[MUSIC] All right, guys. Welcome to our introduction to Sketchbook. What I want to do first is give you a quick UI tour of the software. Because if you are using Sketchbook, it's a very valid tool, and there's a lot of things you can leverage in it, and it's about as pure as you can get for digital sketching. As far as feel, it feels like analog sketching. It feels like paper, and remember I'm using the full computer version, so if you are using that one, it will look very similar. If you are using it up based product of sketchbook, it might be slightly different, but keep in mind the core elements are the same. So this toolbar here, it houses all of your tools. The tools are very self explanatory, pencil is a pencil, marker is a marker, felt pen, hard erase, soft erase, air brush tool, make it a little bigger, marker tool, paint brush, bigger. You'll know the paint brush tool run out of material to mimic a paint brush. You also got dry paint brushes, which moves the paint that's digitally put down. I've got different pencils. I've got different shape tools. I scroll down more, I've got different markers. More shapes. And you have a fly out for your brush library, and there's a list of tools here. I really like the artist brushes in newest release. They're interesting, they give different forms, pastels are great as well. Let's try a different size. See how it changes the pressure. Let's see. The designer set is also fun. The tools change with pressure. I'm not going to go as in depth with any of these tools here, but just know that you can also create your own brushes. Down here on my lower left, this is called the lagoon. I can adjust the position where I want to sit. I like on the lower left, even though I'm left handed. Each tool here, has a radio menu. It shows you the tools, brushes, quick access to color, selection tools, this is for scrolling forward and back, the current brush, current color. As I come up to the top, I've got a color puck, and I've got a brush puck. I can adjust the hue of any color. I can adjust the opacity and the size of a brush. And as I come to this main menu here, I've got undo, I've got redo, I've got the zoom puck, which is a great tool. If you're using digital, you have to use this tool. It allows you to zoom in. It allows you to pan your page. As I am a big believer in rotating your paper, you have the rotate tool here. So if for some reason That rotation tool is not there, you'll want to go to edit, preferences and make sure enable rotate canvas is checked. Say OK, and that tool will be there. If you don't want it, you can turn it off. Your selection tools here. The quick flyouts come up here. The first one is marquee select. Second one is a circle marquee select. The third one is lasso select, a poly line select. There we go. A magic wand is the last one, which selects based on pixels. I can control the tolerance level here. I can sample one layer or all layers. I can replace the selection, add a selection, remove a selection, invert a selection or clear a selection. So, for now let's just go with Marquee. If I have this layer selected, I can move the selection tool. I'll come to quick transform, and now it's set to move, and I can move that section of my current layer, scale it, proportion it and you can rotate it. Now this makes it a lot faster. You can do things you can't do analog. I'll undo it. Let's go one down, crop. I can crop my image. I can drag or picket. We talked about position briefly. And when you use position without a selection, it's the entire layer. Transform allows you to manipulate your selection. So I have the entire layer here. Grab this corner, and It allows you to flex in proportion, move the center point and really transform things that you get a look that's like 3D. I can do it in two different manners, and I can accept. The flood fill command is a great tool. I'll change the color. So, I can do a solid fill. The second one is linear. The third one is radial. This is about tolerance. So when I flood fill, the layer you have selected is filled, and all of the pixels that are continuous are filled, meaning that it will only do what is connected on that pixel. I can adjust the tolerance for how much it bleeds into the next set of pixels. If I push it really high, it'll flood almost all of it, and you can see that adjustment allows you that flexibility I'll draw completely controls closed loop, and I'll flood fill the inside of that, turn it down a little. It only fills inside, and that's super valuable in the long haul. I could do linear fills, I click my distance, position my points You could change the color you have selected. We'll change that one to gray. I could do the center point as well. I could do radial on top of that, same Principal. Okay. All right. Okay. Turn that layer off. New layer. You could do text. Text is fine, you can adjust the scale for the font. You could pick the font, bold, italic, underline, underscore, so on. You could scale it and position it here. It's useful but I wouldn't do graphic design with this tool. Yeah, it's just not your best word processing tool. It's a nice place holder or a way to get a quick point of text in there. So the ruler tool here and this next group of tools are really powerful. So ruler, it literally brings up a ruler tool, you can position each point anywhere you want. And as you stroke the pen, it stays right on the ruler. So it's just like using a ruler in real life, but a little faster. It would take me a little bit longer to do that in analog, as opposed to this digital world here. The circle or ellipse tool is wonderful as well. You could adjust the size, I can adjust the degree of open. And obviously, if I get to 90, it's going to be a circle. You can rotate it and it gives you an axis. So now it's just like the ruler tool, no matter where you put the pen, it only marks inside the guide. I'll stroke it, make it smaller, reposition, reposition again. Now I'm quickly getting to the point where I"m drawing a wheel. Couple little spokes, it didn't take me that long at all, very valuable tool. Okay, the French Curve tool is just like a French Curve, I can rotate it. I can scale it, I can flip it, and when you draw, it only marks in the guide I have a few different French Curves as well, it's a great tool to use. And a little side note, I'm on the beta team for Sketchbook. And one of the jobs we do is we submit ideas and the French Curve tool was my idea. So the next one is Perspective Guide lines and they are very interesting. If you recall, we talked about perspective earlier. What this allows you to do is all three forms of perspective. We didn't talk about 1 point, but 1 point is where you position the horizon line. And you'll notice that any line on the horizontal goes