Digital Sketching: From Paper to Procreate | Asya Alexandrova | Skillshare

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Digital Sketching: From Paper to Procreate

teacher avatar Asya Alexandrova, Travel sketcher

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

9 Lessons (1h 3m)
    • 1. Intro

    • 2. Digital vs Paper

    • 3. Welcome to Procreate

    • 4. Sketching on paper

    • 5. My Procreate brushes

    • 6. Color palette

    • 7. Sketching on iPad

    • 8. Let’s compare!

    • 9. Class project and final thoughts

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About This Class

After the years of drawing on paper, it was a bit tricky for me to switch to digital directly. Some things in digital drawing are very same, others are different. But what was the most challenging for me — it was finding a technique, which would be visually similar to my sketchbook drawing, to make me feel satisfied with it and not to lose kind of a style I already had.

And I think I found it. And of course, want to share with you now!


This class is for those, who wants to draw on iPad, but doesn’t know how to start.

I will show you step by step how I drew the same sketch twice: first with watercolor and then on iPad. You’ll see the similarities and differences of each process on every step. We will set the brushes together to get a proper effect, and I’ll show you how I create my color palettes.

In the end, I will ask you to do the same: to create one sketch twice, traditionally and digitally, and upload it here as your class project.


You will learn how to:

  • Draw a digital sketch with outlines and color, step by step with a predictable algorithm
  • Not to get lost in Procreate brushes collection, but use particular ones
  • Add shades, highlights and textures easily
  • Create and use photo references
  • Use your experience of traditinal drawing to dive into digital art

This class can be interesting for:

  • sketchers
  • illustrators
  • visual artists
  • designers
  • any person who likes to draw

Your drawing level doesn't matter for this class. It is suitable for both beginners and professionals.

For this class I use my iPad 2018, not the Pro model, Apple Pencil and the Procreate app. If you don’t have your own iPad yet, this class may answer your question, do you need to buy one or not.


Meet Your Teacher

Teacher Profile Image

Asya Alexandrova

Travel sketcher



Hi! My name is Asya, I'm an illustrator and travel sketcher from Saint-Petersburg, Russia. I'm crazy about visiting new places and draw them in my sketchbook, and this is what I' m going to share with you. 

I don't have any art education, so I can call myself a self-taught artist. I draw since I was a child and study all this time. I believe that my experience helps me to show and explain complex drawing topics in the most simple ways.  

I've been teaching drawing since 2012 here in St. Petersburg. And I'm happy that 2019 began for me with joining the wonderful Skillshare platform as an educator!


