Anatomy of a Gnome: Simple Techniques to Draw Gnomes That Are Unique to You | Jennifer Nichols | Skillshare

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Anatomy of a Gnome: Simple Techniques to Draw Gnomes That Are Unique to You

teacher avatar Jennifer Nichols, Leila & Po Studio

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 12m)
    • 1. What We Will Learn in Class

      1:49
    • 2. Downloads & Important Brush Information

      6:55
    • 3. Your Class Project!

      1:34
    • 4. Why Gnomes?

      1:44
    • 5. Anatomy of a Gnome!

      3:53
    • 6. Let's Sketch a Gnome Together!

      8:25
    • 7. Starting Your Gnome Illustration

      7:55
    • 8. Finishing Your Gnome Illustration

      17:35
    • 9. Easy Gnome Poses

      8:12
    • 10. A Few More Odds & Ends

      13:16
    • 11. Thank You!

      1:03
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About This Class

Jump into the world of gnomes with me as we take a little look at the history and then investigate the different parts of a gnome and how you can make simple changes to make gnomes that are unique to you! I'll help you find your favorite style and develop it! Then we will walk through a full sketch from start to finish so you can see my thought process as we go. Finally, I'll show you a complete illustration of the most adorable wizard gnome!

I give you everything you need to do this class! 2 winter palettes and 25 brushes! Let's get started!

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Meet Your Teacher

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Jennifer Nichols

Leila & Po Studio

Teacher


I’m Jennifer Nichols and while I’ve always been an artist, I’m also a teacher, a musician, and a lifelong learner which is one reason I love Skillshare! I love sharing what I know about iPad art and the Procreate app. My teaching style allows you to follow along with me and learn a ton along the way.

If you are new to Procreate, I would start with the Beginner class and then you’ll be ready for any of my other classes! I gear most classes toward beginner and intermediate level procreate users. ANYONE can succeed at the projects I teach no matter what your artistic abilities are! All resources that are needed for my classes are given as free downloads, including palettes and brushes!

