And so I will touch on do that. An alternative Alpha Lock. And I'll create another layer on top of this with this one. And instead I'm going to come to clipping mask. Watch what happens to my thumbnail. When I do, I get a little arrow pointing downwards that lets me know that layer 17 is clipped to their 16. And I'll do the same thing again. I will paint in bright yellow and I get the same kind of effect. This is slightly different. If I come to this layer and turn off clipping mask, you see that that yellow brushstroke I made on layer 17, I made the entire brushstroke. But when I turn on clipping mask, the other brushstroke only shows up where the layer below that it's clipped to their 16 already has brushstrokes. Now this has its advantages over the previous method we used, which is on this layer, which is alpha lock. One of them is, if I come to my selection tool, I can move this around and you can see the brush stroke on top moves independently. Also, if I create a new layer and turn Clipping Mask on with that, unless just choose another different color. You can start clipping layers on top of, in this case it later 16. And if I make the layer 16 are visible, the other is above also appear to be invisible, even though the little checkmarks are set to arm. Now you can see in this, I already did this with this illustration for the main colors, you can see I have two layers above. One is called dark light. And if I make that invisible for a second, can you see how it's affecting the darker and lighter areas of my fox? Fur color cast. That's making the Fox for a slightly more greenish color. For my dark and light layer, I set the opacity to about halfway. I can make it more intense like this or less intense. So I can vary the look of my picture on the fly. And because it's not permanently affecting the main Fox layer, I can add or take away from the dark and light layer. But look, I'll show you this if I set my color to, let's use a very dark color. And you can see the outline of the box there. If I come to adjust the corner, the rear ends of the folks, you can see I can paint on the falx, but because this layer is clipped to the Foxe's layer, I can paint on the falx are not worried about painting over the background. Two-finger tap to undo that. If I unclip. Can see how now when I paint, I have to worry about not painting on the background, but if I set it back to clipping the top one, then I can paint or write it to the edges of that fox with some very free brushstrokes and not have to worry about the background. That is a huge advantage our top few times with my two fingers to undo that. And also I will come to these layers and I will delete them because I don't need them anymore. If I come to my main colors of my fox layer, I'm gonna come to mask when I tap it, you can see I get two things here. I get my original main colors layer, but I guess something called a layer mask. This confuses some people. What I'll do is I will choose a dead black for my brush and what approach am I using? Smoky paint, anything will do. I need to make sure that I'm painting on my layer mask, not my main colors layer, my Layer Mask. And now I'm going to make a brush stroke around the foxes is it looks like I've erased the foxes areas. But if I take a look again at the layer mask, can you see on the thumbnail I have a little black mark. That is the area I painted on because the layer mask, it's an extra layer which sits on top of my main colors layer, and its job is to make my fox visible or invisible depending upon what color it is. Where the layer mask is, paint in black, the fox becomes invisible and where it's white, the falx stays visible. Here's the interesting thing. If I come here and I change my color, white, now I'm going to paint on my layer mask in white. The fox gets revealed again. Because a layer mask does not delete colors, it just hides the fox wherever it's painted black. And a nice thing about it is if I just change my color and paint in black, it's invisible. If I pay it white, it becomes visible. And I can do this again and again and again. And so I have a huge amount of control over the visibility of my folks. If I was to use an eraser on the FOX, those pixels are gone for good. Two-finger tap to undo that. But my layer mask selected, it's all just temporary. Here's another nice thing. If I change this to unmade gray color and I come now. The Fox layer is roughly halfway visible because I painted an inmate gray. It midway visible. Let's take yourself to white and paint it all back in again, layer masks are very useful, very powerful, but they can be confusing and the classic mistake that everybody makes, and you will make it as well as you come to your main colors layer. Choose a white color and you go, Well that point you might think, well, it revealed the paper underneath. So I've made the fox invisible, but I'm painting in white and I'll tell you a lot, I'll paint in black instead. What's going on? That is the classic mistake. Everybody makes two-finger tap to undo those. So of the three alpha lock here, this is the straightforward way of doing things and it saves layers, creating a new layer with a clipping mask like this. And you can see my clipping mask is active, that lets you stuck up more than one layer on top of, in this case my fox layer. And no matter how many layers you have, each one on top as long as it has that little arrow pointing down towards my fox layer will only show up where the fox is showing up. So I can build up, I can build up my dark and light layer. It can build up my color cast layer. I have independent control over dark and light of my fox, and then the color cast of my fox in the layer above. Just take a look very quickly. Invert swaps all the colors around. I do not need that, So I'll, I'll invert it back. Reference. That has to do with how you float layers unethical. I'll do a separate insert for this. Okay, this is a different file. What I wanted to do is fill in the various different areas of this pitch with flat color. So then I can use things like Alpha Lock clipping layers to gradually build up the layers. But here's my problem. I have my final line work and I have my layer 11. That is what I want to do all my flooding. And I can do that by coming up to my little color icon and dragging down until I came to a certain area. But my problem is I flooded the entire area. I do not need that, so two-finger tap to undo that. Now I have the rather boring task of having to go around all the outlines like fish to create a border because the Flood tool keeps flooding until it finds a border. If I do that and then flood that area, I can float, but that's gonna take ages. Do not need that. Instead, I want to come to my final line work. I'm going to tap and I'm going to choose a reference. That means that my layer 11 or refer the line work on the line art layer. And now when I flood that area, even though all the artwork is on the final line work layer, because I set it to reference. My layer 11 refers to the final line work layer and it says, okay, you want me to float somewhere, not a problem. What do I use as a reference? Oem, the line work left. And so it floods those things. And even with the linework layer invisible, you can see where I floated right up to the borders. Need I say what a huge time-saver, this is the fox grass. What do you saw? How we can combine layers to make it group. But notice the fox grass layer isn't in a group and either as BK sketch underneath it. But if I come to combine down, the fox grass gets combined with the layer underneath it into a new group, which I enclose, visible, invisible. The same thing I can do with any group. I'm going to come to the false graphs and drag it out of that layer and the BK sketch and drag it out of the new group layer, comes my new group and delete it and my background group. If I had been up, you can see I have a number of different layers that if I wanted to merge them, well, I can come through and top merged down a few different types until it all together. All I can pinch those layers in my case, because I'm right-handed. First finger on land nine, thumb or layer four and just paint them in until eventually they merge, which they didn't do that time because this is an awkward one. Yeah, that pendulum layers in and they all get merged. I don't particularly want that, so I will two-finger tap to undo that. In the case of this, I'd probably find it easier to come to where I'm circling. And I can just flatten everything into one layer and it takes it out of the group because you don't really need one layer inside the group and do it that way, which I find a little bit quicker. That is layers. Let's move on. 15. Brush Basics - Size & Opacity: Procreate five gave us the val Curry brush engine, which was an improvement over the existing brush engine, which was already good. And let's start off by coming to our paintbrush icon. And there are the various different brushes which are divided up into brush sets, which is what I'm tapping on. Now, let's come to our sketching brush set. And I have various different brushes within here that I can make marks with. So let's come down to say artists crayon, brush stroke. That is way too big. So two-finger tap to undo that. And let's make our brush size is much smaller. There we go. There's our brush stroke. And you vary the size like you just saw by using the size slider. And you can bear with the opacity, with the opacity slider. Let's take that down to 38%. So I get a subtle brush stroke, which I can build up. Or I can take it right the way up to a 100% and get a very bold brushstrokes. Now if you've come from traditional media than a pencil always keeps the same size no matter what, and it only ever has one color. But with digital art, brushes are a lot more flexible. And so there are a few different ways of thinking that it's good to try and get your head around, for example, with sketching. If I come to a six B pencil, That's my brushstroke. Unlike a pencil, you can have that whatever color you want. You can set your brush up so that if you press the light you get a faint brush stroke. And if you press harder, you get a thicker, more opaque brushstroke. But you can also alter the opacity of this brush independently. So now, no matter how hard I press, I don't get the same heavy brushstroke because my opacity lower. Let's show you a couple of things on that score. If I come to artists crayon and our choose another color. Yellow might be a little bit hard to see. Let's try a cyan blue. There we are, because digital brushes are different. Sometimes it can be a bit hard to keep track of how big they are or how I pick there. And that can mess you up a bit in the middle of a project because if say, I spent a long time drawing with my brush, 2%, and then I changed the process eyes to a much larger size. And then I come back to this area in the top left where I was drawing and I can't remember what size my brush was. I might make it 3% and I get thicker brush stroke width 5.2. There is a nice little feature where if he just tap on that little button inside your slider, you get a plus sign, size 8%. Press the plus sign and I get a little notch. And if I were to take this down to pose it to percent, I can put another notch there. If I was a larger Marseilles, I can do that. I can have up to four different notches inside my size slider. Now if I want to go back to that 2%, I tap on my notch, an unbaked 2%, as I can tap on any of the notches to get the brush size is called back. This is getting a little bit overpowered. So I will come to my layers panel, tap and clear so we can start again. Let's come back to that 2%. Choose different color. There's my brush stroke. I can do the same thing with the opacity. I can set a little notches on my opacity slider. If I decide I create a notch and then they come back to this notch on, I decided I don't like it. Just press the minus sign to get rid of the notch. While we are on the subject of thinking of digital brushes in a different way, your brush can make marks. Your brush by using artist's crayon. Your brush could also erase brush stroke. So if I come to artists crayon again, I'll come to me. That's way too big, isn't it? Let's take that down. And let's keep the opacity fairly low. Because look, I can raise my brushstrokes, but it's not like a conventional razor where you always get a mark left behind. You can completely raise your brush stroke. And also it doesn't damage the surface of your iPad. If you've ever tried to erase a heavy pencil brush stroke several times, eventually you'll end up poking your eraser through the paper. Not with this. Once something's gone, it's gone for good and you can erase as many times as you want. And when you realize that the eraser is not just there for rubbing out mistakes, look, if I come to say bonobo chalk, instead of just erasing, I'm creating a new texture by partially erasing the brushstroke I've made. So start to think of the eraser as being every bit as important as your regular brush for making interesting strokes. You can paint, you can erase, you can also smudge unless choose suddenly different from this. Let's try painting. Let's try, let's try it damp brush. And Will Smith with a damp brush and I'm getting some very interesting effect. This might be more interesting. If I choose a different color. I'll put that down there and then come back to my smooth tool. And I can smear the colors. Against each other. I can take part of the background and Smith that into the brush. Different brushes. Will Smith in different ways depending upon how they are set up like this. I'm starting to get some streets and looking a little bit like hair or rippled surface. So think of this smear tool as having all the creative potential of your regular paintbrush and your eraser. All three tools are very important when it comes to making interesting marks. Let's clear this layer and create a few more strokes. Let's try bonobo chalk. It looks like. Let's try painting. Come to oriental brush in a different kinda. See what that looks like. Alright, right now, you can see I have load of different brushes here. Sometimes it can be hard trying to figure out which process that lovely brush you are using two minutes ago actually is. Don't worry. There's loads of presets, but if you come to the top, a recent addition is recent. This shows you the previous eight brushes, but there are certain brushes which are used all the time. One of them is peppermint and so I made it a favorite. And you can tell that by the little star in the top-right. Now supposing with turpentine, I really love that and I wanted to make that a favorite swipe left and come to pin. Answer now any brushes which don't have that little star in the top-right, they will rotate every time I choose a new brush, the bottom one will drop off the list. And your most recent brush, welcome to the top of the list. But then supposing, actually, you know what, I hate turpentine, I will unpin it. Now it will rotate along with arrest. Law can be useful because as you can see, there are a lot of different brushes here. Now, anything which has its own little special icon, like a little blue pencil as its icon, or that little blue pen top, or a little paintbrush or an artist easel. Those are all the presets that come with Procreate. Anything which has that little squiggle for an icon. These are presets that I have defined. All there are a lot of brushes out there that you can buy and download and import. Many of them are very good. But at this point, Can I give you just a little bit of advice? It's tempting to think that it's the brushes that make the drawings. If ever, you are on a social media site and