Follow me on Instagram to see my sketches 


See full profile

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1. Intro: Hi, everyone. My name is [inaudible]. I'm an illustrator and Travel Sketcher from [inaudible] , Russia. I love sketchbooks and for the years of sketching in different beautiful places, I filled I guess, hundreds of pages and dozens of sketchbooks. Of course, my technique has been varied with time. But after all these years and changes, the one thing remained constant, a sketch book. But sometime I go, I tried digital sketching on iPad and just couldn't stop. It was like when you want to draw only a tunnel wall sketch to try some procreate feature and then you find yourself later nice to explore in brushes settings and watching your own time lapses. Actually, after the years of traditional sketching, it was a bit tricky to switch to digital directly. Some things in digital sketching are the very same and others are completely different. But what was the most challenging for me? It was finding a technique which would be visually similar to my sketchbook drawings, to make me feel satisfied with it and not to lose a style I already had. I think I found it and of course, I'd like to share it with you now. This class is for those who wants to draw on iPad, but don't know how to start. I will show you step-by-step how I drew the same sketch twice, first on watercolor paper and then on iPad. You'll see the similarities and differences of which process on every step. We will set the brushes together to get a proper effect and I'll show you how I create my color pallets. In the end, I will ask you to do the same, to draw one sketch twice, traditionally and digitally and upload it here as your class project. For this class, I use my iPad 2010, not the pro model, Apple Pencil and Procreate app. If you don't have your own iPad yet, this class may answer your question; do you need to buy one or not? What will you learn as a result of this class? You will learn how to draw a digital sketch with outlines and color step-by-step with a predictable algorithm. You will learn how to not get lost in procreate brushes collection, but use particular ones, how to add shapes, highlights and textures easily, how to create and use photo references and you will learn how to use your experience of traditional drawing to dive into digital art. If you are a sketcher, an Illustrator, any kind of visual artist, or designer or just a person who likes to draw, this class can be interesting for you. Your drawing experience is not really important for this class. I think it's suitable for both beginners and professionals. Thanks for watching and I wish you happy drawing. 2. Digital vs Paper: Let's talk about how the digital drawers differs from the traditional one. First, I was going to call this episode pluses and minuses. But then I realized they're depending on the situation and your personal preferences any minors can become a plus and the vice versa. Let's compare both approaches using the eight criteria. Equipment. Here, you can see what I take with me when I go sketching. Although I use very small sketchbooks, I usually have my backpack full. A watercolor set, a pellet, a pencil case with pencil, liners, brushes, water brushes, markers, etc. Something flatten firm to draw without a table, a camera to be able to take a nice photo of a sketch on the spot but just to mention it here because I'm using it right now. Here is what I need for the digital sketch in my iPad, a stylus, and a portable charger. That's it. Time and space. Sometimes I carry in my pocket a tiny sketch book and a brush band for the quick loose sketches. But in case of making a more detailed longer and colored sketch, I also needs to be prepared first. I takeout all my equipment and of course, I need some space for it next to me. The actual table is not necessary. You can always use a floor, but anyway, you need some piece of flat surface to put your open [inaudible] , pencils and so on. Afterwards, you need to collect everything back and keep in mind that you can't close sketchbook with watercolor drawings until it dries. To begin your digital sketch, you just take out your iPad, stylus and open procreate app. The workspace is ready. It may seem that if it is so ghrelin, one-off, should anyone keep hand-drawn sketch books and here we move to the next criterion, atmosphere. Have you ever noticed how sometimes we only take a look at some arches workplace photo on Instagram and then immediately get this E tool will to draw. All these watercolor boxes, tubes, and pencils, brushes and liners, and even tins of paint, all over it inspires a lot. Creative chaos suddenly has its aesthetics. For me, digital drawing process looks faceless and even sterile. You can create an incredible illustration, but then you turn off this green and imagined disappears. Nevertheless, digital format guarantees that you will never spill stain or mess anything. Working conditions. Besides the table in some space scalable drone requires good lighten. It's pretty hard to draw when you can't see your drawing. Sometimes I have to light up my page with a phone's flashlight. But the good thing here is that you will never get a sketchbook discharge. For digital drawing, lightening is not that important. Of course, is not very healthy for your eyes to draw in complete darkness. But I've already had some experience when the light and the cafe was too dim for my friends with sketch books and for me with the iPad, it was totally fine. But as you know, you must pay for everything in this world, batteries loved to be discharged on a sudden. That's why I always carry a portable charger in my bag. Limitations. Now, let's talk about limitations. First of all, I'd like to say that limitation itself is not a bad thing. It can wake your creativity up, make you grow as a professional and sometimes it really saves you time. But also at can frustrate you a lot, especially if you didn't expect any limitation at all. Limitations in color. Though in real watercolor or any other leaf material, we're always limited in colors. According to call theory, we can get any color in the world, makes an honor three basic colors, red, yellow, and blue. In reality, it's not working that easy. Every act of color mixer reduces saturation. That's why we often get muted colors using a limited pellet. In digital drawing, we are going to get any color we want at any moment. It's very convenient, but it's not always good for your drawing. An image made of too many bright colors would hardly look harmonic. That's why I recommend to limit your digital pellet intentionally and use slightly saturated half-tones with bright axons. Limitation in sizes. It's quite obvious that in scheduled drawings, we're limited by size and proportions of a page and also by thicknesses and shapes of our tools. If I have only two liners, 05 and 08, I can't make a 005 line no matter how I try. In digital drawing, we're free to change, crop, and rotate the canvas at any moment. Also we can choose a tool of any thickness and shape. It may seem crazy to a traditional artist, but we can apply all these settings not only to a brush, but also to an eraser. Sounds like a fairy tale it first, but playing with basic things like brushes, formats, and colors can take too much of your time. Limitation in details. In scheduled drawing, we're still limited by size of a page, thickness of your tools, and sharpest [inaudible]. If the tail is too small for your pen, you just leave it alone. On iPad, we can endlessly zoom the tiniest pieces of your artwork in and add more and more details. Sometimes it leads to overloading digitalization, unnecessarily realism and a waste of time. Mistakes and randomness. In traditional drawing, it's very rare when you can fix all your mistakes completely, but sometimes you can turn it into an