Here are a few illustrations I’ve made in Procreate. I lo... See full profile

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Transcripts

1. What We Will Learn in Class: Hello. I'm Jennifer Nichols. I'm an Artist, a Teacher, and a Fabric Designer. I've been using Procreate for years and I absolutely love teaching with it and sharing everything I know. My favorite things to do in Procreate are seamless repeat patterns for fabric, Procreate brush making, and drawing picture book-like illustrations, with a less digital book. If you know me, you know I love gnomes and I'm finally making a class about them. While I will be showing a full illustration in this class, the point of this class is actually to help you discover your favorite way to draw gnomes. In order to do that, we're going to dive into the anatomy of a gnome. This will help you discover the awesome path that will lead you down to the world of fellow gnome lovers. Once we examine all the parts, you can follow along with me as I do a complete sketch from start to finish, doing a little extra talking as I think out loud so you can hear my process. As a little bonus, we'll do a complete illustration at the end. This will help a lot of people who are still a little bit new in Procreate and want to learn a little bit more about how to handle layers, learn about clipping masks, and Alpha Lock, and also canvas textures. As always, I've provided everything you need to complete this lesson, two free palettes and 25 free brushes, 23 of which were made just for this class, including some really awesome knit and flannel brushes. I will be using Procreate for this class, but you can follow along with most of this class with a paper and pencil if you like. All skill levels are welcome. I'll see you in class. 2. Downloads & Important Brush Information: I'm going to briefly go over the class project steps with you because this can be confusing to a lot of people, but I don't want to be too repetitive. But if you tap on class project, you can upload an image here. It needs to be smaller than eight megabytes, and that is just for the cover image. It's going to crop to a rectangle. If you use a JPEG, you will have an option at the bottom to choose a different size. You can choose a smaller size here. Then that's a good way to choose an appropriate size for the limits here. This Image button down here is to add images to your main project and you can add as many as you want and you can come back and add more later. You can only make one project per class though. You have to add all your images there and then tap "Publish". Hopefully, that helps. For the resources, I have a Procreate brush set, two swatches. They are winter-themed swatches. I'm recording this at the very end of fall. You can definitely make gnomes that have non-winter looks to them, of course. Then this is a JPEG for showing the different steps that we will be talking about in class as a bit of a reference image for you to hold onto. To get a JPEG, you can just tap it. You have to be in Safari, no I should say, you have to be in a browser. Most browsers work, some don't. Firefox seems to have issues. For Safari, you need to be in landscape mode and then you just tap and tap "Download" and it will download right to there. For the swatches, you do the same thing, Download and it download. It keeps going to my Spoonflower. Then for the other swatch, you can just keep going. Then the brush is set. I don't know why it keeps popping over to a different tab. All of those have loaded here. They say zip, but I don't think any of them are actually zipped. Then you can tap them and you'll come into your files. You can go to Downloads, you can go to Recents. If you go to Recents, you'll see them all here at the top. What I like to do is split screen with Procreate. Then if you just go into one here, I'll just go into this little thing here you can tap the brush set will import it right in, the swatches will import right in. This thing is actually just an image so you can tap on it and tap "Save Image" if you want to in your camera roll. [LAUGHTER] That's the word I'm looking for. I'm going to make 10 by 10 Canvas. If you tap the "Plus" sign, you can go two inches and width, 10, height, 10, 300 DPI. Create. Depending on your iPad, you might want to make it bigger or smaller. You have a few layers, maybe 20 layers. For the brushes, I made a couple of different sketch brushes, different than what I'm used to giving. A really big chalky brush for some nice texture. Also goes small. Some felt brushes, which you can use to make a really cool felt look by building up different colors to different types of felt. The knit brushes work hand in hand. If you pick one of the knit brushes for some fabric on your gnome when you're illustrating, you can have it be just like that. Or you can also choose the KnitOutline to go right on top with a dark color right on top. I'll zoom in so you can see that gives it a little bit more of a knit look. You do need to make sure the brushes are identical in size to do that with each of the ones you're going to use. If you're going to use this with this or this with this, the two that you're going to use need to be the same size. The same thing goes for these two flannel brushes. The way you do that, I'll show you with the flannel brushes. You decide what size you want to do. You can play around and pick a size. Then once you're happy think okay, I'm going to do 45 percent. Then get pretty close to 45, and then drag your pencil out. This way, you have more control and you're going to want to go either when it goes right from 44-45 or right from 46 down to 45 and you're going to pick one and be consistent. I'm going to go from 44-45, which is right there and lift up my pencil and then do the same thing for the next one I'm going to get close to 45 and then come out and then go right from 44-45 and pick up my pencil. Now, I have two that will work together. I can go and switch between them and they will line up in the way that they're intended to line up. That's a nice flannel. Then there's a bootie and a boot and a braid. We'll talk about those when we're sketching. There's two different snowflake brushes. They are meant to make lines of snowflakes. If you want to go ahead and check out my brush-making classes, I can show you all different ways to do different things with your snowflakes. If you don't want them to all be straight up and down, for example, you can go into "Shape" and tap "Scatter". Then each one is going to be lined up differently. Then the bottom four are just simply some pattern brushes that you can decorate your gnomes hat or body to make it look like fun fabric. I think I missed this one. This one is just intended to give a little bit of a fun knitted sweater look. I think that's everything. See you in the next lesson. 