Digital Painting with Procreate | Grayscale to Color | Kurt Michael Russell | Skillshare

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Digital Painting with Procreate | Grayscale to Color

teacher avatar Kurt Michael Russell, pro colorist & instructor

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

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

15 Lessons (2h 18m)
    • 1. Preview

    • 2. Introduction

    • 3. About the instructor

    • 4. Drawing thumbnail sketches

    • 5. Prepare your sketch for painting

    • 6. Painting shadow values

    • 7. Painting deep shadows

    • 8. Painting light

    • 9. Painting more light

    • 10. Adding your base colors

    • 11. Make your colors look alive

    • 12. Adding color details

    • 13. Color correcting

    • 14. Making Adjustments

    • 15. Conclusion

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About This Class

Procreate is an amazing digital art app on iPad for sketching, drawing, finished illustrations, and painting that total beginners or seasoned professionals can use to make digital art! Procreate is a bit like a piano. If you know the basics, you can play Twinkle, Twinkle Little Star or, with a little practice, you might play some Beethoven!

The course is designed to show you an easy-to-follow, step-by-step method of digital painting from grayscale to color. It's a great way for beginner's to learn how to focus on the important parts (value and contrast) without having to worry as much about color at first. This method will make it easier for you to select colors that work well together. You'll also learn how to avoid the common mistakes and pitfalls beginners make - like flat looking colors.

We'll go through the entire process together - from sketch to finished product! In each section, we'll focus on a specific aspect of the process.

  • We'll start with a basic thumbnail sketch, but feel free to create your own. 

  • We'll tighten it up and start adding the light and shading.

  • We'll learn how to apply colors in a simple, but effective way that works for almost any type of digital painting.

  • Lastly, we'll polish up the fine details.

My name is Kurt, and I use Procreate in my professional work Image Comics as well as my own digital paintings. I've been creating tutorials and online courses since 2013 teaching thousands of students worldwide about digital art. 

Procreate is MUCH more powerful than most users realize. You'll learn tons of tips, tricks, and shortcuts that I had to learn the hard way! :)

I'll also include: 

  • the Procreate file I work on throughout the course, so you can see how the layers work from the inside!

  • several stages of our exercise, so you can pick it up at almost any point in the process.

So join me! If you'd like a Bob Ross-style walkthrough with my favorite digital art app for iPad, check it out. See you inside! :)



Meet Your Teacher

Teacher Profile Image

Kurt Michael Russell

pro colorist & instructor



Hi! My name is Kurt Michael Russell. I've been working as a professional comic book colorist since 2011, and I've been teaching coloring & digital art online since 2013.

I've worked on books such as critically acclaimed Image Comics series GLITTERBOMB, Vault Comics' MONEY SHOT, POSTAL #13-25, HACK/SLASH: SON OF SAMHAIN, HACK/SLASH: RESURRECTION, JUDGE DREDD, INFINITE DARK, the Eisner and Harvey-nominated IN THE DARK: A HORROR ANTHOLOGY, and many other independent and small press projects. There's a full list available here. 

I launched my first course in May 2014, and since then thousands of students all over the world have enrolled. Who knew there were so many people interested in ... See full profile

