Digital illustration: Whimsical art in Procreate | Imran Mughal | Skillshare

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Digital illustration: Whimsical art in Procreate

teacher avatar Imran Mughal, Graphic Designer & Illustrator

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

8 Lessons (1h 8m)
    • 1. Introduction

      2:22
    • 2. Planning your artwork

      2:02
    • 3. Stage 1: Thumbnails & construction

      13:15
    • 4. Stage 2: Detailed sketch

      25:17
    • 5. Stage 3: Painting

      7:10
    • 6. Stage 4: Finishing

      10:15
    • 7. Exporting your artwork

      4:38
    • 8. Class project

      2:54
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About This Class

Do you like to express yourself without limitations? Then this is the class for you – express yourself through the digital world of art using my simple 4 step process and unleash your whimsical mind!

This class is about learning how to create old-school cross hatching illustrations using the Procreate app on the iPad Pro and applying simple easy steps to create a complete illustrated piece of artwork.

You will learn how to:

  • plan a complete illustration and then illustrate using my 4 stage process
  • use the Procreate app with tips & tricks throughout the class
  • use the pencil & ink brushes to create old school cross-hatching & stippling textures
  • use gestures and techniques on the iPad pro within the Procreate app
  • create shadows and highlights using various tools and blend modes
  • export the final artwork for print

In the class project you will use your new skills and techniques in your own whimsical illustration!

Geared towards anyone who wishes to learn to sketch / draw /paint digitally with no prior knowledge or experience – especially those who wish to express their whimsical imaginations!

Meet Your Teacher

Teacher Profile Image

Imran Mughal

Graphic Designer & Illustrator

Teacher

I'm Imran - graphic designer & illustrator based in the UK. I have over 10 years experience in the field of graphic design and illustration in both traditional and digital output and absolutely love all things to do with art!

In addition to my full-time graphic designer role, I am also the art wellbeing lead for my organisation where I deliver wellbeing classes and advocate mindful colouring to relax and de-stress - check out my published colouring books for adults: https://www.amazon.co.uk/-/e/B084RXHLFN

In addition to my design & illustration life, I am an active father of 3, oh and I'm naturally addicted to coffee! My illustration classes are all about getting back to basics mainly with traditional mediums and escaping away to relax with art!