3. Your Class Project!: For your class project, I would love to see three sketches of different-looking gnomes, completely different from each other. In this example, I have one with just a nose, one with eyes, one with a different nose. I have a girl, I have one with legs, I have one with no limbs at all. They have different body shapes. There's so many different ways to make the gnomes that we're going to talk about in class. Practicing the different styles is a great way for you to come up with your preferred look for gnomes. The next step of your class project would be to practice a family of gnomes once you pick a style that you really enjoy. The point of that lesson is to draw cohesive, similar-looking gnomes in different ages, genders, sizes, and so on. Then finally, once you have a favorite type of gnome, see if you can make one single gnome at a few different angles, or different poses if you can. Gnomes are a great way to practice character design because they have very simple parts and you can practice different techniques with getting cohesive looks and all of that. As a quick recap, three different gnomes, a family of gnomes, and gnomes in different poses. Next, let's look a little bit at the history of gnomes. 4. Why Gnomes?: Some of you might be asking, why gnomes? Why are gnomes so popular? I personally just think they're really, really cute, and they're versatile that you can really get a lot of different looks. When gnomes started to pop up in stories, they'd always been talked about as being small in stature, and they bring good luck to farmers, good fortune with people finding minerals on their land, and all sorts of stories. Over time, gnomes went from being depicted as not cute little creatures, and eventually they got cuter and cuter, especially as people started to put statues of them in their gardens. At one point, many believe that those statues ended up getting way too cute, resembling Disney characters. When that happened, there was a push to go back to little bit more traditional statues that we know today as little garden gnomes. Then, of course, with the crafters out there sewing cute little gnomes, what I've been calling gnows-gnomes have been all the rage. These are the ones that we're going to be talking about today. There's even a million quotes online using gnomes in the sentence. I've included a few for you, in case you want to make little greeting cards with your illustrations, or just a fun while art, anything you want to do. But you can definitely search online for tons more. Up next, let's learn about the anatomy of a gnome. 5. Anatomy of a Gnome!: Breaking down the different parts of a gnome is incredibly simple, here we go. We have hats, noses, or faces. I do mostly noses, sometimes I like to add eyes and ears. Hair. Is that hair going to be beard, braids, pony tails, no hair at all, maybe a scarf around the neck. Body. Lots of different body shapes to choose from and finally, limbs. You can also easily and very successfully create adorable gnomes with no limbs at all. For hats, I gave you some examples of all the different styles of hats you can think of. Keep in mind, you'll always want a little divot for the nose. You'll want the brim to be a little bit wider and you'll want to keep a little bit of space where you're going to imagine the gnomes head being inside. So don't taper out to quickly, give a little space for there to be a head inside that hat and then you can do whatever you want with the tip of that hat. You can have it curved, floppy, be super-duper tall, all these different things. You can also add cool brims to your hat, pump pumps on the ends, there's so many options. Here's a few examples of faces. We have nose only, nose and mouth, nose and eyes, and nose, eyes and ears. You could also add a mouth, One thing to think about if you're doing a beard is how you're going to place that beard around the mouth and things like that. Hair or no hair. Gnome beards come in all shapes and sizes, just like their hats do. I have provided the braid stamps so you can do braided hair. I just put it right next to the nose. Here's an example of when with no hair and he's all bundled up with a scarf up to his nose and then of course, you can add all sorts of different styles of mustaches as well. Body. So for body, I like doing little squatty, like a beanbag with it sort of flat on the bottom, or a taller, egg-shaped one, where you might want to taller gnome and then there's also a really fun look with this flat bottomed, almost straight sides, they're kind of curved a little bit more of a cylindrical tube look. There's a lot of really cool look gnomes out there with that body shape and then think of some simple clothes. So here I have the outline of the cylinder body in a dotted line and I've just shown how I added clothes around it. I added little feet and it added clothes around it. Limbs or no limbs. So you can have the cutest little peggy beanbag gnomes with no hands or feet, nothing at all. Just focus on the hat, the beard, the face; super cute. You can do short little legs, long legs. You can hide those hands, a lot of people don't want to draw hands. You can make little squashed gum drop shapes for the feet. I provided stamps for some booties and boots. That JPEG I provided in class is all of those things on one page with my little chart, hat, face, hair, body, limbs. Picture your gnome in your head and we'll get started on sketching one. 6. Let's Sketch a Gnome Together!: You probably are at a spot right now where you're ready to get started in sketching a gnome and you're thinking, wait, now what was it supposed to do? This is where you can bring in the image that I provided. If you tap the wrench tool and the plus sign and insert a photo and tap on the photo that I provided for you and just shrink it up. You can do the Canvas and tap reference and have it be on a reference layer or you can also do split-screen with your photos and have it be over here like this, whatever you prefer. This is actually how I usually work. I usually don't work with stuff in Procreate like that. I'm going to go ahead and work with it like this actually. I'm thinking hat, face, hair, body, limbs. Well, I need a base structure. I've chosen a sketching pencil and a dark color. Just do whatever you want for this and you're going to make a teardrop. Your teardrop does not need to be perfect. But if you do want to use symmetry to make this teardrop, you can do that. It can be tall, it can be wide, it can be like big wide [inaudible] But just pick a teardrop shape and this is going to be the basis of your gnome. Then let's go ahead. I think I'm going to do a tall hat. I'm going to make my mark here for what's going to distinguish between the body and the hat. Then I'm going to put a nose in there, probably right on the line. Then eventually my hat's going to go up and over that. Just like that. I like that as a start. I'm going to turn the opacity down on that and go to a new layer. I'm thinking about my different types of tall hats. Is see a really tall hat here. I really like that. I'm going to have the brim come out a little bit on the sides, sloppy, just wavy lines here, kind of a sloppy fabric. We do not need to be precise. Then have some space in here that's going to have the head. We're going to come up like there's a head in there and then after that, you can do your hat however you like. Maybe you want it to be curved a little and just taper it, taper it as it goes up. The more waves you have on this side, the more areas you have to show some wrinkles. But that's a little bit more involved than we're going to be doing today, we aren't going to do a little bit of a shadowed area like above the nose. The hat looks like it's resting on the nose. There's my hat. Then think about the face. What kind of face do you want? Do