to that vanishing point. And as I move my pen around, the cursor position tracks the vanishing point, and I've only got three options. I've got left or right, up or down, and back to the vanishing point. In reality, it's a ruler. So I typically get the question a lot when I demo this, and they say, well, isn't that cheating? And I'm going to ask you guys, what do you think? Is this cheating? I say no way because everything I'm doing here, I could do with a ruler and a push pen. But is it faster than doing it that way? Yes it is, there is no way I could do it this fast on paper. And if you're laying things out, for example, like for an underlay as we talked earlier, this is a great tool. But the next on the list is a 2 point perspective. And it is what it says, I now have two vanishing points. I have a left vanishing point and I have a right vanishing point. Can move them where I want. And all of my lines either go to the left vanishing point or the right vanishing point, with exception of the verticals, which are parallel. Because when you're doing 2 point perspective, there is no third vanishing point. Again, is this cheating? No, is it faster? Yes, but as we talked in last session, is this a true example of real life? And the answer is no because you can't look at something in the world in 2 point perspective. You need to use 3 point perspective. All are valuable, isometric, 1 point, 2 point, but I'm a believer in 3 point perspective as the best one. When you open three point perspective tools, as we talked, it's really important to position your vanishing points farther away and off the page a little bit. Because if you don't, you get a really dramatic perspective. And unless you were drawing it from an ant's perspective, where you'd want it dramatic, but we're not doing that. I'll draw the cube again and hopefully, you can see right away how much faster this is than doing in analog. And even when I drew it myself, how much faster this is compared. I'll give it a little bit of line weight, bolder on the outside, and I'm done. If I want to, I can put in a little bit of back lines, see through it. Is that faster than drawing analog? Of course it is. Can you use it as an underlay? Definitely, so the last one I'll show you is the Fisheye mode, which is definitely cheating because there's no way you can do this analog. Because what it does is it bows the lines like a Fisheye lens on a camera and again, it's Fisheye 1 point. It's even bowing those back lines. You can lock the layers as well, and you can lock where you position them. I could show or hide the horizon line in tools. The last one I want to show you is the Symmetry tool. Symmetry came in a few years ago but most recently, they added an aspect that you can move the Symmetry line and that's a huge help. So live, anything you draw on one side is mirrored in the real time on the opposite side. It's a great way to draw things in symmetry. And this, again, is a little bit of cheating because it's almost impossible to draw perfectly symmetrical drawings like this. So there's your quick car idea of a fog light. You could also do two at once. So now I've got quadrants, so when I draw on one side It mirrors it on all others. And I wouldn't be able to do this any other way, because now it's not just two sides, it's four sides. I'll do my intake, maybe at some sort of Fighter ship or jet or something. So, I should lock that one. Okay, alright. Now, this is the last one here I'm going to show you in symmetry, literally, came out, I believe, a month ago. So, you can do radio symmetry. Here, I can control the amount of spokes in symmetry to eight for now. And what it means is if I draw in one of them, it draws on all of them live. So I draw here, and I start to sketch out a wheel concept. There's my hub. Maybe a little sketch detail here. And it repeats it on all the quadrants. There's my tire. Maybe some details on the rim. Exceptionally difficult to that any other way, and sometimes it's hard to impress an old dog, but that's a really nice way to work. This tool here is called a steady stroke. It's a tool that if you're not a comfortable, steady line drawer, it helps you to smooth out your lines. And it does that by delaying time. What you can't see is that my stylist is farther away with that small dashed line than where the actual line is being drawn. I'm on the far side and there's a time delay. So it starts to smooth out any imperfections with my hand. So if I increase the tolerance, watch how long that dotted line gets. And that's time. Good tool to use. A little goes a long way. I rarely use these draw style tools. It snaps the layer tools right here. If you've noticed by now, I have been adding new layers, and all you have to do is use the marking menu, plus sign as a new one. I can draw on that layer. And then I can put a new layer below it, change color, draw below it. They are separate layers but they appear to be the same. And using good layer strategy is always a good tool in digital drawing. You can adjust the type of layer that that layer is. The glow is really nice. Multiply, darken, normal's fine. I can lock the layer. I can reposition the layer. If you do lock a layer, it allows the ink only to go on what's been drawn. For instance, that is our green layer now, and if I put a brush on and I pick blue, now I'm basically just coloring over the green. It will only go where that layer's information is. It will not put it anywhere else. I'll unlock it. And layers are a great resource, please utilize them. I also enjoy the Copic color library, and it matches the actual Markers. So, if you are using analog copic markers, you can grab the exact same color you'd like. But, a little known tool that I find that is exceptionally nice in this color library, is it if I pick a color, it gives you the complimentary color to whatever color you selected. And now, if I click on that one, it drives over to the next complimentary color. It's a great way to promote yourself to use different color combinations that you might not think of. I'd definitely use that. I hope that gives you a quick introduction and a good understanding of the user interface for sketch book. I hope you are inspired and intrigued to start using it. Keep in mind that the AT version is a little different than the full computer version. Still a powerful tool but slightly different in the amount of features. When you're running on a full computer, you have a lot more power to draw from, I use it on my iPad as well. But keep in mind, Sketch Book is about analog skill sets. And things I teach in Sketch Book, are just as powerful on analog. So, hope you draw some more, I hope you're inspired, I hope you download Sketch Book, and start to draw, and capture ideas. [MUSIC] [SOUND]
