Drawing Hedgehogs in Procreate 5! | Jennifer Nichols | Skillshare

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Drawing Hedgehogs in Procreate 5!

teacher avatar Jennifer Nichols, Leila & Po Studio

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

22 Lessons (2h 59m)
    • 1. Quick Intro

      0:52
    • 2. Downloading Class Resources

      2:00
    • 3. Reference Photos

      6:54
    • 4. Sketching: Side View

      9:41
    • 5. Sketching: Rolled-Up

      7:07
    • 6. Sketching: Asleep

      6:30
    • 7. Looking at Sketch Styles

      4:09
    • 8. Illustration Types

      3:12
    • 9. Color, Free Use Images, and, gasp, Tracing!

      8:11
    • 10. Basic Illustration Part 1

      11:10
    • 11. Basic Illustration Part 2

      10:30
    • 12. Stylized Illustration-Pt 1

      14:09
    • 13. Stylized Illustration -Pt 2

      7:49
    • 14. Realistic Hedge: Sketch

      12:25
    • 15. Realistic Hedge: Color and Claws

      15:26
    • 16. Realistic Hedge: Nose and Eyes

      8:48
    • 17. Realistic Hedge: Ears

      3:37
    • 18. Realistic Hedge: Spines

      6:12
    • 19. Realistic Hedge: Fur! Fur! And more Fur!

      16:22
    • 20. Realistic Hedge: Highlights and Background

      10:18
    • 21. Realistic Hedge: Finish!

      11:49
    • 22. The Forgotten Silhouette Hedgie: a quick screen recording

      2:04
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About This Class

Learn how draw sketches, stylized illustrations, and a realistic hedgehog using reference photos. I provide all the brushes you’ll need, as well as a color palette. I’ll also show you how I choose colors to create my palettes. It’s a really fun class and I can’t wait to see what you draw! I am a teacher but I am not an art teacher. I will casually talk you through my process so you can learn as you go! 