you want eyes and ears? I'm just going to go with my go-to. I'm going to put a nose in here, that's buried under the hat a little bit. Maybe you're going to want your nose out of the hat, maybe you're going to want one of these long noses, but pick a nose, pick your eyes, pick your ears. Whatever you want to do for the face. Is this going to be a girl? Is it going to be boy boy? Is it going to be a little kid? Think about that. Are you going to want a beard or you're going to want a crazy beard? We have hat, face, now we need to do the hair. Just for the simplicity of this class, I'm going to show a fairly straight beard. I'm going to have it be pretty big. If this is my body shape, well, I don't know my body shape yet. Just so you know I'm going through my thought process, in case you can't tell, so that, you know, I'm not just crazy. I'm just talking out loud so that you can hear my thought process as I'm developing a gnome. I haven't really decided on a body shape yet except that I did know that by putting this initial line down here that I was making a short body with a tall hat. You can change your mind at any time. You can just turn that layer right off and maybe you want a taller gnome. I'm going to go ahead and I'm going to turn that layer back on and use it as my guide for my beard at least. I'm going to come down on the sides and I'm going to do a nice swoopy beard. Just so I show you an example of a mustache, I might do a mustache on this guy, but that makes him look frowny. Maybe I'll do a different type of mustache. Maybe one that's more like this. It's under his nose and it's swoopy lines for his beard and mustache. I like this guy. Now I need to decide on a body. I think the mustache comes down further on one side, I'm going to turn this background off and decide on a body. I'm going to go ahead and change his body to be a little bit wider on the sides and then flat on the bottom. I veered away from our teardrop shape. But that teardrop was just our step 1 basis for getting started. It also helps you get things lined up. I'm really liking this guy. I think I'm just going to put little simple arms. I'm going to have them overlap the body a little bit. Then I need to erase the body line right there. It comes down more like that. Then I'm just going to go ahead and put this one in a similar position but I might change that later if I want him holding onto something, he's looking like a wizard to me. Maybe he could be holding a staff of some sort over here and then I would want his arm to come out. If you don't want to leave the feet hidden and you want the garment that he's wearing to come up and over the feet, you can just make these little curves and then make these little tiny, curvy, little flat on the bottom, gumdrop shapes. Like that, if you were to see the whole foot, it's like the front of a boot facing you. Like that. Then if this were a girl and didn't have a beard or if it were a child and didn't have all this facial hair, you could do similar clothing design here. I'm just going to clean up my sketch a tiny bit. Super cute. I don't think I've drawn this gnome before. I really like this. I got hat, face, hair, body, and limbs. That's it. That's your first gnome sketch. I have a lot of practice drawing gnomes. If that looked way more simple than what you're experiencing right now, don't fret, it takes practice, really just takes practice. 7. Starting Your Gnome Illustration: I took our sketch, I added some more details. I moved them off to the side, and I also added these hills. I used a duplicate of our sketch so that we have the original sketch set aside in case you want to use it for something else. I'm really happy with this. I think I'm going to add a moon up there. But for now, this is going to be our sketch and now you just need to do some texture on top of your layers and a color rough. You can just know ahead of time what colors you're going to do. I would duplicate this sketch, so you have two copies. I would turn one of them often set at aside, you're going to need it later. Then I would go ahead and above everything, I would do my texture layers. I went ahead and added the pulpy paper brush to this class. I don't like duplicating all the time, so I hadn't added it originally, but go ahead and grab that if you like it. But there's a lot of other ways to do texture. I'm going to turn the background color down to a putty color so you can really see what we're doing here with the texture layers. I'm on pulpy paper. I'm on a layer up high. I'm on white, and I'm just going to fill the whole page without lifting my pencil. I'm going to set that layer to overlay. Then on top of that, I'm going to do the same thing with black, but I'm going to rotate my Canvas so the brush grain is different. It doesn't have to be rotated fully, it just needs to be different. I'm going to set that to overlay. If you zoom in, you can see some specks of light and some specs of dark. The dark isn't very dark on this kind of putty color, but it'll be more noticeable on some other colors. This is just something you can play around with and decide what you like. There's lots of other texture brushes that you can do that with. I also do this with color burn sometimes, and for that you would want to choose a gray, straight over somewhere in that area. Do this before you choose your colors because it will affect the colors that you decide on. Now you have a sketch layer and you want to go to some layers underneath to start roughing in your colors. I'm just going to choose the big, huge chunky chalk and we already have this putty color on the background. [LAUGHTER] I'm going to go ahead and turn the background back to white so you can see what I'm going to do here. I'm just going to fill everything with approximately the color that I'm going to use, really, really roughly just like this. That was not working. I'm going do that for the whole thing, and then I'm going to merge it with the outline layer when I'm done. That's why I had a second outline layer already ready for me to use later. Here's my completed color rough merged with an outline layer, and I'm ready to get started. I can just keep referencing this as we go along. If I forget what color I chose for the robe, all that type of thing, I can just come back here and look at it. I may not need to come back and look at it, but at least I have an idea of how all the colors are going to look together, and I like it, before I spend all that time on the full illustration. I'm going to get this cleaned up here. Now I have a separate outline layer still since we duplicated it. We have the one that you've merged with the color rough, and we have this one too, and you can decrease the opacity. Now you're ready for getting down your base colors in a nice way, not in the rough way, and then after that you finish the full illustration. I have my base colors down for this illustration based on my rough colors. I started with my snow, so I chose this darker of these putty colors here. I'm going to be adding some highlights, but I chose dark to begin with because it'll be a night scene. I smudged and made the upper edges very textured because it's just nicer to have those far-away hills look more blurred and not crisp. Then I added the night underneath, you can see here I have the snow, and underneath that is