advantage. For example, to add color to a place which you didn't plan to color but where I draw some paint accidentally. Randomness is a great thing. It can lead you to the new decisions and give you a hint for some ways which you wouldn't advise intentionally. In digital drawing, you're can fix literally everything. At the worst, you can do little layer and start again. But here, we're almost deprive of randomness. If we accidentally drew a line in a wrong place, we just tap with two fingers to undo. It may seem that it's a way to the perfect drawing, but in fact, we lose the magic of randomness. Textures. In classical drawing you get nice, vivid textures easily. They appear just because of paper texture, shape of stroke, specifics of materials, and column mixing. Appropriate app has plenty of great texture brushes and there are hundreds of artist create their own sets and selling on the Internet or giving away for free. I love brushes imitating dry materials like pencils and chalk, but I'm not happy with paintbrush as for me they seem to be too artificial and you need to try hard to replicate an effect which you can create a paper with a single move. But maybe I'm just not skilled enough. Materiality. The last criteria and I'd like to talk about is materiality. Are you happy when you draw on paper or not? Is to can touch and feel it. To see it in different lighten to perceive the texture is an amazing feeling when your next sketchbook is getting to be over. Flipping through the pages, you can feel how much work has been done, how many places you've been to as literally a weight of your experiments. The result of digital drawing is virtual. Sometimes I miss this tactile filling while drawing, diversity of materials, opportunity to try new combinations. But of course you can print your digital drawings out if you'd like to print some stickers or cards and posters, it's much easier to make it with digital image. In conclusion, I would say that each approach has its difficult [inaudible] and powers, and none of them is generally perfect. When I draw on iPad Pro on time, I start missing my sketchbooks. After a long period of classical drawing, I want to move back to digital. I think it's great that we have an opportunity to combine these approaches and to choose a proper one depending on our mood and purpose. 3. Welcome to Procreate: So now let's get acquainted with Procreate Interface. Actually, this app is very easy and intuitive, especially if you have any Photoshop experience. But it's completely fine if you don't. Don't be scared, I will not talk for too long about error function. I'm going to tell you about features I use myself. So, when you open Procreate, you see the gallery. Gallery contains all the pictures you've created with Procreate or imported here. So let's create a new image. For this, we need to tap on the plus here. Here you can see sizes, some standard sizes or sizes I have already used here. But we will create a custom one. Here you can type any width and height of the image. Also here is DPI, the resolution of the image. I highly recommend you not to get lower than 300 DPI because this is a resolution that is good for printing. Don't touch the color as RGB is completely fine. Here, you can type any title you like, but also you can keep it untitled. Please take a look here. Here is the number of maximum possible layers. One of the few disadvantages of this app of Procreate app is that there is a limited number of layers. This number depends on how large your image is. So let's for example create very small image. For example, 500 by 500 pixels. You can see that maximum layers are 128, which is quite a lot. But let's try to create a larger image. For example, 5,000 by 5,000. We can see that maximum layers is only four. For digital sketching, I think four layers is nothing. So we will be somewhere in the middle, like 2,000 by 2,000. You can see that you can create 46 layers here, which is quite enough for any sketch. So let's create. Now, we're inside. Actually, from here, we already can start to draw. But I think it's better to learn something about some main features. So here is gallery and pressing here we can go back to the gallery. Let's talk about these buttons. First button with this tiny arrange hides many useful settings. So here is add, and here you can add files and photos and cut and copy the whole Canvas. For example, if you need to cut the whole image with all the layers from here, and paste them to another image. In Canvas, we can find crop and resize. So with cropping and resizing, we can change the size of our actual Canvas. Also here you can find drawing guide. You can use it if you want some guides. Also, there are some perspective guides and symmetry guides, but we won't to use them now. Also here is a very useful point. This one is Canvas information. Here you can see your maximum layers number, and you can see how many of them you've already used. These, let's you know how many of them left. So this can be quite useful information. Also, there are some physical dimensions of your image. For example, if you create your image and pixel dimensions, and now you want to know how big it is in millimeters, you can find it here. Here is the share button, and share here means export. So you can export your file in any kind of file. The most popular is JPEG is just usual format for any photo or picture. Also here is BSD. BSD is a Photoshop file. So it means that if we export our file from Procreate to BSD, we will be able to open it in Photoshop and edit it with all this layer saved. Here is a video. Procreate is so nice, that it records video for you. So after you finish your drawing, you can see the time-lapse of your process and maybe share it on Instagram or somewhere else. In preferences, we have some preferences like, we can change color of interface, change it to the right hand mode, and we have some gesture controls here. What I highly recommend for you to do is disable touch actions. That means that you will not be able to accidentally draw something with your finger. So you will be able to draw only with your Apple pencil or any other styles. You will use your fingers only for some gestures like to the main zoom-out, rotate, undo, and other things but not drawing. So that's why I switch it on here. In help, there are some usual things which are in ''Help section''. Let's move here. Here is the button with this magic wand. There are some adjustments. For me, it looks like very limited list of photo functions, but actually for draw, it's quite enough. I use only few of them here, like obesity, it changes obesity or how transparent your layer is. Also I use this one, hue, saturation, brightness. It works exactly like it works in Photoshop. You can change the lightness of your object. It's saturation and also the hue. So you can change the color very gently. Also, there are curves which can be quite useful. You can change the contrast and the lightness of your object, completely the same like Photoshop and Lightroom and every other program which has curves in it. So here is selection tool. Selection tool can be freehand. So you draw your selection by your hand. It can be rectangle and it can be ellipse. After you select it, you may make this gesture slide with your three fingers on a screen. Then this menu appears and you can choose what you want to do with this selected part of your image, like cut, copy, and paste and so on. By the way, very useful gesture is just stepping with two fingers. You do that and this means undo. To show this, I will draw something else. Now, I'm tapping with two fingers and just go backwards. I can do the same with his arrows. So here is redo, here is undo. But sometimes it's more convenient to make it just with your fingers. This little arrow here is a Move tool. So you press it and you have this selection around your