you see a good painting, you will find loads of people saying, that looks great. What brushes did you use? Because there's so many, it's easy to get confused with them. You can go out and buy a hundreds and hundreds of different brushes. And what happens then is that you spend hours and hours trying out various different brushes are not really getting anywhere because it's the hours you spent practicing your art that's going to make the difference. There is no such thing as a magic brush that will automatically make your work brilliance. That said it can be a good thing to create your own brush sets because once you know how to edit existing brushes or create new brushes, then you can come up with your own individual look. So to do that, let's come up to the top. And if you get something like that, just dragged down a little bit more and you get a plus sign, pressing it and you get a new brush set. I will call this temp. I can take that and I can drag it just to where my other brushes are. Supposing I like DC dirty sketcher and I maybe I want to play around and edit it. And what have you, what you do is you swipe to the left and you get a choice. You can share the brush with the outside world by exporting it. You can delete it or you can duplicate it, and you get the same name, but with the one on the end. Then if I rest my finger on that to lift it up, I can drag that into my temp. There's my new brush which I can edit or I decided I hate it, I can delete it. And it's the same with the Brush Libraries. If it's a library that you have created or imported and you tap on the name temp, you get the choice of renaming it, deleting it, share or duplicate. If it is a built-in brush set like a one, slow it down. The only thing you can do is duplicate. But if I come back to temp, I can build up a whole library of brushes. Then if I share that, I can take the entire brush step out and I have this saved as a backup. Or that's the kind of thing that I can put on the market to sell. But what about the brush itself? What about editing it? Well, to do that, you tap on the brush and you open up the brush studio, which has a whole load of different sliders. But in the next video, I will open up the brush engine and I'll give you an overview of what those various different sliders do. I'll point out some of the more useful sliders when it comes to creating and editing your own brushes. That's coming up in the next video. 16. How a Brush is Made, Stabilization & Taper: Okay, Now this is the video I wasn't looking forward to because we're going to talk about the process studio. And this is supposed to be a fast guide, but explaining every aspect of the studio in full detail could end up taking longer than the entire rest of the course. What I'll do is something I don't really like doing, which is a bit of a mad dash through all the settings. But more than that, I just wanted to explain a few things and the general concepts behind brushes. That way you have an understanding and if you need to come back to refer to this video, at least you've got some of the general principles in place. My temp directory, which is what I created in the previous video. That's got a few brushes which I duplicated and I put in there. So let's take a look at some of them. Let's take a look at syrup warm. This is my basic brushstroke. But if I come to sir at one and I tap on the brush again, I come into the brush studio. We have a whole load of tabs and well over a 100 sliders here. Let's explain the general principle of how Procreate makes a brushstroke. And to do that, I will come to the very first slider in the very top tab and I will alter the spacing. I will spread everything away out like this, a DC that you get lots of little dots. That is the brush shape. And I'll show you that. That's what we're splitting down. It's a square PNG file where the white bits show up and the black bits are invisible. And you can edit that to be whatever you want. Let's import something. You can import a photo, you can import a file which might be a square PNG with some black and white bit to be your brush head. Or you can come to the source library because procreate has a large library of brush shapes for you to create all manner of brushes. So let's come to the most simple one. Let's come to that simple white circle hard and choose that. And then come to the top right and press Done. You see that it's just a series of dots. And if I come back to my Stroke Path and reduce the spacing, the moment we still have a series of dots and the spacing controls how many dots get put down when you make a brush stroke. And the smallest spacing value, the closer the dots get together until eventually they form a continuous stroke. That is the basic principle of how you draw a brushstroke. It's just simply a series of shapes all put down together. You can do things with the shapes like for example, they are a bit spaced out there. I can jitter the brush strokes so that, Well, whenever you see jitter inside the brush studio, it means make random. And so that is a jittered brushstroke with all the individual shapes, split it down with slightly random spacing. The falloff just controls how far you get along with stroke before your ink or your paint runs out. That's the basic principle outcome to counsel for that. And let's take a look at DC gritty airbrush one because that is similar to what we had before. Look, the shape is a simple soft shape, so I get a soft edge. But if the shape is what's coming off the tip of my pencil or my paintbrush. Then the next thing is, what is it going onto? Is it going onto canvas? Is it going onto paper? Is it going onto cement wall that is defined by the grain? And can you see I have a kind of a bitty grain structure there. And sure enough, if I make a brush stroke, you can see I have a slightly grainy texture there. Incidentally, audio brush settings are on the left, you're drawing part is on the right. And if I tap where it says drawing pad, I can clear my drawing pad. And I can do things like I can choose a nice red brushstroke, or I can choose blue brushstroke just so I can see what the brushstrokes look like when they're in color. Now, back to the grain, what surface on my drawing onto, I will come to Edit. And as before, I can import either a photo or a file I've made myself all come to procreate source library unless try, let's try the oil pastel because that is going to give me a grainy field. And if I filter down there, It's looking a bit repetitive at the moment. I'm not sure I like that, but I can do things like I can alter the scale of the brush like this. And now I'm starting to get more interesting effects. The bigger the scale, the bigger the texture, which needs to be a repeating texture ideally appears to be. And also I can come back to Edit. And if I just two-finger tap the texture, I can invert it so the black becomes white, the white becomes black. And if I tap on Done, I get a slightly different effects. That is the basic principle of the brush studio. You have a shape add command. Let's change that again, just for the fun of it. Let's try 0 to come to. My shape changes again too early. Well, it looks a bit like an acrylic paint, shall we say. So the grain, the shape combined together and the Stroke Path decides how far apart the individual splits that making your brush. That is the basic principle. Alright, now let's go through some more of the properties I have. Come back to my syrup brush because it gives a nice Well, fairly smooth line, but if my hand gets a little bit jittery, it kind of that's a bit wobbly, isn't. So let's come tap on my one brush and the next thing down as stabilisation, this is all about trying to smooth out your stroke. Like if you have a shaky hand or you want long smooth flowing brush strokes, visa the slides is to see. So I will do my smooth brush stroke and I'll do it jittery bit and a large thick bit of a thin bit and budgetary. That happens quite a bit when you're testing out your brushstrokes, you lose half of the brush stroke, especially if it's long. But we can use this. I don't want to take everything down to 0 here. Then the streamline is the only slider we have before 5.2. If I move back, can you see how the brush is smoothing itself out? If I move the pressure around, can you see how the thicker bits of the stroke I guess he more evened out the pressure, evens out the width of the stroke and the amounts. It's the stroke itself, how jittery it says. And it's a case of playing those off against each other to get a feel you want. That pretty much defines all of the sliders here. It's about the feeling you get when you're drawing. So you do have to experiment with them a little bit. Stabilization. This is a very simple one. You just move it like this and you can see the rather jittery brush turning into a very smooth line. Basically, stabilization just takes a moving average of various parts of your stroke and draws that on the canvas. The higher this slider, the more the wobbles get averaged out. Now, motion filtering as a more advanced version of stabilization, you're getting a very similar effect here. In fact, you're getting an even more extreme effect here. This tends to work a bit better with the slide runs a Nephi expression slider when you're somewhere around the middle. Because what their expression slider does is try to add a little bit of the character of the stroke back in to the stroke itself. So you do get the smoothing. The expression tries to just keep one or two of the little carrot for kings of your stroke. And it really is a case of experimenting with the sliders to try and find the setting that you like. Let's take those back down to 0 and come to taper. Tapers probably the least used out of all the sliders. All it does if I come to this little graphic at the top and I move little blue dot on the right around. Can you see just the very end of the stroke gets tapered off more, the more I move this slider around the one on the left that controls the start of a stroke and it's highly done anything can I get any current? Yeah, there's a very slight difference in thickness of the stars of the stroke as well. More so the end, now they're linked tip should link both the sliders together. So when one moves, the other one moves. But there was a little bit of movement there that that seems a little bit glitchy. Maybe that's part of a five-point to update. Now the size controls how severe the transition is going to be from thick to thin. The opacity that's supposed to control the amount of transparency at the ends of your brush stroke. We're not seeing much here. You're supposed to use the pressure feedback to get more responsive. Start and under stroke. When you use your Apple pencil, the tip, when it's very low, it makes your Stroke Taper as if you're using a brush with a very fine tip. If you crank it up, you get the opposite effect of a brush with a very thick tip. The tip animation controls the above effect, either Azure drawing via facts or after you've made your brushstrokes and the Touch Taper, that's for when you're having to draw using your finger because your finger does not have pressure sensitivity or tilt awareness. So if I draw with my finger and I can move things around with this, I generally speaking, trying to avoid these sliders because you will find within the brush engine what approach can look like, like the opacity or how rough the stroke looks can be affected by different sliders in different tabs. But as you get to know, procreate pretty soon you get a feel for what tab on what sliders are affecting your cross stroke. 17. Brush Shape & Grain: Okay, Let's come to DC smoky paint 01 because I want to talk about the shape now, we've already seen how you can import various different brushes inside here. Now the shape behavior that controls the brush shape for every time you stamp down your brush at the moment it's fairly scattered. If I take my scattered down. In fact, look what I'll do is I'll come to my Stroke Path and I'll increase the spacing a little bit so you can see the individual dots, which will give you a better idea of what's going on. Back to our shape. If I scatter, the individual brush heads aren't stamping in same direction. Look if it's off, all the brushes stamp in the same direction, well, they would look, let's take rotation down to 0. Now, all my brush heights are split it down in the same direction. If I scatter them, it randomizes the rotation of each stamp every time it gets split down and it's not affected by the direction of the stroke. That is a job for rotation. With rotation, each brush eight gets splitted out in the direction of the brushstroke. If I clear for a second and I draw a big arc like that, you can see the individual spots are following it. If I take rotation to 0, everything's going in the same direction. So Scatter random rotation, rotation, following the direction of the strike more. The counter is set to one, which means every time the brush shape gets split it down, it gets split it down once, but I can increase the count. So 123456789 AM account jitter randomizes that. So you get more random amount of splatters. That is useful when you combine it with scatter because at the moment nothing has scattered, everything's following the same direction. You just get a thicker looking shape or when you start to scatter, the individual brushstrokes are starting to scatter the light. Fat randomized, just randomizes the rotation of your shape when you strike begins. So that means each stroke is going to be different when it's set to randomize. Now we're about to go down the rabbit hole. We as a morph, detects the radius of the Apple Pencil tilt as it travels through the stroke. That's what the manual says. Basically, your Apple pencil can tilt and procreate, can read the angle that your pencil tilts up relative to the screen of your iPad and an override rotation. Let's try and give you an example of this. I'm going to clear the drawing pad. And underneath all these sliders, I have this little gizmo like a circle that control the rotation of your brush stroke. But also it can make your Perestroika periods we allot thin and I'll, let's try various different things here. The scatter. And you see how the process starting to go in line with just slightly angling will look. I can change the angle. Using this. I can get a kind of a calligraphy pen looked at the cross stroke, clear again. But now I'm gonna draw, and then I'm going to tilt my pencil around at different angles. As I do that control the direction of my brush stroke. Like I'm holding my brush very flat and drawing an arc like that. And you can see the direction changes. That's because of the azimuth. If I turn it off, the brush strokes go in the same direction, which can be very nice if you're creating things like a calligraphy brush where you go to a sum of its thin somewhere It's fat. Maybe I let it hang on. That you go straight out of an old manuscript, flip x and y, just flips your brush head shape around to create some interesting effects. But you can see I just move some of those sliders around and I'm getting all manner of interesting effects. Now what we've been using is the brush around this graph. That's perfectly round brush head, that's a little bit more narrow. The pressure roundness that will squash my shape depending upon how much pressure I apply. Not much pressure at all, much more pressure. If I come to my pressure roundness. Can you see where it's set to max? Low pressure. High pressure on the basic oval shape gets fatter than more pressure. I apply. Same with tilt roundness. Drawing straight on. I bring my pencil over at an angle and it affects the brush stroke. It gets more round