the night so I can be messy with that brush, and all of this is from the brush from class, which is this huge chunky chalk brush. I added the colors right here for the night. I started with dark and then I played around with these two colors on the lower opacity to get a little bit of color variation, and I smudged also with the same brush, just tap smudging to get some more variation and texture. Now it's time to start on the gnome. With the gnome, the nose is underneath the hat, really the hat is the highest layer at this point, we started with the hat on the top layer. I made some changes from the sketch and I made the brim come down and be more floppy onto his shoulders here. I put the nose underneath the hat. I don't have to stay in the lines. I can tuck it up in under there, [LAUGHTER] and the mustache under the nose. I did the beard, and the hands and feet on the same layer, I made a thumb look like it was wrapping around the staff. I just worked my way down. I did do this stuff on a separate layer all by itself because it needed to be under the hand there, but on top of the robe here. Finally I did the robe, the sphere, and the moon all on another layer. That's just how I managed my layers. I like to get a base coat of color down for everything, and that's how I start. Once I do that, I will either Alpha lock something and work directly on a layer, or I will add a clipping mask and do all of my shading and texturing on a different layer so that I have much more flexibility with that. It really depends on how many layers you have available and just your preference. I'm going to come back and do the stars and moon later but for now I'm going to turn the sketch off and stand back and look and see, and I really like the look of this. I think the robe might be a little bit too dark compared to the dark gray beard, but I'm going to be adding some highlights to that beard and I think that will help a lot. Come back and we will go through the full finished illustration. 8. Finishing Your Gnome Illustration: I feel like I want to start with the snow. I'm going to go to this snow layer and I'm going to add a clipping mask on top of it. Then I had started with this darkest putty color. Now I have these two lighter colors to really work with, to get some more snowy look here, keeping in mind that it is nighttime, so I don't want it all to be really bright white or anything like that. I'm going to go ahead and go and try to work with this chalky brush here. I'm on this middle color here. There isn't a huge difference with these two. That's good. I'm having huge changes in texture, give a much more harsh look. I do know that this moon is shining more light here. I'm on this middle color and I want to keep this dark color, I could even go darker down here at the bottom of this hill. Then it's brighter up here. I'm going to go ahead and just add, I'm going to go on a big size here. I haven't used this brush for this purpose. You can also go to the artist crayon brush, the native artist crayon brush or go to Nikko Rull. We have some highlighting along this whole hill here. Must be on the brighter white, I'm barely touching this brush on the canvas here. I'm going to the putty color and go a little bit darker where I want the dark areas because I'm working on one layer. I'm going to darken here. I'm going to add another layer. I don't need it to be a texture, I mean, a clipping mask and I'm going to put it on multiply. I'm going to go back to the darker of those colors. I went to here and then I went a little darker with it. I'm going to get a little shadow under him. That's kind of green. I'm going to push it over away from any color added there, just make it gray. Be a little darker, a little yellow. The moon is coming, I should make and go this way. The shadow is going to come this way because the moon's over there. We'll come back to that. You might have a little shadow under your staff here. Then I might, to smudge that a little bit. Definitely smudge it where it's further away from the source. If you had trees, you would also give them shadows coming in this direction as well. If you want some of that shadow to be a little darker, you can just keep going darker with your gray here while it's set to multiply and then smudge that a little bit, tap and dab, what Brenda Bakker would say. I learned so much from her. Another Skillshare teacher, fabulous Skillshare teacher. We have our shadowing. Now let's go ahead and start. Well, let's go to the sky. The sky is on the bottom layer, I don't need to do a clipping mask. I can just add a layer right on top of that. It's all going to be underneath all of this. I'm going to make this moon area a little brighter. If I go to my brightest blue here, I'm still on this brush, I like this brush. Then that's pretty saturated, I might go a little, more towards gray and white. Maybe a little creamier around the moon. You just want some variation. Now I'm smudging with that same brush and I'm going to go to a big size and just pushing it around a little, let's get some glowy area around the moon here. Nothing super precise. I am going to go darker over here, so I'm going to go to the darkest blue here and go a little bit darker. It's always nice to have some contrast as you get further away from the moon. A night sky, I can go ahead and add another layer. I have a favorite brush of mine. I can't remember which class I've given it away in, but it is Starry Night. That looks like snow and it's not going to snow on a clear night, is it? We do want those to look more like stars. I'm going to turn the opacity down, something like that. You can play around with it. Now we can focus on the gnome. I'm going to add a clipping mask. I added a clipping mask over his hat here. Let's go ahead and go to a sketchy brush, maybe dark pencil, and do our little wizardy look. Now underneath, I'm going to want to add another layer. It automatically turns into a clipping mask because there was a clipping mask above it. I need to add more shading. Right now, I think I want it underneath the white here. I can go to that red and I can just darken it and go to preferred texture brush. Let's go ahead and go to Nikko Rull. That's in the painting again. I'm going to go, let's see, it's going to be darker on this side because the moon is over here. I'm going to darken this side a little bit. I'm going to go to sketching and go to artist crayon, and go back to that red and go to a brighter color, smaller size. Just get some brighter highlights over here where the moon might be really brightening that hat, maybe the tip too. This is just so you can see my process. I'm going to go back to a sketching brush and on a darker color, darker red, I'm going to put a little dark area there. I'm also going to darken the whole, I'm going to go a little darker. I'm going to darken the whole very bottom of the hat. That'll really help it look like it's curling under. Then you can add little lines however you want it to look. You could give it that little felt look with the felt brushes. If you're adding a bunch of wavy wrinkly looks, you would do a dark and then a light. The light gives it a bump look. You would do a light along here, for example, to make it look like that brim is coming out over the nose. If you had some folds going on over here, you would do light on