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Meet Your Teacher

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Jennifer Nichols

Leila & Po Studio

Teacher


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

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

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

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Transcripts

1. Quick Intro: Hi. My name's Jennifer Nichols and I got a lot of requests for teaching how to draw hedgehogs. So I decided to make this class. We're gonna learn how to do sketches and how to use photos for references will learn about some fun, stylized art. This one looks a little bit more realistic. Here's a more stylized looking guy, and we will also do this more realistic version. I'll show you my photo gallery. I'll show you how to find a great photo references. Free use photos like this guy, where you can even trace him because he's a free use photo and, um can join us, we'll have lots of fun. 2. Downloading Class Resources: I get a lot of questions about how to download. Resource is, um I havent posted. The resource is for the hedgehog class yet, but here are the Valentine class Resource is and you just go to project and resource is And most, I think most browsers I use safari. You can just happen hold. And that gives you this download option top download. And then right here it shows at the download, and you can tap it once you tap that, it will go right in to procreate. Once it's in procreate, where you will see the, um, the brush categories are at the top of the list and where you will see the pallets. If you go to this palette list, you'll see them at the very bottom of the list. Um, when you have procreate files that air downloaded, they will download into the very first spot of your gallery, and I'm actually not sure where J pegs will download. I'm hoping maybe into your photo gallery. Are your camera roll to get to the resource is not only do you go to the class in the project and resource is section, you also have to be using a browser in this landscape mode. If it's in portrait mode, I've heard that you can't see the resource is. And if you are in the app, I have also heard that you can't see the resources. I don't know why, but for now, if you are having a problem, finding the resource is just make sure you're in landscape mode in a browser on your iPad and go into that section and you can post discussions here if you are struggling with figuring that part out. But, yeah, does tap and hold and download. 3. Reference Photos: Hello. I drew this hedgehog a couple of months ago and I got numerous people telling me you need to do a skill Sure class on this guy. And it took me a while to really think about how I was going to teach something like this. And I decided also, I would not only teach this but teach a few different ways to illustrate hedgehogs. They are so fun to illustrate, which is probably one of the reasons why you see so many different hedgehog illustrations out there. And I'm excited. Teoh, Um, start talking to you about them and see what you guys can dio. The first thing that we want to do when we're doing some research is to look at photos and just really study the shape and the face, the feet. I just Google searched images. Um, with the word hedgehog. I went through quite a few of them looking for some front views inside views, some rolled up. When's, um there's I read that there's 15 different types of hedgehogs and they've been around for something like 58 million years, so they're pretty impressive. Um, So I collected a bunch of my favorites I have some that show a nose really close up. It's very different from, say, a dog knows they they have kind of, ah knows that's made for rooting around, which is actually how they got their name. According to one website, I read, um, they they got their name because they, like, snort around and sound like pigs. Um, when they're kind of scooting their nose around looking for worms and bugs in the hedges, so hedgehogs as they sound like pigs. And that's probably why they don't have a lot of for right around the snout. Here, um, animals that kind of get their nose into things a lot usually don't end up with a lot of for their If you think about like a turkey vulture, they don't have feathers on their head cause their head as always, digging into something. And but the this the nostrils even are very different. A docks nostrils would be down here, and these guys air up here and you can see their eyes stick way out, and their ears, eyes and nose make a nice triangle. Most of them, or I don't know about most of them. Most of the pictures that I see have four toes. I've heard that there are some with five toes most of the pictures show for and some of them I can see a little tiny, almost like a thumb like this one right here. This little tiny guy like a duclaw on a dog. So I saved some pictures that show the back feet and the front feet are really like human hands. The back feet, our big and long like actually like a human. There's, like a hell here. This one's super cute. This is a type that has floppy ears. I don't see a lot of pictures of this type will be drawing one like this. So just go through pick Sam. Here's the one I drew. I mean, this is the photo. My reference photo. Here's one with an open mouth. I think they kind of look like a bat in a lot of ways. This one reminds me of a possum. And then, of course, they also look like perky pines. Some of them are quite large. I've heard that the hedgehogs that look like this live in Germany and they have a lot of fleas. I guess so. kind of like squirrels here in Washington. Here's another shot of those nostrils in the big, bulging eyeballs that years air kind of hidden. So, really, you just need to study the shape. You have a big kind of a ball of dough, Slatter on the bottom, a nice little forehead and then a pointy nose. And then you can almost make a straight line between the nose, eyes and ears. Some of them have a darker face. Here. You can see a nice triangle with the nose, eyes and ears that'll come in handy later. Here's one with a darker face. Most of them do have this. Look where right around that here, a cross between the ears kind of in front of the ears. And then down is the for There's no for where the spines are. Those spines. You'll often see illustrations where there's for and spines, and we will actually make some that kind of look like that, too. But really, this is the only area where there's for this underside and around the face, not even very much on the legs. Here's a sleepy and posture that's super cute. They also have a tail some types of hedgehogs have up to a two inch long tail. I've read. I haven't seen any pictures of that will be sketching this guy later. And so, yeah, just just go through and pick out some really cute ones. Be where there will be some pictures online with hedgehogs that have medical issues as adorable as they are, there are a lot of issues with them as pets. And, um um, so just if that makes you a little sensitive, maybe have somebody else pick out your photos for you. And I just saved them to make camera roll. And then I created an album called Hedgehogs. So that's all of its Here is all my hedgehog photos so I can easily access these photos. 4. Sketching: Side View: So for split screen, go ahead and slowly, Slade. Up until that task bar or whatever it's called, pops up and side your photos right up to the side. It will be a little bit big, and then you can go to your albums and your hedgehogs, and we're going to start with a sketch of a pretty, um, straightforward side view. Go ahead and go to your hedgehog brushes and just grab any sketchy and brush a minute. She's my smooth pencil and kind of a great tone there. If you don't mind just sketching from this picture over here, Teoh here. You can absolutely do that. If you like to have your photo in your canvas, you can bring it on over. You need to be doing it from this thumbnail view. It won't work if you're just doing it from this view. Well, that's been my what I've discovered anyways and make it a little bigger and move it up. This is also a nice way to go ahead and choose some colors, and you can add some colors to your color palette. Maybe this super dark color in here and this light nice light tan color So we have those three main colors right here so you can go ahead and full size. Make it there's a full screen and have your image like this and make sure you draw on different layers. Not on this hedgehog layer, because you'll want to delete that later, and you can just go ahead and try to sketch out this overall shape. For me, it's a little bit tricky having it up in the corner, so I don't prefer to do it this way. We go to the top layer, but I'll just sort of give it a try. I need to go to a darker color. So what? I'm seeing ISS. I'm seeing kind of ah, half circle. It's a little bit more than 1/2 circle. I would say 1/2 circle would be a little shorter. So if you go ahead and draw kind of that mound that's similar to that shape and then maybe go ahead and drop floor where its feet will be. This angle right here it comes down almost to the back here, but not quite so maybe start right here and try to go up in a similar angle and then you have. You have the basic shape here for its back. And if curves out here and then you do have a little pot down here and you have I'm gonna go on a different layer, actually, for this back curved area. Uh, and then let's start with the face next. So this little section right here has the face, the forehead comes straight down, and then a cute little pointy nose. So we just came down and point. And then this looks like about almost halfway between here and here, and we're gonna have this lower neck area, cute little nose, and then we have the belly here and the pa that comes down. So we have a belly here and the pop that comes down, and then you can just put a simple little pa there. And then there's another little pot that you can see kind of back here and let's see what happens. I'm not sure I drew this line. Let's see what happens when we turn that off. So I do have some of my little drawing lines on there. Okay, We need to come around the head here. So the spines, This is all going to be where the spines are. And if you look really closely, there is an ear right here and you can't see the other ear. So we're gonna put an ear right here and you can see almost a line from the gear, eyes and nose. Here to nose is about right here. Oops. I have my razor on here to nose and the eye looks a little closer to the ear. So it's not the halfway point. It's closer to the year and then it's fairly large. Then you need to put a little nose on the top. You can usually see a little mouth. That picture isn't very clear. There is a little mouth under here and then you can start. You just have the basic shape now and you can start to started to get the different curves that you see like this isn't a straight line. This is more of a curve right here. And then this is more of a curve and up. All right, I'm going to turn down our sketch Lear. That was a really rough sketch. So we already have a nice shape. I want to flatten out this This top part right here. Something more like that. And get the ear on there. Get the general idea of those spine area where the spines meet. Differ, it's and feet some belly. And I'm mostly tracing what we already had and then get that last foot back there and let's go ahead and turn off that