shape filtering. Basically what you've got with your shape is a little bit map file, which is made up of pixels. And let's make this a bit bigger so you can see the brush stroke a little bit better. Hopefully, with no filtering, you might get a slightly crisper effect. Classic filtering was before procreate five. But with procreate five, we got improved filtering. Unless you really want a crunchy effect like that, just leave it on classic filtering or improved filtering. And then we come to the grain and I'll come to, come to painting or something like that. Let's choose damp brush. I think that will be a good example. I will come to green now with the grain. Once you've loaded your grain source, which we spoke about before, you get two different kinds. You get moving and you get texturize. With texturizing, that's the simple one. You make your paint stroke and it looks like you're drawing on top of a texture, in this case Canada blobby brick wall effect. And as we've already seen, you can adjust the scale of it. If you make some textures too small, it looks like they started to repeat, which is not particularly nice. And you can alter the depth of it. If it gets very low effectively, you've just flatten the surface of whatever you're painting on. But as you raise it up, you start at a little bit more depth to the surface. The blend mode, that is something I want to save for a future video. Because blend modes are very important, but that is a whole different ballgame. Things like the brightness. I can adjust how bright the texture is, also how contrasty it is, how much difference there is between the dark and the lights. No Filtering, classic filtering and improved filtering that is the same as the shape. But there is another option here for moving. And the movement slider at the moment is set to rolling. Think of this as applying your paint with a roller, which has the texture that you're looking at on the left of the screen, I want to set a rolling. You get a very different effect compared to when it's a stamp. But now instead of the texture being just lying flat on the canvas, It's either getting dragged around like your paint roller is fixed in one place, or the paint roller is rolling much better. It stamping down two IVs effects. But in-between the two different extremes, you get all manner of interesting brush shapes. If you'd like acrylics, look at that. The scale we've already done. The Zoom well, that moves in and out of light, makes things bigger or smaller. The rotation that controls the rotation of the texture, pretty obviously. The depth. How much difference there is between the lowest part of the highest parts. But you can also set things like the depth and minimum and the depth jitters to vary it as you make your brush stroke. Basically what this does. The higher it goes, the more you're moving between the texture and the underlying color of your stroke. And if this randomizes it, you only get that when the grain is set to moving. Now the offset jitter, this affects where your texture is placed down every time you make a new brush stroke. So look if I come to make your brush stroke, it randomizes whereabouts your texture is placed at the start which PRO stroke, so you get a more organic effect. Everything else we've spoken about when things were set to texturize, apart from this one at the bottom, 3D grain behavior, the 3D tools are outside the scope of this course. This is supposed to be a fast guide and I'm already not happy about how much time this video was taken. You bought a fast guide. Let's try and move on. 18. Brush Render, Wet Mix etc...: Okay, come on, let's move on to the rendering. This controls whether your brushstrokes get placed down so they looked like watercolors or diluted all paints or stronger or paints or acrylics or whatever. And you have four different glazes, light uniformed, this is quite some lots of photoshops, glazing, then a slightly heavier and heavier clays is looking a little bit ugly here. So I'll come to Council for that because I don't want it to keep those changes. Let's try turpentine. It's up on that, come to rendering. Likewise, uniform intense heavy uniform blending gives kind of a wet mix effect. Whereas intense blending that tends to squash and mix the colors together. Things like the flow that controls how much color and texture flows from your brush onto the canvas. White edges, if you've ever used them. Watercolors, you may have noticed that the edges of your brush stroke will be soft if you're painting on a white canvas, for example. Well, what edges to simulate some of that, but also sometimes with a watercolor again, sometimes the age of your brush stroke, especially if you're painting on a dry watercolor paper, it will tend to be a little bit darker and that's what burnt edges able to simulate. I'm not getting a particularly good example here. The burnt edges and the blend mode, we will talk about blend modes later are these blend modes normally affects the color values of the brushstroke luminance blending will affect how light or dark various values are instead, what makes that tries to emulate the effect of a paintbrush with either water or turpentine on there. The dilution controls how diluted the mixes that you are placing on the canvas That's very diluted. Not much dilution. There's not much water on your brush. The charge is how much paint you've put onto your brush before you put it onto the canvas. That's a lot of paint. That's not much paint at all, but the dilution is also low. And so it's by writing these two values next to each other that you build up different effects. They affect each other a lot. And you can see with the charge, the more charge I put on the mole paint gets spotted down at the beginning of the stroke. Let's make a long brushstroke like this. See how as I move the charge around, the full amount of paint travels along with brush for further. Now, dilution is also going to affect that as well. Take a look at that attack. That's how much paint actually sticks to a canvas. If you set it high, you're gonna get some thick bold brushstrokes. Set it low. You're gonna get some rather delicate brush strokes. The pull that affects how much your brush pulls the paint around when you're putting it down on the canvas. And that includes paint which has already put down. If I set the pool high like this and come to Dan, make a brush stroke and then I'll make another brushstroke. And every new brushstroke is capable of pulling the brush strokes underneath it. The grade, that's the chunk in us, and the contrast of the texture, the blur when your brush stroke gets put onto the canvas, we'll paint can spread and blur. That's what this is controlling. The blurred jitter that's going to randomize it. And the wetness jitter more about controls the randomness of how much water mixes in with the paint at any point during the brush stroke, color dynamics. Now I do like this one. I will come to Council. I will come to temp and welcome to 30 SketchUp and make your brush stroke color dynamics. You remember how that is just a series of little spots of my shape. Well, if I choose, say, a red color. Now I'm going to increase the hue slider. You see that the higher the hue jitter slider, the more each individual shape that I've split it down there is in here. Same thing with saturation, lightness and darkness. Secondary color, well, there are two colors that as your primary color, There's your secondary color that can be very useful that various, every shape within a brushstroke, as opposed to the stroke color jitter. I'll need to put down a color of the white because white, it doesn't really have any hue to randomize. Let's choose our blue. There's our brushstrokes. If I increase the hue, then each brushstroke is going to be different. Same thing with the saturation, lightness and darkness and secondary color. Some really random stuff. The color pressure. I'll take the hue up to maximum. And now our press very lightly and I'll press very hard. And when I press harder, it changes the color. And this is pretty consistent. If I press softly, I'm always getting this kind of bluey purple effect for our press harder. I'm also going to get blue effect. Come on, the same thing's going to happen for the saturation brightness and secondary color. The color tilt. Same thing. My brush is held at right angles to my iPad. If I tilted over to the side, the more of that random color I get. That can be really lovely for creating some nice rainbow effects. Let's set all that back to what it was. Because dynamics, the first two, how the speed, I'm drawing very slow. And I draw very fast and I draw very slow and I draw really fast. What this does is affect how thick or thin stroke is, depending on how fast I was going at that particular point. Same with the opacity. Now the faster the brushstroke, less opaque brush appears to be. You play with those sliders. Bear in mind there are other things which affect the size and the opacity. And you'll see those very soon. Or the jitter. This is random and it's not affected by the speed. This just throws in just a randomization into your approach stroke. With both of them set to non, you'd lose that slight randomization. But as you increase them, it's just throwing a general bit of randomization into the width of the brush stroke, the opacity of your brush stroke. Now the Apple pencil, I have this setup so that if I press lightly, I get a thin stroke and if I press heavily, I get a much thicker brush stroke that is controlled by the pressure sliders, the hardware press. The more the brush is affected by this slide own. Hopefully you can see that in action there. Same with the opacity. If I press very lightly and press very hard, that is affected by how hard I press. The flow is similar to a pasty, but instead, it also is how much paint on your brush puts down depending upon the pressure. Press soft, press, hard, press soft. The bleed is just how much your brush bleed around the edges into your virtual canvas, depending on how hard you press. Let's try and set those to 0. Because underneath you have this thing called the tilt because your Apple pencil knows how hard it's being pressed, but it also knows what angle it is relative to the canvas. And this little gizmo here, I'm just moving that little blue dot around to adjust the angle. This affects what angle my pencil has to pay before the sliders underneath become active and start doing their thing. I'm going to take everything down to 0 and I want to make your brush stroke. And we're gonna tilt by pencil right over and nothing happens. But if I come to the opacity, well, I can tell you from now as I drew my brush stroke, I started off with it pointing straight down at the canvas. And then as I made my brush stroke, I let my brush over more and more and you get this effect gradation. On the other hand, if he moves the slider up, you get a software effect when you're shading with your brush it on an angle. And I will give you a very good example of this. There's one brush I do like the pattern in pencil. I will clear my layer and I'm going to shade now, but then I'm going to press a bit harder. I get harder brush stroke and a wider brush stroke. Now I want to tilt my pen over and when he get past a certain point, you see that it's behaving how Pencil behaves. You turn it on its side and you expose more of the graphite to the surface of your paper as you can cover a wider area, which is what I've done, but also It's riding along the top of your paper rather than digging in so you get more of the grain of the paper revealed. And I think that is doing rather nice job of mimicking that. The bleed just controls how much of the brush leaves around the edges when it's tilted. And the size, well, that just makes your brush stroke bigger as you tilt over size, compression stops the texture which is inside the brush growing as you tilt the pan over with it all and I get that effect with it off, the texture itself gets larger. So properties stamp preview just shows how the brush looks inside your library. That's the one highlighted. I turn on stamp preview. I just get a single stamp of the brush, which I don't need. I want to see the stroke, the oriented screen that only gets applied when the brush has a kind of an up and downfield to his stroke, if you turn it off, that up and down field is consistent for the file that you're drawing on, as opposed to how much you rotate your iPad around. Now, I'm gonna go back to my sketching pencil because at the moment I like what my pencil is doing, but it's been setup, so it behaves like you would expect a pencil to behave. It's fairly narrow and you can't cover bigger areas, but I like that brush texture. When I told you over, I'd like to be able to do more with it. But the problem with that is that my maximum size is already reached. I'm already on a 100%. The maximum size is controlled by Bosch behavior. Maximum size, whoever created this brush, set the maximum size so that it will behave like a pencil. I don't want that. I want more from this just because it looks like a pencil doesn't mean I can't do more with it. I've set it to 56% now. Now you can see I get a much bigger area which can be covered by this pencil. And I'm getting lots of interesting effects. And hopefully the rest of these sliders are all self-explanatory. Minimum size, how small it can go, maximum capacity of 90%. If I change that, then that is the maximum capacity. That approach can be minimum. Same thing. Materials. This is the 3D which we're not covering on this course. And finally About this brush, this is made by Procreate. It's one of the original brushes. But if I come to one of the brushes, I duplicated an altered. Let's come back to my temp. Let's try DC smoky paint 0. You can see I renamed it at the top. If I tap at the top, I can rename it to whatever I want. I will just come and get rid of that one made by drippy cat. I can sign here. Do not use your normal signature. You don't want that going out into the world or the last time I reset this brush was sometime last June or July in the afternoon. But if I decide I don't like the changes I've made to it, I can just come to reset brush. Are you sure you want to do it? Yes, I do. So now that brush has gone back to the state. It was in last June or July. But supposing I do something like I increase the jitter and I think, no, that's it. That's what I want. I can come back to about this brush and create a new reset point. And yes, I do. And other reset point, I can't go back beyond my last reset point. So if I do some more stuff like this, reset brush, yes, I do. It goes back to what I had 30 seconds ago. Now the final thing is look, I've got my smoky paint like this. Let's make valid bit smaller. I've got my Sarah one, which has got that kind of a line. We'll look if I take Sir want and drag it up so it's just sitting either underneath or on top of the smoky paint. And I'm going to drag to the right. So the smoky paint is also selected. And when you do that, you get something called combined. If he come to combine, the two brushes go together. When I draw with that, Let's make it a little bit smaller. I get the two brushes working together. And if I open it up, I have my one stroke on my secondary stroke, and every single one of them has its own set of sliders. Or you can alter things relative to each other. So there's jitter, I can take that down so I get them all consistent stroke. They're even more funny. I can change how these combine with each other based upon the blend mode which we will be talking about. So really you've got, even without importing your own brush shapes or your own brush grains, you've pretty much got an infinite amount