Tangle in Procreate - Faux Delftware

1. Introduction: Hi, everyone. My name's Tracy and Wilkinson. I'm an artist and certified sent angle teacher. This is my second skill share class, and if you haven't watched the 1st 1 which is using this entangle method in procreate, I do recommend you go back and watch that first, especially if you're new to this entangle method or to procreate. For this project, you'll need an iPad, an apple pencil and the procreate up. Using this entangle method, we can recreate the Delph where pottery look by using tangles within the tangle. Huggins. I'll be showing you how to draw three versions off this tangle and will then use that as a framework to place other tangles. In my last video, I introduced you to eight tangles. In this video, I'll introduce you to eight more. We can then use them in our final project, choose one of the frameworks that I showed you and then add the tangles 2. Huggins : will be using a tangle called Huggins as a framework for a major project. There are a few variations off this, so I'll walk you through those now and then. You can decide which one you'd like to use for your project. We'll open up, procreate and create a new canvas. We already created a 3.5 inch canvas in my first school sheer class. But if you want to print something out and you need it to be larger, then just open a new one and let's create a canvas, say, 10 inch by 10 inch. You can never print something bigger than what you first created, so think about what you're going to do with the finish product before you start for this project, I'm just going to use the 3.5 inch canvas to draw Huggins. We generally use agreed going up and click on the wrench tool switch on drawing guide and then click on edit during guide. You can see the slightest and the bottom of the page. I can adjust the thickness and the opacity of the lines and then the grid size, so all adjust that I want to have agreed off about four by four squares with a little border around the edge, and that's about right. Click done, hit on up to the pin, too, and I'll choose an inking pin, and I think I'll use the technical pin. Just test that out and make sure it's the right thickness and that I'm quite happy with that. So now we're going to try and draw a circle and then hold down the pen and that menu at the top comes. I haven't got the option of a circle there. It just says the lips, So I'll start again and try and get a bit of circle. Doesn't have to be perfect. Hold it down. Click on that menu and they is circle Now. I can move that to put it in the middle off that intersection. Now I'm going to duplicate that layer and then go to my transform tool and move that other circle to the next grid line. If I move it by touching on it, it becomes bigger. So I'll just recent that, and if I hold my pin underneath the actual shape, it doesn't affect the size, so now I'm going to pinch those together to make them on one liar and duplicate them, so used to transform tool again. Slide those along until they're centered. Almost grid lines go back to the layers. Pinch those together. Actually, I don't need to because I only need one more. So just duplicate that last layer. Move that along and that extra on will just disappear once week. Quick off the transform, too. So now go back to the layers. Pinch those three layers together, duplicate back up to the transform, too. And then we can move that whole layer down. It saves quite a bit of time, and all the circles are the same size. So would do that process again. Click on the lighters, pinch them together to create one layer, then duplicate. And then we can move all of those down. Line them up. We only need one more line. So this time I'll just duplicate the last Lyon, move that down. And now we have agreed. I've changed to screen views so that you get a clear picture on my hand isn't in the way. So now I'm going up to those layers and I'll pinch them together to make them one layer then add a new layer. So without pin tool highlighted, I'm going to make a curve from one circle to the other so it take off from one circle, hang around to the other. The next one will be opposite. So we haven't out a covenant in a curve and keep doing that all the by along the line. When we get to the next road, we're going to go opposite of what we did before. So we had that outer curve, so it's gonna be the same and out a curve, then the inner curve. It's near the inner curve and the same all the wild. All so get the idea. We've gotten one facing inwards. So we do another one facing inwards and outwards one and then another in which one. So you get the idea. I'll just speed that up when we're finished. We'll turn the tall around when we start this direction. If any lines cross, we know they're in the wrong place, so we start off with an outer facing curve and the next one will be opposite. So each time we draw a line, look at the one opposite each unit Has those two inward facing curves and to outward facing curves. Continue to do this just like we did before, and you can see they look like they're weaving in and out each other. So just speed up the rest of this. That sounds standard Huggins, and the next one will try these crazy Huggins. I'll just go up to the layers and switch those layers off that we've already created and create a new Leia. I'll also switch off that drawing guide. I'll just be trading one unit at a time. Some during four circles on I'm not worrying too much about whether their regular circles and then do two opposite outward facing lines on then to inward facing ons. You can see we've created that one unit now at another couple of circles, put them in random spots and make some bigger than others and create the next unit. I'm going to do this all over that tile, so each time making sure that we have four circles and using those four