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1. Preview: Hey there and welcome to my guy into digital painting. With appropriate in this course will be learning a simple but effective method of digital painting used by pros everywhere, and you learn a lot of tips, tricks and shortcuts along the way. My name is Kurt, and I'll me lead me through the course. I've been in the comics industry since 2011 doing color art for publishers such as Image Comics, Honey W and Top Cow. I started creating our tutorials in 2013 and since then have recorded hundreds of lessons and taught thousands of students all over the world about digital art. I designed this course for anyone looking to get in the digital painting with procreate. By the end of this course, you'll understand how to create your own paintings, using these easy to follow step by step lessons. I was always a big fan of Bob Ross is teaching style and in this course will start with a rough sketch and we'll take it all the way through to a fully finished color image. And you don't have to sit here and just watched by talking head. I'll be working in real time throughout the course so you can follow along each step of the way. You'll see my iPad screen and high definition along with a shot in my hands while I'm working so you can see the gestures that I'm using as well. All you'll need is an iPad, the newer, the better, the procreate app and a stylist. To get the best results, I'd recommend the apple pencil, but any pressure sensitive stylus will work. And if you prefer another painting app like photo shop or clips studio manga studio, these techniques could be applied almost any of those. So whether you're a traditional artist looking toe, test the water on the digital side or you just want to learn a new workflow. This course was designed for you, so check out all the details in the description below, and I'll see you inside 2. Introduction: All right. Welcome. And thank you so much for signing up. My name is Kurt, and this is digital painting with Pro Creator, my first digital painting course and procreate. And in this course, I'm gonna be showing you what I think is a an easy way for really anyone, but especially beginners, that air, new digital painting, maybe Newt appropriate to have a nice workflow that simple and doesn't require you to think too much about color early on because I know that could be very daunting for a lot of new digital artists and even some that have been doing it for a while. Color can be kind of intimidating, so we'll be showing you a method that I think works best and sort of how I learned and keep in mind. You could ask 100 digital artists like their method for digital painting, and you're probably going to get 100 cancer. So keep in mind that this is something that I think that works well, that if you find something else you prefer or you want to mix it with what I'm doing, of course, that's fine. There's no right or wrong way. And so keep that in mind. We're also be sure to check the downloadable content. It's probably gonna be a lesson or two away from this one. And I'm gonna actually include the procreate file that we work on during this course. So any point if you want to, you know, skip ahead and maybe you don't really care about the sketch. You just want to talk about you learn about the values or the colors, or whatever it is. You can go back and pull that sketch out of my poor grade file, you know, work from there. So that will be an option. And so, yeah, we're gonna take a drawing from sketch all the way through to a finished painting. And it's gonna be relatively simple because obviously a painting like this, I think I put five or six hours in, and it's a lot of I want to say T is a lot of details, though that really doesn't work. Well for a for a course like this where, you know, you're sitting there watching me do the same little thing 100 times, so we're gonna be simplifying it down to just a character kind of bust kind of shoulders up , and we're gonna be using that as our exercise. So if you're a fan of, you know, kind of a Bob Ross style of learning where we're just kind of started the beginning, do it all together. In the end, you'll have, ah, finish painting. So I think that's enough of an intra. Let's get started. 3. About the instructor: all right. So before we dive into the less than I figured, I could tell you guys at least a little bit about me. So you know something before we get started? Not just some random guy. Uh, so primarily, I've been a column book color us for the last five or six years. If you go to comic color dot com and click on the credits page, you'll see I worked on about 70 75 issues as of, uh, as of now, anyway. And I have also in the last couple of months, rarely about the last year. So I also started doing a lot of digital painting was really just for fun in practice. Um, and, uh, you know, doing some comic book covers and things like that. And so we'll just pull one of these examples from one of comics I worked on. This is a book called Infinite Dark, which is coming out later this year just to give you an example. And I also have some paintings that I've done with procreate that you guys may have seen if you've clicked through my website there. But I did this for a friend of mine This was a, um, dnd character that she had described and she didn't have any art for it. And so she described it on Twitter. I was like, It sounds pretty cool, you know? So did this sort of as a gift for her and the other one that I did not too long ago. You guys saw in the last lesson just some concept art for, ah, story that I want to work on. Uh, some point when I slow down and there's a low fun stuff in here, I've just done for the sake of it. I was watching a football game and decided John Spider Man on a football field went on. So, um, I also have a YouTube channel. You probably found me through. There's likely that you've seen that if you have been on you, Tube, uh, got about 25,000 subscribers and do a lot of coloring tutorials, lot of painting tutorials. But if you didn't find me through there, then be sure to check that out. You can search for my name on YouTube. Is K Michael Russell throughout the course. This is sort of the angle that you're going to see you're gonna see my hands down here because pro created so gesture heavy that it's not enough to just see the screen get captured so you'll actually see what I'm doing. And if I do a gesture that eyes a unique or something, I'll be sure to point that out. And if you are new to procreate like brand new procreate, I do have a beginner's guide to procreate as well. And I would strongly recommend checking that out because I'm gonna assume that you at least know the basics of where the tools are and things like that. But if you're not familiar with those things, be sure to check out the other course first, and that would probably help. But I'll try. I'll explain this what I'm doing throughout this course, and we're gonna be working on an eight by Tim Canvas. Um, if we go back to the gallery here, if you want to create this for yourself, you click that little plus sign and I've got a preset that I said for this. But you can go to create custom size and change this two inches down here at the bottom left, I'm in the States so way still think in inches, unfortunately, but you can make it eight by 10. Just make sure the DP Eyes 300 make sure that color is s RGB. The P three is something that all of devices support yet. So we're gonna still use the S RGB and you can rename that like I rename mine eight by 10 if you want to keep that the same. But that will give you that, uh, preset. Then you know, you can re use only about 10 to pretty common side I like to use that society is gonna be using in this course. All right, so I think that is enough about me in the next lesson. There's no video with it. It's just gonna be some downloadable content, the procreate file and things like that. Now I'll probably separate out this sketch from, you know, the value study to the colors and all that, so you'll see everything in a couple of stages. You can download those and then work from any one of those. So let's go and get started. 4. Drawing thumbnail sketches: all right. And this. Listen, we're going to start with just a really rough sketch and don't think too much about finalising any lines and keep it very loose and light. I think a lot of beginners, you know, instantly start going a little too tight and too much detail, and we're gonna keep this very, very loose. And I'm gonna break this down and do a couple of different options, and then we'll pick one of those from the four options that we're gonna use. And if you want, feel free. You can go through this with me with the chicken, with the version that I choose, and then maybe go back and choose one of the other ones and worked the entire process up from that one. So you'll have a couple of options to choose from, basically, But we're going to be working through one of these completely in this course. So the first thing they like to do is get rid of this white. Okay, The white is blinding, of course, and it's hard to judge values like how brightened how dark things are if you're working with white because everything is going to be darker So what I would recommend doing and procreate. You can actually just set about grand color without using up a layer. So I'm gonna just click on the background color. I'm gonna pull this down to about a 50% gray personally that's willing to use, because if we're halfway through, then I know that if it's brighter units prior than 50% you know it's darker. It's gonna be dark in the 50% so it gives us a good kind of midpoint to start with. And the brush that I'm gonna use for this I've labeled fat pencil. This is actually based on. I've seen this on a couple of other tutorials online, and it's just a slightly tweaked version of the default pencil. So I'll include ah in the downloadable content, which was the previous lesson. I'll include a version of that there So you can go and download that if you want. And what I like to do is I'm gonna go to my layers and we're on a new layer on top here, and I'm gonna set this layer to multiply. And that way it's always gonna be It's always gonna darkened when we're using it. So I'm right above the background layer. We'll go ahead and label this. Want to rename it to sketch? Actually, let's repayment it some nails because thumbnails what they call. They call it thumbnail sketches because they're small, like the size of your thumbnail, even though ours is a little bit bigger than that. All right, so here's gonna do thumbnails now, roughly halfway down the page here and you can play around with the size that you want. Looks like go whatever that is about 15% or so And for the opacity, it's around 50. I just don't want it to be completely okay. And I'm gonna draw a line roughly kind of been the quadrants on this, so it doesn't have to be perfect. We're not going to use these in our final painting, but it's going to give us four different campuses basically to do our sketch on. So I'm gonna zoom up on one of these and I was thinking, you know what would be interesting to paint, you know, as faras face goes. And I thought, if we do like an old man, we have a lot of wrinkles and texture and things in the face and color changes and stuff. So I know I want to do an old man, but I don't know exactly what else I want to do yet. So I'm just gonna start sketching and see where this goes. And this is not a you know how to draw course. So hopefully I have one of those coming in the future. But we're gonna keep this really loose and feel free to do your own scats or just try to copy what I'm doing. So I'm gonna start with, like, kind of a rough. You can see how rough on me I'm not worried about exact angles or anything. And I like to draw a a center line around where the eyes are gonna be because the eyes actually fall just halfway down the face. Believe it or not, a lot of people don't realize that. But if you look at my head, my eyes or exactly halfway between the bilott, your chin and the top of your head, a lot of people want to put it up higher. They want to put the eyes up here, but the eyes fall right in the middle. Now, of course, we can exaggerate this and make it cartoony. We probably will, but I like to start here anyway. So I'm just, let's see, thinking of what might look interesting here. And you also might see me flip my canvas here and there and procreate. If you go toe the little tools actions up there, it looks like a wrench. Click on canvas and then flipped canvas. It flips it back and forth. You get a kind of a mirror view of of, ah, what it is that we're doing here. May we give him a cigar? Something. So we have an excuse to do some glows or something that looks more like a cigarette. Dennis and Garment. We'll see. We'll see where