other layer. So that is just a quick general sketch of the overall shape. You can kind of see the darker areas around the face and things like that, but we're just getting the overall shape where the spines are and where the face faces and , um, where the knows and eyes are. I'm just looking a little closely, a little bit more closely at this forehead. I think his nose is a little too pointy. Some of them do have a nice, pointy nose. The other thing you want to look at and this one's very difficult to see is the direction the spines air going. So up here, they're kind of coming forward and up, and I like to put a few on just so I know when I'm drawing the rest in later, what direction they're going in the different parts safety the back there so don't hear their kind of coming down this one. There's so many of the F the spines that you can pretty much kind of follow the back. So this is still just a sketch, so I'm not taking a lot of care and time here. The spines do come behind the ears, not in front of the years, so they don't need to be up here, and then this is all free area. 5. Sketching: Rolled-Up: Let's go ahead and try this little curled up when I'm gonna leave him right there and show you how I would do this just next to the campus. Here, you can make it small and try to do it small and just kind of lips. I'm kind of eyeball where it would be just like that. It's really kind of a nice oval. The middle of that level is right here. There's nothing really in that spot, but his chin is just above the middle. So if this is the middle, then let's just put his chin right here. Which means his nose is right here. Just use in a circle for his nose for now. And I'm seeing his ears, both ears kind of sticking way over to the sides. They're kind of like teddy bear ears. And then if you draw a line from the nose to that years, you've got the eyes so his head is tilted a little bit. So the triangle that you're going to be looking for for the nose years, eyes is is kind of tipped over, so it's not straight across like this. I always look for that triangle on these guys his face. So let's go back to that color, not layer. And I see a nice, cute little smile under here. So his nose, he's got a super cute little smile. If I look closely at those eyes, I see a nice it's not super round. It's like a rainbow right here, Marine Bo here in a rainbow here. This one's a little flatter on top and then a nice rainbow on the bottom. So, like this in a little flatter on top. Whereas the other one was like this and like this for his paws. Let's draw the general area So we have all this spiny area up through here and they make him as biggest that so This is a spiny area all here, and that spiny area usually goes to the base of it years and down and makes a little bit of a This would be shaped there between the two years and then comes back to the year. So this is a spiny area. You can see them all going really big and tall. You can't really see too many behind the year in this position. There's a few spines back here that you can see and then because he's in this shape, all of these are all kind of converging towards each other. And then these start to go this direction. And then this is the furry part here and now we kind of have a general idea of where they front paws and the back pause go so you don't have to draw them exactly like that. You can kind of tryingto put four little toes on a foot that's sticking up over here, kind of pointy toes and then little front paws, very human, like little front paws. And then later, when we draw the for it looks like there's the rest of the legs a really buried in the for under here and then some of the pictures of the ones that are curled up half their little tail right here. But I think it's cute just like this. When I'm looking at these two pictures, I think my eyes are a little too big and they're a little off. So I'm going to select when I make a free form and just make it a little bit smaller, and I'm going to move it in a little bit. That way. Select webs. Select this. I what? Select this. I make it a little bit smaller and move it about here. If you look at the picture, the ear comes over to here. And straight down is the I that year comes over and straight down is the I. So here we go. Oh, let me, uh the selection of that you're comes over and then straight down is the I that year over. And then almost straight down your go over this way more and almost straight down is the I may be moved that over a little bit more. You can find tune things later. We're just getting some sketches. 6. Sketching: Asleep: Alright, let's try one more. Let's try that sleeping guy. So I'm gonna leave him over there and I'm gonna make my campus fit here and he's long. So let's start with a long global and we're going to focus on the face here. So if this is the top of the head, then let's put his nose about right here. I'm just looking at that shape. You can see his little mouth because the men, in case you can't see that you can see his little nostril. I think this one's a baby. This little ear is right here. It's a tiny little here. It's kind of wide, but it's not super tall, and I think that I put that in the wrong spot. I think it needs to be back here more, and if you look at his mouth, you can see it just like a human. You can see it kind of come around to the year right there and then the I a little sleeping . I so his for lying in front of this here miss for lying around behind us here, its color in his ear a little bit more, and then let's continue his for line where the spines start just at this angle, all the way down to his little tail. So you have the general idea of where the spines are. It's just kind of sketch in one direction, the spines er going in the different areas down here, they're all going this way back here. They're going this way over here. Looks like the kind of his back kind of comes up a little higher. Right there. For some reason, this looks like a little sleeping cow right now to me. Um OK, so right here, Right here. It's kind of hard to see cause there's two feet, but he has a hell right here. So we're doing to ignore this foot for now. And back here kind of close to the tail. We're gonna put a little hell and then in this tiny little foot, I'm looking at each toe. I didn't like how that foot turned out. We're not going for realism here, so just sketching. And then the second Littlefoot is back there, you don't have to put it in the exact same spot. You see, it's the picture there. Make sure you erase this front top foot you're going to want to make sure that that you've got it connected to what you're seeing here. And the back foot is, um you'll have the line cutting it off from, you know, So it looks like it's under. And then you have the belly I said furry. And now let's do his front paw here. So it looks like it starts up here by hiss. Chin hurts. Sorry by his neck, I guess back here, this part that we drew here. So this one can. It touches his chin. But it doesn't matter if you're touching or not. Come close to the chin, and then it comes down past the chin down past the chin, and then his little elbow over here and the arm is kind of parallel here in here. But then it gets narrower. So right here and right here is parallel. And then as the pot turns its narrower. So we have this. This area and this area are kind of parallel. And then when the pot turns, we have a narrower space here. And then the little pause here, you can only see part of him, and then this little pot under here again. We're going to want eight to erase this part. So we know that that PiS upon top and this pot is down below. So this pile, you're just seeing little, couple little toes. I want to take a look at hiss face again. So we have more of a forehead here and snout, and then let's color his nose in. Get that I on there and then this kind of make sure we see that. Okay, I think I'm pretty comfortable with that being a good sketch for now. I can come back and reference the photo when we're doing the final details of it. But for now, that looks like a sleeping hedgehog, just like it iss. 7. Looking at Sketch Styles: so if you can practice sketching in a few different poses, it is really good for your brain to just kind of get used to the facial features and the location of everything. I did a front pose here. It's sort of friend. He's kind of at an angle one where he's up on his paws and turned his head towards us. But other than that, his bodies of the side I did this little rolled up guy that we already did the side of you , the sleeping guy, this one where he's looking up If you can't see, I believe this picture had a lot of grass down here, so I just drew info from other pictures to kind of gauge what his paws would look like. And then you can start playing around with more stylized versions. So, for example, this guy I just drew those. I just drew the zigzags. Um, once you have these very basic features, like the ear, eyes, nose mouth, you can really do a lot of different things with just a little bit of implication that there's some spines, Um, and you'll still haven't looked like a hedgehog. You can get really abstract, and it'll still look like a hedgehog. Here's when with just very simple little feet, little kind of cartoon feet pause front and back Pause. This guy, These guys are actually the same except for their eyes and their feet. So I duplicated this guy and I flipped it and you could see how they actually look very, very different. I just put a tiny I on this. I put a more realistic size eyes I on that one. And then I made him just have little paws. Any standing upright. Both of them were standing upright. Obviously, hedgehogs aren't really going to do this, but it's a key way, This one. I tried to make it look like a stylized hedgehog that's sitting, but I think it ended up just looking like a rolled up hedgehog. So I would need to practice this one more. Maybe have no spines down here. So, um, you know what? I can do that with a layer mask, So I'm gonna get a black, and I'll just get my ink there and just cover up and that's not erasing is discovering it up. Um, so, yeah, it looks a little bit more with the floor there. It does look a little bit more like it's sitting if you don't know what a layer mask is. If you just, um, a tap on a layer and hap mask, this white layer will pop up connected to the layer that has a mask on it. And, um, for anything that you draw on that layer, that's with a black color. It will look like it see racing, but it really isn't. It's just the layer mask that is kind of covering the I'm stuff you have underneath that mask. So so you can practice some stylized looks. I would kind of practice based on photos first, to get a general idea of, um, where the for is where the ears, nose and eyes are in the little mouth. I see a lot of stylized ones that have a mouth down here instead of up here like kind of like a dog snout, Um, but it's probably better to start out knowing exactly where the mouth goes first. 