I love to ... See full profile

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Transcripts

1. Introduction: Hi there. Welcome to my class on skill share. My name's Imran. Um, a graphic designer illustrates an artist with over 10 years experience within the field of graphic design and illustration. I've decided to put up this class on skill share to kind of share my process of how I work , especially in digital arts. I still work in traditional are on a lot of my designs, but the move and kind of trend towards digital, that's kind of really, really grabbed hold of me. And I feel that I've reached a stage now where I can design purely on digital from beginning to end. So I just like to share my process with you and share some tips and tricks, especially when using devices like an iPod Pro um, apple pencil using a procreate, which is a advanced artist. AP art and design up on I think it's one of the greatest art apps that you can get, especially if you look into the kind of moved from the traditional type of art to more digital. I think the kind of transition is brilliant. CSO. I'm really good for this. In the in this class, you'll learn about the how to use procreate, how to deal with the iPad pro and gestures and come up with really neat tricks toe high, kind of help your journey into the kind of, you know, transitioning into the world of digital. My style of illustration is like really old school illustration, So I like I like to bring in the cross hatching and the stick playing tell and with the iPad pro and procreate can go in with a lot of detail, right? Zoom in right down to the very, very little small dots and staples and lines that create. So I'm really excited to share this with you on show you how I do this process and I hope you'll learn something from it on there'll be a project at the MP to follow. And within the class, I'll be designing something from scratch from beginning in all the different stages on. But I go through. So I have a four stage process. It really, really kind of multiple. Eight you and help you. Hopefully you start your own project and work in this amazing media. So thanks so much for watching. And I hope to see you on the next one. Take care of yourself on peace 2. Planning your artwork: way. Welcome to the planning your artwork stage off my class. So this is just kind of like an overview off having a bit of a plan. A bit of a structure for you to kind of start your artwork off from actor Just give you a bit of direction. Eso I've divided this into three and the 1st 1 is what your intended output. So you're either going to be designing your artwork for print or for digital out ports. So if you do decide to do it for prints, then the set up of your document needs to be at a certain resolution so that you don't have picks. Elation. When you go out and print your document on this needs to be set at a d p. I of 300. If you decide to go on digital, then you need to set your document to 72 d. P. I, um it's really important that you do get the settled right at the beginning it so that you don't have toe alter the resolution later on. The second part of planning that I would suggest that you think about is the style of your artwork. So whether you're going to be doing a cross hatching sketchy style, which is kind of one of my favorite types of styles, or whether you're gonna do broad painting or whether you're going to do a Vector two D flat artwork on. Once you've decided that kind of real or you can even do a mixture of them, you don't have to do one or the other. It can be a mixture on. Once you've decided that, then you can come up to the main elements off that are going to be inside your artwork, that going to make up your artwork. And this will just help to kind of give you direction and give you, like, a bit of, ah, checklist to kind of structure and plan your work on rather than just have a blank canvas. And then ultimately, this will really help. You kind of develop your piece of work and which you'll see in the next videos so hopefully we'll be moving on, said the next stage, which is gonna be the exciting stage. The thumb nailing and construction of your are so thank you for watching and I'll see you on the next one. Take care and peace 3. Stage 1: Thumbnails & construction: Welcome to the fourth stage illustration. Process. This is stage one thumbnails and construction. But before we start, I'm just going to do a quick review off my plan for this illustration. And class eso As per the previous video, the out port that I'm gonna be doing in this decided to do is print princes my regular output that I tend to do in my graphic design work on my illustration work. I'm putting together a latest illustration novel which I'm gonna be using this classic illustration in where you can check out the details and progress off on my instagram on YouTube channel sketching fine arts that do check that out on the style will obviously be the cross hatching style off my whimsical kind of mind A lot off detail, cross hatching and paints coming through on the underneath layers on the elements that I'm going to do in this particular piece is gonna be my classical mushroom house with some more whimsical side components such as sweet sticks and rocks and the background I'll develop as the illustration develops. S o. This is just a quick little checklist moving onto a quick overview off the entire four stage process that I'm talking about. So again, this is Stage one, the thumbnail and construction stage. This is a state where I'll be drawing a range of thumbnails to come up with composition on constructing theatric artwork itself on. Once we've selected what we like of the thumbnail composition, we're gonna move on to Stage two, which is the detailed sketching state where we're going, really, really drill down into the detail and really flesh out the overall illustration on. Then, once that is done, we're going on another new layer underneath. We're gonna be doing the painting using various painting brushes that come with pro creates on. Then the final stage is just developing the background off the illustration and adding in some effects such as shadows and highlights and some special type of blend modes. Eso without further ado, let's get started with stage one. Okay, let's start with the construction stage off our thumbnails. So I've got my iPad pro here. This is the 12.9 inch iPad Pro. It's the 2017 edition, the latest one as a date. But there is rumors that they're gonna be releasing more, but I'll get into that in some other class, Andi will be using obviously my apple pencil. I used one of these rubber stoppers at the end. Just the better grip on Dhere is the procreate app which have just opened up. And it'll present you with the gallery of all your artwork. So when assumed that you've used procreate before, if you're gonna follow this on procreate or do the class project and procreate So I'm not gonna describe every single interface function. But what I will do is I'll highlight what each function does as I use them. So I've decided to go ahead with Prince in my planets. So I'm gonna open up a new canvas, which is its bottom. Hear clicking on the plus sign that will give me a dialogue. All the presets off the canvas is now. We can go in and create a custom canvas on that sometimes do do that, depending on the output of my print. Mother, I'm designing a small book or a big book and bought for today and for this particular class and going to stick to a four size over here. So I'm just gonna click on that on that will bring up the standard a four size converse. So what I'm gonna do is I'm gonna switch this into the landscape size on. Here's a quick tip if you've got the canvas opened or black this and you've kind of moving around playing around with a canvas. And if you wanted to snap up into the kind of shape off the iPad off your screen and all you got to do is with two fingers, just do a quick little pinch gesture on you've got your full screen again and wherever you are, if