circles, we have to outward facing curves opposite each other and to inward curves facing opposite each other. It's important to treat one unit at a time because it's very easy to get lost in all the circles and directions. So if we complete one and it's not working out, you can always just go back and, um, undo and start again. If you sort of put random circles all over the place, it becomes a bit difficult. Go ahead and treat each one as a separate unit. The next variation will use will be more like the standard Huggins, just with a different framework, a different grid type. So let's get rid of our crazy Huggins, which that off, and create a new Lila hit back up to the range tool and click back on drawing guide and edit Drawing Garden, this time select symmetry. Now we have a few options here, So if we click on that, click on radio and then switch on rotational symmetry and assisted drawing, click on Done and now when we draw, it's going to help us draw in each section. So with that pin tool and make sure that assisted drawing is clicked on, severity is now. As I drawing one section. All the other sections are being drawn at the same time as I go on each of thes rounds I'm trying to get as near enough to a circle as I can. Doesn't have to be a perfect circle. This is just going to be our guide. Okay, so now go back to that layer and turned the A pass ity right down. This is just going to be a guard where we put our circles. I want to add more segments. So if we start from, I'm just drawing in one section and trying to get it in the center. But as I draw in between two lines, see how the other ones are happening. When I get to the end, hold my pencil down, and that will make those lines straight. Now I can go back to my new layer that I created. And on each intersection, I'm going to draw a circle. I'm not being too fussy about the circles, but generally trying to make them roughly the same size. You can see that instead of a square greed, we now have more of a circular. Agreed. Now that we've got alas circles there, we can start on forming the Huggins and you've had a fair bit of practice Now on how these work so on that out of rim, we'll start doing an outer curve in a curve and alternating them all the way around. So now I'll speed that one up, and then when we get to the next round, we're treating the opposites as we did before. If you've got an in a curve, it's opposite to another in a curve. No, we'll finalize. Those units of Huggins are in the top and head down to the next lion. It's just the same as the square grid, but we're getting a little bit narrower each time we go closer to the center and then finish off those units and gets a little bit trickier to draw as we get closer to the center as the circles are close together. But because we've got those grid lines underneath, we've got a bit of a guide, so we know which direction we're hitting. Now that we're at the Centra drawing adult, and I'm just drawing each line down to that dot, of course, you can leave the center blink if you like. 3. The Tangles: to create a new tangles. 1st 4 was switch off the layer and create a new lawyer. Now, because a project will involve drawing at tangles inside Ah Huggins unit, I'll demonstrate how to draw them by first drawing one unit of Huggins to keep Pau Huggins nice and safe, we'll use another layer. We didn't use color in my last video, so I'm just going to zoom in and show you this color picker. Keep your eye on that first little rectangle, and as I moved my pin around that circle, you can see the color changing. I've also got a palate down below. Once I've changed the color. I can then drag it down onto my drawing and change the color of whatever I like. No fine drawer squiggle in the center. Here, I can choose a color from my palate and drag that del dragon onto the background or onto the line. Now that that colors dark another way, I can pick a different colors, hold my finger down onto the line. You can see the color changes to that color, so then I can drag that down, and it's the same color as the other lawn back to our first pattern, which is called Zip, and it starts with a row of crosses. We joined these crosses at the top and the bottom in each of the joints, then will place a diamond shape and then aura at the top and at the bottom, Then add a little dot at each of the points. For the next stage of this tangle, I want to add a different color, so I'm gonna choose another layer and put that underneath the one I'm already drawing on. Go up to my color picker on Select a Different Shade of Blue. Now I'm just drawing a squiggly Patton in that center rectangular shape because I've put this squiggly line on a different layer. It's going to be easy to change the color from not happy with it. So I'll go up to the color picker again and just choose a different color, then drag from that color up in the top right hand corner, down onto my squiggle, and I'm really not happy with that either. So I'll go back up to the color picker, change it again, make it more of a blue color, and then drop that down I can keep dropping down, and it'll just color those lines. But after a few seats now, it's colored the whole lot. But if I stand back and look at the whole thing, there are a couple of lines that have changed color a little bit, and one way I can rectify that is soon ride in and then just hope my finger down on the color I want, and that changes the color. Then drag that down and adjust the lines that I want to change. If you pick the right color in the beginning, you don't have to worry about any of that. So I'll switch off those layers and create a new layer, and this tangle is called between. It's another tangled by those entangle incorporated, I think, for this one, all first drawn aura on either side, like a little border tendrils, Siris of