8. Illustration Types: I wanted to show you, um, some different styles of illustrating hedgehogs. I just typed in realistic hedgehog illustrations into the images of Google, and you can see some really nice illustrations. Some are simple, not simple, but some are pencil drawings. Another way to look at different types of illustrations is just to be very specific with the style of illustration. I just typed in cute hedgehog illustration, and there's some really cute ones. Um, this guy looks quite realistic, in my opinion, but also very cute, and you can see that you don't really need to show a ton of detail in order to make it look like a hedgehog. Just need this overall shape, some spines, some pause and in that cute little pointy nose, also very cute. This one's not even spines, and you still know it's a hedgehog, maybe a valentine hedgehog. I typed in abstract hedgehogs, a very water color look to the spines, but you get that eyes, ears, nose pause, another watercolor lick. A very abstract. How chug so. I don't use Pinterest very much at all, so I didn't create a Pinterest board. I'm living these valentine, um images, little hearts on the spines and here's a little hedgehog cupcake. I didn't make a Pinterest board, so this is just what I dio. I. I always just search on images and find inspiration. If you type in silhouette hedgehog illustrations, you get some fun ideas. I'll be showing you one. And then, of course, there's a video game character called the Sonic Hedgehog, so you'll also see some results for that guy. This is a nice abstract when just have the implication of venture spines. There's not even any pause here, but you have those ears, eyes, nose in the correct locations, and you can also look at all sorts of clip art to get some ideas for some different stylized looks. 9. Color, Free Use Images, and, gasp, Tracing!: we're gonna work our way up to being able to draw the realistic hedgehog. I want to show you some other ways. First, this guy is definitely pretty close to the realistic hedgehog that I showed you at the beginning of class. But I want to talk to you about a couple other ways. A very simple, stylized hedgehog illustrations This guy is from destroying. This is that grass brush. I did put it in her hedgehog catalog here, so that is sword grass. And I did some layers behind it and some layers in front of it and used it changed the colors a little bit. Let's start with this very simple forward facing guy right here. So if you already have your sketch, you can go to the layer that he's on. I don't know why I call them he Oh, go on Freehand and just so liked him. Three fingers wiped. Three fingers right down and copy. Go into a new campus, three fingers wiped down and paste and free uniforms so that you can play with this size without distorting his proportions. And, um, I'm just went to my 10 by 10 canvas. I'm making that sketch bigger because it's just a sketch and we're not going to be using it in the final illustration. So you always hear about not being able to increase the size of things. But that's just a sketch. Layers of it's just fine, so it does diminish the quality. But it'll be being turned off later, and we'll turn the opacity down on that. And then let's lock it so we don't accidentally draw on that layer. I always start with a few layers. I always kind of start a couple layers up, so you'll either have your sketch or you can use one of my sketches. It's perfectly okay to start out when you're learning to start out. You can even start outracing. It's perfectly okay you will learn. And the other, the other hard part is figuring out what color something is. So if you want to make him look exactly the same colors as that reference photo, so this guy's reference photo is this one right here. Then you can do what I showed you, and you can bring that photo over. It'll pop into a new layer and just make it a bigger size. And then Let's turn that sketch layer off so we don't get mixed up there and grab those layers and grab those colors and put him in your palate. Grab and then select. Grab. I'm gonna grab that your color cause that your color has really been hard for me to figure out. It's kind of a brownish grey, so go ahead, grab some colors. This fleshy pink pa on. You know, if you're going to do this brick underneath, similar to that grab, grab some colors from it. Eventually you're going to be able to look at a photo. Let's look at this cream color right here. I'm looking in this light area while I slide my slider over, and I'm also looking at this, so I'm seeing this being a little yellow, so I'm kind of I know if I go this firm them into the greens, and I know that's not quite right. Some coming back towards the oranges. So these are the four colors we've just been selecting from his paw, his ear and then some of these creamy colors. So if you're not feeling comfortable, just looking at the photo and throwing in some colors in your color palette to use for your illustration. Go ahead and select your colors. With this method, eventually, you'll you'll get close enough. It will be easier with practice for you, Teoh do that later, so don't feel bad about it. Don't feel bad about Tracy, and the only thing you need to worry about with Tracy is copyright. So I did not get these from free cup free images. Um, so you can't use this if you're going to sell it. If you want to do that, you can go to a couple of websites that have freeze images. So when is called unspool ash and then type in your word that you're looking for and anything that pops up on. Here is something that you can use for free without citing the source, and you can trace it. You can even just use the image as it is an altar. It you can do anything you want with these images. The other website is called Picks obey, and it's worth. I'm sure there's more, but these are the two that I know of. Look oh, also be very careful. This row across the top is always going to show some really awesome photos, but those air shutter stock and those air not part of the free images from picks a day these on down are the free ones. But look, the one we're using is a free use hedgehog. That is the image we have both of those images in our and that I do in my album, My Hedgehog Album. So back to the Tracy and idea. Now we know that that one and the other one it's a similar pose. Do I have that one? So there's two where it's the same hedgehog. I don't appear on serious this one, so they're both. It's the same hedgehog in the same spot is just he turned a little bit. Those were both on the free use website, so you can trace those. And if your train's scene just put him up there and maybe just just do a quick trace, you know you don't have to trace every little detail, but if you want to just get an idea of where his ears are, where his eyes are, where is noses and where the edges of hiss for and spines? And then here's his little pot, and here's another little pa. If you want to start with something like that, if that helps, you kind of build some confidence with what you're about to dio. As long as you're using a freeze image, that's perfectly fine and you're gonna learn. And I can swear by that you will learn how to get to a point where you don't have to do that. So, and just like you'll learn how to get to a point where you can choose colors easily, just looking at a picture you'll you'll eventually be able to start seeing shapes. You'll see you'll see circles and ovals and triangles. 10. Basic Illustration Part 1: All right. So we're back to the sketch that we copied and pasted into here. And that is based on this photo which we now know is a free use photo. I have this layer looked so we don't accidentally use it because we do want to get rid of it later. And I've just added a few layers to start with. We're going for more of a abstract, kind of swishy swear. Lee blobby look. Okay, so I'm just keeping this here for kind of idea. I'm going to choose a brown. Some of the illustrations I did were more of these Red brown's, and you just play around with seventies and see if you like what some of them are looking like. Jagged brush was really fine, so I'm going to stick with Jagan. So if you look, you're going to see how it's basically really dark underneath and then light tips of spines . The spines themselves actually change in color, kind of a medium to dark toe light on, and that will be different depending on the hedgehog. But what you really, really see is the tips being very light. And then in this front area, you do see the different tones along the spine. So if you focus on the's front ones being a little bit more noticeably changing in color, then the rest it doesn't really matter cause really you're just seen dark in the background and light tips. So I'm just choosing a dark and I'm going in the direction that the spines air going. So this is why I even sketched those spines in their directions because now I can make sure my brush strokes are changing as we go. I wouldn't want Teoh, you know, finish thinking all of them were going up right, and then realize that that's that was not how they actually go. I am doing the ones in the back first, and then I'm gonna do a row in front of them. This is a fairly transparent brush, so you're if you tap a little harder, you're going to get a little more color. But you are going to see those stroke lines, which is a kind of a fun look, if that's a lucky one, and this is what I was talking about, where oftentimes when hedgehogs are illustrated, they look furry. They look like they're furry with spines, but they really don't have for in this whole area, they have thousands of spines, I guess. 1000 to 2000. Okay, I am going to another layer, and I'm just gonna change up the color. I like to add about three colors. I'm going down in size, and I'm just kind of blogging on some more color. I think adding more than one color adds a little bit of depth, if you can see her. My stroke kind of went off to the side when I lifted my pencil on that stroke. And I'm just gonna fix that, just cause, um, the spines I want the spines to appear to go in that direction in the correct direction. All right, so I got Sim red and there some reddish brown. I feel like it needs some really dark, dark, but I want it to be under this reddish brown. So I'm going to go in between those layers and really come down in darkness. This looks almost black, and there I think I like that more than I like the brown, the reddish brown that we just added. So let's remove that brown and see now I still like having the brown there. Maybe we can turn the opacity down on it. I'm still on this black layer, almost black. I read somewhere to never really use solid black in digital illustrating. So I've been paying attention to that. I don't know exactly why, but I have noticed that when I double tap down here in black and I'm using really solid black on something, it doesn't look riel. And so coming up over here into a super dark gray looks more like real black. And then in general, if you are choosing colors that are way over to the edge of the circle, it's going to have a more digital look. So, for example, if you're in red and you're way over here, it's going toe look a little bit more digital than if you just pull it in a tiny bit. Okay, so we have furry little guy here. I will probably just group those three layers together so that we can keep them together. I'm not worried about the fact that I've come out of the lines because my little for layer is going on top of this, so I'm gonna add another layer and come to one of thes furry colors that we actually selected with the selection tool. The I drop her type of tool, whatever that is. And now we need a furry layer. I personally like my gosh brush this multiplied wash brush you don't want yet. That one Let me show you what that one does. That one gets darker as you add more layers on top so that one will actually help us when we're doing a more realistic look, This one is just gonna give you the color that you have