you're working on something on, you know you want to get back on screen and you know you don't want to waste time home to do this. Will you make a mark like this? Then that's a really good way of just getting back to the full screen. So, um, over here on the left. Inside, we've got the standard Dale's that we have for the opacity on the bottom and for the brush size on top on this is the most favorite Britain for all digital artists, which is the great on do Bolton here. Just clicking and undo all the steps that you do which is the greatest advantage of one of the greatest advantages off digital. So let's get started with the thumbnails. I'm going to just use a standard six B pencil from the sketching brushes. I tend to use a lot of the preset brushes because I think they find for the kind of work that I do. If I'm going to be creating a brochure specific brush for a certain piece, then I would kind of just concentrate on that. But again, that will come in the later class, where I do some more advanced work off, procreate and and it's tools. So I'm just gonna open up the bouches, go back to the full screen. I'm just gonna make my brush about that big on the capacity. I'll just bring it down to this level on. We've got the black selected from the color wheel, and this is kind of the the interface of the colors that I prefer the disk Well, we do have the classical care where you can just move around and selective color and change the darkness and lightness of it. We also got the values where you can drilling on get specific RGB values hex codes on. Then we have some pallets. And again, I don't I don't really bother with the pallets. I kind of create the coolest as I go along. So just gonna go back to the disc, bring it's a black on. Let's start constructing some thumbnails. So again, I decided to do print Andi, I'm gonna still decide about whether it's gonna be landscape or portrait. This is kind of the stage where you will be deciding this as a Z. You construct your thumbnail. So generally I would suggest do three thumbnails, maybe three or up to five understood a range of shapes and sizes. So I'm just going to do, like a portrait one over here on maybe a landscape one and thes don't have to have any detail in her. And you can see I'm doing really rough with lines coming out from the side. You don't really don't need to worry about that on. And then I have a square. So I've got a poor trip. I've got a landscape and a square on maybe some more portrait wands and maybe another square now So I've got five here, so I'm gonna do is the elements I outlined in the previous video. What should I say in the previous section of this video was the main focal point off my illustration is gonna be the mushroom s. So what I'm gonna do is I'm gonna be placing the mushroom house in various locations on these thumbnails to come up with a bit of composition on. There were a couple of other elements, like the sweet sticks and the rocks in the foreground. So I'm going to start that over here. Okay? Okay. Okay. So I've come up with five different variations. Very similar, but the positioning, it's slightly different on their in different orientation. And I think from thinking about it, because this is gonna be going in. My book on my book is Portrait. I've decided to go ahead on go with this one over here. So this is the portrait size a four in a kind of central focal position with some of the elements on the edges on some foreground design. The background will will probably just come to kind of get developed at the end, depending on how much detail I flesh out from this kind of overall composition. So the next stage will be that kind of isolate this a thumbnail here on start building in some detail that you can do this in a couple of ways. You can either add another layer, copy the layer and delete everything off, and then expand it. Or you can just carry on with the layer that you're currently on on. Just use the arrays, a tool on go ahead and just about what you don't want. And I think that's what I'm gonna do, because it's just a lot quicker, isn't it? There's less steps involved, and it just makes it quite easier now. What I'm going to do here is I'm just gonna get rid of some of these lines of just in dense and lines of putting on gonna just remove the outer border that did just to kind of make it easier to adjust. So bringing the cameras smaller again, I'm going to use these tools over here on the left. Which other selections? ALS. So if you click on this arrow here, what this will do is this will make a selection off the artwork that you've just put onto the canvas. Now you'll see that there the selection is quite big. That's because I raised off a lot of the work that I did, but it's still there. It's still some data on the canvas, so it'll pick all that up. Um, and you can see this little Dale that comes up over here, which are all the different options that you can do. But I'll go through that when I use it. So to avoid that, what we can do is we can use the free hand selections. Also with this. All you have to do is you just got to draw around your selection on make sure that ends on the point that he started on. And then once you've done that, you click on the direct selection tour and you can see the selection is just around the selection that you made, which makes it a lot easier. So with this with your fingers, all you've got to do, all you can do is you can move this across on. This will move proportionately in the correct aspect ratio, so it won't skew if you go bigger or smaller. So what I'm gonna do in a place is in the middle off the page on because the page itself is currently in landscape. I'm gonna switch it over to portrait. So in order to do that at first after turn my image Teoh to fit the size of the canvas. And then all we need to do is on check them buttons on. There we have it. We just got the Congress itself, which you can move into the position off. Besides that, you're after. So again, if you snap, it will fit on the top and bottom ends because we've changed the dimension on This is a nice working space that I've got to kind of work on, where I don't have to kind of cover up the artwork of what? Some space on both sides. So the next stage is gonna bay making this actual image itself quite opaque so that it makes up the and overall structure of my art. And again am I end up changing some of the elements and designs as I go along. And you can do this too, when you do your project at the end of the class. So I just selected it again, just increased the size. So I get an idea of roughly where I want it on the page. I want a little bit of a gap on the top two, maybe at some text. Or even if I use this in an inside cover of my book, then I want to have some space on the top where can add in some typography at a later stage , So just a little bit of space on the top. And I think that's about enough. So here we have it. So what I'm going to do now is this is all on one layer. The background is still white, which is fine. The next layer that I'm gonna create is gonna be the details sketch way or so in order to get ready for that, I'm just gonna prep this up before we do start on the next stage, which is going to be staged to off the illustration process, which is gonna be the detailed pencil work. All I'm going to do to finish this office, click on the special effects Adjustment Layer icon and that will bring up all the adjustment effects that we have on the one that I want to concentrate on. Here is the opacity and all we need to do with the capacity is we've got little promise hazing slides or just a from right to left. We just need toe hold on on the apple pencil on, just slide it and you can see that it's becoming more and more lighter all the way to capacity of zero, which will be nothing. So what I want is I want just a slight under sketch that is visible now for me that that's fine on the camera. I don't how that looks, but I'm sure you should be able to see something. So I'm happy with