it goes. Maybe he's a bad guy. Give him the evil eyebrows here and again. This part's really, honestly not that important when it comes to learning to paint. But I do think you need to start with a decent, uh, a decent sketch here, so all right, let's move on my crazy about him. They going to do something a little more cartoonish, All right, just more exaggerated. It's like a big kind of a beak because really, really push the, uh, exaggeration on this. Maybe and see, See where it goes from here. It was a big cartooning eyes. Maybe he's a wizard, But again, I'm just, ah, trying to get a rough idea about what I want to do here. We're getting warmer, I think. And you can make your sketch like I say, you make your sketch whatever you want. Like the face. But let's say let's make him give him a little wizard hat. Maybe Miss Wizards have beards, rain, None of the interesting. Interesting to do. We'll give him a short beard. You see, I'm not even worried about racing or anything at this stage. I'm just getting something down here. I think I like that guy. Let's do a couple more. It's to a really tall, skinny guy. Very uh, very exaggerated. Maybe he's a baby's. Ah, can you use another bad guy? They're always, always look more interesting to me. Big bushy eyebrows. One thing I think that would be interesting is if we to give you guys more stuff to learn about instead of it all being skin. Maybe he's like a half sideboard or something. Let's see. Yeah, Maybe he's Ah, he's got some battle damage here. Okay, I will erase a little bit here. We've got our mustache curled. Wizard, We've got a This guy looks little too realistic to me now in the top left. And then we've got our eye. Kind of like the cyborg idea, because that way we can do metal and skin and hair and all of it learn about all that stuff . Let's try one more like that except a little bit different this time. And again, if you want to. Just pick one of these that I've drawn already and start painting that. Women skip this part, you can. But this part is kind of fun there. Maybe he's not so much sideboard. I think I should like your other guy. Better. Some crazy hair, like he's a mad scientist or something went wrong. All right, so we've got a couple of sketch options here. You can pick any one of these Course. I'm gonna pick one and go forward with it. I think I like the one the bottom left. So, in order to save these four, if you guys want to pick one of these and work on a different one. Later I'm going to duplicate this layer. So I'm just gonna swipe to the left from the layer window and in duplicate, and it's darkening it because it's set to multiply and multiply always dark and soon, and we'll just turn this off beneath it. I'm gonna go back to the one above. Now I'm gonna choose the little air over here. That's the transform tool. I'm just gonna blow this up across the whole image here. It just kind of center it so that it looks OK. And then we can actually start tightening this up a little bit if we want. You know, what does a man scientist, Cyborg eye Where? Lab coat. All right, so I think that's good enough for the thumbnail. So in the next lesson will start tightening this up and move on from there. So let's go 5. Prepare your sketch for painting: All right, So at this stage, there's a couple different ways we can start tightening this up. Some artists will actually just, you know, on the same layer go in and you know, whether they're using the eraser or pen, and they'll start getting rid of some of these, Uh, you know, some of these sketch find the eraser and start tightening that up and actually like to use the same brush for my eraser that I do. My pencil. So one of the tricks and procreate if you have your pencil selected that you like. If you hold down on the eraser tool, it will make it the same brush. So if I hold down the eraser, you'll see that the eraser here looks just like the pencil does. And I think it creates a better, like, non digital look to it than just, you know, to go through and have a really digital looking eraser, you know? So if you want, you can go in here and start cleaning up the lines. This way, we might actually start here, and there will switch to the other method. So I'm just sort of cleaning up some of this, uh he's extra lines and sketch lines and and I'll show you a different way to do it, too. I get this point. It's still rule sketchy. So you have to be to exact with any of this stuff. You could do this throughout the entire image. What I actually like to do is make another layer. So I make a new layer on top and we'll set it to multiply also, And I'm gonna rename this one as just sketch. Now, I'm gonna go to my thumbnails underneath. You know that when we were just working on Now, if you two finger tap on this, you'll see that it brings up the slide to adjust at the top, and that's for the opacity. So if I put my finger on the iPad and start dragging it left to right, you'll see the opacity is going down. So again, that's just two finger tap on the layer. And in dragon, it was gonna take some of the opacity out of it. And it's sort of like using it is tracing paper. You know, we're using that new sketch layer as tracing paper. What's underneath, and I'm gonna get a little darker this time with my pencil. And so now I'm going to start cleaning up and start tracing in some lines for my little bit tighter sketch here using what I did before as kind of a baseline. Now there are different schools of thought. I guess you could say on you know what you want your sketch toe look like. Personally, I'm not a big fan of using hatching and little line. You'd like shading lines and things like that on, uh, on pieces You're going eventually turn into a painting. And the reason for that is you know, we can always add that in the in the color part. So and all of that, although it's hatch lines and shading lines, Actually, these are things we gonna have to blend into our color at some point. And that's not always, uh, it's not always easy to dio And again, this doesn't have to be exact either. We're still going to go back pain over all this stuff. So I'm just trying to get it pretty close to where it's gonna be somewhere in the ballpark . So we're going for here. I don't know if I've seen a mad bearded half cyborg scientists and maybe this will be. And like I said, feel free to make your own decisions here. Do something a little different than what I'm doing that be fine. Or maybe he's just one of those westworld robots. You know, something. Something bad happened there, and the other side is gonna be more robotics. I'm just gonna kind of put in some some trader lines here, and we'll give him, like, a glowing eyeball. It's kind of creepy looking and like, given where his skull would be, where his metal skull is, we're gonna kind of drawing some lines where that would be. If you need to go look at some reference for some ears and you're not really comfortable drawing any of this or you don't want a copy mine, you know, make up your own on the forehead. There's kind of a line that condo's goes like this. It will put that in here. Don't be afraid to make mistakes in a race. Nothing wrong with that. You'll see. I'm just sort of using my sketched lines is a guy. But I'm not worried about, like making it look exactly like the sketch. This there needs to be crazy over here. Now I'm gonna flip this and you see how it looks here Because getting a mirror and a mirror view of these things, sometimes you'll realize that I did something that didn't look quite right. Like I don't like that line there, Titan to sit over here. And at this stage, sometimes you just turn off my thumbnails and see what I have left underneath. And one thing that's really important to realize is that when you when you're at this stage , you really want to start thinking about doing like what I'm saying, because what you Sorry. What you don't want to do is think I'll fix that when I get to the details, because it really doesn't work that way. If you don't like it at your early stage, adding more detail layers not really going to do it, you don't be afraid, toe, you know, kind of zoom out and get a really good look at it and make sure that you like the way it's working at the current level. And I feel like his face is not quite at the angle that I want. So you see the little s up here in the top left corner. That's the selection tools I'm gonna choose. Make sure it's on free hand down here. There's also an automatic. We're gonna make sure it's on free hand. It's the area of like his nose and his chin. It feels like it's a little tilted in this way at this angle. So I'm going to sort of select this whole little area here. Actually, I want to get this to There we go. Now I can switch to the transform tool that looks like the arrow and just shifted around, and we can just fill in the details where we miss that up. And if you're it doesn't look just like mine. There's nothing wrong with that. Here we go. I wasn't crazy about his nose either. All right, so we've got our mad scientist. Yeah, starting to come together here, you'll notice that I'm not really zoomed in super tight because at this stage, it's just not that important. And I think a lot of beginners, I think that I have got to get all this detail and zoom up and all that we can. We can do that at the end and we can add in some wrinkles in here. I'm still not that worried about light and shadow, yet we're not quite to that point yet, but I am gonna start kind of cleaning things up a little bit, and then you'll see me a lot moving the camps around just with two fingers but two fingers you can rotate. You could move all that stuff. I do that a lot. It's just like turning paper like one of those people that turns your paper a lot when you're drawing. Because for me, like, it's easier for me to draw lines like this because it kind of follows the angle of your wrist than it is to try to draw up and down. When you got to get your whole like, you know, your arm, your upper arm gets into it that way. So any time I go to make sometimes long lines like that at that angle, you'll see me get into that position more. All right. I'm just kind of drawn in some sketches of how this hair might flow. Let's flip it again and again. That's just the actions, which looks like a wrench and a hit flip horizontal. Make sure it's still working. Yeah, I think that works. Kind of combining the, uh, some of those ideas I did earlier, the earlier from now the other guy. But you want to be confident about what? You're what you're putting in here at this stage. And, ah, that line doesn't really work. Doesn't come on his shoulders a little bit more slouchy. And sometimes I'll even I think that a drawing is gonna look one way. And then at the end of it, I end up, you know, deciding that I don't like this angle better and and end up, you know, switching him from left to right or whatever it and all right, So I think I'm gonna save this drawing at this stage as well. So if you guys want to pick up here again, that will be in the downloadable content lesson in the course. So let's move on to the next one 6. Painting shadow values: all right, And this lesson. We're going to start with values now. A lot of people don't realize how important that value, in contrast, are they really are the most important thing when it comes to paintings, sequential pages for comics, whatever it is that you're painting value, in contrast, are the most important aspect because that's what's gonna help to leave the I to the right places. And it can be really confusing to try to think about value and contrast and color all at the same time. And so that's why you see a lot of digital painters well, actually work completely in gray scale first and so the only thing that only colors quote unquote they have in their paintings at that stage are only black, white and shades of gray. And that's what we're going to start with. And that way we don't have to worry too much about you know, the exact colors we can. We're gonna get to that point here in a little bit. And if I were doing this is more of a you know, like a comic sketch, our comic finished illustration or something, you know, I could take this and you know, Inc. It digitally or whatever. We're really, really learning about painting in this court, so we're gonna stick with that for now. All right, so the first thing I'm gonna do, What you decide what are light sources. Now, I want this to be really dramatic looking. OK, so we're actually gonna probably have I'm thinking we'll have two light sources here. So from this side, we're gonna have, like, a big, strong, like, kind of a gold fiery light, you know? And then the other side will do like like a cool kind of room light. It's not quite as bright. It's more of an environmental color. And I think a lot of people when they're first starting out with with lighting as they