right up above the dark. That makes them look like they're coming out and back in. Or you can just do some simple striations. Then you can play around with whether or not you want all of that shading to be above or below the stars and the moon. I think I'm going to keep those on top. For the nose, I'm just going to alpha lock the nose and stay right on that layer. That was my color right there. I'm going to go a little bit more towards red and a little bit darker. I'm going to go to the chalky brush, but go to a small size here. I really want the underside of my nose to be darker. But I also want it to be darker where it's buried under the hat. That's not even quite dark enough. Then of course it's going to be darker on that one side. I want to blend a little. You can do this all on one layer. Go back to the nose color and do a little bright area. Something like that. I'm rushing so this doesn't take an hour. For the mustache, I am going to turn my texture layers off and select that gray and turn my texture layers back on. I'm just going to stay on this very layer and I'm not going to alpha lock it. That way I can go out of the lines. I'm on that gray and I'm just going to go up to a lighter color and I'm going to choose a dark pencil, maybe even my HB. I'm just going to make some striations. It's going to be darker around the nose. Now that I'm on a lighter gray, I went to keep that lighter gray away from the nose. I'm going to go even lighter in a bigger size, especially over here where the moon is coming over here. It's going to be brighter. I'm going to go to that initial gray and go darker and get some dark areas coming right out from under that nose. Not too drastically different. I'm going with the flow of the hair, I almost said fabric. We can do the same thing for the beard, remembering that our hands and feet are on the same layer so we don't want to bump that color into the beard. I'm going to turn the texture layers off and choose that beard color. Turn the texture layers back on, and start going up lighter and lighter. I think I might leave this part up under here pretty much alone. I just give it a couple little stripes of slightly lighter gray. I'm liking it just like that, nice and simple. I'm going to go down. I'm on the hand and feet color too. I might just give a little highlight to the tops of those boots and a little hint of moonlight on that one. But this is really shaded over here since the moon's behind them over there. I'll just leave that one alone. We're on the stuff. For the stuff, I chose this brown. I'm not a big fan of that brown, but I'm just going to go a little more orange and darker. I'm going to Alpha lock this and just stay right on the layer. I'm going to make the left side darker since the moon is on the right. It was jumbling, lobbying some dark. It could probably even go darker. I think I might actually just like it just like that. Maybe dark around the hand, go down a layer for the green robe, and the yellow sphere and the moon. I am going to Alpha lock that. No, I think I'm going to go to a clipping mask right on top of it. That was this green right here I'm going to go darker, and I'm going to go to the chalk brush. I accidentally changed back to a different color, darker. [LAUGHTER] I'm going to make it darker, especially up under here by the brim of the hat, where things would be darker, under here, underneath the beard and mustache, that would cause some shadowing, go even darker. If you like, this is choosing its own colors here. I am going to go dark just around the base a little bit, like what I did along the hat so that we can make the robe look like it's going up onto those shoes. Now we're going to go a little brighter. I can just go to this green right here and get some variety. Not really a rhyme or reason, I am doing a brighter spot on the top of this arm because of the moonlight, and maybe the sight of the robe here because of the moonlight. Making sure I don't mess with my shadow of the beard under there. Let's go ahead and make a little area that looks like it's going up and over those boots. Here we go. Then I might even go to that lightest green and on the small size get some really bright highlights on some of these areas where the moon is really shinning. We're still on a clipping mask for the sphere and the moon. I don't think I need much for the moon, but let's do something for the sphere. This bright, we can do it much brighter. Since we are on a clipping mask, it's going to contain the color we do within the shape itself. Maybe if I do a really bright, center, that'll look cool. But then on a layer that is not, maybe it's underneath, that's not a clipping mask, it's underneath the sphere, I can do a really bright yellow. Maybe we get a glow around there, turn the opacity down, have lots of fun with that, super fun. I think it's done. I probably went and put a little contrast here on this black little hand. That was pretty black. Maybe I'll come up to more of a gray. Just to have something, so I'm going to do the same thing with this one. Just to have something other than just black for the moon. Something you can do with the moon is go to layers above or below it and you can duplicate the moon itself. I need to go to the moon layer and select and uniform three fingers swipe down and duplicate. It's on a clipping mask, but I'm going to move it underneath the moon layer itself, and then I want to blur it. The magic one, two Gaussian blur and blur it like 10 percent, and play around with blend modes. To add blend mode makes things really bright. You could duplicate that again and that's just crazy bright, you can blur that some more. There's all sorts of fun things you can do with moons. You can also manually draw your glow. I think we're done with that. So fun. I love it. I hope you enjoyed that. 9. Easy Gnome Poses: I want to very briefly talk about how I would do a little bit of a chart to do a single gnome in a few different poses. Once you have your front-facing gnome, you're not going to want to always draw front-facing gnomes. Here's a way that you can make that same gnome look like it's a different angles and still have the consistency with the one gnome. Have your first gnome just on the page so you can see it. Then we're going to go to a different layer, and we're going to go to the Drawing Guide, Edit Drawing Guide, 2D Grid is on. Make sure drawing assist is on because now you can only draw straight lines. Then let's go ahead and draw the line where his feet are. We're going to go all the way across. Now probably let's draw a line at the top of his hat. All the way across. It's approximate, it's close enough, doesn't have to be super exact. You can be pretty detailed if you want to have a line where the top of his nose is and a line with the bottom of his nose is. I would probably make sure you have a line where the bottom of the hat is. In this case, it's basically the same as the bottom of the nose, so that's good. That's all one line and then maybe a line for the bottom of the hands. You just have those as guidelines on a separate layer. You can turn the opacity down and then you can turn the grid off. We actually don't need the grid. I would Alpha Lock that layer with two-finger swipe to the right so that you don't accidentally draw on that layer. Here is a front-facing gnome, so