of different brushes that you can create. Now, I am sorry, that took so long. I know you are asking for a fast course, but I know what's going to happen if I don't go through every single slider and explains what it does, somebody will complain. And given that the brush engine inside Procreate is really quite phenomenal and let us such a central part of Procreate, then rarely I did have to explain how things work properly. Anyway, let's get back to the fast guide and show you the things that really matter about this program. Let's move on. 19. Choosing Color in Procreate: It is lovely having so many brushes to play with inside Procreate, but you also need color to actually paint or draw with. Everything to do with color is right up in the top right-hand corner you can see my little yellow disk that is my current color and if I paint with it that you are, but there are various ways to pick colors inside Procreate. So if I come up and I tap on that little yellow disk, I can see lots of different colors here. I have a number of different ways to choose the colors. And you can see those different ways laid out at the bottom of this panel. I have the desk. I also have a classic Harmony, the value on pallets. Let's go through those now and we'll start off with a desk, because this is the first thing you see when you open up with color palettes for the very first time, just to show you a couple of things in general. Just under that big doughnut with a circle inside, we have our history. This shows me the colors I have recently used where my current color on the left-hand side, if I come and choose a new color, make your brush stroke with it and come back. That very desaturated cyan gets added onto the end of my history. If you want to clear your history, just press on clear ortho I'm not sure why it ever wants to do that. And underneath that, you get your current palette, which in my cases, oil Hughes reduced more about that later. But coming back to the desk, you have all the colors of the rainbow around the outside of your desk. These are your base colors are not light reds or desaturated orange purchased the hues in their most intense form. And so the way it works is if I want blue, I can come around my blues like this using that little disk which is rolling around the outside of my doughnut shape with all the colors on that little disk is called a reticule. And you can see whichever color you are choosing if I circle it now, on the left are those two little swatches at the top. But you'll notice it doesn't appear to change very much because the inner reticule or this disk which I'm circling now, is set to very desaturated. But if I come to it, I can move it around. And now can you see I'm getting various different kinds of blue. I'm getting an intense blue. If I drag down, I get a darker version of that blue. If I drag to the left, I get a less saturated version of that blue. If I drag down to the bottom left, I get both dark and desaturated. That's the way it works. I can also double-tap of eight points around that in a desk. If I double tap at the top, I get a light blue. If I tap about 45 degrees round, my inner reticule snaps to the most intense blue. That's the color I have on the outside donuts. And in fact, let's give you some words to describe this. If I come to my wrench icon and I come to help, which is on the end. And I'll come to advanced settings. And I'll come down until I get at the bottom under accessibility, color description notifications. This is new to Procreate 5.2 alto on that. Then I'll come back to the top-left and come back appropriate. And now when I tap, can you see I get dark cyan blue just at the top. I'll do that again because it pops up fairly quickly. Cyan blue. Cyan blue again. Light gray is cyan blue. Let's save that and double tap in the top left, and it snaps to white, mid gray. Sometimes when you tap you don't quite get it. Let's try that again. Black, black block again. Dark cyan blue, that black. That's the thing. Sometimes when you double-tap, you don't always get exactly what you're expecting to get. It doesn't quite snap where you want it to go, but you can get a bit more sensitivity to that in a disc. And the way you do that is by setting your car, like supposing I want some variations of orange. And then if I put my finger and thumb inside that inner circle, which contains all the variations of that orange and pinch outwards, my reticule becomes bigger and I get a little bit more. Finally, control in the course on choosing. As I'm choosing, Can you see I'm getting orange. Dark brown, dark grayish brown, grayish orange. This can be useful for people who are colorblind and that it gives a written description of the color you're looking for. But again, with this, I can double-tap and get a little bit more accurate. When I double-tap. Anyway, I will pinch back in to get back to my original disk with a doughnut around the outside to choose my various hues. That is the basic desk next to it is the classic. And if you're used to image editing and art programs, this might look familiar for you. It gives you access to all the colors, but in a different way. Instead of that doughnut around the outside with all the huge, you get the hue slider along the bottom. Yellow's going through two oranges, through two reds. And the red that earned is the same as the red on that end. So instead of wrapping around, It's all illustrate line. So for this supposing, I want to choose a reddish color. In the top right-hand corner, that is my basic red tone. And pretty similarly to the desk. You go down, you get your darker colors, you go left, you get less saturated colors. You can mix it to around, to whatever combination you want. Here's a word of advice for you. If you're doing very stylized paintings with a lot of very bright color for insure. Come around to this right-hand side, would choose all the saturated colors you want. But let's take this painting I did, for example, over robin, the red breast is pretty intense. You won't see those kind of colors in real life. I just wanted to make a brightly colored Christmas he image, but I can pick up a color from there. And I do that by just holding my finger on the surface of my iPad and I get a desk. As I move the disk around, I'll get too harsh of a doughnut. The top half is showing me the color I will get if I lift my finger right now on the bottom of showing me my existing color. If I come to save this area here that pretty intense. If I let go, look at where the reticule is on my classic palette, weren't people are starting out. I might think I need a bright orange for that red breast. And I'll come around here somewhere and you'll get some very garish looking colors. In real life, the colors are much more desaturated. And even with this rather bright painting, I'll do it again. You can see when I choose various different colors, I'm not getting the most intense colors that I can get. It's more subtle than that. And also that red breast is easily the brightest part of the image. You can get away with doing stuff like that. But also it's a good idea to make this surrounding colors that are less saturated like for example, if I come down to the tail feathers ensemble of calcium there, look how desaturated that is. You can tell exactly how these saturated it is because you have your hue slider along the top, but also you have your saturation slider just underneath. You have your brightness slider underneath flat. And that shows you very clearly how that square, which I'm getting my colors from, is laid out. The basic q is in the top right, and how saturated it is, and how bright it is, is affected by the Saturation Brightness Slider. This is the one I prefer to use because I'm used to it from other programs as well. And also it helps me with things like shadows and highlights. Now there are two schools of thought with this, supposing this is my basic color and I want a lighter color to add lighter areas to my picture. Well, if I'm doing that, then I can drag upwards to make it brighter, color, blue, friendly, more cartoony. I might be tempted to make things a little bit more saturated because the more light that falls on something, the brighter it tends to be. Have you noticed how on a bright sunny day, all the colors even terms adult gray day because it seemed not back because there is less light hitting them. But when you get to very bright highlights then yes, you start to head more towards the more desaturated parts of this square asked for getting darker if this is my local color. While two schools of thought are always less light forming and shadow areas. So you tend to go diagonally downwards to the left because there's less shadow there. If he being a little bit more creative with your color, then you can also go down and make the colors more intense. That will give quite a vibrant field to the pictures. All right, let's move on to a harmony. This is choosing colors with a little bit of color theory. Now the way this goes is around the outside or your basic intense hues. And the slider at the bottom controls how light or dark those hues are. And the more you go into the middle, the less saturated the colors become until eventually you get a degree in the middle. But you can see with this, I have my main big reticule which I can drag around. And there's another little one directly opposite. If you don't use traditional painting, you'll know that if you want to make your color less intense, you mix in a little bit of its complimentary color in there. If you have some orange and you want to make it less saturated, more real-world, muddy orange. If you mix in a little bit of blue. What you can see this here, it's all laid out digitally. You can simulate what you do digitally just by moving your orange reticule or your orange color in towards the center until you get more, not back oranges. And if you want a little bit of the complimentary in the painting, to make the orange look more intense, you might choose that color, the cyan blue instead. And actually I've kind of done this in this painting because if I come to split complimentary, as supposing I choose the smaller the oranges from the chest of the robin. Well, the split complementary, instead of having my main orange color plus a blue directly opposite, I have two complementaries, and they are the warmer and cooler versions of my colors like in the case of this, my orange is selected. That blue reticule at the bottom. Well that's giving me a warmer version of the complimentary color and the more cyan color. Well, that's the cooler complimentary of the orange color. And sure enough, look, if I come to my background with those trees and I sample a color from there. Did you see that? I'm talking about this top radical which I'm tapping now. That is a desaturated version of cyan. And just two seconds go, that color was about there. I had the orange of my Robbins breast and the coolest split complimentary. It was this color. For the trees. It was less saturated and slightly darker. That's what I wanted. Cooler complementaries in the background because I wanted to get the idea of it being cold. But with the split complementary that is useful for giving you some warmer or cooler shadows. Whereas this mode can help you with things like highlights or putting tints on top of colors. Like for example, supposing I wanted a flesh tone, maybe I wanted to put some cooler and darker shades within that flesh tone. Like I might want to have a little bit of red for the cheeks or a little bit of green just to cool down certain areas of the face that can work. And also if you're working with highlights as well. Supposing that big circle is one of my highlights, I might need warmer or cooler highlights depending upon what kind of light is shining on my object. But so these two smallest supporting reticule, they can give you some ideas about what colors to use. This is color theory. In practice, it may not work out that way. Just use the color theory to try and help you on your way, rather than letting it dictate to you what you've got to do. Let's come down now to triadic. If you make a composition, these colors, wherever you move around, all have equal dominance with each other. And you will end up with a very strong and vibrant portrait, which might end up being a bit too much. Supposing this is my color, this red color as my main color, I can use the green and the blue, but what I would do with that is dragging towards the middle so it's less saturated. And also consider making it a little bit darker so that you don't end up with colors fighting with each other unless you want a really, really bright vibrant painting. To triadic, it's the same thing, but instead of three colors, you get four colors spaced equally around the color wheel. This will make for some very, very strong colors in your painting, which can be a bit empowering. So just be careful with that. Okay, so answer value, solid, these sliders you've already seen, here's your basic hue. Let's go for a blue color. And I can control how saturated the blues. So either very vibrant, completely gray and not back, or somewhere in between and how light or dark. The values underneath that you have RGB. Well, that is because your iPad shows you every color on your screen with millions and millions of pixels, that every single one of those pixels has a red, green, and blue channel. And that will be between a value of 0255, 255 multiplied by 255, multiplied by 255 gives you about 60.8 million colors. And it's estimated that the human eye can pick up about 10 million different colors. Colors be a combination of hue, saturation and brightness. For this, you have your red channel, the green channel, and you have your blue channel. And it is by mixing different amounts of these colors, that gives you all the colors that you're going to need. Liked with this, I'm getting kind of a brackish red. If I move up, I'm getting a magenta color. And if I wanted to choose a more bluey color, I look at my sliders and the reason they're changing color. They're letting you know, for example, that if I move my red slider down to this point where I'm circling now, then I will end up with a very bluey purple. So I'll do that. I'll move it down and end up with epilepsy, kind of a purple. That's why these three sliders are always changing the color. They're letting you know what will happen when you move the little dots on your slider to a certain point. So if I want a more cyan color while I can see it about there. So I move my slider to there and there's my SIADH. The closer these sliders are to each other, the more of a gray color you're going to get. And the more they move towards the right, the light of a color you're gonna get. You can also tap. And two values. If I saw a color was an RGB value of 67, two hundred one hundred seventy. I can tie it to 6870. I can get the exact color by entering in those colors, the same with hexadecimal. This is used in web design. It is a six character code in hexadecimal, which is log base ten, gives you 12345678910. Hexadecimal gives you, what if 34567891011121314 in 1516, you can't use numbers like 11 impacts the decimals. So you use codes like a, B, C, D, E, and so on and so forth. If you know the hexadecimal code of something, you can enter that hexadecimal code in there and get the exact color that you want. Finally, we come to palettes. I've set up various palettes here. If we want to create a new palette, I can just count to my plus sign and I have a choice. I can create new palette, knew from karma, knew from File, New from photos. And so if for example I've come to New from file, you can see how various images here, and supposing I have a picture here of sunny day 01. And I know that's a picture of a young child. Tap on that and they get all the colors from the image I selected. Calcium too keen on that because I don't get to choose which colors I use. So I'll come to the three dots in the top right of that part and I will choose Delete. Yes, I wanted to delete. Instead. I will just create a new palette and it's emptied. And supposing I want to create a palette based off this image than all I really need to do is come, and ideally, I'll choose the lighter color thought I want first, I just hold my finger and move around until I find a light color like this that go that is my currently slightly color. And if I tap just in the top-left, dark-colored gets placed there, then I can come and choose a darker color. Say this one. It's up there. Dark color again, dark in color. Darker color again. And gradually felt my palette this way. Now, I, it doesn't have to be all in a line like for example, if I wanted to get some of that and rather mouseY gray of the feathers, I can come to the area below what start filling that in like this, people group their colors in various different ways. That one I don't particularly like, so I will press and hold on it and delete that swatch because I want something darker and I can tell what's dark. When I look at the top half of my little color sample up about there, I think at the very darkest part, supposing those trees in the background, I might want those over here. On the other side of the palate. It is completely up to you, doesn't have to be all in order if you grew them in different ways, that can help you to understand what's going on. I will come to where it says Untitled. I'll tap on it and it gets to rename this. Let's call this Robby, the robin. 