think I heard, you know, two light sources are cool. And then we put two light sources and everything. That's fine, as long as there's definitely one that's stronger than the other. You know, you don't want, like, two big competing light sources most of the time. All right, so the first thing you want to do is think about it. If my light is coming from, you know, this I and kind of, um, in front because you can't just decide delights from the left. You have to The side is the light, you know, in front of his head. Is it behind his head? That's gonna determine you know where the shadows are. But so I'm thinking it's to his left and, um, a little bit behind him, but not much like I want his nose to be lit up in the side of his face to be lit up. So, uh, let's go and clean these layers up a little bit. So this to recap here, I've got my thumbnails, which I've turned off. We blew that one up. We did the rough sketch and I turned that one off. Then we're gonna label the one we just did. Tight sketch or final sketch. Whatever you wanna call it. Let's call it final sketch. That's probably a little more descriptive, but we can always go back and change it. But like I said earlier, be happy with your sketch of this stage. If you're not, then go ahead and start tweaking it now because it's not something. Wanna wait until it's time to add color to fix or just choose one of mine. If you're not comfortable sketching than, you know, pick one of my thumb nails and use that. All right, so I'm gonna change this layer mode back to normal, and it's gonna lighten it up a little bit, but that's fine. And I'm going to make a new layer, and I'm gonna put this layer under the sketch. I'm just gonna hold it and drag it down. You just hold a layer, pull it down and we'll call this, um we call this, uh, shutters. Yes, we're going to start with Let's dark in this sketch a little bit. So I've gone back to my final sketch layer and go to Hugh Saturates from brightness, and it's going dark in that a little bit. I want to go all the way black, but pretty dark. We're gonna change that later. Okay? So, back to my shadows now, one of the common misconceptions and digital art, especially in comic art, is that Oh, my shadows. I wanted to be dark. Everything has to be really dark. If you're printing it a lot of times, especially if there's Leinart on time, you don't want to go super dart, But we'll start with, like, kind of a middle Grail. See, what does that look like? You know, work. So I'm about halfway down the little bit below the, uh, midway point here, and I'm on the shadows, layer just her again to recap when the shadows underneath the final sketch, right? And let's think about if the lights coming from the left then we know that you know all this stuff over here. Oh, by the way, brush we talk about brushes, require I'm using the flat marker. I just like the way it feels there's you can use any brush and procreate that you want. There's tons and tons and tons of rushes. I just like the way this flat marker kind of feels so it's one that I'm gonna use. So all this stuff over here is gonna be in shadow because again, the lights coming from the other way, I'm just gonna start feeling all that stuff in. And I'm just worried about this one kind of color right now. I'm not that worried about, um, you know, the exact shade of how dark it is and all that kind of stuff we can get to that later. He's got a big old knows, so it's kind of sort of, you know, blanc all that side of his face, underside of his mustache. And it just doesn't have to be perfectly solid. You know, you can leave some little white spots here and there if you want. Like in his beer. I'm leaving a little bit of this white streaks in here. I'm just putting in some little bit of just a little bit of shadows where his beard's going over here. Because even though the lights coming from that side you're gonna get a little bit of shadow underneath this this is all gonna be Phil, then inside of his jacket here, we're gonna get a little bit of light in there. Shut up in here. All right, so that's the some of the easier part. Anyway, we had some more detail here in a bit, and over here is here is kind of flying up. So, you know, maybe not all of this is in darkness, you know? And like I said, your sketch from it looks a little different from mine, and that's perfectly fine. I'm not even that worried about even staying in the life of the state just way too early to worry about staying in lines. We just want this to get to be sort of a rough example Here. It's a life sort of behind and this is gonna be sort of filled in to most of this hair is, you know, facing that direction. So I'm not gonna put much in the way of shadows there. Alright, so I've got kind of a nice middle gray over everything here. So now if you want to get a little bit darker, we're thinking about some of the darkest spots where very little light is going to reach, you know, so and I'm not gonna put this everywhere. It's just gonna be in the darkest spot. So, like, underneath here where we know the lights not gonna be really available, that much kind of shadow from his nose. Meantime, I make a mistake. I just tapped with two fingers to go back. I can put in some more streaks into his beard and his hair, and this is gonna look a little cartoony right now because we're just working with a couple of shades. But once we start adding blending some of this and start painting some colors over it. Then you'll see that, uh, it's not gonna come out quite like this. So again, I'm just thinking about where these shadows we're gonna fall. And then there's a long two in shadow. I know that this is something that a lot of people can struggle with because there's so much to know about forms and lighting and things like that. And I'm also, um I'm sort of color picking at times from from the image. So, um, and to do that, I have mindset to just hold down that little, uh, the thing right between the size and the opacity. There's a little thing there I've got when you hold that and tap that. So I've got mine set to pick up color. But if you prefer a different way, if you go into preferences and I believe it's under advanced gesture controls Yeah, you're eyedropper tool. It's showing all the different ways you can have that set up. I've got mind set up to do it on a whole plus touch or hold plus pencil, and that'll work. I've been doing that a lot once. We really started doing in the painting stage. Don't know if I want to shut up or not. Yeah, I got rid of it. For most part on a gander is next coming really dark so we can fill all that in. All right, so I got a pretty good value here, but since we have that, um, the background color is that 50% gray. We don't really have any really bright values yet. And so now and again, I'm still on that shadows layers where I call it cause we started with shadows. You can either do this on the same layer, or you can add a new layer and call it lights will just add it and call it lights. In this case now, I want it to be brighter than the 50% you know, Gray, So gonna move it up to say about halfway in between something like that, halfway between the halfway point in the top. So if that's half way, we're going about halfway out because we're gonna we really want to limit the whiteness, whites and the darkest darks. And we could actually before we even do that, we could actually go in and go a little bit darker on some of the shadows, so it might actually do that next instead. But let's do that the next lesson. 7. Painting deep shadows: All right. So we're gonna pick up right where we left off, and, um, we have, ah, lights, layer. We haven't used that yet. When I go back to my shadows and gonna pick my darkest color color and we're gonna get a little bit darker, I'm not going all the way to black, but just a little bit darker and in the areas where it's gonna be absolutely darkest. You know, under the eyes, you think about all the little nooks and crannies on his face basically, and we're just going to kind of slide these and a couple of places. We don't want to overdo this. We don't want it to be darks everywhere in this case. So you see, I'm using these kind of sparingly not quite as much as I did on the, uh, that other tone that we had here and again. I'm still being kind of rough because we're gonna We can always go back and get rid of some of these lighter values in here. And actually, if he is has a chrome head, then it's actually the darkest parts are gonna be a little bit darker. And we'll leave the, uh, only a couple of bright spots cause chrome tends toe have this, like, mostly dark appearance. But then it Ah, but it starts mostly of the darkest parts here. - Alright , So back to my darkest color. And I'm still just kind of ah, sparingly throwing it around here except for this shadow at the bottom anymore. More shutters down here that also help the darkest parts. Your eyes tend to focus on lighter areas, so this will help Sort of push us up toward the top of the image. All right, you'll see that I I actually tend kind of back off the image, actually, physically sometime, But you can also he's just zoom out, you know, and see if it works at this stage because it should. Okay, so we've got a pretty nice range from middle grade down to dark, so we're gonna go the other direction. So when it switched to that lights layer that I created earlier, and I'm gonna color, pick or just go to 50% gray or so and then jump about halfway up. So this is a very kind of formulaic way of working, but it's easily repeatable, you know, and it makes sense to a lot of beginners. So So, like on this chrome part of his head, I'm gonna until that in here and and my brushes, actually about 50% opacity so I can layer this, you know, and let it get whiter if I want without having to pick white. I'm always I'm constantly changing brush sizes and things so that Ah, you know, I have to switch pressures all the time. But I'm just filling in the lightest areas in this little area of skins kind of catching some light here tins hole, nose If you're not again, if you're not that comfortable, the anatomy, that's fine. It's something that takes a little bit of time toe get used to. So no shame there. But working this way is something that can easily be done, you know, on different types of drawings and no matter what you're doing, it all kind of works. And that's all I'm trying to do is kind of teach you guys. Yeah, we're kind of learning how to, um, you know how to paint, But we're also kind of learning how to I think, you know, a little bit lighter. One more time on his nose. You guys think we're getting pretty close here? I think with our values, you know, we get really close. It looks messy. We're gonna We're gonna take care of all that stuff. Don't worry about now. I'm going to switch to almost white, not completely white, but close to it. And again, I'm just thinking about the absolute brightest areas said these places, like where his head is shining from the light because again, it's kind of chrome. There's a little bit of a ridge here, and it's catching some light. Maybe his eyes gonna be glowing top of his ear in just a couple of places. We don't want to overdo this. Just just kind of like the black earlier. We don't want to go super dark everywhere. We just sort of wanna have a couple of places where we're catching some light. But it's not everywhere. Gar mustache catching a little bit here, doing it around on the beard. You'll notice that I'm not doing every single stroke, you know, every single hair, because a lot of people think of his hair is a lot of hair. I gotta paint all of them, you know, you could just hint at it. Your brain will. Your mind will trick you into thinking you've done all the hair that way. It really isn't that way. All right now. And let's say we had talked about earlier doing maybe a second light source from the right , a little bit cooler and not quite as bright, so we can go in and take one of these Not the brightest value, but some of these, uh um, kind of value right about here. You know, it's not all the way up here, and it's not middle, but it's kind of summer in the middle, and we can just do a little bit of a rim light on this side. So let's say there's kind of a light kind of at an angle behind him, and this is a nice little trick, and we'll go back and actually do this kind of over the lines later, but it just makes it look a little bit more interesting. No, don't make more sense once we see it in color. All right, so I think we're pretty good on our values. So what we'll actually do next is will start blending some of these, and we'll actually start working, blending it into the Leinart. So this is sort of a scary stage for some. So we're gonna blend it all together and will actually work with it all at the same time. And I think it will turn out pretty cool when we're done, so let's