the A pass ity. It looks like a like a nice onion skin under layer onion skin. Being a technical term for animation on what we need to do is come out of the adjustment, but and now we're ready for stage two. So I hope you enjoyed that. And I hope you're all gay dope for the detailed work. So hopefully seeing one the next one take care on peace 4. Stage 2: Detailed sketch: everyone. Welcome back, Teoh. The second stage off the class, which is the detailed sketching. So previously we did just a thumbnail and selected with thumbnail we wanted to go ahead with on we reduce the opacity down and we've kind of left it at that stage Now is the stage We were going to be adding a lot detail. So before we start this stage, just a quick little tip. If you click on the gallery on, go back to your kind of home gallery where all your artwork is on You can see over here on the left Inside We've got our current piece that we've been working on now. Sometimes you might want to kind of trial something out before you kind of commit to doing some actual permanent lines on my advice on that is that the best way you can do that is copied the layer. So all you need to do is swipe across, click on duplicate, and what that will do is that will create a duplicate canvas, and now we have two of these canvases that have the exact same data on it. On the advantage of that is that we can actually have a bit of a practice with the 1st 1 or whichever one you want to select. Andi. That way, if we do kind of start, you know, building up some details and then later on you. Do you think that No. Do you know what? I don't like that. And you don't want to keep going on the undo button, or you might end up being inspired by something else. And you might want to add add in something else on. You know, you've gone in too much on your detail on, you know, you don't want to start all over again. Then you can literally just switch to your other candidates that you've duplicated and start again. But again, that's a process. If that's the style that you like to work And I prefer doing that, I always like to have, like, a blueprint off the first stage saved away, just in case. I kind of, you know, just changed my mind on you know what work I'm going to do. So what we're gonna do now is we're just going to start off on the second stage on. I'll just have a look at the layers yet we've still got one layer where the artwork is on background. Color is white. That's that's all good. I just need to add another layer now to do the detailed work so the active layer is highlighted in blue. You want to go back onto the other way, you just need to click on it to highlight. It s so let's just how likely it to on Click on the icon again delays icon and we're ready to go. So we're working on later to which is on top off the a thumbnail layer that we have. So before we actually start doing some details, I'm going to just quickly go through some of the techniques that I'm going to use in this cross hatching style on when a predominantly be using a six B pencil on die may switch to an ink ink brush, which is usually for me, the technical pen, because the strokes are quite nice and thin again, you can change the adjustments as you like, using the dials on the left. But initially I'm going to be starting off with a six b pencil for this detailed stage on at the later stage where we go to stage three on four where we do painting and finishing. I'll be using some of these brushes here, but we'll come out so that when we actually go to those stages. So I'm just going to select six b pencil on. Come out there on with my Dale here. I'm just going to keep it to the midpoint on opacity, just reducing capacity slightly s so that we can, you know, have some different tonal values before we start while there is, I'll just quickly show you the type of cross hatching that I'm gonna be doing. So firstly, actually, while do is I'll just put this on newly at one minute. Here's another. Here's another tip toe Haider Layer or you've got to do is and you click on the late on this little check box at the end of the Currently that you've got on. So currently we're on there to go back onto the Firstly. If you want to hide that layer, you have a complete blank canvas. You've just got to one check that on basically layers hidden, but it's not deleted. So that's another tip in procreate, which is really useful. So I'm gonna click on this layer now, the second layer just to demonstrate some a cross hatching airlines that I'm gonna be using . So I'll just make this a little bit bigger. It's easy to see. So one of the one of the type of cross hatching lines I tend to do is just a standard cross hatching where you just use straight lines going in one direction with a similar pressure. Now, if you can see that the quite random they're not, they're not 100% straight. And that's the type of texture that, unlike and then once I've started, the one direction is done, Then I'll move across and go at an angle, um, again, using the same type of pressure to create this kind of like, you know, crossing effects of this hatching effect, Andi. Then once that is done, depending on the light source that I'm trying to achieve on, for example, over here, I'm going to do a light source coming in from here. So this area here is gonna be lighter and I want this area to be darker. What I'll do is then the next set of lines that I'm going to do it on the opposite. Derek, directional angle is gonna start off over here. So we've got darker lines here, then with the apple pencil, slightly less pressure coming in and bringing it in over here. So if we just make this a little bit bigger so that you can see clearly, you can see we have nice little cross hatching going on over here. A kind of a bit of a Grady informing again. It all depends on your own style of drawing. You don't have to do this if you don't want, you can, you know you can scribble or you can do stick playing. I actually really like doing this. I think having this is a very therapeutic way of, ah, of working if you're into that type of stuff. But it just kind of like build so much texture that looks quite natural, as you would do with the normal pencil on paper. Andi, I think it's just great that the pro on the upper pencil can, you know, mimic such a such a gesture. So if we go back, you can see that you've got slight Grady and with the light coming in from here, on day. We've got darkness over here. And then on top of this, what I tend to do is use the side of the apple pencil. Hold it like this on. I tend to just do some shading over the cross hatching, and then vice versa. Go over it again. Um, on that kind of really, really creates a nice texture surface to work on on. You can really, you know, building a lot of detail, doing it this way. Andi, I guess I guess this isn't. This isn't the only way of doing cross hatching. There is. There are other ways of doing it digitally on. I'll show you that over here. So another way would be just literally to scribble. So if you do this backward and forward motion, really like going really, really dark. I do this as well, depending on the actual drawing itself and then kind of going back in that same motion to cover up the lines in a slight different angle. So you can see we have a nice texture going on there. And then again, we don't have to continue to do it like that. We can go in and start using the standard one directional lines to add in some more texture , Andi. Then hopefully that will build up a lot of detail. So I thought I'd just quickly demonstrate this before I go ahead and start. So what we can do is click on this, get rid of that, lay enough. And here's another tip. If you want to clear the layer, completely clear all the contents off it. All you've got to do is swipe across and you get three options. You get lock and lock the layer duplicate that particularly layer in the layers panel. We can just delete that later. So if we just click on delete, it's all gone and we can start again. Now what I'm