selected. All right, so we're on a new color and this is gonna end up looking pretty riel, and I am just add and some of the for in the direction that I'm seeing the for on the image over here. I'm not seeing a lot of this tan color right here around the snout, so I'm not worrying too much about that. And now the for is coming. This direction over here, the for is a little longer. And then down on the belly and that opaque wash brush really covers up, it's very it's not transparent at all, so you can go ahead and and color this in and then come back and change that color. Later. I'm gonna go on a layer under that for for the little pa area. And then she was that pinky pa color the glass brush, isn't it? For fine details, maybe the dry ink brush. And remember, we're just going for a simple little look here. We're not going for realism. So I just put for a little toes on this guy, and you can't even see his back feet, which is nice. We do not have to worry about his back feet. His ears are behind this for but in front of the spine area. So they're under the for earlier right here. And that's the color I selected for ears. I can't really see my sketch later. Very well, So I'm gonna turn that opacity back upon it, and I could see my here. Now turn that opacity back down so I can focus on what that you're actually looks like and it is partially hidden behind that for so I'm just gonna color it in, and then I'm gonna add some color to it with a clipping mask, and I think I'm gonna move this one down and I'm looking its way over here. Compared to the I mind a little too close to the I. And I think I need to add more for on that for earlier with that wash brush. Here we go. 11. Basic Illustration Part 2: We haven't done any shading around the snout. If you want to go to maybe that Paul Color that we had, it's a very similar color and then just go a little darker. Let's see if that looks good. That might be too dark. And we need to be on a different layer anyways. So let's go ahead and go back to this color and then just go down. We're going to go to a layer above it so that we can add to that without affecting our for layer. And I just want something soft, soft and not streaky. Maybe willow charcoal. I just want to add some color in this area because all the way up to the I we go. The other place I want to add some color is to the ears, and I'm just gonna alfa locket by to figure swiping it to the right. I'm gonna go back to that your color and bring it down a little darker and bring my brush size down. I'm looking at this and I have a darkness in here and I have darkness over here because that years facing out even darker. All right, let's get that face on. I'm pretty close to black right now. I'm going to dry ink. I went to a new layer and I'm just looking at the eye shape here. You know, we have our sketch, but I'm still referring to the photo, - and the nose shape is narrower on top and whiter at the bottom. It's very interesting. So I have a narrower section down here and then a wider section down here and it kind of goes group and it isn't actually black, so let's up a little bit. You can barely tell it. I switched to a lighter color, and now I'm going to switch all the way down to black because those nostrils air pretty black in there kind of looks like a pig. And we need some white. I glimmers here in here, and some shape on the nose there always look for the lights. So if we turn our sketch layer off, you can see that we already have a very cute hedgehog. We, of course, need to add some spines. So I'm going to that group where we had all of those layers for the for which they don't have. But we're just having a look of for here, and I'm going to one of my really, really light cream colors. I'm already on drying. I also like tinderbox for this, And if you start and go out, it makes on a spine shape kind of pressed harder and then lighter as I went out for dry ink . Same thing. It's a little bit more around. Tinderbox is a little bit translucent, so you can kind of see the texture underneath it of thes colors that you have here. I turned my layer off that shows the directions of the spines. But that's okay. I'm looking over here and I'm just gonna add a few. I think I'm going to turn the size up. And remember, we're just doing kind of a stylized illustration here and looking at my photo of the spines . But I'm also able to see the for the free brown areas where I I went in the direction I needed to be going. Make sure you're not doing lines. Well, that's a look. That's a look that if you want that look, that's fine. If you want a more random look, kind of pay attention and zoom out once in a while I o and, uh, check the direction and the symmetry of your spines. Sorry, I can't draw on talk at the same time. Sometimes these should be behind the ears. Yes, So you can go ahead and do some of them coming out behind the years because our layer is underneath everything, even over here. It's gonna go right under the for just like it looks here. And he's almost done. We need a shadow shadows really important. So now this is why I kept some empty layers back here. So a shadow isn't solid black. You can go ahead and go into airbrushing. I usually end up choosing that soft airbrush. The shadow is Let's look at this picture. The shadow is I see a faded shadow out to here and I see a really dark shadow right in here and under here and even bigger space. So I a really dark and I chose a gray. That's too I don't know. Two black almost need a brown. Maybe choose one of these browns and then go a little darker. It does make a difference. So I have a more concentrated shadow here, and then it fades out and you'll notice right away that because we didn't have a solid color, um, to start with as a base, I'm going a little too light. I can see my shadow underneath our strokes here. So if I You see how it showed up underneath. But it's actually a good look, so I'm gonna let it stay. If you don't like that, look, you'll need to add more strokes to kind of cover that up. And then if you overdo it on your shadow, tap and hold the eraser, it'll go to that same brush. You were using it no matter what brush you were using and then maybe turn the opacity down and just kind of starting racing. Some of it super cute. Go ahead and just get a look that you like. The shadow is good. It does make his paws stand out. We didn't do anything to his paws. So if you want to add a little shadowing to his paws, you can go back and look at the picture and you can see he has some darkness in his toes and it's darker appear and lighter done here, so you could just simply alfa lock that layer. Select that color and then come down in color. Let's just go toe willow, Trusty old willow. Just get some texture on their Maybe go to a pencil brush and get a little lines in those toes. Even just that makes it look a lot more complete. You can start to add claws. You'd have to go to a nail here, a lighter color being more of an orange color. An animal claws. I'm not sure like that. Look for a little illustrated Heggie. There you go. 12. Stylized Illustration-Pt 1: I think we're ready to go ahead and do a fairly quick little stylized illustration that I'm just going to go through and talk through it while I dry it. So if you look at one of your sketched images that you have already created, think about which pose is when that you're kind of intrigued by. And, um, I know this is similar to the one that I just showed you. I think I'll go ahead and maybe use this one and have it be a little bit more stylized where maybe he's holding his arm out like this. So if you are already on that layer, you can just copy that sketch three fingers wiped down, copy and and let's go to a new campus. I'm just going to 10 by 10 three fingers white down and paste, and it's on uniform, which means I can change this size without affecting the dimensions or the proportions. I should say. I'm just gonna get rid of this real quick. It's not that big of a deal and add some layers. I'm going to move my sketch to the top, decrease the opacity on that. I'm gonna leave it a little higher so you can see it. Sometimes I changed the blend mode to multiply on that sketch layer, and that just allows you to see through that a little bit more. So before I start my little, um, drawing, I'm gonna just kind of re sketch this in a bit more of a stylized way. So I'm just grabbing a dark color and just a pencil. I always go to my no taper six B because I don't have to press very hard for it. We'll zoom in for you here, and I think he's already fairly stylized, But I want to have his hand out or his arm out. And if he's reaching, it might be sticking from about here, maybe stretching out that way. And if he's holding onto some means amends, I look at my own hand, you're going to see some knuckles, and then maybe that might be where a stem is coming like bad. Maybe a curved stem like more like that, and I'll go ahead. And if this arm isn't here because it's now up here, then this little foot down here is going to look different. So the tummy Oops, that's a little too low. Remember, this line kind of needs to be there to show that it's on the other side of his body, and this might be a good time to do more of a stylized paw here if you want to just do a simple paw. But this is a pretty simple pot already. I might make a small I I could decide that later. Sometimes a stylized version has more of ah, maybe like a Rudolph the red nose. Reindeer knows kind of sticking up off this now, and I like keeping the mouth a little bit more like it's supposed to be, instead of maybe down here remembering that the spines all are behind the ear and not upon the face. So if I go ahead and turn this sketch layer off now, you can see that it's definitely much more of a stylized look. I almost think his tummies a little bit too low here, so maybe we can something a little more like that. To me, this arm doesn't look quite right. Even with it being a stylized version, it is going to shrink that down a little bit, maybe move it back here so spend some time just kind of sketching out a cute little hedgehog, not worrying about details. I used the original sketch that we had already done and just kind of went from there without looking at a reference photo. Maybe you want a bigger ear. And then, of course, we can do all sorts of things with the spines. I just kind of wanted to get in general overview here, and I'm going to move him down. And I might actually make him a little smaller so we can fit the dandelion thing here. If you look at where his eyes are quickness, his head is kind of pointing. It's kind of looking right here. So we don't want the dandelion to be way up here and then haven't been looking this way. So think about that where his head is pointing. And where do you think you might want that? That proof of the Daniel Lane and they're going toe overlap each other a little bit. Look at some reference photos if you need to. This could also just be a full hour up here, and I'm just gonna put little zigzag lions away around because this is just a sketch. I don't need to spend time drawing every single one of those. I don't like this curve down here, so I'm gonna change that angle a little bit. Okay, Quick sketch. Now we have this other sketch layer we can delete. And now we have this new sketch. Lier will turn the opacity down. I am going to pick a dark brown which were already on and a fun texture brush. You know, we already used jagged brush. Let's use Sassa, fres and just