move off. 8. Painting light: all right. And this lesson we're gonna keep working on our values. I know some of you guys air from the ready to jump in the color, but we got our values just right. Will make the color part a whole lot easier. So s O what I was thinking is so we've got our light and shadows separate right now. Okay? Released. I did. You may have put these on the same. Where? So let's merge those together. So I'm gonna just tap on the layer and it merged down. Okay? And now all of those, all of our values are on the same layer together. Okay? Now what? I'm gonna start doing here, I'm going to switch to the mixer brush or the smudge tool, I think is what pro grade? Cause it is this much. And you can use any brush for this. Personally, I like the turpentine brush had it's kind of a wet field to it. And in all the places that we want the colors to blend together, we can kind of smooth those together with this brush. Now, we don't want to do this everywhere. You don't want to overdo it because one of leave some edges a little bit harder, some a little bit softer, but anywhere we've got a transition where it's sort of a smooth transition. That's where when you use this smudge tool. So, for example, I wouldn't want to smudge this part of his nose here, because that's like a really defined angle. But some of this, uh, you know, where the darker port kind of goes into the lighter, lighter part here, just along this edge. You know, that might be a place we can do that. Okay, so So I'm just going to start kind of blend in some of this together and softening some of these edges here and like in his hair, we've got these lines. You we can kind of smooth all this out and you can play around with the opacity. You know, I've got it around 50%. If you want us a stronger effect, you can do that. What I like to do here is if I've got something that I want to smooth out, like, say on his hair is I will sort of do this kind of kind of zigzag movement and then left to right like this and it really does a good job of smoothing out those areas like that. Like where these cash shadows are falling. I'm these darkest parts. I'm kind of leaving. That, uh, kind of is a hard edge. Don't really want blend that too much. And this is just kind of a fuel thing, you know? I mean, it's hard to It's hard to wrap your head around if you haven't done before. And I know you guys are not gonna be as fast. That's something I always have students say It's like, Oh, man, you're You're so fast in this, Like, how do you get that fast? You know, speed is not something that you can rush, you know? I mean, it comes with time, but it's not something you're gonna, you know, just nail right off the bat like it takes time to get speed and And if you're, you know, trying to get faster a lot of time, it doesn't work, you know. But the more you do this, you will get faster. It just takes time. You know, I've been drawing almost since I could, since I could hold something to draw with. So I've got a little bit more practice than probably most of you guys. Yeah, so I guess the anywhere these edges are not quite, uh what you want, Just kind of mushing them together. You don't notice they don't like the hair. I'm kind of keeping it, keeping them pretty separate. I wanna blend all that since, you know, since we wanted to look like hair. Yeah, I think we're getting pretty close here. We're actually going to do this with lines and just a little bit. So So I'm just gonna jumping around. There's really no rhyme or reason to the way that I choosing right now, Just whatever whatever works for me at the time. So I think I've got most of the areas I wanted to blend blended. And again, I'm saving some of these areas that you know I want Is that just to be harder? You know, like, I don't want to do a big blending thing right to the middle of his nose, because that's I like that hard edge there. But I like tea. I like to call it like covering my tracks. You know, like, I don't want someone to be a look at this and it's fine if you like a very brushy look and you want it to you know, you want people to be ableto see your brush strokes. That's fine. But pieces like this sometimes I like to make people wonder. How did you do that? You know, So if I'm blending a lot of this stuff together, you don't really see this drugs anymore. All right, All right. So this is the part that a lot of people get a little intimidated by so you can feel free to duplicate the file at this stage. And the way you can do that, we go back to your gallery, just swipe left. You know, my from here on this farm to swiping left and hit duplicate. It will copy that file. Okay, so in case it goes really wrong, you've got two copies of it. Okay, So it also copies the, uh what you call it, the copies. The time lapse video. Also. All right, So what I'm gonna do here is I'm actually going to merge the sketch with the shadows, OK? And we're gonna keep doing our blending here and trying to get rid of some of these lines. So I'm gonna go to my final sketch and just merge down, and that's gonna put it on the same layer as the shadows So we can rename this to just call it values. Okay, Now into the same thing as I did before. I'm gonna keep blending here and getting some of these edges that still look too much light lines. You know, Leinart, and start blending some of this together. And we can also, um, paint over this if we want. So, like in some of these areas where the, uh, or we want, like, really white edges, you know, don't hesitate to go grab your brush, you know, choose white and just, you know, painting over some of these edges. So if you want to add some of that white back and and and then worry about blending it, you can. So I switched the blend tool and there we go. I'll switch back to the brush paint over the lines here because for years, you know, I got these white, this white hair, so I'm kind of wanting that toe look like white and just getting rid of somebody sketchy lines, too. While we're at it, So again, I'm just switching back and forth between they brush tool and the smudge tool. - And if this seems little to use to use well, kind of can be This is one of most time consuming parts of is getting your You're painting to a place where you ready to start adding color. You'll see I'm blending inside of lending outside, putting all this together and again. This is just one way to do this. This is a way that I sort of I started playing around with, and I think it kind of works pretty well. If you feel confident of to go straight in the color at this stage than you can, you can skip and we'll get to that point kind of removing the sketching. This of some of this stuff starts to look more painting. Painting is a word, but that's what we're doing. And inappropriate works a lot like natural media, you know. So if I want to start like I just did on his eyebrow here, I got that little line on top and I want to blend that way. I could just pull up from that white part, you know, like here I'm trying to paint over that lines, like just kind of pull that gray toward the black, and I'll probably have to go back over some of this again with with lighter colors in some stages. I apologize. If you guys hear the tapping on that, there's there's a way to avoid that. I will do some a little bit of post cleanup on this audio, but I don't think it will get rid of that. The tapping there, all right? And if you ever want, like a Morven effect, just push that opacity up some. It doesn't take much, but now you see, is pushing even more of that color around. Everyone just completely get rid of the sketchy lines and on and on things like hair. It actually kind of makes sense for these things. Toe have some. Yes, I'm struck to it, you know. So I think it really start to look like hair here by pulling down that gray over that black client. So it's almost like we're painting and smudging at the same time. In a way. Again, I switched little bit bigger brush. Want more of an effect? See how it's really especially pulling these strokes past, that black really starts to look like hair. We can always go back with a brush later and tighten this up. It's sort of got rid of my highlight there a little bit so I can just switch to the brush and paint that back in and just smooth it out. All right, so I'm kind of limited to 15 minute lessons on some of the platforms that I use, so we'll continue in the next lesson. 9. Painting more light: All right. So we're gonna pick up right where we left off and so that that rim light that I talked about doing earlier will paint that bank in over that white a little bit later. But for now, we're just gonna keep on smudging some of these lines away. Now, another method that you could do here, if you want, is to, uh you could keep the lines the way that they are and and change the color of the lines later in this kind. Another ways, you could do this, but, uh, like I said, there's so many ways toe to do this. So I thought I would stick with one that I thought worked best and again for these long strokes. I'm kind of, um, putting the campus at an angle that that works, that's most comfortable for my hand is, and I'm kind of following the direction of the hair, right. - I got kind of going in the direction of this to really smooth this sound here. Sorry, it's not more to talk about right here. Just ah, kind of the Like I said it's sort of the most time consuming the color parts, actually gonna go pretty fast. It's gonna go a lot faster than this because we're already were doing most of our legwork in black, white like anywhere. I see those sketchy lines. I'm almost just trying to completely get rid of those. And I guess that I will go back with some paint later and fix some of this stuff. Getting pretty close, though, who had some more detail that I will over over pain. That, too. Alright, what you guys think we're getting there? I'm just blending this away. If accidentally pulled some stuff in the background, just blending it out. My battery's going low, my pin. I forgot to charge of where I started this one. We're almost done with this lesson. So whenever it runs out of juice, will, we'll chop this lesson there, move onto the next one or I'll just cut the recording together. Now, this part down here, you know, this is not a super important part, the image. So you know it's not super clean or anything. That's fine. I'm just gonna paint over the son of this dark port here, and I think I want to kind of add some of this really dark stuff under his eyes down here, that darker color. It's a little bit darker down here in the shadows. We're going to really do the most contrast in the most detail writing this face. And in that way, it sort of helps if the rest of it's a little bit funny. That's okay. Now, where this rim light is that we talked about earlier. I'm just gonna kind of paint this in. Someone is using some sort of heavy equipment outside apologies that comes through. This is where that rim light. I'm kind of adding it back in, painting out this little black part. - All right. I think you're getting pretty close. All right, So I think we're gonna go ahead and do a quick break on this video here so I can charge my pencil, and I will be right back 10. Adding your base colors: All right. So my pencil is charged now and weaken continue. And this lesson, we're gonna start adding color. So just a handful of other little tweaks that I want to make to this before we get into color to some of these just a few of these areas. I really didn't get a chance toe being up quite yet. I'm still just blending at this stage. And if you come across something that you wanna really get that color to popular Whitmore, like this little edge of his skin here, I can just go back to my brush. We've been working with and set it to 100% opacity and painted in here. So it's really the combination of these blended colors with these hard edges. What really makes these things look pretty cool? You're really bright on this edge here, and we can always tweet this after we start adding color as well. But since this is metal, you know, I really want this toe be reflective. You know this whole front side here, we want them to be pretty shiny, right? So, using almost pure white here and again since so much that blended, we kind of lost some of those really white highlights. So I'm just sort of introducing those back in or the capacity of little bits again. Not everywhere, but just here and there, like strategic highlights my mind to call it. So this sort of having some brain back a lot of that we lost during the blending process. And we can also do this, Like it so we could do this after we started in Colored too. Sort of a personal preference, I guess. But since we've already done some of these other values and these are a little too hot for my taste, so again, I could just kind of the land those away a bit more. All right, I