going to do is just click on the layer underneath to activate it. So we've got a thumbnail on just gonna add in that layer on top that's activated on a pencil he selected. So I think we're ready to start. Okay, Okay. And here's another quickly old tip. So, for example, over here, I've got this little circle that I've done really, really rough with the apple pencil, eh? So I want to just need some that up on a good way to do this is without having to rub the whole thing out is quick on the razor tool on and you should work with any brush border. I tend to use the round brush, which is the kind of default one that selected or the last one that you've used. Just click on that and reduce the opacity of the brush on. What that will do is when you kind of go over it like like you can see here. It won't get rid of the entire circle. So you're still left with, like, a slight under mark that you can use other guide and then all you can you need to do then is just go in on you can work a more, you know, study a line we can draw more study aligned to get, you know, a more Nieto Look, and once that's dawned, once you've got a nice neat line in your circle down, then you with your raise a tool, you just click on it again on just increase the capacity to 100% and make the brush size a little bit smaller. You can just go in on dally or raise the kind of rough sketch marks that you had on the on the circle that you did before on. That's a nice way off coming up with the shape. It's just unfortunate that in the in procreate you don't really have a shape builder. That would be really, really good book to maintain the more authentic look at tend not to use shape builders anyway. But I guess that help as a guide where you could, like, build a shape in Andi just like drawer around it, I think they might have already released something similar like that in the update. This isn't the updated version that I'm you haven't updated. My software tend to avoid updating just because it's sometimes in slow you down with updates and, you know, unless it be in trouble shooted properly. But I think in the next class, what I'll do is I'll update the software and see what latest features they have. Um, so yes, that was quite nice to see you got a nice, neat line and you can further clean l A Z. Like on you can move onto your next element. Okay. Okay. So what done now is have cleaned up some of the lines on the on the actual structure of the mushroom house left the foreground, rocks and stones. I've got the front for now will work on them later. What I wanted to show you is a quick little trick. We're using the selection tool. So what I want to do is I want to produce, like, a border, a similar Baldrick border going around this window section here. So a quick way of doing that instead of having to physically door it is to literally select using the direct selection tool. Um, and just literally draw around the actual object that you want to kind of copy because that's what we're going to be doing. And once we've done that, then we have these options here. So if you if I bring your attention to these options down here, we have a free hand, which is what I'm currently on, which which basically means it's a freehand drawing that you're gonna be selecting, not the automatic, and then we have two selection. Remove from selection, invert selection, duplicate contents and clear section. So what I'm interested in is duplicating this circle so that have another copy on that can expand it around the current circle. So it produces like a nice border. So that's what I'll do. I'll could duplicate. Now you'll see that the options have gone on. You might be thinking, you know, Where's it gone? Whatever Don't wise everything just gone blank again? Well, what it's done is it's created a layer off what we've just clicked on and duplicated, and it would have put this as another layer over here. So if you can see it's done, that writer, which has been selected to its got from selection now if we because that is highlighted, we can literally click on this tool here again like we used before in the earlier videos. The narrow section tool on this will highlight that particular layer that we've just created. So if I switch Teoh manual gestures like this and I just move my fingers up and expand it, you can see I've got a nice little border going around that circle, and you can move this around with your apple pencil to make it fit however you like, and that just makes it so much easier, doesn't it? So it's a great little tip and tool that you haven't procreate that you can use to create duplicates off any element in your artwork. Okay, so now I've outlined my work with some some kind of decent lines, and I've got a nice, clean, clean ish shape over there. What I want to do now is is another tip. I want to keep my layers to a minimum. I don't like working on many layers because it sometimes can get a bit too complex. And it kind of goes too much towards the digital aside. And you kind of lose the track off. Your traditional were working method again. That's a personal preference. You might like to have a lot of layers. I personally don't. So I'm gonna do is I'm going to combine these two layers. Now, I've got my detailed sketch layer thumbnail layer on and this new layer that I had to create the border for the window. And you must notice now that I've actually labeled my layers on, that's really easy today. Well, you've got to do is you just need to click on it, top it, and you have rename, and you just click on that and you can name it whatever you like, So I called it thumbnail. Once you've typed in what you want to call it, click on it again and you don't on. I did the same for the details sketch layer before I did this next part. So all I want to do is merge early to laze together on. In order to do that, we will just need to give it a little pinch, and it should work. And there you go. So both of the ways emerge together. The selection tool got highlighted because accidentally clicked on it. So, um, we have two layers that we can work on, and it just keeps things nice and simple, so it's all part of the same layer. Okay. - Okay . So now, often the outline cleaned it up a little bit on the thing. Now we're ready to do some cross hatching on the main house, so let's get ready for the cross hatching. - Okay , so I've just done some just basic cross hatching, going in backwards and forwards directions. You think standard lines standard kind of like thin to thick on the main kind of areas of the house. What I wanted to bring your attention to now is that when you when you working on cross hatching, you can kind of like, zoom out, Andi, have a good look at the kind of overall composition. So what I'm looking at here is the light is coming in from the right inside. This is where I've decided where the light is gonna be coming in from, um so I'm trying to keep the rights inside as light as possible so I can kind of work in a lot of details, going from left to right. On that way, If you work your details into the dark areas first, then it's a lot easier to lighten up. However, using digital it's easy to light on off anyway, because we can use the arrays. It'll as we used before just to reduce the A pass it Ito lighting up some of the dark areas . Eso I'm kind of going slowly, slowly build up on this on this kind of top part of the mushroom roof on. Then after that's done, then I'll be working on the details on the door. And just like that, slowly, slowly, start flushing this out. Um, on. Hopefully we'll have a nice, complete crosshatched peace at the end of this. Okay, so now we've come, Teoh kind of like most of detail work being done. Um, have added, like a kind of water. The kind of foreground another layer over here s I just added that another layer, um, purely because I didn't want it to kind of interfere in the cross hatching off the of these rocks and stones on And then, while ultimately do is once I'm happy with the composition and the detail work, I'll just