kind of fill in. You can see that texture. Go to a layer above it and get one of thes for colors. Let's go for something different. This time we had these really light colors. Maybe this tan color would be fun. And actually, I think I might stay on that same brush and just decrease the size and go back to a super dark brown. Bring it down almost to black. I am going to tender bucks for now. I'm just gonna put a cute little I and somewhat ever round nose. I think I'm not going to do black for the mouth. I think I will go to a brown. That's similar to this brown a little bit lighter. I'm still on tinder box and I went to add this might be easier to turn the sketch layer off or way down. I can barely see my sketch lier, and I'm just gonna add a little bit of detail here, this kind of indicate clause. Also, it could be that in between areas of toes, you can add as much or as little detail ing as you think it needs. I need to turn my angle here. Tried this a couple times for his I I'm gonna go back to that color and we're still on the layer that has the I and make it look more like it's looking up. Since we're doing a stylized version, I'm kind of adding a bit of an eyelid angled up that way. Since we are above the layer that has this dark brown, we can also go ahead and do this some spines. I'm going to try to keep with the same colors here and just choose this brown again. But then go up in a, um to a pretty light shade, a tint of that color. I'm still on tinder box trying to remember what direction the spines do actually go in. And I think I might just put a few spines on this guy. I haven't tried that look yet. I lean towards more realistic looking things, So it's hard for me to scale down. I end up adding and adding and adding, I am going to go to a layer that is under those spines, eyes, details. Um Oh, actually, you know what? I need to bring that layer under the for earlier. So I'm in between this layer and the stark brown layer for the ear for the year color. I'm just gonna choose this brown and then bring it over towards a gray er lighter color. I need to turn my opacity back up to see where that theorists way over here, and I have a brownish grey. I turned the opacity up on my sketch for just a minute so I could see where that ear goes. And let's see if we like that. I need that spine to go away. So I need to go to that spine layer. Goto the eraser. Just get rid of that spine there. Go back to my ear. I think I want that either to be a little bit smaller and I'm going back to that for layer . I'm going to erase with the SAS Afr ass. Bring that size down and just get rid of some of that. Go to the ear color tinderbox, and I'm What I'm doing is I'm trying to fill in where we can see the background, get that ear or filled in down there. I think I could use a clipping mask on this here or just auto lock fat. And we go to Sassa frosts, turn my opacity way down and just get a little darkness in the middle of this year. I do want to add a little bit of I glimmer, go to a white tore a fairly white color doing tender box and just a little bit on the I goes a long way sometimes a little bit on the nose too All right, We can group together are layers for the hedgehog 13. Stylized Illustration -Pt 2: under that layer, I am going to start. The dandelion will turn the opacity. Backups. You can see it for the dandy lion. Go to a yellowish green and then into the grey er side of the lighter greens there. And come on. Tinder box. Yep. I'm going up in size on tinder box to about 68%. There we go. Maybe go over to a grey in that same green, And now I'm just gonna go back down to a dark brown. But this brown that we used here go down in size on that tinderbox, I'm going to a new layer. So this stem and this little ball it at the top are on their own lier. And then I'm just groups among the eraser, someone tender box. And I'm just putting a whole budget seeds all over it really fill the whole thing. So just go crazy. If you want, you could go to a new layer. In addition to that, I think I will, And scope a pretty light in that brown going to show you my shortcut here and drawing a few and I'll be duplicating. Gonna go even lighter. Make sure I can see, Hopefully you can see that. And then I do already. I'm already looking at the rounded look I have here, so I'm happy with that. Otherwise I would erase some, and I'm just gonna put a few of the use on each end. Now, we have these seeds on a different layer and the's on their own layer. So if you duplicate that, this is the original. This is the duplicate. We're going to select the dip, lick it, and you can rotate it and move it around. I'm watching for thes toe. All kind of just be overlapping the seed area a little bit. You wouldn't want them to be sticking down here, for example. I mean, that keep duplicating the original. You can flip it, flip and rotate. It just kind of keep going. You can even change the size a little bit so that they fill in that inner part a little bit more. Okay, you have your damn the lion, and I'm just gonna combine all of those. So at least those are all on when Sometimes I like to change the color a little bit and dark in those little stems, but lighten the little fluffy parts. So for now, I'm keeping those all on different layers. But I'll group them together, and I'm going to go to a layer underneath that. Now I'm going all way down to my sword grass brush and back into these yellow er greens. I'm gonna come down pretty dark, and then you can play around with what size you want your grass to look. So let's just put some grass here for now and then on a layer above everything, and you can change the color a little bit. Maybe it's little lighter and maybe it's a little bigger. And I just hid the feet entirely, didn't quite intend to hide them entirely. So maybe just a little bit of grass around the feet. So that is how simple a little stylized hedgehog drawing can be. And I'm not super happy with this green stem, the color of it. So I'm going to go to that, remembering that that ball is attached to that same that stem. I Alfa locked it, and I'm on a pretty good green right now. I'll probably just go to something a bit transparent and streaky, like Salamanca or Jagged Brush. I just drew over here. Oh, no, I didn't because he was Alfa locked. And now he's not Alfa locked because I just double tapped. Okay, so just kind of at a little more color to that. And if you can see that, it just added a little. So the dandelion doesn't stand out too much because of that white background. You could just change the background directly. Or you can add another layer behind all of that grass. Find a fun brush, for I'm adding some texture behind there. I just went to the rainforest one on a pretty big size and I'm on Ah, blue. That's a little darker than this. Maybe put some white clouds up here, something like that. So I got just to get some blue behind the dandelion. I I was thinking about the damned alliance. If you go ahead and duped the duplicate, the whole group, then flatten have you don't have to use a, um 1/3 at three layers for every duplicated dandelion here, and you could maybe stick some around. If they're smaller, they look like they're further away. Then you would have to erase the bottoms here so that they don't look like they're closer. This good. Me got a dry ink or something. - Very good 14. Realistic Hedge: Sketch: I'm going to go into a You know what? I think I'm gonna go into an eight by 10 canvas, so it's a little bit wider. I have an eight by 10. Right here I am going. Teoh, use the photo reference over here. That photo will be in the downloads. And for now, let's go ahead and keep it kind of split screen half in half and start sketching. I go to my six b. No, Taper like to add a ventilators to start, and I'm just going to be looking back and forth East campuses air about the same size so we can easily kind of figure out where that log goes. If you look here at his nose, it's the bottom of his nose is right it about the level of the log. If you imagine that line and then his snout kind of comes down. So maybe not quite that big. That snout couldn't stand like that. His eyes are about at this level. This here's air kind of directly across here in here. I think we might need Teoh get his head shape here before we go any further. Okay, let's get those eyes just put round eyes for now, I'm not quite like. And where this eyes move that over, if you look at the nose and you come up, the eye is just a little bit over the edge of the nose and come up the corner of my eyes a little bit over. So this I also needs to move. And let's do that here kind of about right there in this era about right there. If you look at this face here, we've got this snout coming up over here to the ear. Just kind of draw a little area there. All right, And then for the pause. If you look closely, we're just gonna draw three ovals. I'm not looking at the claws. I'm just looking at these toes. So on this pot, it's right between the here and the edge of the for. So if you come down the ear and edge of the for over a year, that Paul is right here, So right on top of the log, I'm going to do an oval, another oval that's a little bit bigger and another oval that's a little bit bigger. Then we kind of connect the one that spaced out there and then hiss edge of his hand over here. This right here. If you look at those claws, we know that clause air curved. But when they're at a front angle, they just look straight. So this one is just a straight I'm gonna do this little top part of where the cuticle is, I guess, And almost Justus Triangle this one little cuticle And this one does have a curves and get the little cuticle And you can see the cuticle on the sides All of these you can kind of see the sides and this one is curved over this way Let's get the other pop this pause a little bit further out from the for on this side But it's not really it doesn't matter if your way over there compared to the picture, it can kind of be in the same same place is this? So we're gonna do a little oval. I'm doing it about the size of this and then bigger and then bigger trying to make the apostle IQ similar in size. The edge of the pot over here coming down. Cuticle can kind of see a curve to that nail cuticle. This one's kind of straight down, and this one's kind of straight down over here. We have a lot of for this all looks like for here and here, and it really only looks like spines up here. So we just add some spines to her sketch in this area. The rest can be for all right. There's are really rough sketch. Take some time to I'm make sure you're happy with that sketch. I'm kind of looking at where these ears are compared to this for So for example, this ear is pretty close to the edge of the for, but mine comes way out here, so maybe I think that you're is a good distance from the I. So I don't think I need to move the ear thing. I need to move the for, come down this way more with it. So maybe race. This angle I have over here so that my ear and the for a little closer together here, I can probably erase all of this. If you don't like to erase on your sketch and just you just want to do another sketch over the top of this. Some people prefer that I'll probably do both. And then over here Anchor for is down here more. Okay, Think I'm happy with that as a very rough sketch. I'll turn that opacity down and go to one more sketch underneath, since that was our rough sketch. When I get that knows a little bit more exact, so the nose is