think we are. Let's do a little bit right here on this edge. All right? So I think we're in a place where we can start adding some color. So what we're gonna do? Well, he's got all this is on those values layer together, right? So you make a new layer, and we're gonna call this What can we call this? Let's just call this, uh, flat color or just colors even. It's fine. And here's the secret to this part Want to change the layer modes and click that little end next toe colors? Because right now it's normal mode, So gonna go into the color section and in the color section, there's also a color mode. So it's in. Choose the color section and change the mode to color. Okay, now what this is gonna do when I start laying color on this layer, it's not going to affect the value at all or how dark it is or how light it is. It's just joined going toe change the Hugh. Okay, so we'll start with skin and you can make the skin tone wherever you like a little bit light or dark or whatever it is. I'm gonna choose kind of ah, orangey color here, just kind of a mid tone and going to get my brush again. And I'm still just using a flat marker. Brush is fine. And actually, let's do the background first before we start on the skin. So if he is, it doesn't really matter what the background color at this point, but its skin is gonna be kind of orangey. And he's a mad scientist. You, maybe we choose like a green for the background greenish anyway. And I'm just gonna drag and drop that in here and again to do that. Once you got your delayer selected, just grabbed the color and drag it over. And I wanted to be pretty de saturated. I don't really want it to be super super green or anything, because we don't want the most con you know, saturation on him and not the background. So it's a very kind of de saturated, you know? I'll live Titan Green. Okay, so you see, it affected the hue of everything. It's not grainy Mauritz green, but we've got that Oliver values you're still intact because we're doing this on a color mode layer. It's a very, very powerful layer. Okay, so now I'm gonna go back to that Ah, skin tone. Something about like that. He doesn't have to be exactly the same as mine. And I'm gonna push the saturation or the the capacity of that brush all the way up and start filling this in and you'll see that again. The values aren't really changing that much. Okay, It's just the the color. Now, there are some rules of thumb with this that you want to be sure to follow. When we get done with this, it's gonna look pretty flat. I mean, this looks cool if you're not used to doing this. But all of these Hughes in this skin toner exactly the same. It's all the same exact kind of, you know, orangey yellow skin tone. So is actually pretty boring, right? It doesn't really look alive, okay? And we're gonna fix that, too. But when you're working in this method, it's very important that you you shift those Hughes on. Well, uh, we'll discuss that in a second When we get to that part right now, I'm just It's all the same color. For now. Some of you guys that aren't familiar with this layer motor probably going well, this is only because it is. It's very cool. Okay, we get all the skin I think we did because we gonna leave that his head's gonna be like chrome, right? So for his hair, his hair is like old man white. Let's say, but we don't want to use pure white. I want to put a little bit of just a little bit of blue and just a little bit. You could probably even that's a little too much. It's almost gray. Never go. And you get your own taste. You want to do a different color here, you want to make it a little green. You want to make it a little, make him a blind whatever it really, Whatever it ISS is fine. And we're gonna be blending love this some of these edges that might not look exactly right . That's fine. We can blend that stuff. We can blend on this layer just like we blended the, uh the line. Or but now you can see why it's so important that those values are there because we're really using those values right now. And if your values aren't solid at this stage, then you know you're gonna kind of a bad time and again, I'm not worried about staying exactly in the lines. I mean, you can if you want to, but we can always clean that up later. I kind of like the messy look. Anyway, if you make a mistake just seeking color, pick and fill it back in, all right, we're getting somewhere we're getting somewhere. So maybe he has, like, a white lab code. But if in this in the same ballpark as his hair again, I'm keeping it kind of in that blue family here because very few things are really white. So again, I just I mean, this is like coloring book mode. At this point, we're just kind of staying in the lines, and that's about it. So let's see what color we want to make it shirt. Maybe, like a reddish color, we'll see. No, I don't like to read. If you do like a blue, that's fine. It's a little too saturated, though, for my taste. Again, if you make a mistake, just color pick in an area where you need to fill that color color back in. All right, so now we have left is his I, which again, I'm not going to use White just going to use a who is the same car we used for his hair. Because the whites of eyes that's called ah uh Clara, I believe it's called, and it usually just absorbs the color of the background. So let's give him some green eyes. Maybe no, no greens, like to exotic. Maybe brown. That works. And this eye. Let's just say is like a robot. So it's like bright orange. Do I want the whole thing? Arms, your justice orange. Let's make the whole the arch. All right, So we're gonna go pretty gray on his Ah, the rest of them. But if your guys ah, who if we did like a gold color? Because gray is kind of overdone, right? What if he's like, See what? If it's like this? It's kind of too close to his skin. Really? Really. I don't know kind of experimenting here sometimes. What I'll do is I'll just make, uh, make a new layer, set the mode to color on this also, and then fill it in with whatever in this case, this yellow color. And that's the cool thing about working in this particular way is if you do in a separate layer, you'll see, and you could probably trace around this and bucket tool or whatever color drop if you want , But I'm just We're in a painting mode now, so let's just stick with this. So now that that's on its own layer, Actually, I didn't mean toe let's get back. I went over the lines. A couple of times here underneath. So I'm going. Teoh, erase that. Here we go. All right. So since this yellow is all in one layer, I can go to the hue saturation under adjustments and just change it until I come across something that I think looks cool. And I think just going like pure gray is what I want here. Making bull robot. Maybe add a little bit of something in there. A bit of blue, maybe. All right, so we've got our guy flat color in here, and the next lesson will make this look really cool. 11. Make your colors look alive: All right, so in this lesson, we're gonna keep moving on with color, and I mentioned this earlier, but it's really important when you're working in this method that your colors aren't too uniform. You know, this is pretty much looks like a coloring book. You know, if I turn off the values, it's all just single layers underneath here and are single colors. I just I eat areas a different color, and skin doesn't really work that way. There doesn't really work that way. Color doesn't work that way in real life. You know, if you're looking at something, if you look up your favorite red and blue spandex superhero like Spiderman, for example, you know, look at the highlight colors. They're a little bit orange. There might be a little bit yellow are the shadows might be a little bit bluer, you know, that's because in real life you never want to just choose a lighter version of the same exact color. And what I mean by that, like I make a new layer here. This is really important to understand. This is just gonna be on top of everything. I'm just going to show you an example So if I've got an object, that's red, Okay, Just a red color if I just make it brighter, okay? It's just a lighter version of the same color. Doesn't look bad, but if I add a little bit of different color to it. So if I shifted a little bit toward orange Yeah, it just looks more alive. Okay? Versus doing the same thing here with just a lighter version of the same color, you know? And if we do our even brighter, colorless, and I'm shifting it toward the color of the light source, if I get a little bit brighter at a little bit yellow, you know that looks better than just getting brighter and seeing a getting like a pink, you know? So that's the principle that we're trying to apply here. Okay, We want to shift our Hughes a little bit. Okay, So let's get rid of our that weird layer. And, um, you can do this on the same color layer. You can do it on different layer if you want. What I would recommend is just making a different layer. And we're gonna set the mode to color again. So just hit that whole end set the mode to color, and I'm gonna think about all of these brighter areas if we're just coloring him as if he's under just kind of a white light. For now, we got We can change that later. But I can start with my base color orange and let's say, then we said early on, we want a really hot light coming from that side, so it's gonna be warmer. So on the color wheel, let's look at the color wheel. So if I want to get warmer and I'm red, I want to go toward orange and yellow, right? If I go this way, I'm getting cooler. Okay? So if his skin color is like an orange, I want to go a little bit more toward, um, the yellow color. So if we're starting here, I'm gonna shift this Tory orange a little bit toward the yellow and saying is before it's gonna start paying this in in just the highlights spots, Okay. And we could probably been pushed this a little bit more, A little more saturation. Rome or yellow. It turns out this is two months. That's the good thing about working on a separate layer is you can just shift that around. So in all of the lighter areas, even though I think this looks pretty good since we're on our own layer now, we can just go to Hue saturation under the adjustments. And we could shift this little toward red towards yellow. Whatever. I like it about their I could take some saturation out, like add some leader about their a little too orange, All right, but he's starting to look a little bit more alive than just a flat color. Okay? And in the brightest of the bright spots, you know, we can push this even further, tour yellow, and I can turn the capacity down to. So this isn't just blowing us away here, but just around these little white highlights, throwing in some yellow. All right, so we're getting somewhere now. We said we wanted the bounce later, the reflected light from the other side that room like to be cooler. So again, I could do this on a separate layer. If I want just to keep it easily, easy to edit at this point and just go pick a cool color like blue and just drag it on the other side. So you see, now we have those values in place already. So can't even dio a little bit over here in the shadows. Don't stick with light for now. But he started look cool, right? So that's just for the skin tones itself. Okay, so you see a little bit more. Now, another thing you can do is around eyes and noses and ear. They tend to get a little red that can to get a little pink on the lips to an extent, but less so on on men. So again, I can do this one of separate layer. Or I could do it on the same wear. I'll just keep it on my layer with the orange. It doesn't really matter, but I'm gonna go, um, actually stood on differently. We do this a different way, it's gonna make a new layer, and we'll just leave it on normal for now because I want you guys to see the difference. And so, for the nose, this is gonna look weird, But bear with me. I'm gonna get a soft brush. Just a regular soft brush. I'm gonna start painting in here. Just kind of on the tip of it does. And then under his eyes, what's real opacity here and under his eyes, It's a little bit on the cheap, maybe around his ear. Especially on this here, where that light's coming in the other side. And we just did a quick little touch on the slip. Now, right now, this looks kind of weird. Looks like Rudolph. But if we set the mode to overlay So if I go to that layer and only thing we're looking at is this red, The overly mode is in the contrast section, from changes to overlay, and I'm gonna lower the opacity. Okay? I want this to be very subtle. Okay, So I'm gonna lower the opacity down, you know, like 30% or so. Well, you see how he's starting to look is starting to feel like skin, OK? And if he had ah, v was shaved, you could actually add gray in the areas where you know his beard is, but he has hair there already, so