01. I usually named things 01 because I spent so many years working in design studios that I know the client is likely to come back with changes. And so you get Robbie the robin, 010203 and so on and so forth. That way you keep track of all the changes that your client is asking you to do for this. I can tap if I can move it around and you can see I have a little tick next to it. Are that sick means that that is a pallet which shows up at the bottom of all my other panels. But if I come to say oil has reduced tap on my three little dots on the right-hand side, I can set that as default concerned. Now when I come through, you see the oil he's reduced as default, but with 5.2 as well as having compact, you get cards. Now let's come back up to Robbie, the robin 0 walkers. That's what we were working on. Cards. Now you get larger versions of my palette and it's given the various swatches, generic names. But if I tap on the top-left one yellow orange, I can call this breast. Breast lightest. And then instead of having orange, orange, dark brown, dark red, I can call the author wanted breast, darker pressed mid tone pressed shadow, rest, deepest shadow. Or if I spent a lot of times sampling different colors from traditional artists use that I could have pallets with names like lemon yellow. But let's see how the radian and all those lovely artistic names, which cannot help maybe a little bit happier and giggly whenever I hear them. Okay, that is a various different ways to choose colors for your work, plus also some color theory and general advice thrown in. Well, let's move on. 20. Selecting Areas of Your Picture: This file is called Walking fido blocked 01. It is available as a download because I want to talk to you about selections. If I open it up, I have two layers. I have an outline layer. This is the outline of my drawing. And I've also got a blocks layer that is where I blocked in the various areas so that when it came to paint, I can get some nice sharp borders. Alright, so let's take a look at this. The selection tools are where I'm circling now. And if I tap, I get a number of different ways to select parts of my layer, not my image. And let's say that from the start, because the selections only work on the layer you have currently active. And it is a very common mistake to be on, say, the outline layer and then trying to select an area and wondering why you're not getting the results you want. It's probably because you're on the wrong layer. For this. I want to come to blocks. I will come to my selection tools. And I have four different ways of slicing an area. Let's start with the currently active one automatically will all I need to do with this, just tap in various different areas and they magically get selected. So what's happening there? Well, to clear my selection and start again, I can come down to a clear which I'm circling now and tap and everything gets cleared. Let's make the outline layer invisible so we can only see the layer we're working on. With selection on my mode is set to add a leaf. I'll come back to that area again and I tap anywhere inside that area that I want to select. So I'm typing just where I'm circling, Procreate ghosts searching from that point outwards, and it keeps on selecting pixels until it comes to a border. Now in the case of this, the borders are the red underbelly plus the yellow lead, and then it stops. And that area I've selected is not paint is just a shaded area that lets me know that area has been selected. Because I'm in add mode. I can't come to various different parts of my image and select them. But if I come to a more complicated shape like Robbie here, and you can see I'm on the layer which has his red breast. That is a bit more of a challenge looked. I will come to my selections. Automatic is selected and I have add well, if I tap, well, if I tap, not much is happening because I have a complicated area of air with lots of different colors. If I zoom in, all their managed to do is select a very small area like this. So what I will do instead is I will come down lid and start again. But this time I'll tap and hold and drag to the right. And as I do, the selection threshold, can you see that allow the top is getting bigger. The more I drag, the happier Procreate gets about selecting outwards, and the more it's prepared to include as part of its selection, I'm in add mode, so I'll do that again in this area and I can gradually build up my area. That's going a bit too far. So I'll drag that back. Maybe a bit of hair, maybe a bit here. No, I got a little bit of the feathers just at the top which I don't really want. So I'll counter move, try and remove the area which I've already got, which isn't working too well for me. So now what I do is rather than sitting down and crying, I'll just change my selection mode. I will come to freehand. One, I do the bits of Robby that are selected are clear on the bits which aren't selected. While you get these funny moving lines that lets you know that those areas are not selected. Well, I want to add to my selection. So I'll come back to add because there are certain bits of his yellow feathers which aren't slighted. So all I need to do is just drag out a freehand shape like this. And you see that little dot where I started drawing. If I tap on that dot, I've closed my selection area on those bits of the breast are now selected. I can also come two areas around here and do the same thing. If I wanted to remove parts, then I can always tap on Remove outcome to say this area here. Remove that bit from my selected area or this bit from my selected area, and gradually build up my selection this way. Now at the moment I have pretty hard border. So what I will do is come to further and I can feather how soft or hard I want the border to be. Like, if I haven't, I'll say 3% or 4%, I'll end up with a softer, fuzzy border. So that can be quite important. Anyway, let's come back to our previous image. Walking, fight out, blocked, the blocks layer is still selected. I'll leave on outline because quite often you'll need various different layers visible when you're doing you're selecting. Let's come back to selection again. We can try free-hand again. I'll come around and close. If I come down to where it says invert, that swaps things around. So what was selected is now not selected and vice versa. I will clear That's copy and paste. All right, Well, let's select an area now. Let's just select this area here. Welcome to copy and paste. I get a new layer from selection. You can see that, but I don't need that. So swipe to the left and delete it. Alright, we'll look, I'm going to come back to automatic and I will select these areas here. Remember, I haven't altered the color. That's just letting me know the areas that are selected. But if I come to Color, Fill will look at my current color is brown and now that area is being filled with brown. But here's the thing. If I come up here, move my color swatch around, I can change that color to a different color. And now what I'll do is I'll press Save paintbrush. Once I do that, that color has been added permanently to the Dinosaur. Okay, So coming back again, phil is toggle switch. I need to toggle that off before I get everything else. We've talked about automatic, we've talked about freehand, and we've looked at the various options below. Rectangle is straightforward. You just drag out an area like this ellipse. You can just drag out an ellipse like this, add to it, or you can remove bits from its build-up. Fairly complicated shapes, especially if you come to your rectangle, I'm still, I still have removed selected. I can take out bits of my selection to build up some quite complicated selections pretty quickly. Now, why would you want to select areas? Well, that's come to clear. Let's come to automatic income to our dinosaur. Again, what you can do it to select certain parts of your picture so you can do various adjustments on it. Like for example, I can come to hue saturation, brightness, and adjust the color of that particular area. In the case of a simple block in color fats. Well, okay, I suppose, but imagine Robbie the robin, you could adjust that red breast to be various different colors by shifting the hues around. But the other reason which is equally if not more important, is that once you have an area selected, you can come to your transform tool AMP form various different transforms to that particular area. And that is what we'll be talking about next. 21. Transform your Work: Okay, we're sticking with a picture from the previous video because now I want to talk about how you transform various different parts of your image. Because selections, which we spoke about, plus transforms naturally tend to go together. I will turn off blocks and I will concentrate on my outline. And first thing you do is to consider whether you want to swipe left and duplicate your layer and make your previously invisible to act as a safety backup in case the various transforms you do, don't turn out quite how you want, for example, and welcome to my selections as before, I will come to a freehand and I will zoom in on the boy's arm, for example. And I will just drag around to drag out a selection like this and select. Then I come to my Transform menu box and you end up with a little box that surrounds the area that you have selected. If you have nothing selected, you can to your transform tool that everything on that layer will get a square surrounding it. This is all the active pixels on that particular layer. Everything around the outside of that box, there's just empty pixels. But you can see that box goes right up to the borders of everything you can see on this layer that is known as the bounding box. And if I come to our first transform, which is free form, we'll take a look. You get these little blue dots just in the corners and on the sides of your image. If I come to the one in the top right, for example, and I drag it around. I can make things bigger or smaller, or I can squash things in, flatten them out. That's because I'm in free fall node. I can also come to the dots on the side. I just moved the sides like this. If I was in uniform load, I can only make things bigger or smaller or drag things around by tapping on the inside or the outside and simply moving your pen or your finger. There are also two other dots. At the very top you have a green dot. And if I take that and I move that, I can move my image around. If I move it close, I get some quite big movements. If I drag further away, I can get much more subtle and smaller movements. The one on the bottom for the rotation this rotate the box itself. So if you have rotated to where you are now, but you need that box to be a little bit more square. You can do that and then carry on rotating like that. Let's just tap on the transform again to commit to what I've done. And then all two-finger tap a few times to take me back to wherever it was before with my duplicated outline layer. Alright, so let's zoom in again and we'll come to us or elections first and come to the boy's arm like we did before. Then transform. From that, hopefully you can see I can rotate the boy's arm around and dragged into a new position like that, for example, that was done using uniform. So nothing changed. I could also do it free form as well to make his arm a bit longer or shorter if I wanted. I can also come to distort. Now what distort does is let you take any of the points and just drag that around the county, see, instead of having a rectangle, now we're ending up with What is it more of a rhombus shape. And so now I can get the hand looking bigger. The further up the arm I go, everything gets bigger. If you need to do some perspective effects, then while this can be useful for you, that is a bit extreme, so I will take that down to there. But they also have a mode called warp. And when you have warp, this is like the advanced thing. Look, if I move a corner around instead of straight lines, get more bendy shape like this. And so things are getting curved rather than going from straight lines. I can also come to the lines in between. I'm dragging this point here. I can also come to where those lines intersect inside that little cage. I've got liked I can drag these points around to get any shape I want. If I come to Advanced Mesh, there you can see the various control points that I'm dragging around. But I get little blue dots which show you where I've dragged those points to. And you can see the little dotted line which connects my control point to the part of the grid that it's connected to. All right, so I do that. I think great, I love it. Then I decide actually, you know what, I hate it. So I come and I delete that layer, and then I duplicate my backup layer, which is why you have a backup layer in the first place. Let's come back to our selection tool and select part of our image. In this case, we'll choose the boy's head and tap. Come back to our Transform. Let's just change this to say free form, shall we? So I get my box. I have a couple of things I can do. I can flip it horizontally, I can flip it vertically. I can rotate 45 degrees like this. Fit Canvas. Let us do that. The picture suddenly, it's rarely, rarely big. The selection expands outwards until it finds the border of your canvas, and then it stops. I do not need that, so I'll tap on reset by linear. Maybe you saw that if I can fit to Canvas, when you make things bigger or smaller, it can affect the look of your line. If you're making things very big like this, you can get maybe some unwanted effects with the various pixels will interpolation, which at the moment is set by linear that slides what procreate does with your expanded pixel selection or your shrunken pixel selection, you probably won't see an effect here because this tends to take place once you've committed to things nearest neighbor is just not very nice. By linear. Generally speaking, if you're making things smaller