I'm just going to write front here, and we're going to want a side or profile and a three-quarter view, and one maybe front facing with his head tilted. It's nice if you can have a little 3D object, even if it's just approximate, so that you can see what things to look at at the three-quarter view, what's it going to look like? Are you going to be able to see the other ear and how much does the hat come down? Things like that. If you don't have that, you can try to picture in your head or just look at some photos. But we're not going to go into a lot of detail. This is just a very basic understanding. The side view, we're going to have the hat. Let's start with the hat. I need to go to a new layer. It's a tube. It's the same width. Approximately the same width. You have that little bend up there. I don't know, the bend is probably going to look a little different from over here. [LAUGHTER] The nose is here and the nose sticks out. The nose is going to be probably more of a circle at the side view like that and the hat is going to come to the top of it. Now you might want that hat to look like it's resting on the nose a little bit and then it swoops down. This line at the bottom of the hat, that's at the shoulders, which is going to be right here in the middle. It might go down in the back more. You might want to make it look like it's going down further in the very back. You can't see it in this view, but we're in the side view now. Now we have, let's do the hands maybe, would be right in the middle. The arms, in this case, are just floppy, little sacs here like a bean bag gnome. The beard, well, and is he going to have hair back there? Well, let's go ahead and get his nice round body here and that'll help us picture. See how we have that teardrop, this'll help us picture everything else. The feet are probably going to start in the middle and go out. The beard. Definitely, this particular beard goes all the way up into its nose areas. We don't need to draw that part. We just need to figure out where the side of it starts to come down. Something like that. Then a little bit further out past his belly. Then it's done. If you want it to be done like that or you can maybe add some hair back here too. That would be a side view of that same gnome. A three-quarter view is very similar to this front view, but then the nose is off to the side. Everything's just a little bit off to the side. I'm going to make the nose off to the side at first. Then the hat is going to come down a lot on this one side, but the distance between the bridge of the nose and the hat is larger on one side, and then it's shorter on this side. Because he's going to be turning that way. Something like that, and the hat is still pretty much. Got a little swoopty there. If it had eyes, those eyes would be bigger on this side, smaller on that side. The beard, let's see, that arm is now no longer right in the middle. It's going to be halfway between the nose and the back of the hip there. We have an arm over here and a hand, and now we can see the beard is going to come down. Below the nose will be the point. Something like that. Then the belly is still going to be pretty roundy down here on this particular gnome. Feet for this one, you're going to see both of them. You might not see very much of that back one pointing off to the side. You might see a little bit of that hand, just a little bit. Now for the head tilts, I am going to duplicate, copy, and paste, three-finger swipe down and paste. Just duplicate this first one and show you what I do for a head tilt. I'm lining them up, and I'm just going [LAUGHTER] to select freehand. Just the hat and the nose in this case, select it, tip it. Now I'm not just going to leave it tipped like that because that's a very awkward angle. It would definitely be over this way more. If his head were tipping, the nose would no longer be in the center, it would be over this way more. I think that's good. I think the nose would probably be around the same height, but over to the side a little. Now you just need to erase where there's any overlap and extend some things to fill in that gap. That's cute, and then you can make the arm look like it's wavy, like a cute little head tilt with a wave. That's just a real quick rundown on how I would make one gnome style in some different poses. 10. A Few More Odds & Ends: I used our same background and I did a completely different gnome and had a lot of fun. There's a couple of things on this that I just wanted to go into a little bit more detail to show you. Then you'll be able to duplicate this look on your own, which is this knit hat. I know I showed you already, but not really the fine-tuning of it. Then, of course, the flannel. Then I wanted to show you the little bit of snow that I put around the feet. In a snowy scene, it gives a little bit more realism. Because of course, snow kicks up around their feet. I just went on a layer above other things like even above, I don't even remember so, but I use the same brush that I used over here on a smaller size, and I used some darker tones. It's not bright white where the shadows are and that's a little brighter over here. Definitely make chunky bits of snow around feet as well when you do a snow scene. Let me go ahead and show you the flannel shirt here. I'm going to go, I duplicated this canvas and got it ready. Here we have the plain shirt, I do have a multiply layer where I've done some shadowing and an overlay layer where I've done some highlights and I'll turn those back on after we get the flannel on. I'm on a clipping mask on the shirt layer. I'm just going to choose a dark green instead of black, but basically black. I don't know what green that was, but I'll go really dark for the darker part of the flannel. I'm going to go to a pretty small size. First, I would test out and make sure I'm on a size that I like. Then do you my precision here. I'm going to go from two to three and then lift up and then do the same thing for the fuzzy flannel. Come down pretty close to where I want it. Because once I come out here, it's hard to do big changes and go from two to three and lift up. Now, I have them both set to the size that I need them. I'm going to be going back and forth on this one a little bit. I'm going to be doing two different things here. On this one, I'm moving the canvas because the flannel is lining up with how I have the canvas turned. Then on this one, I'm going to be using Liquify. When you're doing something where you move the canvas, you need to be doing both brushes before you move. If I want to do this body part with the canvas straight up and down, I'm just going to come in here and judge where the body part is right there, not the arms. But then I need to go ahead and switch to my other brush before I do any moving. I'm going to choose this light petty and see if I like that. I like that. I went over the edge a little bit. If I went to, I can go ahead and erase that. Now, I can rotate. Now, I'm going to go back to the first brush and back to the first color. This arm isn't quite straight up and down, so I'm just going to turn it a little bit. I'm going to zoom in so you can really see. Now, the arm is pretty straight up and down. Now, I'm on the same clipping mask. If you want, you can switch clipping masks, but I'm just going to stay make sure