layer. It can move it, rotate it, change the size of it, and so on. Let's move to the more interesting part of menu. Here is the brush and pressing here, you can see the whole library of your brushes. You have the same library for the Brush tool, for Smudge tool, and for the Eraser tool. So if you create some new brush or download it, you can use it for all of these three tools. In some of the next videos, I will tell you about the brushes I use and a little bit about Brush settings. So now I want to tell on label to these two sliders. So this one changes the size of your brush. For example, when it is here, the brush is small and when it is here, the brushes very big. Here is the transparency slider. So when you go here, the brush is quite transparent. When you go here, the brushes really solid. So here is your Smudge tool. When you open your Smudge tool, you can see that here is the same library as in brushes. Smudge tool is a tool which smudges like a finger. So it can be used for mixing some colors, for example, like that. So it mix in colors which are close to each other. Sometimes, I use this tool for some effects. Here is the Eraser tool and it works like a usual eraser. It deletes some parts of your image. Here are the layers. With this plus button, you may create the new layers as much as you want until you get these limit. This check box means that this layer is visible. So let's, for example, draw something on this layer and then uncheck it, and you will see that it disappeared but it's still here. You open it again and it appears. So to get the layer settings, you can press here and here is also [inaudible] we already seen here. Also you can just touch the layer and you will see some menu here. So here you can clear mask, make a clipping mask, and so on. Also you can slide it left. Here you can see some simple options like lock, duplicate, or delete. Here is the color. There are different color modes in Procreate. You can see color like this. Also you can use pallets. You can use this default pallets or the lotus from somewhere or just create them by yourself. We will talk about it a bit later, when we will color our sketch. So now our little interface store is over, and let's finally move to drawing. Well, here's going to be l plus crypton. 4. Sketching on paper: Now, I'm going to show you my process of drawing on paper. Most of the time I draw by the same algorithm consisting of four steps. Step 1 is the Sketch. I use a pencil and eraser for it. Step 2, is the Outlines. I use for it, water resistant ink liners. Step 3, is color, where I use watercolor, and Step 4, is the Details, and I draw them with the same ink liners. I'm telling you all these now, because in digital sketching and follow exactly the same four steps. I'm going to show you two drawing processes first on paper and then on iPad. This will let us compare both approaches and see specifics and differences of each of them. For drawing, I made up a little still life from some objects I found at home. I wouldn't hand with some fragrant decoration. A tiny glass, a dried flower, a vintage camera, and an inspiring book by nature, I [inaudible] the name incorrectly. The book called Brazen Rebel Ladies who Rock the World. I like drawing from life much more than using foil references. Drawing from life lets you see your objects from any angle you like, choose the best viewpoint, move them to the most harmonic positions and examine all the details. However, sometimes I don't have enough time to finish my drawing on the spot, and then I take photos. A bit later, I will tell you how to choose the proper moment for it and how to make references convenient for subsequent use. First of all, I make a rough little sketch to find the right composition. When I draw in a sketchbook, I usually make these tiny previews on the last page. I draw a frame proportions of which are similar to my future sketch. Find a place for every object determine their sizes. This is a very quick step, but it's important so far as it helps you to study your objects and move further confidently. Now, I transfer my sketch to the watercolor paper sheet. I tried to draw more accurately than before, but still hold myself from showing every detail. I will make it later on the outline step. Now I look not only at the objects, but also at my first sketch. It's very helpful. After my pencil drawing is over, I lighten it with the needed to eraser. Also, it's called gummy eraser. It's very soft and doesn't erase the drawn file completely, but takes a top layer of it away. You still can see the drawing but now it's very light. Your drawing lightens more evenly if you roll your eraser instead of rubbing. Moving to the next step. At first, I draw with 08 liner, draw all the main lines, making it much more accurately and in detail than on the previous stage. Nevertheless, I don't include textures and had to now leaving it for the very end. As I finished with a hand and flower, I take a pencil again and make a more precise sketch for a camera since it has a pretty tricky shape. For camera, I use a thinner liner, 04 because camera is located behind the flower and I want to show some space. [inaudible] non-middle lines to fill them well and harmonically with a flower shape. After I finish all the lines, I draw the frame. I like how the frame sketches look on the paper like a completed composition. The outlines are ready. Now, I clean my paper with a soft eraser again, and then remove the last pencil strokes with a regular eraser and now and not before, now is the right moment to take photos. Since I have already drawn all the main details, I know what exactly and from what angle I need to shoot. I shoot the holes to live but what's much more important the individual items. I take the close-ups of a hand and a flower, I mean, in the shots if I'd like to restore the textures in the future. Now if I would have to leave my objects immediately, I have everything needed to finish my picture later and this time, luckily, I have an opportunity to continue drawing from life. Moving to the color step. Here's what I need for this stage. A set of my different water-colors, some tubes with extra paints, the brushes, my favorite ceramic palette, a glass of water, and a paper towel to wipe my brushes and correct some mistakes. I start with coloring every object, one layer at a time to avoid accidental color mixing. If I need some smooth gradients, like from the light bar to the hand to the dark one, I don't wait for a paint to dry and draw on wet. To make my colors better fit together, I try to take more of already used colors from the palette and less of clean paints from the box. Even if it doesn't precisely correspond to the real colors of public from life, it makes a drawing, look better and more harmonious. I use black paint very rarely, it's for dark objects and [inaudible] and slightly saturated colors. I like to use violet and indigo for it. Back to the pencil for a moment, to sketch an image on the book cover. I'm not trying to make an exact copy but still want to make it natural in terms of perspective. I consistently add colors, let each of them dry, to prevent the paints from flowing and mixing. To make the pink spots more saturated, I decide to add these liquid watercolor to them. This paint is incredibly concentrated and bright, too saturated to be used as it is but it can be very nice to edit here and there to create the accents. Honestly, this combination of chocolates and pink turned out to be much more bright than I expected. If it was a digital picture, I would recolor this piece, but in drawing on paper there is no undo button, so I keep the drawing. I paint the glass with colors I've already used to show that it's transparent, but I add a lot of water here to let colors flow and mix to create a bit of blurry effect. Keeping some space white to show