parallel lawns. Now, to start this, I'm going to curve the line and then put a wait at the at the top, and you can see the top one I've left. So imagine if that the two lines parallel continue on where that first line would be would be off the actual patterns. So that's why I've just drawn a little line without that waited end. Draw each line from the outside, intimate the other line, making them a similar width apart. Do the same thing in each of those sections, starting from the outer ridge across to the other. And as you come down, put that waited end where they make the other line. Now that the patterns forming, you can see it's making almost abrade kind of an effect or a bit of a woven basket effect. I'm demonstrating this pattern rather quickly, so I'm not taking much care. But you can take it more slowly. And if you need to zoom in afterwards and neat knit up, you can so zoom right in any overhangs you can a race with your eraser tool, and then any gaps in the coloring go over and just Natan the whole thing up. Now that looks a lot better. If I like. Now, I can choose another color and change it to a different shade of blue. If I zoom in here, you can see that light blue now shows up on the dark blue, so our, instead of erasing, it'll go up to my layers and dragged that layer underneath the framework of the Huggins. That way, Now you can't see it anymore. Turn off our between layer and credit new layer. Before we start our new pattern, I'll show you a tool we can use. If I draw a straight line and then hold my pin down, it will make that line perfectly straight. Say, Miss, if I start to draw a triangle, hold my pen down, it lock into more of a triangle shape. So if we click up their work unedited and once we get those little blue circles, we can move the shape around and adjusted how we like. Same goes for if we want to draw an arc or circular shape. So in this case, like a skull above, click on that, get those little handles up and move that, and this is really quite handy to be able to use as we're drawing these patterns. The next pattern is called 03 by a Ling Hung, and she's a certified sing tangled teacher. Draw a row of scallops from one into the next, then do another row going in the opposite direction. You can hold your pin down and it'll snap. Lock those curves so that are a bit more perfect with the diamond shapes we've created, drawn or a within them, and then feel that in. So we've got a little diamond in the center. Then at each point, draw circle with the dot and petals around it, so you can see now I have a small flower on each of the points at the top and again along the bottom. Uncheck that layer, create a new lie already for an ex Patton. Now we've been using a light blue, so I'm going to zoom in. Pick up that darker blue and this pattern is called Fending Go, and it's by Vicky Bess it with this pattern, we're drawing a zigzag from one end to the other, and you can see I'm holding my pin down to make those lines nice and straight. Go along that again and drawn aura. I find it's much harder to draw a straight line in procreate than on paper, so use that tool to straighten those lines up. Now, within each of these zigzags, I'm going to draw three lines radiating from the center point. Do that all along the top and as well along the bottom. When you get to the ends, just continue that part of the pattern and then will draw skull up from one point to the next. It creates a kind of fan shape and do the same along the bottom. Egx For the next part of my pattern, I'm going to choose a lighter blue. So I'll go up to the color picker and you could see that I clicked on our color I'd use before. So I'm drawing an s shape with an aura and filling that in. So it looks like it's coming from underneath and over, weaving in between each of the sections. So start where you left off drawn s and from the other side draw nous feeling that pattern with the same color. Do that all the way along until you get to the end and that doesn't quite made up. So zoom in and so that it looks like one continuous strained weaving in and out from one end of this exact to the other. Turn off our fending Go layer, create a new layer Pick up that dark blue again and this is called batter number and it's by Kelly Kelly. She's also a C Z T or up the center of the Huggins. Off created two parallel lines and along the top, almost a lotus flower shape. Using five petals. I'm now going to draw an arc around each of those lotus flowers and then aura the whole thing within each of those sections. I'm now going to zoom in and color between the flower and the arch. I could just drag the color down to fill this area. If you haven't completely sealed off the ages, you'll cover the whole thing. So now they have gone around, made sure I've got no gaps. I can then go up to the top right hand corner and dropping the color. Now they have completed one side. I'm going to turn the page around, and you're exactly the same thing on the other side. You notice I added three little petal shapes in between each of the archers on the top. On the end of each of those pedal shapes, put a little circle there. We have a tumble, so we'll switch off that layer. Create a new layer on the next tangle is called embellish and This is by Milososki For this pattern, I'm going to draw almost a daisy shaped flower. Leave a little bit of space in between and draw this flower all the way along until you get to the end. Draw three little teardrop shapes above and below each off the flowers. Once you've done that, starting from one age skull up around those little teardrops, I'm then going to create another layer, put a underneath and use that same light blue color I used before. Because it's on a different layer. I'm not affecting any of the other. So if I need to change the color, I can always do that without