a merge them together like it did before, so that the entire thing is on one sketch on on one layer. So now that I'm fairly happy with the kind of cross hatching he can see the detail on it is quite quite a lot. I think now it's time Teoh really work on the on the background on the background. I'm going to keep the background quite light because our image here, with illustration areas quite quite heavy and contrast IQ eso Let's move on to the background on for the background. I'm just gonna be using mainly six b pencil. Andi, I'll also be using some of these other past all bushes that we have here. So we have a soft pastel brush and oil pastoral, an artist crayon on a bona Bonn chalk cats at what we like to call it. But also I'll also be using is the There's a really good brush in the words, and now it's in the charcoal brushes, so we have some compressed charcoal. There's concern really bring out some texture in the background, but I'm gonna keep it as light as it can. And I want to go too deep with the background yet. And then once the background is done, and then I'm just gonna add in some small details off my sweet sticks in kind of the mid ground and maybe some in the foreground, and we'll see how that looks. So let's make a start on that. Okay, so now what I've done is I've added some texture onto the background. Using another layer sets up another layer called background and just like added in some of the texture name might be thinking What's going on here? It looks really, really messy. What? This next stage is another top tip where I what I'm going to be doing is the actual background. I'm going to be clicking on the special effective Bolton here. So you've got this special effects bottom here. You've got these adjustments like we had a look at before the capacity in one of the previous videos. But what I'm going to be doing here is I'm going to kind of, like, blur out the background so that you don't get all this candy in a heavy texture and blotches on lines. You get more of a smooth, radiant type texture. So I'm gonna click on Goche in Blue Onda Geun where once the you click on it you've got these options here at the bottom You can see that the camera cso you've got the undue council reset and redo button on It's the same thing. So we've just got the slides were just so as we did with the capacity just gonna hold the apple pencil down here and slide it across on across this way stories from right to left. And you can see that with the golden blurred you get a nice, smooth radiant the higher you put the actual blur. So we're on about round about 76% here on what I want to bring it down to is only gonna wanna bring it really down to where you can see a slight texture. So I don't want to completely blurry. But I just wanna slights extra So we get a slight texture about this level gets light texture here. And then once we've done that, I can just click on the button again and it's applied into the background. Then on top of that, I want to light in it out a little bit. So I'm going to use the capacity slider on this one is from right to left. So we just scroll across and we go down really, really, really. Lights on the a pass iti and you can see that brought it down really, really light. And it looks like this just to kind like a cloudy, fuzzy, stale background on this artworks and was gonna bring it down to round about 50 around about 53%. And I'm happy with that. So just gonna click out of it, Andi and that's about it Now for the details sketching stage. We've got kind of the main elements, their thing, the actual sticks at the end. The I was going to put the sweet sticks on at this stage. But I'm gonna leave it for the next because the session getting quite long. So I'm gonna leave this for the final stage where I'm doing the touch ops on the final shadows and highlights. I'm gonna be adding some of my stick sweet sticks in the foreground a few in the background in mid ground as well. So hopefully I shall see you on the next one. Eso take care of yourself on peace. 5. Stage 3: Painting: Okay, Welcome back to the class. Eso We're on the third stage of our illustration process, which is the painting stage. So this stage, basically what we're gonna do is with alter, creates a new layer on. We're gonna call the Slayer painting. So painting Andi, basically, all it is is we're gonna paint underneath the artwork that we've created on with that. What it'll give us is it'll give us like a watercolor inking effect on this is typically what I do in my traditional art. When I do sketching, whimsical, you know, illustrations, a tent, a sketch first with ink and then go in with watercolor on top. And then once that's dried, I'll go in again to do like highlighting with think. So that's kind of really the process that I'm doing with this entire illustration here. So we've created the layer. So what we need to do is just to make things a bit more simpler, just need to kind of like group these layers together, just merging them together. So the background, when you leave the background as it is in the foreground, cross hatching and detailed sketch, I'm gonna literally just merge these together because they their complete now, and I don't really want to mess about with them anymore. So if you just click on painting, um, come out of the layers of the painting layer is active on the brushes that I tend to use for my coloring are not necessarily the painting brushes I sometimes use. The actual sketching brushes themselves. So maybe a soft pastoral or you have these artistic brushes here, which are really, really good on that tend to use these more than the other. So with the artistic Bush's, we have this Gent Stinky Inc. Which I use a lot great texture on. It really works nice with the levels of a pass ity. Oil pain, acrylic paint, wet acrylic, turpentine wash fresco on watercolor outs of these in this illustration. Today I'm gonna be using the gents. Inky Inc on may be a combination of the oil paints on the acquittal acrylic paint, so I'll just do a quick little demonstration off these pains before we get started. So I'll just create another layer over here, and I'll hide these layers that we've got on the screen s so that we can just have a look at the actual paint brushes themselves. Let's look at the gents. Inky paintbrush. It's got very nice texture to it. Don't go into the details off there. So how you can modify, then that might come at a later stage in my class on the procreate guide that will hopefully be posting over the next couple of months. Eso Let's go straight into the brush. It's choose maybe a nice deep Hugh off blue on. I'll show you how this brush works. I'll just make the page a bit bigger on. We've got a nice good sized brush with a kind of 70% 78% opacity. So with this brush, you can see over here, texture is just brilliant on this. Now, I'm kind of pressing really, really light on this on getting a really nice kind of area. Fill on it. You can see you've got nice grain. A very nice grain on this On this brush, if you go in a little bit harder, you've got you know, it's very much like a chalky, cryonic type effect, really. But it works really, really well on. You can really, really build on this. I mean, again, I'm using very like strokes here, but building the color on top. It works really, really nice. I mean, if we add in a little bit of a darker turn off the blue, we could really create some deep depth into the pain. And this is a technique that I'm gonna be using to color in my illustration. So this is the gents inky brush that we have on. Then we have to look at the oil pain. So with the oil paint brush, just, um, I believe that on show you quickly with the old paint brush so you can see it does mimic oil very well. But obviously in riel oil paints, we need to do them traditionally, the paint's not, You know, I'm gonna have, you know, never ending pain. You're always gonna have, like, issues with the kind of the strokes that you do on the you know how you actually use the pain. But