highlights and reflected light and little pink spots are reflections of the book. After I covered all my drawing with paint evenly, I make some details. Reflected colors on the camera, wooden texture of the hand, shades on the flower and the glass. I can add details almost endlessly, but I try to keep in mind that I will also add some details, but with liners in the end. After the paper dries, I add more shading and shadows. That's it with color. Let's move the detail step, the final one. For details, besides my usual liners, I use these pencil sign bands. This is a super tool, something between a liner and a brush band. The tip is preaking elastic and it makes pretty dynamic line. However, it's not water-resistant enough and may accidentally smudge, so it's better to use it after water color. For eventual highlights, I'm going to use this white forber costal pencil and this white acrylic marker for Molotov. The pencil is good for a soft lightning and the the marker's precedence and able to cover your image completely with white. [inaudible] in my lines here and there to separate parts of my drawing then I add some hatching with liner to show the textures and to make the surfaces more physical and volume. I draw small dots and strokes to make a whole picture more graphic and visually interesting. I added some white bands on the book cover to modulate a bit and drew couple of highlights with marker to glossy surfaces of my glass and camera. In the very end, I think of to frame with the sign pen to make it more readable. My drawing on paper is ready. This picture I've been making with three main tools, a pencil, liners, and watercolor. In the next video, I'll show you which appropriate brushes I used to imitate these tools and how to set them up. 5. My Procreate brushes: As I've said before, my traditional drawing and has four steps. Sketch, with the graphite pencil, outlines with liners, color with watercolor and details with liners again. Now I'm going to show you which procreate brushes are used for each of the steps in digital drawing. All of them a native procreate brushes, but some of them are modified a bit. For a sketch step, I like to use something like soft pencil. At this moment, my choice is the chalk brush. You can find it in calligraphy section of the brushes library. I use it as it is with its native settings. Lines and Details steps are a bit more tricky ones. Both lines and details, I use the technical pen. You can find it here in the Inking section, and here's how it works. I like how sensitive and crisp it is. But for me, this tips of the strokes are too sharp and thin. They contrast to much with the body of the line. Also the size of this line look too small for me, not like a real line on paper, and it makes it look artificial and evident with digital. For my sketches, I modified it a bit. To modify a brush, first of all, you should duplicate it with sliding left and press on duplicate. Now we have a copy of a brush, and even if we rename it, we always can distinguish a native brush and a duplicate of one, by a small icon here in the right corner. Now we go inside of the brush settings. There are a lot of options to play with, but we need only a couple of them now. Down here you can find seven buttons and we go to the fifth one. The pencil. Here is what we are looking for the Apple Pencil Pressure. As you can see, the side slider is switched to it's maximum. Actually, it means that the difference between the tip and the body of a brush is 100 percent. We move it and you can see how the shape of the stroke changes. If we move it below zero, the tip becomes thicker than the body. You can try how it works here. I prefer much additional stroke where the tip is thinner than the body, but not that drastically as it is with Native settings. I move the slider to like 25 percent and I'm pretty happy with this line. Now let's go to the stroke button, and here I'd like to change a Jitter. When I move it, you can see that the edges of more align become more often textured until they fall apart completely. What I need is around 20 percent and this makes my line look more natural. Like a line of an ink pen on paper. Sometimes I also use streamline settings. When the slider is non-zero, you line is as cruet and color as you draw it. With streamlines switched off your're in charge and the line obese. But some times when you need really smooth and steady line, your hand can feel not confident enough and it is the right time to switch the streamline on. It justifies your line, aligns it. To show how it works. I'm going to draw some lines with the same movement of my hand as if it shook accidentally, like for example, when drawing in a plane. The first line is with zero streamline. The second line is with around 50 percent streamline and the last one is with the maximum streamline. I guess you can feel the difference. But now let's switch out this stream line and move to the next step. For color, I usually use the studio pen from Inking section, but also a bit modified. I guess, is designed for calligraphy, not for coloring. That's why it has this wonderful dynamic stroke. But since I use it for color fills, I don't need this sharp tip. What I really need is a bigger size of my brush. But you can see that here the slider is on it's 100 percent and the brush is still not that big. I duplicate my brush go to it's settings, adjust again tip size and pencil section to around 50 percent. Now it seems fine to me. Then to increase the size of a brush itself, I go to general and the size limits are exactly what I need here. Let's put this maximum slider to its maximum and you can see how much thicker my stroke is now. But since the brush source is a Raster image, too much increasing can lead to quality loss. That's why we got this blurry edges. I reduce this slider a bit to maybe 50 percent, originally it was 20 here and now it looks sharp enough. Finally, I turn off the streamlines so far as for coloring and I don't need it at all. Speaking of coloring, I also work with that opacity slider for some color mixing. For the lines step, the slider is always going to stop, but now it may vary. To show how it works, I will put two colors here. By the way, in procreate, you can use color picker in two ways. First one is a little button here. You press here, and then the color picker appears, you can move it to the color you'd like to pick up and that's it. Even the faster way is to use your finger. You can touch the screen and hold it for a second. Then the picking wheel appears again and lets you pick the desired color. I use the color picker all the time while drawing. Back to their opacity and color mixing. Let's say we need a gradient between these two colors. Not a perfect smooth gradient, but still a nice one. What you need is to pick one of the colors reduce opacity to like 30 percent and paint in the middle overlapping and the second color. Then you pick this mixed color from the middle up and now paint with it, overlapping both original colors. Then it's all about picking and painting with opacity level. To apply to this color mix and area more artistic look, I use a smudge tool. For a smudge tool, I usually use a Stucco brush. I like how it's texture works. I don't smudge all the gradient just make a few strokes here and there. With smudge tool, it's very easy to overdo, so I try to use it carefully. Another brush I use in addition to my modifies studio pen, is water brush. You can find it in calligraphy settings. To show it to you, I will paint these two colors again with studio pen and then switch to the water pen. I prefer to use it in a large size and with low opacity. I do this picking and painting again, but you can see how differently the mixing area looks now and sometimes, it does a proper effect. This brush not only paints but also smudges a bit and is very sensitive to the pressure. Finishing the brush topic up, a couple of words about the eraser. For the sketch step, I use the medium hard Airbrush settings from the Airbrushing section. It's very sensitive to the pressure and gives me the feel of a very soft eraser. For all the other steps, I use Monoline settings from calligraphy section. I like it's constant width. It's very predictable and helps me to erase exactly what I want. The brush library is pretty large and some of the tools I use are allocated in different sections. To make my brushes kit header I can create my own section for of them. I press the plus on the top of the section list, give it some name like digital sketching. Then I go to my brushes, duplicate them not to lose them from their original location, and then move a copy to my digital sketching section. Here, I can rearrange my brushes as I like. Now we have all the five brushes together and this is much easier to reach them here then when we scroll through the whole library every time. Okay, it's enough with brushes. Now I'm going to set the colors for my drawing. 