my brush is just going right up against this one that we already did. Then switch colors, switch brushes and do the same thing for this brush. There we go. Now, I'm going to do the same thing over here. I think with this, I'm just going to do the whole arm in one. Even though it's got two angles here, we're not doing that precision. I'm just going to have it angled like that. Then switch back to the other brush and the other color. Oh my gosh, so cute. Then I'm going to turn back on my multiply layer and my overlay layer. The multiply darkened underneath the beard and in the arm areas, in the overlays, just adding some shiny areas from the moonlight. I just played around with it a little bit. There's the coat. For the hat, we have this one base color. I am going to be drawing a brim on this hat. But right now, I'm just going to the clipping mask right above it. I'm going to do one of the knit brushes. I want white and I don't really care which one it is. I can't remember which one I used but I just need to figure out what size to use. Now, I know the knitsnow was the one I was on. Now, I'm on a clipping mask and I'm going to fill in a big area because I'm going to be doing some moving around. If it's hard for you to tell where you're filling in, you can turn the clipping mask off so you can see the whole area around this. But I was just careful and I don't want to lift up and put my pencil down again. I was pretty careful to try to fill the whole area in one stroke and that now I have the ability to move. I don't need it, I can't move anything around yet because I need to do the knit outline brush first. I'm on the same layer and I'm not going to go super dark. I'm going to play around with this. I was initially going with black for this and it looks a little bit more natural if you don't. I'm just going with a darker version of these petty colors and see what I think about those. Then once I'm happy with that, I'm going to try to fill the whole area in again. Now, you have your knit. Now, I need it to look a little bit more like flowy fabric. Warp doesn't let you do too much manipulating. If you select it and do warp, there's a certain amount of moving around that you can do. If you're not familiar with clipping masks because it's on a clipping mask, we can actually move this whole thing quite a bit, rotate it, and all sorts of things. What I'm going to do is liquify. If you go to the Wand and go to Liquify, and go to Push, and then play around with size, you can push things around and pull things down and just get things to curve a little bit more. Especially around the brim is where I like to do it. Now, I want to erase some of that. I'm just going to go to the chunky chalk and I'm going to erase some of where the brim is going to be here. Hopefully, you can see that. Erase a good chunk here, very roughly. Then on that same layer or on a different layer, you can play around with going to different colors of a darker version of what you've got here. I'm just randomly putting on some lines. Then I'm going to do some bumpy sporadic lines along the edge of the brim there and then a little bit of shadowing right down along, just like we did with the other gnome. Make sure you get that very bottom edge shadowed. You could be going to other clipping masks with this too. Once you do that, you can do some highlights on the layers above it. Just like I did with the flannel, I did an overlay layer. Then what I did with the cap itself is I Alpha locked it. I went to the chunky chalk brush and I did some coloring changes right on that layer. Just like we did with the red wizard hat, making some shadows on certain areas and highlights on other areas. I'm coming through and I'm adding some things like that on this, but I'm just doing that right under the knit. Let's go back and look at the one I spent a lot more time doing. I did some slightly different colors. Then to look at the layers, I did the knit. You can see the base hat is now shadowed in certain areas and highlighted in certain areas. I have the knit layer, and I have a different layer for the brim here in this case. Then I have an overlay layer that I just added some more brightness for the moon. You can do that same technique with all of the knit brushes obviously. Then also this messy woven brush will make a really cute fabric as well, using similar techniques. All of these pattern brushes would be really cute for little legging designs or any clothing design actually. You would do a similar technique as we did here with the clipping mask and the Liquify tool and moving things around and doing the shadows and highlights. He's rocking a look here with some crazy fabric patterns. The felt is going to be pretty fun for these booties. They are on the same layer as the coat. When you go to a really small size, actually I'm going to go to a new layer, clipping mask above it and turn it to Color Burn and I'm on gray. That's pretty dark. I want a really light color. Wow. Let's see if you can see what that just did. It's subtle, but it's pretty cool. Let me show you one with braids really quick. For this gnome family, you can see the little girl has braids. All I did for that is stamp one braid over here when I was on the nose. Then I duplicated it and I flipped it and moved it over to this side. As long as you know where the nose is going to be and where the hat is, then you can do that. If you have the nose and you have an idea of where you want your hat, then you can go to a new layer, go to the braid, figure out how big you want it. It's just a sketch layer. Then move it into place. Maybe it's going to be right next to the nose, maybe not. Maybe you went rosy cheeks, you don't want it super close to the nose. Maybe want it lower or bigger. Figure out one of them and duplicate. Select, flip horizontally. You can use the magnetic tool if you want it to go perfectly over. But I think eyeballing it is good enough. Then you can go ahead and merge those two layers so that you can erase them at the same time. Then just start erasing the excess areas that are above that hat line. Then start finishing your illustration after that. The ponytails are pretty simple, just come down from the nose. This little u here, little pony holder, and then that, however long you want that to be down below. That's it. 11. Thank You!: Thank you so much for watching class. I hope that it's helped you learn to love drawing gnomes like I do. I can't wait to see your class project. I know the class project section was a little bit lengthy with all the different sketches, but even if you just do the first step, I would love to see what you come up with. Mixing and matching all these different parts of a gnome, there's really endless possibilities. It'll be really interesting to see if there's any two that look alike. Be sure to head over to my Skillshare profile where you can find all the links where I am online, including a wonderful Facebook group that I run with fellow Skillshare teacher Brenda Bucher. My Instagram of course, in my IGTV, I have a lot of free lessons you can check out and I believe I'm at about 37 classes now published on Skillshare all of which are in Procreate, so definitely check out those as well. You can also follow me there and then you'll get notified when I publish new classes. See you in the next class. [MUSIC]