from a digital perspective, it does work really nice, and it gives a really nice effect. Eso I may use this. I'll see how the actual paint girls, but one that I probably will uses the acrylic brush eso just next to the oil pain. Let's just do you have a quick demonstration of the acrylic and you can see with the acrylic brush. It's just a lot more smoother. There is texture on it as we just make the brush a little bit bigger. You've got nice texture, but you can really come out with nice trucks can see you see, right at the end over here of the stroke. You've got that kind of like a lot of like, stippling rippling effects on. That works really nice when you're trying to build in some color. So So this is kind of the the method that I'm going to use in this section off the illustration. So hopefully you'll learn something from it or pick up some new techniques. Eso Without further ado, let's get started. So we just bring up these layers again and we can get rid of that way. Onda, we could make a start on this, okay? - And no. Okay, we've come to an end on the third stage off the illustration process so basically have just painted in the kind of structures that are designed, added in my head, a little sweet sticks at the end just using the six feet pencil. Um on. I just added a nice little tone on the on the background itself. So we're kind of wrapping the four stage process up now and we've only got one more stage to go, which is the background and finishing, which will we will be moving on to in the next video. So stay tuned and I'll see you on the next one. Take care on peace. 6. Stage 4: Finishing: Welcome back to my final stage off my four stage illustration process. This is the background on finishing stage in this stage. What I'm gonna be doing is concentrating on bringing in some shadows on the background and the overall illustration on adding in kind of darks and lights. Using various brushes from the brushes Poet um while quickly do is I quickly go through some of the brushes that I'm going to use. So while get rid of all the layers I've currently got as I did before Andi, just add a new layer just to show you some of the brushes that I'm going to be using. So the first brush I'm going to use is the oil pastoral on. This is a really nice brush. It's got great texture to it to kind of really add to the background. So if I would just shall show you it like a dark color over here with full size brush, the lower capacity. If you have a look at this, it's really, really nice and, you know, it's like effectively is like a paper texture on. That's why I want to try. Achieving it gives you a really nice grain on you can root out this on to the background and use a light, a kind of tone to get some, you know, nice big deaths and some interest going on instead of just having a plain background. So this is one of Bush's that I'll be using the next Bush that are probably use is gonna be the damp brush, which is in the painting set your this bullshit called the damp Brush. And again very, very Scotty, This on the greens really, really nice to get a lot of variation on it. So I'll just show you what this is like and you can see with the damp brush. It's like, you know, it's like slightly slightly wet on, gives you a kind of more smoother surface. If you if you hold down a lot more, you getting more of like an oil paint type of effect on. This is nice to just kind of add in over some of the areas on the background or the foreground on. Once I've done this, while be doing is on each of these I'll be having a look at the layer effects. So over here, when you click on this end, Um, symbol over here. It brings out the layer effects that you can associate with that particular layer. Um, so we kind of have 12345 options to kind of go into. And within those options, we get four sub options that you can use to add your effect on what I'm going to be concentrating on for this particular illustration is the contrast effect. So I'm going to be using a combination off soft light Onda overlay. Obviously, with this, you can't when you click on it over here, there's nothing underneath. So it's just gonna get rid of the actual image itself, the actual painting. But when we come to do doing this, So, for example, if I just quickly show you here if I get it, But put it back to normal and I bring in, say, we bring in the painting layer, we just bring in all the layers eso we've got this layer on top on. We've just added in this damp brush, and we've also added in Let's say, for example, we had in some something else, and you've got some nice texture going on here, and this is another brush that I'll be using. It's called the Nicole Roll Roll Brush, which gives them great texture. Um, now, if we click on the effects bottoms, you can reduce the opacity off this on if you just go straight to contrast. If you can't overlay, you can see it's made a difference straight away. It's kind of added to the effect on the on the layer. So that's overlay hard light, which is different soft light, which is different. So I'll be using a combination of these to get the desired outcome that I'm after. And then once that is done, then I'll move on Teoh do eating some of the areas that had the overly shadow one, which I've just produced on. And then once I've done that stage, the final stages just add in the highlights on touch Up the overall illustration, and hopefully that's going to be the end of the actual illustration process. So let's get on with this, okay? - And okay, so now I've just added in some texture on the background layer, using the nickel role brush Andi and some airbrushing, I combined them into one, but well, you've probably noticed that I've kind of gone over the mushroom area on my illustration with them brushes. So it's kind of dark and up some areas, and that's actually what I wanted. But I don't want that to be on all of it. So the way to get rid of that is, well, you can get rid of it in two ways. You can either move your background layer underneath the painting and you can see the paintings highlighted again, as it was in its original form before we added the background. But that's not the kind of fact that I want in my illustration. I want to maintain some of that dark, so I'm just gonna move it right back up on. What I'll do is I'm going to quick make sure that the background this, um, highlighted the layer and I'm going to use the arrays. It'll so with the Rays, it'll I'm gonna select on the round brush on. I'm just going to make sure that that Ron Brush has a lowered capacity, and then what I can do is I can selectively it raise the areas off the off the mushroom where were covered it or protectively with the with the dark with a background on that way have more control in showing exactly where I want the highlighted area to be. So while it, while slowly keep doing, is increasing the capacity Andi that will reveal more of the lights. I mean, you can go straight in with the capacity be for me. I don't want it to be too sharp. I want I want it to be subtle. So which is why I use a lowered capacity. As you can see, that a lot of the dark that came on from background is kind of slowly, slowly coming off like this. And that way I can maintain it on this area here on kind of really, really like to know the areas that I want to light up on prep up for the actual highlights , which is gonna be the next step. So again, just carrying on with this on a little bit on the stones here, um, on once we've done this, then it's gonna be literally the last step of this stage, which is to be adding in the highlight marks. So they're going to be doing using the pencil and the Inca tour, So I just quickly show you which tools they're going to be. There will be the the technical pen from the ink ink on the most likely the six p pencil. From the sketching on, I'll be using a white collar Onda a lower capacity on the lighter areas of the highlights and high capacity on kind of the more brighter areas. And once we've done that, we should