6. Color palette: In Procreate color is represented in four types, a Color Wheel, or as they call it here, a disk, classic view, completely like in Photoshop. Values, where you can enter an exact number of red, green, and blue or any particular color-code here. The fourth tab here is pallets, where you can choose one of the default pallets or create your own and that's what we're going to do now. Unlike traditional drawing, in Procreate, we have an unlimited number of possible colors. It may sound great, but picking colors from the entire spectrum takes a lot of time for me if I make it while drawing. That's why I prefer to limit myself intentionally and create a palette for the upcoming drawing. The palette for me is not too rigid thing. Of course, I change the colors if I need to, but it's kind of a basis which lets me not to get lost in the spectrum and saves the drawing from being too gowdy. Since I've already drawn this composition on paper and my type color decision, it's a bit easier for me to pick the colors now. Anyway, even if I haven't, this process would look quite the same. If you're new to digital drawing and it's hard for you to pick the colors, try to make a quick color study with water color or any other material you've used to and then switch to digital. It may help. But please, don't pick your colors directly from the photo. Colors in life, and especially on photos and where they can be distorted, are not necessarily beautiful and harmonious. Try to create a beautiful picture, not to make an exact copy. This is how I start. I pick colors of the main parts of my future drawing and check how they look next to each other. These beige and brown colors are for the hand, it's highlights and shadows. This slightly saturated Violet is for plastic parts of my camera and other dark elements and these grayish blue is for its metal parts. Orange and greenish beige are for the flower. The slight turquoise, pink, and green will be for the book. The same green but lighter I can use for the background and now, I've covered more or less every color and let's create a palette. Here in Palettes Tab, I pressed this little plus and then you enter pellet appears and I can name it somehow. Now, I just pick my colors up and put them to the palette. It truly feels a bit like I put my real traditional paints like water color or a blush to my actual palette. As you can see, this new palette was set like default because you can see this blue button here and that means that it's already here and is ready for work. As I said before, I don't have to use only these several colors, this is just a basis designed to ease a coloring process. If I need any other colors, for example, violet like this, but a bit lighter and a bit more reddish I pick it and move lightness slider to the right and find appropriate tone on the hue scale. If I need, I can also easily add it to my palette. This is a much more controlled process than selecting colors from the entire spectrum. It helps you to create your art more consciously. My brushes are ready and my colors are ready too and in the next video, I will finally show you the process of digital drawing. 7. Sketching on iPad: My watercolor draw when was made on the 15 by 20 centimeters paper. So to repeat the process, I create a file of the same size. The first step is the sketch and I make it with my toothbrush. I start with a frame and give a name to a layer. Then create a new layer for the rest of my sketch and also name it. Usually, I don't always name error layer, but now I want to make this process more clear to you and actually haven't renamed layers is pretty handy. With the names, is quite unlikely to draw something accidentally on the wrong layer. In procreate, you can not only draw and erase, but also transform pieces of your drawing. For this, you just select and transform with a move tool, this little arrow on the top-left. Since I've already drawn this picture on paper, it's much easier to create a composition now, but I still need some corrections. I create a new layer, four cameras catch, and so far as it's on the background, I moved this layer under a layer with a flower and a hand. It's better to draw the overlapping or link objects on different layers to be able to edit them individually. After my rough sketches are ready, I merge all develop schedulers down and lighten with hue saturation brightness panel from the adjustments menu. In southern, similar to lightening my pencil sketch with a gum eraser. You can get the same effect by reducing the layers obesity. Now, I specify my sketch, make it more accurate and precise in terms of shapes and proportions. I prepare it to the next step because I like to draw the outlines confidently without looking for the right line. Now, when I have my sketch finished, I lower the opacity of this layer to around 30 percent and creating your layer for my next step, the outlines. On a paper, I've been drawing the main lines with 08 ink liner. Here for the same process, I used the technical bandwidth size around 30 percent. But of course, the size of your brush depends on the size of your image. The huge difference here is that you are [inaudible] contraries the ink liner every line you draw stays on a paper forever. In appropriate, you can erase so many times as you like, and it works with any brush. However, the rest of the process is quite the same. Exactly as I did on a sketch step, I create a new layer for my camera and draw it with a thinner brush, about 20 percent. At the end of the stage, I draw the frame and now I may unite all the outlines layers to one. We successfully passed the past previous steps, but the third one is going to be tricky. Well, now we're turning to the color step and this process doesn't look like drawing on paper as much as possible. If you don't yet have any experience in digital drawing, this stage may seem a bit difficult for you, but I'll do my best to explain it to you as clearly as I can. I make sure that my outlines layer is locked to save it from accidental draw it there. Creating new layer, call it color, and move it onto the outlines. The outlays layer always have to be on the top. Sometimes layers can occasionally group will move in, will talk about groups a bit later, and now I only need to drag this layered down. For the coloring, I take my studio pen, choose the color from my previously created pellet and begin painting with the hand. I cover all the objects evenly with maximum obesity, just with one color. Actually, at this stage, you can use any color, not necessarily a final one. You can paint with strokes as well as with fail. For a field, you need to draw a closed outline without any gaps, just like in a children's coloring book, and then literally take the collar and drag it to an empty space. If