gate for that, okay, for by cubic, if you're making things bigger. But generally speaking, when you're doing your transforms and you're doing this amount of extreme changes where things suddenly get massive, no matter what Procreate DOJ, you're going to end up with some rather undesirable effects. And so you need to judge how much you can expand or shrink things by. Also in general, I should say that doing these kind of effects is at, it's most useful when you are sketching ideas out and you're worrying about the form or the shape like in the case of this. If I came to reset, I might decide that, well, actually all the boys had to be tilted a little bit further back like this or maybe that's too far, I can tilt it so it's more like this and position it. It is this ability to be able to move things around on the fly to experiment with how far away his head is from his body. That's where the transform tools, I think, are the absolute most useful. And if you watch those YouTube drawings where people have time-lapse, you'll see them people using the transform tool all the time. At the sketching stage, the further you move towards the finished painting, the more you might run into problems when you are doing transforms. Well, the last thing I didn't speak about was snapping. If I come to here, I have two settings. I have magnetics and snapping. If I can turn Magnetics and turn that on and I move around, can you see I've got this little blue line. I want to move the selection around. It snaps to that line so I can move the boy's head horizontally like this, or I can move it vertically from my old originally was. That can be useful. The further you get back towards the source point, the mall, that line tends to have a mind of its own. Compare that with snapping. Snapping does it goes looking for borders around the area where you are. And if can I find the border here? Course not. It's not gonna do it is it will come to research, turn Snapping off, and that's tries to choosing something else. Let's try coming to the dinosaurs body. I'll use freehand for this. My selection. Now let's come to Transform and come to nothing now is going to work. Yeah. Did you see that? I'm getting a little guideline that's letting me know at the moment that my selection is halfway up my Canvas. As I move along, eventually, it snaps to the edge of the Canvas. Can you see that little yellow line? If I move it the other direction? It snaps to the top or the bottom. Quite often you'll find that with snapping turned on, your selection will snap to other parts of your layers. Welcome to reset for that. And if you want to get out, all you need to do is just tap again on the transform icon. You can carry on with your work. 22. Adjustments: Okay, Let's talk about adjustments which are found here. But because we were talking about how to transform the various parts of your image, I wanted to start off by showing you the single most useful adjustment that you have. If I can't, I'll make my blocks layer invisible and I will duplicate to act as a backup my outline layer. And now I'm gonna come to my adjustments. And at the bottom you have this thing called Liquify. If I come to that, I have a number of different ways I can affect my image. But at the moment I have pushed selected and I can adjust the size of my brush like this. And now look when I come to say the dinosaurs, but for example, I can alter it. If I come to the dinosaur's tail, I can alter that. I can alter this drawing in ways that I never could with traditional media, everything suddenly become more elastic and think about it. If you're trying to transform and rotate and resize your sketch when you're planning where you got to put things on what the form is going to look like. Being able to do this is massively useful. A couple of things about this. The main tip I can give you as start big and use the biggest brush that you can get away with. And as you go along, make your progressively smaller as you go along. The reason I say that is because look, if I make my brush very, very small life S, and I want to adjust the overall shape of that dinosaur with a small brush. I have to do lots of little movements like this. And it's very hard to get smooth lines. You always tend to get a little bit of a bumpy shapes which are very difficult to iron out. So maybe with that on my undo a few times and you can see if I just make things bigger, purchased the overall shape like I'm doing now, to get more of the shape I want. And the other thing as well is look if I zoom right in close, small and I'll stretch along way, there will come a certain point. When you stretch the pixels so much that will look, most of that line is kind of a smoky outline, but where I've stretched it, things are getting rather smooth and indistinct. So the Liquify tool will alter the quality of your brush stroke. That is why I say this is very, very useful when you're doing a sketch and you don't really care about what the line looks like. And just being able to do this is just so useful. It does have a couple of other different features. Like you can do things like you can twirl right onto that. You can twirl left. If you pinch. Let's make our brush a little bit bigger and come to the eye of the dinosaur. If I paint, everything suddenly gets In. Guess what expand does the complete opposite? Crystals just crystallizes your lines, get a nice shimmery effect. With this look, you've got things like distortion and momentum. If I come to distortion and I crank it right the way up and i fact that line, you've got a lot of distortion very quickly if I take it down, so it's very low, you get a much more subtle buildup of the effect. If I come back to push current momentum up, I'm going to make a quick flicking stroke on the end of the tail. With momentum set to maximum, I may just a short stroke, but that tells suddenly flew up farther than the actual stroke I made. So just be aware of that. For edge. It has the habit of pinching the lines together. Do you see how those spines along the back of a dinosaur suddenly got pulled in together. But I don't like that. So I will come to reconstruct cost, take my mountain down. It will take the various distortions you made and bring them back to their original states. You can selectively decide which bits of your picture you want to take back to where they were before you started altering things, or you can simply come to reset and everything goes back to how it was when you started. You also have a dial for vest as to how much you want to take things back to where you started if he come to adjust and you can set how far back to its original position you want it to go. Is the liquefied tool. How useful is that? Come out? Just tap either buck on the adjustments are just tap on any other icons. Carry on with what you're doing. Okay, this is walking fido 0 to, I worked up the image. So now I have the main painted layer, the linework layer, the ground and the sky. Let's come to the painted layer and just show you a quick overview of what adjustments do. I'll pick out certain bits to show you certain principles. But often these are just a case of just experimenting and seeing what happens. So for example, the top one, which is a very big one, hue saturation and brightness. I get three sliders down at the bottom. With this. If I move the hue, I can shift the colors around everything on that layer like this. I can also alter the saturation of it and also the brightness of it. I want to think, oh yeah, brilliant. I can just tap on the icon and I'm ready to work. Or I can two-finger tap to undo because I don't like what I did. This time I'll come to hue, saturation and brightness. I have choice. Hey, look if I move things around a little bit to there, and then I decide, well actually the certain parts of my image which I would like to be different again. So now when I come to the top, I have a choice of two things. I've been doing this with a layer, but if I've come to my pencil, my paintbrush icon becomes active. But it's got a couple of little sparkles next to it, which means that I'm in a special mode, dc chocolate slighted, okay, that I'm sure that will be nice. But what I'll do is our mood might hue slider around and you can see nothing's happening. But if I paint and just a particular area or like that part of the dinosaur, only that part of the area which I've painted is being affected by my hue, saturation. And brightness sliders. Useful to start, and here's a nice thing as well. If I come to my eraser tool that also gets the little sparkles on, what do I have here? Alright, well, let's try Artists Crayon, crank it up to a 100%. How big is it about that big zoom in? I can erase the effect. Wherever I want. I have this ability to select just part of the layer and change just that bit. Now what about if I can just smear? Yes, the same thing again. What am I familiar with? Alright, let's try evolve. And if I try that, you can see I can streak painted area or like this. But now if I come back to my layer, I can alter my layer. And this time everything gets altered, including the brushstroke that I just created. This way of doing things, they changed the layout a little bit within 5.2, but this ability to be able to alternate between the layer and the pencil is just phenomenal to accept that, just come to the adjustments icon, tap it again on those changes are now committed to two-finger tap to progressively undo that because I do not need it. Looking like that. Take me back to what I originally had now what is selected, that's made sure the painted layer is selected. And take a look at a few more of these things. Okay, Color Balance curves in gradient map, they are a little bit advanced. Color balance gives you shadows, mid tones, and highlights from my layer. Let's choose highlights instead. And I get three sliders at the bottom. And I can alter the look of the colors just in the highlighted areas. Can you see that only the light a bit of a layer is being affected by this. If I come to shadows and then move those around, only the darker areas are being affected. If I come to the mid tones, that guess what? The mid-tones get effected. And of course, you can do that on the attire layer or the pencil. You will find color balance as an advanced tool and a lot of image editing programs like Photoshop or Affinity Photo. And it's useful for things when say you have a wall, the light shining on an object. You may want to warm up the highlights or you may have some cold shadows, in which case you might want to add some blue into the shadow areas. Going back to my original layer, I'm going to duplicate this layer because I'm sick and tired of doing stuff. Curves is a bit of a tricky one. By default, it will be set gamma and it can make things lighter or darker. If you put a point towards the left and you drag down, you make the darker areas darker. If you put a point towards the top end, you affect the lighter areas which can make lighter or darker. This is really quite advanced stuff. I won't go into too much detail with it. But also, as well as the dark to light slider. You have a red slider and you can alter that. For example, I can take all the reds and take especially the lighter areas, a drop-down and value. If you put a point in the middle and take things back to how they were before, just for the red channel. I can also get some rather weird effects. You don't put a whole lot of points on my curve. Tap to accept that and get rid of duplicate my layer again. Gradient map while you get a series of options here. And what's happening with this is that the darker colors are all being turned into this blue and all the lighter colors are being turned into this pinkish brick red. And that gradient you see in-between is being applied to all of the darkest colors going through to the mid covers, go into through to the light colors. And I can tap to enter a new square. For all the mid tones, which are about the middle, I can change them to whatever color I want. And I can slide it around to alter the color balance of that. And I can choose what color I want in the dark areas themselves. So that can be useful for doing some broad changes. Slide to adjust. I can run my finger from, from the right of my screen to the left. I can decide how strong the overall effect is, just by running my finger or my pen anywhere on my screen from right to left. Top of my list or select and get rid of that and duplicate my original layer and come back Gaussian Blur, very popular one all you do with this is just run your finger or your pen from left to right anywhere on the screen. And things get more blurry. Motion and perspective do very similar things. Noise, slide from left to right, and you start getting some noise on your picture and you can adjust the kind of noise that you have. And just play with the sliders to get a feel of what you're getting. And plus the slider at the top to adjust the overall effect. Sharpen, it tends to create more contrast premier individual colors. A bit of a subtle effect. Look if I zoom in on this area here. Can you see what worse, soft, blobby colors suddenly gets sharper. The more I move from left to right. And I don't particularly like that effect. Basically it creates greater contrast around the edges of your picture. Things like blooming glitch. Wow, bloom slide alone will talk to adjust on what you find is it takes the lighter areas are the highlights and splurge is them outwards until you get this kind of soft focus effect just in the highlight areas and human adjust to the various different parameters. How much or how little aVF ICU wants. Things like glitch. It just creates that kind of effect, half tone that will give you the kind of effect you see in these like newspaper, magazines. And you can adjust the size of it like that. Chromatic aberration. That aims to replicate the kind of effect you see on a camera lens. On a not particularly good camera lens where the light refracts in different ways. It just affects the edges of your picture. Last one at the bottom clone, while you get a source point there, you can drive that source point to wherever you want. And then when you start painting on the outside, you make a clone of wherever your painting and place it somewhere else. Like if I put it to the eye, I can put the I there. I can put the I I know I can put the I there. Okay. Those are adjustments. Liquefy. I love liquefy, hue, saturation and brightness. I use all the time, Gaussian blur. I use all the time, the rest of them as and when I need them. Okay. Let's move on. 23. Text: Rather than including texts as part of the actions gallery, I thought I'd do a separate video instead. So if you want to add text to your documents, come to your actions panel and you want ad, you see it, text, tap on it, and you get a little text box with text written on it. And so let's enter something walking fido. But of course we can do a bit more than that. Just at the side of the screen you have a little aa sign where I'm circling now. And if I tap on that, I get the various things that you can do with text. Before I do though, you'll notice the text comes inside a box which has two little blue circles on either side. If you drag those circles, if I drag in enough, eventually the text dots rapping round. And so resizing that box is the way to go if you want text to fit in any one particular area. Now at the moment, I can't do a lot with this because I just have a blinking cursor. If I want to do things like change the font and various other things that you can do. Well, I can come inside that box and where it says fido, I'm going to double-tap and that selects the text which says fido. And I get a little floating menu there