pretty much be done with this illustration. So let's get on with this one. - Okay , so we've come Teoh the end off the four stage process. I hope you enjoy this journey. I'm quite happy with the way the illustration has turned out. It's very dark on Can a crosshatch e just my style of artwork and I will be featuring this in my upcoming illustrated novel. So do you check that out and see the progress of that on my social media? The next stage now is just to kind of explain how to export this document on Do use it for print or whatever purpose you want to use it end on. Then I'll be talking about the class project where you can follow this stage process. This four stage process you don't have to follow it. Exactly how have donate. You can start off by, for example, painting your illustration and then doing the cross hatching, then doing the highlights. It's entirely up to you how you do it, but the way I've done it, it's quite systematic. Way on. It kind of makes that makes a kind of process a lot easier for me anyway, it doors, I mean, sometimes I also start off with just the painting and then do the cross hatching. Then do the highlighting, and I kind of mix it like that. So it's entirely up to you how you want to approach it. But do give the class project ago. Andi have a look at what the class project is all about in the class project video on Thank you so much for your time. So hopefully I'll see you on the next one where I'll be explaining how to export this artwork for prints. Thanks so much for your time. Take care and peace 7. Exporting your artwork: Okay. Welcome back. This is the video where I'll be going through the different exporting options off your illustrated artwork within the procreate package. We have quite a lot of different options to export the artwork that we've produced on toe access that we've just gotta go to the top left hand corner, right next to the gallery button. We've got this a small icon size of it was like a little wrench. Um, sets kind of settings icon on def. You just click on that. You get a few more icons with actions to do. Currently, it's on image. We have canvas share, video preferences and help. So I just want to bring your attention to the share icon on with the share icon. You've gotta set off expo options. The 1st 1 is appropriate, so it will export it as appropriate. File. 2nd 1 is Photoshopped document. So if you want to kind of export this into for a shop, if you're a for shop user, it will export all the layers that your artwork is made up off so you'll be able to go and tweak in each detail at little layer level on. Then we have the PDS, J, Peg, PNG and Tiff files. So for my purposes, I'm going to be putting this illustration into one of my published books, so I'll be exporting as a Photoshopped document as a as a graphic designer, I do a lot off photo editing and a lot of layout work, So I'm quite well versed with the whole adobe sweets and forward shop and illustrator. Um, so if you're not and you want to just export this, say, for example, you just want to export this and print it or just export it and use it as an image file that you can put on your social media or that you can put on your Project Class project, which suggests you do that, I would recommend you would either use a J peg or a PNG Um, J Peg. You get a bit more loss off quality, whereas with a PNG you can to retain the quality. However, the PNG file size is usually a little bit larger, but I would advise going for PNG if you can. So, in this example, I'm going to just quickly show you what happens when you click on PNG, so P and G m as being created on. Now you've got the options off where you want to export it to or how you want to actually exported. So that this three tiers over here, you've got the first here, which is the airdrop if you're using an apple, Um, I'm AC and iPod while you're huge in my dad anyway, an apple a device eso from, for example, a MacBook Pro or an iMac or any other Apple device. You can share it within the airdrop, so you'll already be familiar with this. It goes through your WiFi on. This is how I tend to transfer. It's the quickest way to transfer. If you're using all apple devices on, all you do is just click on it and it will transfer it straight away. Alternative. Where you have some more options, you can email it Teoh. An email address added to your nose. Send it to your Dropbox account, added straight into your thought of sharing folder on your iPad. You can save it as a PNG. PdF to iBooks, and there are a couple more options. I have not really ever looked at them. Option. It's just whatever you have in your my powder selected on then the 3rd 0 options that you have are the You can save the image to your iPod assigns with contact. Copy that image. Print the image direct. If your iPad is connected to a wireless printer, save its of files or save 80 iTunes and more options, you've got a couple more options there. Like I said, I've never bothered with them for me. I always use the airdrop. Options are just going to click on that. So sending instantly done sent job Don wants that stone already. But today was click on the X over here on. You should now have a copy in in your directory wherever you sent it to. So I'll have that copy now as a PNG um, that's ready to use online. So that was just a quick little demonstration of how to export your artwork. So we should have exported at 300 dp I because of the set up of the actual page. So it should hold the dimensions off your original artwork. So where Thanks so much for your time and hopefully actual see you on the next one. Uh, which will be about the amazing class project that you're gonna do. So Stay tuned, take care on peace 8. Class project: Okay, Welcome to the exciting class project stage off this class. So the assignment is to illustrate a complete whimsical seen as I did in the class off my whimsical mushroom house. So while there was quickly go through the steps that I recommend you take like I did in the process off my four stage illustration process. So the first stage is to write your plan on this involves thinking about the output, the style and elements. If you refer to the planning your artwork video, this will give you a bit more insight. Once you've done that, you can go on to the next step, which will be to set up your canvas size at the correct resolution and size. Depending on the output that you've outlined in your plant. The third step to this will now be to draw your elements in at least three different thumbnail orientations. So coming up with different compositions and ideas in up to I would say up up to at least five between three and five would work really well on Once you've decided on the dominant thumbnail that you want to go ahead with, then the next steps that four will be to start to sketch you chosen from now on, go into it with a lot of detail on a new layer using whichever two or do you want on Ben Once that is complete and you satisfied with the awful sketch of detail moving on to the next step, which is Step five, you will be painting in another layer, which will sit underneath the lay of that you did previously. So once you're painting is done and you added in a nice bit of color on values and background shades, the final step would be to do the finishing on what, by finishing what I'm talking about areas, adding in the shadows on the highlights of the overall composition off your scene on doing some touch of work off areas that require a little bit more detail on Once that is all done , then your amazing illustration is complete on the final stage, which is probably the most important stages to export. Your illustration. Aziz PNG file Onda ensure that you upload it to your class project gallery so that we can all have a look at your amazing piece of work. On that way, waken all kind of really learn from each other. So thank you so much for watching this class on. I look forward to your class project. I'm very excited. I hope you are to take care of yourself on peace.