changing the dark blue of the main design in the background. I'm during a series of parallel diagonal lines on one, so I've done them at the top and the bottom turned the page and do the same in the opposite direction to create a crisscross effect. This crisscross effect in the background isn't actually part of the embellish pattern. I've just added that to create a little bit more interest. I'm now zooming in so that I can color in the flower shapes off, come back to my original dark blue layer so that I can touch up the drawing of those. So when I go to color it back in, I need to change layers back. So go back to the the light blue lion, and I'm going to color the petals that light blue because this'll aires underneath the dark blue drawing layer. If I just go over the lines a little bit, it won't show up. I'll also color those little teardrops in light blue, and I'm going to make my centers a dark blue. You could leave them. What if you like? So that's the patent embellish. I'll close off those two layers at a new layer on next tangle. He's called Mindy or a flower, and this is by Jeanna Sahlin. Moza. No, I just made my line a little bit thicker, so creating an aura above and below and in the center during a semi circle, and you can see I'm adding on or around each of those lies. Start off with scallops, color. The mean had bigger scallops, put little marks in them, and another aura plane aura Had Cem dots another scholar layer, and then for the final liar. I'm sickening my line up a little bit on this, the flower. So I'm just a feeling the spaces, adding some leaves and some little swells, and that just feels that how can shape up a little bit. So it closed down that layer and an new layer is called cake. And this is a pattern by Rose Brown. I'll change my pin to make it a bit thinner. Again. I'm going to use an aura at each side of the Huggins and draw a skull. Then it's not exactly or ing these, some going from each point in enduring another skull up and then adding a little mark at the end of each. It almost looks like curtains draping down. Do this until you feel that whole shape. When you get to the bottom, just act as if you're drawing behind. So where the petting won't fit just sort of Joe part of the Patton. Now I'm going to change my color and at another liar, put that below as we did before, using again that like Blue that I used before. And I'm just drawing four little petal shapes coming from the center of each of those corners of the drapes and do that for each one of thumb until you've finished 4. The Project: for your project. Choose one of the frameworks off the Huggins. Fill the spaces with tangles from this listen or, from my lessons, entangling spied art in procreate. If you feel like you'd like to repeat one of thes Petain's go in and do you pick height that that particular layer, click on the transform tool and make sure that uniform and Magnetics are highlighted. This will prevent us from changing the shape of our original Patton. You'll find that they don't always fit perfectly. So here I'm going to my freeform tool and stretching it a little bit. Now I will find maybe some parts overlapping so I can just go in and erase those with my razor tool on the circular shape you might find some of thes when you duplicate them are a little bit harder to fit into the different shapes that shapes may vary. So this time, first of all, using that same uniform tool, place it near enough to where it'll feet, and then I can adjust that in different ways. Firstly, I'll go to my distort tool, and I can play around with the corners and get the corners where I want them to bay, and the whole shape is still not fitting perfectly. So then I can use the warp tool, and I can adjust the middle of that pattern and push it until I get it into the place where it most feats and I'll just assume in a little bit and use that tool again and adjusted a little bit more dragon and push, it said. It fits the shape how you want it to feed. - Once you've finished filling in all your patterns, I'll show you how to go about shading. This time I'm going to use a calligraphy pin. I've selected the brush pain and place the shadow on the inside edge. Now I can play around with the opacity, click on the little in and then move that opacity bar too low, get it how I want to and then go ahead and just concentrating on all those in a curves and leave the very outside ones for now. We'll do that on a different layer. - I'm going to create a new layer for the outside shadow. Now I'm imagining that the light source is coming from the top left hand corner so I'll place a shadow on the right side and underneath of each of the outside shapes to soften this shadow. I'm going to head up to my adjustment tool and choose gosh in blue. If I hold my pain on the page and drag it along, you can see that it gradually softens and drinks out that shadow. Then I can also go back and adjust the opacity. So have a little play around with those two tools and you can always go back to the Alber shed. I liar and it play around with the opacity there, too, until you get it, how you want it. These are my finished projects, so have some fun and be sure to post your results in the student project section. I'd love to see what you come up with. 5. Final Words: to sum up what we've learned in today's listen. We've created a piece of artwork using shades of blue to resemble Delph way pottery. We learned three variations off the tangle Huggins and use these as a framework for our piece of art. I showed you eight new tangles and reminded you off the tangles we learned in my first school share. Listen, feel free to use all or even just some off these tangles in any combination for your major project. Thank you for watching. And don't forget to post your finish projects in the student projects section.