All right. So yeah, I think we're getting somewhere right, so I could do the same thing in the other areas. So, for example, for his hair and I were not going to see Aziz. Much of a shift change on this in the, uh, in the hair, but I can go ahead if you want. I could merge all these together. It's We can merge. Virgil these down. I'm gonna leave these separate from my colors later, but I'm gonna leave all those on the same layer. So now I've got this. Just this stuff, basically on one layer never go. And now for his hair, uh, you know, light hair like this. That's why it's very it absorbs all the color around it. Okay, So I want to think about, you know, the shadow parts. You know, what is it kind of close to? And so if it's close to his hair, I can't or is close to a scan, I can throw around a little orange on that so I'll make a new layer again. Again, I'm saying the mode to color, and I was gonna grab this skin tone in here and just very lightly. Latest in some of these areas of shadowing is his hair because, you know, it's actually gonna pick up that reflected light from its skin. And again, I'm really that could be really loose with this, because the values underneath there really what's working for me. And if I don't feel really confident about this color that I'm chosen, just do on a separate layer and you know us a little use the digital tools are advantaged and just change it after the fact. I know there's some art purists out there that are just like, man, what are you talking about? But but And if it's not close to the skin, you could also just use the background color and throw some of that in here through some of that green in here. Because all of these shadows, you know they're gonna absorb the color of the environment if the light's not touching him . So I'm just kind of throwing it around, too. Bob Ron. She's to talk about this kind of throwing color around the around the painting he never really used. If he used a color in one spot, he would kind of find a way to stick it somewhere else, too. It's a very old old technique that works pretty well, kind of paying some of this brownout up here and putting more green in where his skin is, And I chose that because of the color of the background. If you guys are wondering why I'm chosen that green again, the futures that green because that's the color of our background. And again, I'm going pretty low capacity. So I'm not. Ah, it's not going on really heavy, very hard or anything, but you know his eyebrows under here. But you know, these cool color mixing effects this way. And when I first started learning by digital painting, I thought, Man, how did he choose that exact color? And how did he know that was the right one? You know, doing all these layers and letting the digital stuff work for use pretty cool. So it's the same thing down here on his jacket in the shadow area was doing around some of the screen in the shadows of under Here, like on a shirt, throwing that green around under his neck more than green, even on this part of his forehead. Like, you know, it's that Gray is going very, uh, I don't know if absorbent is the word, but it's gonna absorb that background color. So throwing a little green and there is kind of it starts feeling like he's in the environment instead of just stuck on top of it, you know? And by the same token, if our lights warm, which we said it was, you know, throw in some arm stuff appear when the parts where the, uh, the crow me stuff is it's probably too much orange really lower the capacity down. I haven't actually painted this way in a long time, So this is been a fun little experiment for me, too, and I can go in with the smudge tool and treat this just the same way as I did. The other leaders blamed some of this away and right around that hot spot, maybe we had some red really looks like it's crawl me now, all right, so I think we're getting very close. We're still just working color layers, but if we want to start adding some more detail on top, we can do that in a normal mode and start really pumping out some highlights and really adding a lot of details. Using all these different layers and modes that we've used so far did have basically chosen . They've chosen the colors for us, so we've got something to work off of. So let's move on to the next one 12. Adding color details: All right, So now I would say we're at a point where we can really start adding the really fine details and kind of making things. Little things pop here and there. So I'm gonna make a new layer on top. Now, this is just going to stay in normal boat, Okay? Because the color that I choose is actually the color I want to see on the page or on the, uh uh, on the painting. So and you can also you can even blend at this stage if you want. You want to get under and start blending some of this together even more? You could, but so what I'm gonna do is I'm gonna switch to a different brush. I make sure to go back to the pencil for this because I found that I kind of like the way that pencil adds some texture to it and keeps the highlights really sharp. And so I can color pick like that white, for example, and again low, kind of a low capacity or middle of past. You brush and just start throwing in some details on top. Okay, You can add some more. Some of those hairs in here. But you want to draw every one of them, you know, kind of b Ah, judicious with where you're putting those little hairs. And, you know, he's got a little strongly hair sticking out every now and then, but your brain will start interpreting. All of this is, you know, lots and lots of hair. And as I've said before, I know I've said this probably 1000 times in this in this course, But this is just my way of working, okay? And it's a good way. I'm thing for beginners. Toe start. You know, you're gonna see some people that you know might think that that it's not a good idea of work with all these layer modes. If you're not, don't have a really solid foundation for your color, but there a nice way to get some details in there and not have to think quite so much about the colors. And, uh, you know, kind of like this kind of catchy effect on this. You don't have to do this on yours, but kind of reminds me of Ah Drew Struse and a little bit and at any point, like I can pick this like second, pick this orange here in the hair and just paint that over some of these areas where I think the colors on exactly where I wanted to be. So and you know, point are you, you know, married to this thing, you know, and, uh, we could even punch up the saturation a little bit in his ear. Really? Looks like, you know, likes coming through it. They call that subsurface scattering, but only did was, you know, choose the base color making more saturated and little red. It might be overdone, but we're just learning today with these little ram lights and things also helps separate. You know the elements if there's not quite as much saturation as you want or if I want to bump up these little ridges on his shirt If I've got something glowing like that, what I like to do for glows and this is not intuitive at all. But if you change the layer mode to screen I made a new layer on top And when change the mode to scream and it will change to an s in procreate And I'm gonna fill this layer with black Now you won't see it. You can see it in layer window, how Layer eight is filled with black, but in screen mode, Black doesn't show through it all, but it gives your glow something toe work off of. That's the best way I know to explain that. So when it chooses like a RG red color, pretty saturated and just get a soft brush, what's get a soft brush here and slower the capacity sums We can build this up, and now it's glowing. And we could do the same thing over here on top in this little section up here is make it really look like it's shining even on his nose, too. Lesser extent, we could do a little so glow effect there. It's probably a little much. All right, so label that s f labelling clothes instead of special effects. And we label this later I'm working on now is just touch ups. Okay. So again, I'm just back on my I'm still using that pencil tool. Sorry if you hear my cat background by the way, and get my white again and again, just going around a little bit of highlights here and there to make this cyber I'll stand out a little bit more at some words were orange to his. I make it look a little bit better. All right. I think we're getting close. Brining up this highlight here on this side A little bit. Yeah. Rim lights, air. Sort of homeless like a cheat because they really worked really well, like separate planes and things like that. But, you know, foreground background, that kind when I say playing this way, I mean, so I do a really good job with that. And we might want to see a few of those on this side, too. Maybe along this ridge here. So we've got our touch ups done for the most part. Now I've left this, You know, if you get really close, this is some of its kind of rough. Some of it's not. It's totally up to you guys for us. How much detail? You want to go into it? Um, and you know, So maybe you want to get in here and, you know, touch up some of these other areas with even more detail. You know, there's a lot of ways you could take this, but I think as far as the level of detail that we're at now. I'm kind of happy with it. Um, I this stage also like to think about Is there any reflected light kind of bouncing around that I'm that I'm not thinking about, You know, um, like, if I want to add some of this yellow and here just to make it a little bit more interesting , you know, like his. I im said as I'm saying, you're looking at this his I would actually throw some of that red onto this, the metal skin. Right. So, you know, you just pick that color and your real low opacity brush. You know, you get a little bit of reflection here. Maybe even some of this over here. I see a little bit on the skin there. But, you know, the level of detail is kind of up to you. We could spend another out a couple hours just adding detail before we wrap this up there. There's a couple of things going to show you guys as far as ways to make adjustments and ways to change the whole feel of the image without going back and really painting anything if you don't want to. So let's move on to the next one 13. Color correcting: all right, this lesson I want talk about some ways that we can change the whole mood of the peace without really having to go back and paint very much. And this is something I sort of like toe almost goof around with at the end of a painting and to see what happens. Honestly, not the most men. I'd be the most purest way to do that. Some some art purists out there is like, Oh, you should know exactly where are probably so but its digital We can have fun with it. That's what we're gonna do. So, first off, I just realized that I forgot. I wanted to add a bit of a glow to this little white area right here, since it's supposed to be metal that's supposed to be reflective, sir. Just a little bit of stuff to make it look shiny. There we go. Ok, now we'll continue. So what we're gonna do on top of everything, I'm talking with the glows on top of all of our layers. Gonna make a new layer and we'll call this. We'll call it overlay. Okay, Overlay. Now we're gonna set the mood to you guessed it overly, so I'm going to go into the hit The end. Click on contrast, Click on Overlay. Now what this layer does it does. It really does two things. If the color only image underneath is lighter than, like 50% gray, then it's going to apply the screen mode effect. And if it's darker than that, 50% it's gonna multiply. So it's brightening and darkening, depending on the colors on the image. That's probably doesn't matter that much, and it's probably too technical, but I just want to explain that. So I'm gonna pick a color. It doesn't matter which color. Let's just say, uh, green and then pick, you know, kind of smack dab in the middle of the color wheel. I'm actually gonna go back to the classic mode for this just because I like it better. So we want this right around 50% okay? And I'm going to drop this onto the image and you see how you get this really neat sort of effect. All the lighter area is gonna live it lighter, all the darker areas a little bit darker, and it's applied that kind of gray or green wash over everything okay? No, there's a lot of ways we can control this. Okay? So for one, we can go into Hue saturation, Click on the adjustments up here, go to hue, saturation. And we can just play with this. We can shift this toward blue. We can make it purple. We can make it red. And you see, it really changes the whole tone of the image, the whole move of the painting here. I kind of like this green. I'm going to take some saturation out of it, though. And you can see it gets really crazy, high saturation levels. But I