narrower on top, and then it's kind of whiter on the bottom. If you remember from some of the photos that we've already studied, you can just zoom away in. It's a very, very dark under here, and the log Issa shadowed under here so we don't need to put too many details. But I do want to just remind myself that there is some mouth area down there for the eyes. They really are just kind of almond shaped. And there's a lot of dark for around those eyes, and we will be adding that. But for now, I'm just worrying about the shiny parts of the very black parts right here and not the dark for around it. Okay, so I'm happy with I think I am gonna color in his nose that was missing with my brain. A little bit and tap and hold eraser to get that, um, same brush as the eraser there. That's better for me. I'm going to I'm gonna go to in drink about 40%. And that's fine if you don't press very hard and just get, um, some spines. And if you look at the photo, you've got some better stick in all different directions. Maybe not quite bath angled. But you have lots of crazy spines going on here, and they come down close to this space between the tops of the years. But the for is also kind of hiding that area. All right, I'll go back to my six b and, well, maybe a smaller size. It's gonna indicate that for area, it's going to put a little bit of dotted line here. So I remember that sides of the face this time I'm not drawing the log underneath. That's now out there, and I'm going to be a little bit more precise with the nails for this final sketch cuticles . I don't think you can really see their toe. There's a little bit of toe there. This will all be in the the shading of this area will be very dark in here, so there doesn't need to be a whole lot of detail. Just get those toes and get the log line erased. - And now let's see how we look without that original sketch. All right, I like this sketch much better, and I think we can just have a small photo reference over here from now on. So spend some time making sure your super happy with your final sketch, and next we'll lay down some color. 15. Realistic Hedge: Color and Claws: All right, let's drag and drop that thumbnail image over clips when I just dio, let's make it bigger and let's select some colors. So let's go to a new palette. Press the plus sign. Make sure the default is on that one. I always go back to the disk, clear this palette or clear the history, and I'm just gonna slept some colors. We're trying to go for a realistic look on this hedgehog. Gonna put the log colors way over here. Just one light and one dark that wasn't very dark. Let's see. Here's a dark and I want to get this top of the nose color. If you look at this bar right here, it's kind of bluish purple. Yeah, it's in the blues gray blue, which I think is interesting. That's pretty black. Get a darker area here that's not quite black. I think we can pretty safely use black for the eyes. Let's get one of these medium brown tones here and a dark brown tone for me. I'm kind of going light, medium dark in my palette here, and one of these lighter brown's over here. So now we have three. We don't need every single color I went again, a color from this snout and a dark color under his eye. Here. I wonder if we should get this light color for his face. So I'm gonna move thes down. Oh, he's never move where you want them to. There we go. So I have this light color here. This a medium color on his snout in this area right here. And then this dark nous under his eye right here. Maybe you will grab an ear color. Although it looks pretty similar to this one right here. We'll go ahead and put it here. See to me that one of that would have been a very hard color to choose. I would have never gone to purple and maybe the dark color there, too. And that one's in the reds pinkish red. Is this really in purple? It really is. Okay, let's could come down here to Pau and do that light Highlight on the claw. Now I'm all messed up. I'm going to move this dark beer color over here in that lighter ear color right here. These are our log colors. They're not letting me move them. Okay, so we have this one right here is that claw color. I'm going to the dark in between toe area, and I think that's good. We don't need every single color, and we could also just tap on some of these and make adjustments ourself. So just get a few home and call it good. I'm going to add one more shade of brown here. If you want to also grab some of these greens, it's a good time to do that. Start green a lighter green, and then let's delete that photo. Now let's start adding some color. These to quash brushes are I? I used to these a lot for this guy, So the multiply brush means that you're going to have a color that gets darker and darker with every stroke, and that can come in really handy with a lot of this. But you don't always want that. So then the regular opaque wash brush is just not going to do that's just gonna give you a nice, solid colors. Um, we have our original sketch. I'm going to go ahead and delete and are new sketch alternative opacity down, add some layers, start around the middle and The first thing I want to do is is get some color down for the log. So our log colors were over here and, you know, it just really doesn't matter too much what you use for that. Just kinda get some color down, and he's in the opaque brush quash brush, and we have a new brush in Procreate five called Mountain Ash, and it's just the perfect wood texture. I'm gonna go to that darker when color we chose. And it does go this direction because that's the direction trees grow, of course, So if you rotate your canvas, you can add a nice lips. Don't press to hurt. You can add a nice wood green, I guess, too, the top of your log. If you go above that solid later, we did and do a clipping mask. Then it will just go right on top. So just play around with that. If you want to spend a whole bunch of time drawing all that texture, of course, you can do that, too. So there look what we have there, nice wood texture, so we'll clean up the edge later, and we'll have to clean that up on this layer down here. Do you notice a white gap down here? So I'm going back to my opaque, just kind of filling in that later. That's under the clipping masks so that our wood green covers that as well. Let's group the wood together. Maybe title it lug would branch whenever you want, and that's gonna be pretty low. Um, we'll have some background colors going on down here are greens. So let's go above the log and start blocking in some body based color, some to go to this medium brown. Here. I'm still on that opaque brush and I am above the log, which means it's going to show up on top of the log. So be aware of that. And I'm just kind of I'm just getting some color on here. Um, and I am paying attention to the edges and then to get rid of, um, where overlapped. I can select this initial log later, we have and go back up to this brown layer we just did and clear, and that cleared all the overlap we had. So I still want a tiny bit going on down here, so I'm gonna go ahead and give my hedgehog a little but more going on on top of the log, we did erase the part that was overlapping the log. But I am gonna come back and just fine tune it. I'm going to go down to a smaller size and just get some of thes wispy. That's too small. You could also do that with With this brush is it doesn't taper. So it's not super great for this. You could do it with dry ink tinderbox. Maybe my ink. Let's see. Oh, yeah, Like up. So that's Gen Zinc or Jenning. Okay, we're gonna fill in this spying area much later. So for now, we're just kind of looking at the for and where it meets the log right here it doesn't matter cause the pause in the way. And so we're just getting that base color on, and then we're gonna go to ah, layer above that and get some Klaus going. So I'm going to the dark and I want to stay on my Gen Inc. I'm on a layer above that brown, and I'm going to fill all of it the claw, the toe and I'm gonna run my being right along the edge of that log. We can't do this on a layer that's behind the log, because the claws come in front of the log and then on a clipping mask above bad, we'll go to that lighter color, and I think I'll go to my six b with the Taper and pressing lightly. We'll go back to this club. It we've got looking over here, and I'm just gonna add some of those highlights on top of the nails. I am going to go to a smaller size and kind of put some indications of those cuticles there . I always have to spend some time really looking at what the picture is showing me. I know that curved nail is curved, but gosh, it's not showing a curve because it's coming right at me. I made a mistake, so I'm gonna tap and hold on the eraser, and that switches to the brush I was using and some time on a clipping mask. I can just erase and it doesn't erase that black. So those are the highlights on both sides. I'm going, um, a clipping mask under those highlights. If you just go down to that black Paul layer and add a layer because there's already clipping mask above that layer it the added layer automatically becomes a clipping mask. And I'm just gonna choose this brown from the log the dark brown and I'm going down to willow charcoal because it's just a nice texture. And I'm just gonna add, you know what? That is too dark. So I'm going to clear that clipping mask and let's go to this. Just chose this color right here. I just want to add a little bit more highlight to the toes when his demons, you can see, gets a little texture on their. If you get some texture on your nails, you might want to take that off. It's all very dark and shadowy. Underneath. The nails do need a little bit more color, so I'm going to I'm gonna go just to I don't want to goto a textured brush. I'm to go to my smooth pencil and I'm still on this color, and this pencil is not as textured as the six B, and I'm just going to kind of highlight this sides of those nails 16. Realistic Hedge: Nose and Eyes: all right, I'm going into a group together. Those cause and name it claw. All right, way up near the top. We're gonna put hiss eyes and nose his nose. Was this What's black? But then some of the highlights are these shades of bluish purple. So if we go ahead and go to that bluish purple and then just kind of drag it down towards black, I am going to go to my ink Gen Inc zoom in on his nose and just kind of make sure I'm getting that general shape. So you can Alfa like this and do it right on here. Or if you have plenty of layers Still, you can use a clipping mask. I'm going into this darker, purplish blue that we have. And I'm not going to use willow charcoal because that gives a very textured look. Um, equipment see about that May no taper pencil, and I'm going to highlight the top here. If you look, there's kind of two balls. I'm seeing my sketch layer through here, so I'm going to turn that off. So I just kind of drew these two balls right here. It's to kind of give a little bit of an idea of where we're at. We need the nostrils to come over here. It's nice and dark all down here. It's a little bit light over here over here, and then it's even lighter up here. So I'm going toe extend those kind of up. This color seems way too light to me. But yeah, um, I'll just bring the opacity way down and get some of that color on here. I'm just trying to give a bit of a textured look, some kind of randomly add in some color across the top and onto those balls and barely pressing with the