where I have various functions. You must know stuff like this. Clear the tax cut, the tax to copy, paste. Let's come to select. All that's left is all my texts. So now I can change all of it Just before I do though, just right on the end, just so you know it's there. You've got vertical text, which is a toggle switch and I don't want to it. I have all the usual things that you will find inside a word processor. I can justify left, justify center, justify right? Justify both sides which never that keen on. Let's come back to justify center. Now supposing I want to select just one little bit of that text. You'll see just other start and the end of the selected text I have what looks like two blue lollipops. And if I move those around, you can see I can select certain parts of my text like this, but come on, supposing I wanted to change the fonts. I just tapped on semi bold and I get the various attributes that you can change up the bottom half of the screen. At the moment I have enough 01 as a font. You may have this, you may not. But for the style you can see I have regular, regular italic light, light. All of these various different styles which live within the font. I don't like this particular font I must admit, so let's try a different one. Let's come to our fonts here. Chalk Duster, that was something I imported for another project. I don't think you'll have that if you want to report. Well, I'm circling import now. Let's try. Let's try Bodoni. Yeah, quite like that. Now what about the size? You can see I can alter the size here. And eventually it gets too big for my bounding box. So I will pull that outwards like that. Okay, so kerning that space is your text out. You tend to use that to separate out the spacing on blocks of text, tracking some blocks of text at the moment, but you tend to use tracking more for the spaces between individual letters like say the W and the a. Letting. That refers to how far apart things are spaced like this. The baseline will look if I drag it out, so everything's on one line and I'll select just fido, baseline shifts, slighted texts up or down from wherever it would normally lie and a pasty go on. Guess what capacity does it alters the opacity. And of course I can come up and choose whatever color I want for this, let's try a nice light yellow. And because that is the only part of the text that is selected, that's the only bit that changes color. A few other things as well. Underline, you can underline outline tones of texts into outline text and vertical text. Is there. Let's just drag that down again by just dragging anywhere in the middle with my finger. If I count a TT, that just turns, everything is capital letters and I can toggle that off. Those are the basics of text. If I tap anywhere else, that texture is there. If I come to my layers panel, you can see the layer walking Fido has a different thumbnail to the rest of the layers that a, that you can see that lets me know that this is still a text layer. And the good thing about it is that if I tap there, I get a couple of extra options here. Edit text and rasterized will edit text. But if I tap on that, I come straight back and I can the select various bits of texts and carry on editing it. But the picture in the background. In fact, everything we've done up to now has been raster based or bitmap based. Vat is a clump of pixels which hopefully look pretty text is vector-based, which is a series of mathematical points in space which are joined by lines and curves. And that is a good thing because I can come back in and edit the text at anytime by news is look, if I come to say liquefy, for example, because I want that text to be a bit wavy and I've got pushed selected. My brush is big and here's a nice thing, but did you see that? Hopefully you did. The layer thumbnail changed from the a into a little preview of the text. Will you find out that is because the text was rasterized, that means Procreate turned it from a bunch of vector text into a clump of pixels which are in the shape of walking fido, but slightly wonky. And so I can do artistic effects with this, but because it's been converted into a bunch of pixels, I can't edit the text anymore. Like for example, look, it says walking Fido, and Fido is now a lowercase f. I can't do anything about that. What I can do is tap to undo and undo and I do and I do until I get back to my raster based layer, at which point I can edit my text. Come here. That says fido does so double-tap inside, they're slighted so I can choose whatever I want for that color was about, there wasn't it? Now, what we've done, edit text. If we want to turn us into a whole load of pixels, we can just come to rasterize the leg as rasterized. But here's a quick tip for you. If you are going to be distorting text and what have you. This is what I would do two-finger tap to undo the rasterize. And I'll come back in and edit the text. Give it plenty of space to breathe with. And come to my ARMA, I want to make the size bigger. In fact, maximum size 545. Well, let's try 650. I can type in the value I want then with a text much larger, then outcome to rasterize. So it's a bunch of pixels become to liquefy and just pull it around just a couple of different ways. Like this. One, I've done that on the text which is nice and big, come to our transform icon and shrink it down to the size you want. Which might be about that because you want to have crisp, sharp text, but things like Liquify tool can start to smear the pixels around a little bit if you don't want that. So make it big and then shrink it down afterwards. And you have a better chance of keeping the text nice and crisp and sharp. That is text in a nutshell. 24. Actions: Okay, let's take a look at our wrench icon or the actions panel. And you can see it's divided up into quite a few different things. This is a fast course to talk about the basics, but I'll just try and go through some of the more important ones. The first subtype we've got is the abs up top. So if I come to insert a file, I have my layer modes file. I can introduce that and it comes in under transform mode. So I can stretch a, make things bigger or smaller and do whatever I want with it. And it comes in as a new layer called it. So to image within certain file, if I swipe to the left, you've got insert a private file. And if I can bring up the same file, well, it looks like it's done the same thing. The difference is you get private written underneath the name of the layer. And what that means is that when you export out a video which shows someone how you build up your piece of artwork. This layer won't be seen on. So sometimes people will insert a photo and trace across the top of that and say, oh, look at that, see how good my drawing is. And everyone else starts saying, cheat personally, I don't have a problem if people want to trace, if it means they're learning something while they do it, then more power to them. Then insert a photo that will just choose a file from your photos library or take a photo. You take a photo with your iPad and that gets imported. Adding text is big enough of a topic that I'll discuss that in its own video. So we'll move on from there. Okay, now, my current layer is painted, cut, copy and paste. You must know about those. Look, if I copy, that covers my entire layer, then if I go to Paste, I end up with a new layer. I'm in transform mode. And if I come to my layers panel, that's how you can copy and paste that worked on that particular layer. But if I come to copy canvas and then come to paste, everything that was visible all got copied onto one layer. This one, insert the damage. That can be useful if you want to make a copy of the entire picture asked for the Canvas itself, you can do various things. You can flip it horizontally, which lets you look at your picture with fresh eyes. It's like holding a mirror up to a drawing, looking at it from a different perspective gives you some new ideas of the vertical curve misinformation. Domain insurance layers, the maximum layers of color profile. Unfortunately, you can't change these settings. You're just looking at the settings, crop and resize that lets you crop your picture so it's going to end up being smaller or you can stick some extra space around the outside like this and you get a running country at the top is the harm needle is you're going to have available if you had to change it to that new size. If you come to Settings, you can enter the size of the canvas here. So I might change it to 5,500 pixels. And if I put a lock on, everything will get resized proportionally. So if I take that 3655 and change that to 3800, then my height will get correspondingly bigger. Okay, next up, animation assist law. I'm gonna need an animation for. This is an animation which I did on the solid foundations course, are not carrying animation on this course. But basically what it does is turn all your layers, all groups, into a series of frames of animation so that you can animate inside Procreate. Page assist is something I'm not going to be covering on this course either. But basically what that does, but basically what it means is that each one of your layers is viewed as a separate page. Look, I've got my background, sky and my ground. I painted in my line work. Page assist just lets you toggle through like these are pages of a magazine. And if you create a new layer that will work like a new page, or you can add a new page down here. And you can swap your pages around like this. The reference that is useful. If you tap on reference, you've got a choice. You can either just have your Canvas there to refer to. But better than that, you can call up an image from your photo library, like say this face. You have that to refer to when you're making your drawings. And of course you can zoom in and zoom out like this. All right, So share that's when you want to take your workout. It's the big wide world. If you are posting on social media site, you might want to share your image as a JPEG. And in my case, I'll send the software AirDrop to my iMac, and that's now on my iMac. If I want a transparent background or JPEG won't give me that. So what I can do is I can take my background color on my back sky and turn them off. Now, if I was to export that out as a PNG, wherever I get that dark background with a grid lines that will be transparent, that's going to be useful for you. Procreate well, really only procreate grades, Procreate files. Psd is Photoshop format. Any sufficiently advanced image editor will read that. You can work on that in Photoshop or whatever. Pdf will save it out as a PDF file. When you do you have a choice of good, better, or best. I recommend you send everything out as best. Tiff is an advanced file format, which is rather large in size, but it gives you a rather a lot of colors to play with. Away, look, video, time-lapse recording. If it's turned on, you can export the time-lapse video of your work and you have a choice, full length or thirty-seconds, tap on either one of those and you get an MP4 movie. If you've been on any of the forums and you see somebody gradually building up that picture. This is how they do it. What you're looking at now is just a quick example of the picture we have at the moment preferences. We've already done some of these light interface or dark interface, right-hand interface, the slide has moved to the right-hand side. Brush cursor, find a brush. Dc charcoal. You can see when I draw, I get a little line, I get a little outline. When I paint, you can see I get a little outline of my brush. If I turn that off, I don't get a little outline. Gesture controls. This gives me a whole load of different ways I can customize, Procreate for gestures. And one thing you'll find is that you see that little rounded square. That little rounded square is where I'm circling right now. And that can be made to do different things depending on how you have things set up with an adjusted controls. Like at the moment, that little square plus my Apple Pencil will always smudge. So that's come to paint a layer. I will tap and hold. And sure enough it's smudges with my pen. If I let go, then I start to paint. So that can be very useful. The only thing about to controls is look, I have load of different things that I can do if I turn on Apple pencil while the little squares held will also raise. If I turn that on, I get a little exclamation mark, smudge, which means it's turned off. You can only get that little square things do any one thing at any one time. Although having said that, Look, that was the Apple pencil command. What about little square thing plus touch? If I turn that on or I've done something with the eyedropper. But if I come to done now, if I put my finger over that little square and I use my finger, yes, I can smudge, but if I use my pencil, I can erase. So it's just a case of setting it up to how you want it. There is something here as well called the quick menu. At the moment, it sets it three fingers swiped. So if I swipe down with three fingers, I can invoke the quick menu, will. Alright, that's swipe down with three fingers. And I get a quick menu, and I get a series of commands like a little island. That is your default quick menu one, where you get all these commands like I can flip horizontally, swipe down three fingers again, and can flip horizontally again, swipe down again. I tap on quick menu. I've set up another menu called my menu to. And if I wanted to set up another menu, Let's tap on the plus sign quick menu 03. And you can see there's things like no action. Well, if I tap and hold that, get a whole lot of actions like opening the Layers panel. Now, if I tap on that, it opens the layers panel. If we come to help, you have various settings, including things like advanced settings where you can come here and come down. I turned on color description notifications, single touch gestures companion. Then if I come back in my Procreate, now I get this permanent floating window, work in two things to work and move things around with a move active. With the Zoom active. I can zoom and rotate. I can fit the canvas. And that is always there. That may be useful for some people who don't have all the fingers on the drawing hand. For me out as soon just turn it off. Okay, so that is the wrench icon with most of the features already talked about. What we haven't spoken about is the Drawing Guide. Let's talk about that next. 25. Drawing Guides: Alright, k, So the drawing guides come to our wrench icon on under the Canvas setting you get something called Drawing Guide. It can be on or off. I have layer five selected. There is nothing on this layer so I can draw on that. I'll turn on my drawing guide and by default, I get a grid. And if I come to my layers, I have to turn on Drawing Assist. You can see just underneath it says Assisted. What that means is if for example, I'll take an ink brush, make it pretty bold, and make it large enough so that you can see it and make it a nice, friendly, reddish orange color. And now when I draw, That's not me drawing a beautiful straight line. That's the Drawing Assist helping me by constraining my lines to either horizontal or vertical. And if I try and draw a diagonal line, condo, It just stays in place. So let us talk a few times to undo that and come back because the drawing guide by default is a grid. But if I come to Edit Drawing Guide, I get some options at the moment it's 2D grid. I can change the grid size like this. I can change how thick it appears to be on my screen. I can alter the opacity of it. The top, a little slider which advice slide around. I can change the color of the grid below. Alright, That's a 2D grid. What about isometric? Isometric is popular in things like game design. Yeah, it's still popular. And I once spent quite a few years of my life making isometric designs. And what this does is the verticals stay vertical, but things like the horizontals, they go off at angles like this. You can quickly build up what looks like a pseudo 3D cube like this and maybe put a little door in pair. Now if we want to shade in that door, I can turn off drawing assist and everything goes back to free scribbling. Turn on drawing assist and I can't get that free. Things. It's snapping the way I don't want them to snap. That's clear that layer and come back to Edit Drawing Guide. Now that you have perspective, you have to tap so much create a vanishing points. So I'll create a vanishing point here. Let's make our lives a little bit bolder so you can see what I'm doing. You're gonna point radiating out and supposing lots of points off in the distance. Because as things go into the distance, things get smaller and you can draw out Live which radiate outward from that point. For a single-point perspective. In fact, come on, let's get rid of some of this stuff so you can see a little bit more clearly what I'm doing. And for that, I can draw horizontal lines like this. There you go. That's my railway track going off into the distance. And I can draw vertical lines versus the telegraph poles by the side of the track. But if I draw a diagonal lines, they all radiate towards that point in the distance. I also have as well as one-point perspective. I can drag that around. I can also have two-point perspective. So now remember that drawing we were talking about. Well, there you go. Building drawn. In two-point perspective. You can have up to three points, but then this starts turning into a lesson about how to do a perspective drawing, which maybe I'll do 1. But for now, Let's clear my layer. Come again to edit Drawing Guide Symmetry with options, I can have it vertical, horizontal, quadrant, radial. So whenever such a radial, Let's choose a fairly sweeping line for this. If I draw in one of those quadrant areas, you can see the same thing gets repeated wherever you are. And if you're making Mandelbrot designs, we'll look at that. There is another thing as well that's going to help you to draw, and that is the quick draw a function. Let's talk about that in the next video. 