you create a neat outline with no gaps in it, the color doesn't flow out. I don't really enjoy this stage is pretty boring mechanical work to paint with a fled color, but it has to be done to ease the subsequent process. To color this declaration, I create a new layer for it. Thereby, I can edit my hand and declarations separately from each other. I take the color from my palate tonally, just tuning them with layers. Since the flower and the hand don't overlap, I paint the on the same layer. In case of need, I will be able to cut one of the objects out, paste it on a new layer, and work with it alone. Actually, running the head. I can say that I'm going to do it at the very end. Creating a new layer for my camera, given a name to the declaration layer and renaming the collar layered to hand and flowers. So far as it seems to be true. For the camera, I used two colors now, dark violet for its plastic bars and bluish-gray for the metal ones. Under all these layers, I create a layer for a book and painted entirely with chocolates. Here's a nice example of what happens if you don't close your outline and make a color fill. Apparently, I have a gap somewhere behind my camera or the hand, and that's why the whole picture is flooded with color. I close the outline and then it worked probably. I take paint candies, yellowish green to edit to the cover, create a layer for my background with a question mark and paint it. Then create a layer for my gloss and paint it with colors have already used here, but lighter. At this moment it doesn't feel a gloss at all, but it is just a preparation for the next step. Now, the extremely important colorant point is common, which hugely differs from the traditional drawing. I purposely show you the recording from a camera, not from a screen to let you see my stylus moving. I'm going to utilize every object adding textures, highlights and shadings and other tones. Let's begin with a hand. I can add a shadow on the same layer where I have my hand. In this case, I have to be incredibly accurate, otherwise color leads through the outline. In fact, I can fix it with an eraser and clean it, but it really slows the whole process down. Let's go back. Procreate has a wonderful feature called Alpha log. Pressing here we see that the icon of this layer got covered with squares, that means that this layer has Alpha log on. Now, if I paint very sloppy, my stroke still remain within the edges of this layer. This is a perfectly convenient option since it helps to draw faster and more precisely. To turn Alpha log off, press here again. Also we can turn it on just moving the layer with two fingers to the right. You see i did it and a squares appeared. I make it again, and the squares disappear. That means that Alpha log is off. You can make almost the same on a separate layer. Let's say I draw some untidy shading here, then we go to the layers menu and choose clipping mask care. As you can see, everything that I drew here was cut off along the borders of the lower layer. You can recognize a layer with this clipping mask by these tiny arrow here. At the moment, I can turn the clipping mask off and get my layer as it is. When the clip and mask is on, I can draw here without fear of going beyond the layer. The clipping mask is more functional than Alpha log because we always can turn it off, delete, or color and edit. But in fact, it's not very frequent necessity. As you remember, in procreate, we have a limited number of layers. So I mostly use Alpha log instead of clipping mask its quite enough for these pictures. If you want to add something to your layer, like this little stand under the hand, you need to turn Alpha log off, paint your piece on the unlocked layer, and then switches on again. Well, let's move back to the painting. I've been drawing everything here with maximum opacity till this moment. But now I set my brush more transparent to create subtle color transitions. I paint the dark side of a hand with brownish violet. Then pick this original beige and due to the low obesity, I gets up and between it and the darker color. Little by little make this transition more smooth. Now, I have quite a lot of beige and brown tones. So mostly user color picker, not my palette. I use the color menu only to get a completely different color like this dark blue. By penchant shading, I make a hand more and more volume in details. I pick a saturated yellow to emphasize sunlit pieces. Blue and purple shadows and yellow and orange highlights are common for a sun day and make an object more voluminous. I had this yellow to the fingertips, since their face in delight. Gradually edit transparent light and dark tones here and there, I bring more live to this hand. There's a beautiful wooden texture on this hand. So to express it better, I create a new layer for it and turn the clipping mask on. I draw a wood button with colors I've already used here. Then take this much tool and rub some parts of a texture to integrated with the rest of an object naturally. At the same time, I lighten the shades a bit to draw a texture under the thumb. Then draw a texture on the low part of a hand, making a dark and shadows, keep on working with brush and smash tool. Move to the fingers, draw texture there, highlights and shadows, and return to this thing standards dark color. I add transparent light blue reflection to the shaded side and merge a textural layer and the hand layer together. Now, I rather leave my hand alone. Moving to the decoration, the subject is much more simple, so I switch Alpha log on and paint with different tones of green and red. Add some details to the rope to make it more real. If I didn't have an Alpha log on here, you would be really hard to paint accurately this tiny detail. I paint shading and smartest surface of this thing a bit to show that some of these battles are inside, by the surface itself is smooth. Now, is time for the flower. I add some shades and volume to his head and different tones to the leaves. I begin orange from a flower and transparently added to the leafs, paint some stains here, and show that leafs are dry and textured. Add bright, dark, and light strokes to the flower to emphasize its fluffiness. Draw a bit more texture and move into the camera. At first, I draw some lines on the outlines layer since they're important for the shape and I missed them before, and then the shading begins. I paint this [inaudible] with a lighter color as far as the [inaudible] more light. Painting the shades, I tried to show that the light goes from the left. Add some yellow strokes to the parts which are the closest to the light. Bring some contrast to lights and shades and add some volume to the lens. With various gray strokes a show that these metal, despite its matte surface total reflect colors, and these pink and blue strokes are reflection from the book cover. Switch into the glass now. Glass can be pretty frustrating, and there are four main things you need to remember about it. It's transparent, distorting, reflecting, and smooth. To make it transparent, I used the colors from its surroundings, but lighter. To make it distorting I change the shape of glass stains instead of a gloss to more flow in ones. To make it reflecting, I add some bright colors like this, pink from the book cover and orange from the flower, and also add some white highlights. To make it smooth I use a water brush, which can buff paint and smudge. That's it with the glass, let's finalize the book cover. It doesn't need any real volumes and shading since it's flat, but I want this colors to look more artistic, not like there were just cut out and glued here, so I smudge them a bit, and also add lighter and darker tones to save an image from being dull homogeneous color fill. I make something quite similar to my past process with a bright liquid watercolor. I add some saturated