put it right about there. No, let's say that I don't want that effect everywhere. Let's say I don't want it in the background, okay? There's something that procreate has That's a very powerful tool called a layer mask. Okay, and I'll explain it briefly here. I covered extensively in the advanced guide to procreate. So if there's anything I've done, this course that seemed was over your head, which I think we've done a pretty good job explaining most of this. But if there's something in here that wasn't quite what you you know, I'm not quite following. Check out those other courses, the beginner guide in the Advanced Kyd. And there's a lot of cool stuff in there. But I'm gonna go this layer and I'm gonna click it and choose Mask. Now, it's not gonna change anything right now. Now, the way layer mass works is anywhere you see White. We're seeing that green come through. Okay, but if I paint with black on this layer mask, it's going to act almost as an eraser. Okay, it's gonna remove that green. Okay, so I'm gonna go up here and shoes black, and I'm gonna get to get a soft brush, and I'm gonna start painting this effect away. You can see this. Uh, it's kind of grayish stuff's coming back now. Okay, I'm doing this really rough. You want to go in? Of course. And, you know, tighten this up the right way. But now we've got that green effect Onley in the places where we have white remaining. Okay, All the black, it's masking it off. Okay, so we can go in here and we can make our brush a bit smaller and really start cleaning this up a little bit. And if you ever mess up and you do, you know, do that accidentally, you know, you can undo or just start painting with white again to pull it back. So first time is going to get rid of all the background that I could see are obviously see this, not that color, and then switch toe white and kind of paint that back in. You see that green coming back here and this is all it's really all that that overlay layer . That's what we're working on now. We're working on a mask on the overlay layer, and it's It's a very, very powerful tool if you know how to use it, trying to paint away all that blue grey here basically. All right, so now you can see I can go back to that layer and change the U saturation, its Onley affecting this image itself. It's kind of cool, too. So yeah, something like that, all right. And you can you can again you can control that amount at it with that mass. So, like they say, didn't want it over that red eye. I could just go to my mask, go to black and paint that out right there. around his eye. There you. So it's a nice way to tie the image together and you can play around with the opacity. You know, if the effects too strong, you can go to the layer and just adjust the opacity. Make it like 50%. So now we've got this kind of cool kind of green, overly effect on everything and some other sort of kind of polishing effects you could do is playing around with textures now, textures air very easily overdone. So always. I'm always saying to be subtle with textures, but and I'll include this texture in the downloadable content as well. But I'm gonna go in, open up this texture and just copy it. So here's my texture. One of the common tricks I like to use is you take three fingers and pulled down. You'll get this cut copy paste here. So I'm just gonna copy this and then go back to my painting. And here I am going to paste. So I'm just gonna three finger down on a new layer and paste, and I can size this. However, I want it all there. Okay, Just really just want this on his skin okay? Because it sort of looks like cores. Now, right now, it looks weird. So I'm gonna do is I'm gonna sent this layer to Let's try heart. Let's try overlay first. Usually it works pretty well. You see now with this texture, how it skin kind of looks like it's got little pores and things. This is a really cool effect, right? So we'll use a mask for this again, master. Awesome. So I'm gonna make a new mask on that new texture earlier, And this time, I don't want the mass to appear anywhere except his skin. So I want to invert the mask, and that will make it a little Fill it with black and the layer will not show up anymore. So we don't see the texture right now. Okay, So what I can do is on my mask again with white, and I'll just use the same flat brush I've been using are flat marker. So I'm painting right now, Mr Recap, because mask a little confusing on the layer mask. It's filled with black so that it's completely masking the texture right now. So if I start painting with white, see that texture starting to come through now, Something go in, paint this scene everywhere and we can adjust. How much of this is showing up in a second. But I'm just gonna paint this all over the skin. It doesn't have to be super exact, actually, but all right, so it's all over his skin now. I think the effects a little too strong, so I'm just gonna go back to my layer where the texture is two finger temp and slide the opacity bar over about 50% or so. And there we go. So it's very subtle my email to see it very well, but I'll talk about it often on and so you can see. So now we've got sort of ah, kind of looks like pores almost. And there might be some places where you want to paint it out a little bit more so I can just go back to my mask with black again. Maybe some of these little hot spots I don't want to show up Overly already does a pretty good job of not showing up on the highlights. That's why I like working with that. So now one thing I've done in the past also is. Even if this stage is, you could flatten it all and even doom or smudging over this if you wanted to. Um, not something you have to do what you could like. For example. You know, I could go into any of these areas and start kind of blending some of this stuff together if it wasn't blended enough. Now, one good way to do that. Let's say that you didn't wanna kind of merge all this together and start playing around with it. Um, there's a function in procreate. If I make a new layer, put it on top and go to campus. Actually, go to image is where we're going and go to copy campus. It will copy all the viewable pixels here. Okay, So if I go to my new layer three finger pulled down and paste, it puts a copy of everything we've done on that one layer. Okay, so layer 13 is the same as everything else below it. Basically, this is just a murders version of everything we're looking at. And from there, that's a good place if you want to start blending stuff. So, you know, I was I was kind of rough on some of these colors, you know, like around is when I was doing these colors earlier. So if I used my smudge tool, you know, I can start blending this stuff together. Now, remember, you want to be careful here because you know, this is going to affect everything you know, values. And also, you know, you want to keep that in mind. And that's why I recommend waiting until you've got it all this separately. Er is that what you can always go back? And, you know, um if you mess it up, you can always go back and redo it again. But this is a good way to really get in there and start playing around with the details and adding tons and tons of detail. That's actually what I did on this piece you can see with with this image. You know, I went in here and did a lot of that blending with a lot of these details. And when you get close, you can still see it looks rough, but if you back off of it, you can see it looks a lot more realistic, you know, because I was blending all of it together from from lines and colors and all that in doing some painting on top, too. So we've got one more level of Polish weaken do before we wrap this up. So let's move on to the next one. 14. Making Adjustments: All right, so in this lesson, I want to talk about how we can use the adjustments and not just adjust. The whole image were actually control where those things adjust parts of your image. Okay, so I'm gonna make, uh, new layer here. So we've already got that one layer that we made in the last video. That's really just our entire painting on one layer. So what I'm gonna do is I'm gonna duplicate that. So I've got two of those layers. Thes layers are identical. Aiken, turn off everything else, and it's not gonna matter because we're working on, you know, the layers that are at the top and those air our entire painting. Now, what you conduce is you can make adjustments two parts of the image and then with a mass control where you know what part of that image that it effects. So let's say, for example, that I want more contrast on the middle part of his face. For example, I don't know if I will keep this or not, but let's just use it as an example. So I Congar Oh, to my adjustments. Now, remember, I'm one top of that layer That's a duplicate of the other layer. We just made the canvas layer and let's just go to curves. Curbs can be pretty complicated. And I'm going to do a whole big lesson on this, but I'm gonna click on Composite over here on the right, and that's gonna affect all the different colors. And I can start shifting around and pulling on this curve, and it's gonna start making some changes. So if I pulled down on this side, it's gonna start darkening. And if I pull up over here, it's going to start, you know, lightning, this sides of the lighter parts are getting even lighter. Okay, and all right, you say something like that, I will make sure that is something you guys can see the difference in. All right, So now I have my curves adjusted version of this on top of you know what was underneath before? Okay, Now let's say that I just want this effect on the metal, okay? You probably guess what we're gonna use already. Use a mask again. So I'm gonna go to that new layer we just made. That's been color corrected, and I'm gonna choose mask and I'm going to invert the mask. All right, so that layer now is really not showing up, okay? Because we have masked away those changes we made. So if I turn it off and on, you can see it's not even changing anything because we have covered trying to explain this . We've We've covered our adjustment with black on the mask. So now on the mask, Aiken good, a white. And when I start painting with white, you're going to see that it's adding that contrast from that layer in. So I'm I'm basically painting that layered. It's on top on to my painting. And if I make a mistake, you know, to use Black again painted away, choose White to apply it. So now if I toggle that layer, you'll see that it's only affecting that metal part. And I think I like that change, so I'm gonna keep it. So that's a way that you can basically, you know, trick the application into Onley, doing the adjustments in places that you once a very, very powerful tool, and you could do the same thing for all sorts of adjustments on here. So I'll show you one more example of this. It might be a little bit clear because this could be a really powerful tool. So I'm gonna go back to my layer. That's underneath, okay? And I'm gonna duplicate that again. And on this layer, I'm gonna do a color balance adjustment. That's a really obvious change, and I'm just gonna make it. Ah, let's see. Let's just must blues purples. That's fine. It doesn't really matter. Looks pretty cool there. Alright, so I've got this color balance and you can even see it in the in the layer window. How different that is than the rest of the image. Okay, so again, I'm gonna put a mask on there, invert the mask and it's kind of look like it's going away, right? And now, if I want to add that affect somewhere, I can just paint with white on the mask. So it's a It's a very dramatic looking effect right now. I don't think this is a good, necessarily heart decision, but I just want to show you guys that you can do all sorts of cool things with Mask and those adjustments after the fact, you know, So, like, I made it look like he's a little, you know, with this purple, almost from the from the other side. Now you know it's not the greatest part decision in the world, but it's just a example, All right, so that's how you can use a layer mask in conjunction with an adjustment. Are a duplicate of your campus on an adjustment to get some pretty cool effects, so it's time to wrap it up. 15. Conclusion: All right. Well, this has been a lot of fun. I hope you guys have learned something. I think I've been picked up some new tricks here along the way. So if you enjoyed the course, be sure to check out my other courses. I've got Photoshopped courses on sequential column book coloring. I've got other procreate courses I mentioned earlier. I've got the YouTube channel. It's got 180 videos or something. Right now, most of that's dedicated, accountable coloring. But I'm starting to do some other videos on, uh, with more painting tutorials on there, too. So, But again, I hope you guys enjoyed it. And let's do this again sometime. Take care.