26. Using Quick Draw: Okay, I'm carrying straight on from where I was in my previous video and I will clear my layer, but also I will turn off drawing assist. And those eight lines radiating out or a little bit annoying. So I will turn off my drawing guide. I have an empty layer selected and I will draw a line like this. So far so good. I two-finger tap to undo. I will draw a curve like this. So far, so good. I'll try and draw a circle and we all know how easy those are. I'll do that. Not brilliant, but now I will draw a circle and instead of taking my pen off the surface of my iPad, I'll just leave it there. Watch what happens. I get something called ellipse created when you draw a stroke, but you leave your pen or pencil on the surface of your iPad, the assisted drawing kicks in, and I haven't ellipse created. And you can see that line snap to a very nice, very convincing ellipse rather than the oval thing I drew. But more than that, I can edit the shape. So if I come to Edit shape, I've got a choice of anything this has knowledge and I can drag around just the brushstroke itself. To drag it around. I can go inside and drag it around. I can go to the outside and drag it around. And I have little blue control points which I can move and squash the Ellipse tool, however, I wanted bike and drive those little blue control points around like that. Or I have the option of coming to a circle. With this. I can drag that around and it's a perfect circle. And apparently that's what you have to draw if you wanted to go and work in Leonardo da Vinci's workshop. So go to Italy with a copy of Procreate. You'll get in. That is enormously useful if I just tap my brush icon, that gets accepted. But there are other things as well. Like Look if I do this and hold polyline created and I can edit that shape. You can see it put down more than 1 there. But I can drag these points around like this. Now what about a curve or an arc? If I do an arc like this? Well, it says ellipse created, but it's only part of an ellipse. And so I get little control point here which there's no brushstroke, their blood account alter my curved like that. How can I do another one? Let's try something like this. Polyline created edit shape. And now got a choice of polyline, line which goes it like that, or an ellipse. And depending upon what shape you draw, procreate will throw out whatever options it recognizes in that line. Now here's something. If I just draw a straight line like this and just hold, I get line created and it acts like an elastic band and I can move that around to wherever I want. And it's perfectly straight. If you say there's no point in learning Procreate because I can't even draw a straight line. We'll tough. Now you've run out of excuses. If I put down a finger in addition to my pen line, that line snaps to 15 degree increments, 0 degrees 153045607590 degrees coming out the shape. Yeah, I suppose I can There's my little blue control points to move it to wherever I want and hold down my finger and it locks in place until I let go. That is Quick Draw of heavier. Worried about your drawing. Just hold your pencil on your iPad at the end of your brush stroke and you will get all of these options. 27. Layer Blend Modes: This file is called Blend Mode 01. If I open it up, you have two layers of paint layer and a layer on top, which is just a series of colored dots along the top plus a black complete mid gray and white dot in the middle. And the gradient going from complete black to complete white out the bottom. This file is available as a download. You don't really need to download it because all I wanted to do is talk about the layer blend modes and show you the general concept behind them. And to change the layer blend mode, you open up your Layers panel and why you see N on my dots layer. I'm going to tap on it. And you see all of these different layer blend mode, at which point you panic and female, What am I supposed to do? But what our layer blend mode does is affect how the layer you're currently on, our faithful look of your picture as a whole. Or to put it another way, what it looks like compared to all the layers which are visible underneath it. Now at the mode is set to normal, error-free layer is set to normal when you first bring it in or you've created, but then you change the layer blend mode. I will make this a little bit smaller. Like this. You can see more of the actual image at the moment this is set to normal. But if I tap where it says normal and start dragging up and down, look at that, that layer changes depending on which layer blend mode I'm choosing. There's loads of them. Now here's the good news. Yes, there are lots of different blend modes and how enough to learn all of those will actually, these blend modes can be divided up into groups. And everything within the group does a very similar thing. For example, everything above where it says normal visa or do something similar. And I will show you darker color, Linear Burn color, burn, darken, multiply. They take my dots layer and alter it so that it darkens everything underneath it, but in different ways. If I take it back to normal, for example, take a look at that big white dots. If I take that to multiply, it becomes completely invisible, unseen, why it doesn't show up. But now take a look at the mid gray dots. That may gray is making the bidder the paint palette that it's sitting on top of, darker. When you get down to black, it makes everything black. Now take a look at that gradients. It starts off white and goes down to black. If I take that back to multiply again, you don't really see that gradient anymore, but instead what you see is the paint palette underneath it gradually getting darker as the color values of that gradient gets darker. This is very useful because now I can darken everything underneath my light in different ways. Now that's just plain gray. Now what about those dots of color at the top? But that's what I like in normal blend mode. If I take it to Multiply blend mode, they're making things underneath them dark, but that also affecting the color. Once you get that concept into your head, well now imagine I have an image which I want to shade. And so I put a layer on top. I can click that layer to my layer underneath, and I change the layer blend to multiply. Well now I can give my object lots of different shadows with lots of different colors by choosing what's in makeGray or color, but not alter the object permanently. And here's the nice thing. Dark and it's also making things darker but in a different way. Color Burn, look at that. It's making things darker, but the colors become more intense, linear burn. That's quite an attractive effect as well. Darker color, that just decides which color in either lay is the darkest and whichever one is darker. It shows that. So all five of those things do different things in different ways. Of those five, multiply is very good for doing naturalistic kind of paintings. Color Burn, heard also linear burn. If you're doing a more stylized painting where you want some nice vibrant colors in the darker areas. We'll look at that. You can use that. Similarly. If we go downwards, we have lightened screen color, dodge add lighter color. Well, there's some layer blend modes that are doing the opposite to the dark and blend modes. These are the lightened blend modes are thes. Screen is very nice because it gives some natural highlighted areas. But everything does things in different ways. Lightness, a little bit of more subtle color dodge, that's getting some very vibrant colors. Ad is a really strong effect. It's right in your face. Lighter color. It looks at the two layers and whichever one has the lighter color, that's what gets shown. And then underneath that you have overlay soft light, hard light, vivid Light, Linear Light Pin Light, Hard Mix. Well they make whatever is underneath them, darker and lighter. Take overlay for example, look at the gradients along the bottom where my layer is lighter. The whole picture gets lighter, where it is darker, the picture overall gets darker. Take a look at that mid gray dots. That's it under normal mode, that is a dead mid gray. If I change that to overlay, it becomes invisible. So if you paint with a mid gray, you won't see anything. But if you start to paint with a slightly lighter gray, you'll get a little bit of a lightning over the pixels of the layer you're painting on top of. If you use a slightly darker color, you're going to darken the area. And overlay is a medium strong fact, Soft Light is a much more subtle effect. Hard light is a stronger effect, or vivid light throws in quite a bit of color in there. And these are known as the contrast layer plant modes because they make things more dark and more light. So now we must be at least halfway through all these layer blend modes. But all you need to know is that things have got darker or lighter or darker and lighter. Before going further, of course, you can adjust the opacity. To lessen the effect, look at the ridiculous amount of power this has started to give me. Okay, let's come down to a few layers that you'll hardly ever have a useful difference and exclusion, basically every layer blend mode is doing math on the layer. It's taking all the brightness values of the top layer and converting them to a floating point value between 01. It does the same on everything that's below. It takes every single pixel and converted to a value between 01. Then all these Lapland motor doing is performing maths, like in the case of it's taking those two values and it's simply adding the two values together. And so the values get lighter. And that's why you get values like multiply the values being multiplied together. That's where some of these names come from. Anyway, difference in exclusion you hardly ever use subtract is a very strong effect because it's subtracting the two values, divide it, dividing the two values. So you get kind of opposite effects. You don't really need to worry about them. But the bottom ones of these are useful. These are called the component layers. And if you're a man, but if we come to our palette, I will come to value. We have three components to any color. You have the hue, which is your basic color, the saturation, and the brightness. If we come back. Here, you have three components on. So let's choose luminosity, for example. What luminosity is doing is taking components from the top layer plus components from the bottom layer. Now in the case of this, it's taking the brightness components of a top layer and it's applying that to the layer below. Now what about color? Color is taking a hue and the saturation of the top layer and combining it with a brightness of the bottom layer, look at my gray dots are my gray gradient. They're completely desaturating everything below them. But the hue, the red, yellow, green dots from the top layer are turning everything under them into various shades of red, green, yellow, blue had cetera. And what you're ending up with is the color component from the top layer plus the dark to light and Saturation values of the layer underneath. And that's what these component layers do. Saturation, how saturated the top layer pixels are, and combining that with the shoe on the brightness of the layers underneath. So in the case of those little colored dots, you're not ending up with those different colors anymore. All you're ending up with is how saturated those colors are and those are the component layers. And what a surprise we've run out of layer blend modes. Yeah, there are lots of them, but once you realize they darken things, they lightened things, they make things more contrasty. I ignore difference than the exclusion, or it takes the different parts of any color, the hue or the saturation, or the luminosity of the top layer, and combines it with the remaining components of the labyrinth and Nathan, and that is it. That's all you really need to know about layer blend modes. And I know this is a fast guide, but rarely layer blend modes are so good for digital painting and understanding how they work, which by now hopefully you do, is one thing that separates the skilled artist from the, Oh, I'm not really sure what I'm doing. Artist kale, let's move on. 28. Thanks for Watching!: If you are watching this, that means you have got to the end of the course, so well done. I hope the mix of reference videos plus workflow videos, which were timestamped with the relevant times all of the reference video was useful for you. Don't forget, you do have the PDF which was downloadable from the first of the reference videos. So you can print that off all located on your iPad and no straightaway where to access the information you might need about a particular subject. Now, if you did enjoy this course, the good news is I have a much larger course called Procreate solid foundations. What you're looking at now are various sequences from it, it goes into much more detail. And you also get plenty of workflow activities to practice what you've learned. If you haven't yet check the course out and sign up for it, because I have so much more to teach you. In the meantime, I wish you many hours of creating great art within procreate. And if you do forget things, you know where to come to remind yourself about the information that's on procreate. The first guide, I'll speak to you soon.