colors and then smudge them. It seems that's, it's something wrong with this picture, the objects look more or less realistic, but they don't drop any shadow, so it's time to fix it. Since all the objects are ascended on a book, the shadows also must be located on it. I create a new layer above a book layer, name it shadows, and changes blending mode from normal to multiply. Then see the N letter is replaced with M now. Multiply mode means that colors on this layer will be mixed with the colors of the underline layer. I lowered the opacity here to make my future shadows look not too dark, because lightly saturated violet and draw the shadows. The light goes from the left, so the shadows shift to the right. I paint them with studio pen and then smudge a bit. Closer to the object, the shadow is always clearer and then it radiantly dissolves. It may be hard to believe, but now the colors step is finally over and we have only the details left. I create a new layer on the top for them, name it and take my technical pen again. Other thing I made with inclined layers on paper in procreate I made with this technical pen, and this stage is completely similar to draw in the details on paper, I think in some of the lines to create excess and bring the volume. Then I draw hatching and textures, even if there were some color ratios, now this black strokes catch all the attention. Perhaps this is my favorite part of a drawing, maybe because I love graphics, and now the whole image little by little gives the completed look. However, it's important not to over do with details, not to get too black pieces.. Drawing on paper to create this little wavelet trend on the camera, I had to give the space white and paint around it very accurately. Here I can just write it with white color. I add these tiny digits under lens for a traditional drawing, digital would be too small. Draw some drop shadows, textures on the book and on the background, and in general, my drawing is ready. In my usual process, I would merge of the color layers down, but now I keep them, so you'll be able to download this file and examined all the details. Now I want to show you how to change some colors, lighten or contrast, if you don't feel happy with them at the very end, you can edit the layers individually as well as the whole image. For example, I am not really happy with my camera now. It seems too dark and blends in with the flower, so I make sure that the camera layer is active, then go to adjustments and choose the curves here. By moving the upper part of the line up, I lighten the lights of my camera. I feel quite satisfied with this effect. Let's now try to lighten the hand of the flower layer a bit too. Now I realize that it's only hand went to lighten a little and keep the flower as it is, so I select the hand, press a "Move" tool and make this three fingers to get to this menu. Here, I choose cut-and-paste, and now visually the hand stays at the same place, but in layers, we can see that it jumped to in your individual layer. I renamed the layers to not get lost, and repeat this manipulation with curves. I make it lighter, and then still here in curves, I switched to the red channel, also drag the line up, and now my hand got a little reddish tint. I liked this warm tone, and now I'm finally happy with the whole picture. Nevertheless, I would like to show you how you can edit all your picture at once if you want to experiment with colors and contrasts. For this, I'm going to create a group, the group is a folder where we can put our layers. I grouped all my color layers together, I press combined down here at the top layer, then the group appears, and I just moved there the rest of my layers. Since I want one with the color to be edited, I leave the outer layer outside of the loop, so we get all the colored layers grouped together, now, I duplicate this group with all its contents, and we got to exactly identical groups with the same set of layers. I unchecked the first group to hide it, we will just keep it in reserve, and then I flatten the second group to merge all its layers together. It was named as background automatically. I go to the adjustments again, open curves, and now I can play with the whole image as I want. With curves, you can bring some contrast by dragging the upper part of the line up and the low part with down, these make slides lighter, and the dark's darker. Also, we can completely change the colors with hue saturation, brightness, or color balance and so on. This is how it looked, and this is a new version. In this way, you can infinitely edit your picture and make as many version as you like. But as I've told before, I'm pretty happy with my previous result, so I keep it like this. It turned out to be quite close to my watercolor drawings, so it would be easy to compare with them. The very last thing I'd like to do, is to add a few highlights, it similar to what I've made with white pencil and marker on my watercolor picture. For these, I take studio pen and add some excess to the hand for glass, the flower, and the camera, and in the end draws some transparent white strokes to a book cover to show that it's a bit glossy. Now that's it for sure, let's export the image for these I go to share, choose JPEG, and save it to my iPad. This image, it is full resolution and also the procreate and Photoshop files you can find in the application to the class, open them on your computer or iPad and examined in details. 8. Let’s compare!: Let's take a quick look at both drawings, traditional and digital. Both of these drawings took more or less equal time for me. Of course, when we place them next to each other, we see some color and compositional differences. But anyway, I think they are quite comparable. Of course, you may like one of them more than another, but mostly it's a matter of personal taste and purpose. In my opinion, these watercolor drawings turned out to be more interesting and variable in terms of color. Honestly, that happened mostly because of the factor of randomness, I told about it in the very beginning. Some paints had been occasionally mixing on a pellet and the new colors just appeared without my impact. In the digital drawing, you need to make a conscious choice for every color and every movement. At the same time, in case of the digital version, I'm definitely happier about the details. Since you can zoom your image in as much as you need, you're able to create the tiniest details. You can find these images in their higher resolution in the applications to this class and compare them by yourself. I would be happy to know your opinion about it. 9. Class project and final thoughts: Here comes a class project. Please create two versions or one sketch, just like I did. First, traditional and digital one. The complexity of the subject, doesn't really matter here, it may be even better to start with something simple to be not too frustrated by this process. However, I insist that it's always better to use a real object for drawing not putting a references instead, then please upload both images here as a class project, and also add a few sentences about your process. What part of it did you enjoy more? What difficulties do you face? What advantages and issues each of this version has in your particular case? I can't wait to see your drawings and to read about your experience. Please remember that you don't have to be a professional artists or to draw perfectly to make this project. We are all alone in here and in the line to draw the process is much more important than a present result. Please feel free to contact me here or in social networks if you have any questions or comments, and I'll do my best to help you. Thanks a lot for watching my class. I hope you've learned something new or maybe systematized some knowledge you've already had. Looking forward to digital sketches. Bye.