pencil. It comes down here. I'm gonna come back to this. I'm going pretty white now and let's go to dry ink in a pretty small size. I'm gonna do some highlights along the sides over here and over here. So I'm looking over here if you want to make it kind of closer and about the same size, and I want to go back to this super dark color, we had go back to my six b No, taper, actually, maybe I should just blend that. What I'm looking at is the hard edge between the black and this purple. So I'm going to go to the smudge tool on the six feet, no taper and turn the opacity down to about 50% and just kind of smeared around a little bit. It might smear all of this. Not these highlights, though. Let's zoom way out and take a look at that. If you look zoom way out, it actually looks like a nose. I think that any more black over here, One of the things that I don't like about this hard edge is it's not gonna blend in very well to the snout later. So I'm going back down to my black layer and I'm going to this smudge on my six B. I'm still set to about 50%. And if you look carefully, I'm just gonna kind of smudge it a tiny bit. All right, we're gonna walk away from that and go to the eyes. So I need to turn my sketch layer back on, and I can go back down to this, knows layer and go ahead and add some eyes. So I'm on this super dark, almost black. I guess that's pretty black, and I'm on my six b no taper. I'm going to turn the opacity all the way up and just put a really simple kind of lemon shaped I. It is basically what you're seeing here. If you look really closely and zoom in and look past the for, you just have a really basic I shape because he's looking straight ahead at us to try to get him to be about the same size. And you can go back up to the clipping mask on that layer where your nose highlights are and go to a really light gray, almost white and a pretty small size 18%. And I'm just going to get if you look at the highlights, there's a little dot in a line, and that sketch layer might be interfering with what it's gonna look like so you can check that by turning it off. So it's much brighter without the sketch layer on, and we can change that later, since it's a clipping mask. But just like to get the I highlight on okay, I think his nose might be a little bit too big, so we can change that later as well. One of the things you can dio with. The selection tool is you can highlight two layers or more and select. And while you're moving it, the some of the layers disappear. But they end up still being, um, still showing up clips. So when a good just a tiny bit smaller on that nose, then once you once elected, the highlight shows back up. Okay, let's go for ears. I'm not putting years on the same layer, and the reason for that is because I need to play around with for layers going in front of and behind the for that year. So that years we're just going to be on their own layer. Let's group the nose and eyes entitle that nose eyes. 17. Realistic Hedge: Ears: All right, so let's go to the ear. Are here with these kind of weird people colors here. All right, so I'm going Teoh, Let's just go to dry ink. I love dry ink and choose a color and make sure we're on a good layer. I'm looking over here. You can kind of see here back here and then the curve part of the year here, but I can't quite tell. So since it's really not that noticeable, I'm just gonna try to get the overall shape. Seems to kind of curved down this one, remembering that all of this is going to hide behind for So you don't need to be to particular down here. That color just not seem right to me. But we can add color on top of that and get that look a little bit more realistic and not purple. Come down here kind of far so that I don't have to worry about hiding that layer, hiding that edge with running the for way up there. Okay. I think I like where those ears are close. One might need to come down a little bit more here. Let's do a clipping mask on top and go to that darker color. And I am going back down to my willow charcoal. Not my willow. Turkel appropriates willow charcoal so it's kind of dark in the whole year, first of all, and then it's really dark. I've been here, so I'm gonna add some more here, and I might. It's pretty dark. That's good. I went down in size as well, so I can kind of get more details there. And there's some darkness along the edge. I think I might turn my sketch layer off so I can see what I'm doing here. And there's some darkness down in here. There's a tiny bit of darkness along this edge. Appear. Okay, let's go to the other ear unless I kind of overall overall texture there with that, with a bigger brush. And then I see a lot of darkness in this top half that you're comes way appear. So I'm looking at this top half of the year right here, all the way up to the edge. It's pretty dark down in here. It's pretty dark and a little bit along the edge on this. By not as much, it's kind of nice to have a little bit of color on the edge of the years on. Then it doesn't look so flat. All right, so we can come back to those. But for now, those are our ears. Let's group those together, Label it years. All right, We're getting closer. 18. Realistic Hedge: Spines: I want to start getting some spines on here and for the spines. I'm gonna go up above all the other things we've been doing, and I would go either to tinderbox. Um, dry ink would work, but if you look at the dry ink, there's thes bubbles in it. My Gen. Uh, Inc would also work. It is a bit textured. I kind of pressed hard on that. But then, if you see at the tip, it's textured. Studio pen would work, especially if you want a nice clean edge for a spine tinderboxes. A nice clean edge, but it's a little bit transparent. I don't if you can see that if I super zoom in and the spines are quite smooth, so I think I will go with Studio Pen. But there's a few options you could Dio, because when you zoom out, um, I think tinderbox would be just fine. And I think, um, some of the other in Quinn's would be fine as well. And I'm looking at kind of how thick do I want it and play around with how thick depending on how hard you press, it's going to be different. So I've got my in it about 30%. And I'm pressing a little bit firm I'm going to make about, you know, let's see, about 12 or 15 and they're not going to be overlapping each other. An attorney. I'm sorry, I'd I draw better this direction. It was a little too thick. Says kind of going a little too even trying to get it to Taper 123456789 10 11 12 13 14. Try not to overlap any, okay? My trick here is I make some and then I duplicate just kind of like we did on the dandelion . So I'm gonna alfa lock that because obviously we don't want black. I think I'll start with the's fines being pretty light. We didn't We didn't select one of those spine colors in your palette here, So I'm just going to go to a cream color here and add it right here and I al select those gonna fill and have them all be light. And the reason I'm doing that is because now I can see my dark areas better, So I'm just putting some dark on each one. This is why I didn't have any of them overlapping. I am leaving my tips that like color if it's easier to dark in your background a little bit so you can see what you're doing. Gosh, maybe we should go darker, cause that kind of looks weird. Here we go, pink. So they're dark brown, and then they go to a lighter brown. I think I went a little bit more of the dark going down lips. I just darkened that tip there. And then that medium brown right here to finish off the bottoms of these. If you take Alfa, lock off and go to a smudge tool, it's on six B, no taper and just kind of smidge thes ends. So they're not such a blunt end. Okay, Duplicate flip. Maybe that later might not be in front, but maybe rotate them kind of looking over here at the same time, I like to duplicate the original and change the size a little bit and just kind of get a few of them on there. You can see we don't see a whole bunch. I'm gonna bring my original to the top because I want it to be in the front. So that is how I do the spines 19. Realistic Hedge: Fur! Fur! And more Fur!: we'll come back to the spines and kind of fine tuned things in a bit. So I left all of those, um, in separate layers will go ahead and name that spines. So let's go down to this base for layer and go, Ah, one layer above that. I am going to go to the opaque quash brush and this is the color we used here. So we're gonna go. We're gonna go to this lighter color right here and go to a pretty big sighs for now. I'm just gonna go ahead and do a clipping mask over this so that I can not worry about going way off the edge over here. And if you notice the tips are lighter around the for and this is a slightly lighter color , since it's a clipping mask, it's just gonna highlight what we already have on that base layer. So let's just get some lighter tips. There were not doing all of these little light hairs yet. We're just kind of focusing on everything else with this for area. This medium brown is one of the colors I selected right here, but it feels too dark to me. So let's give it a try. Yeah, that's that's too dark. I was gonna go towards this center with that, and I'm looking at that color and I'm looking over here thes colors. Go ahead and add some of that. I'm still just on that one layer. I'm going to come straight down a little bit to make it a little darker. And from here on out, I'm really just playing around with getting some for on here. That is kind of the shades that you're seeing here and having the strokes going in the direction that you're seeing here. So the strokes for these air going up and over the I these air going down and around and up towards that here like this, if you want to go ahead and try out that multiply brush, go to a pretty light color. So let's go back up to this base color we had under all of this. And let's just go ahead and go to another clipping mask in case we want to change something . It looks like it's a good color to use right around the snout here. Even that didn't That is a little too dark, so I'm just going to switch back to the regular wash and and start trying to find just the right color that I need. So for thes colors, it was this road right here. This color was this dark under the eye area. Gonna do both eyes extend out a little bit and I see some darkness above the eyes. Come in around it will cover some of that with some lighter shades. It's like, um, like a raccoon right now, this middle tone right here waas around the snout. This lightest tone in this kind of purplish gray is for some of the highlights in this area that will do later. It looks like we need to add some more Brown's, so we'll just kind of keep adding layers. I'm gonna go all way back down to the first clipping mask we have and go to this super dark brown. I'm gonna get some dark underneath things here and processing very lightly. Just trying to get a little undertones of some darkness in there. It's very dark under here. I'm going back to this later where we have these kind of purple e colors and I am betting switch back to the wash, multiply brush and come down to about 27%. If you If you look at the eyes, there's a lot of dark for around the eyes, and that's gonna also give it a larger appearance. So kinda goes up and around and back down. You can already tell how much different that makes the I look, if I zoom away and you can see it's just a few strokes kind of down and around and up in around. So I want to try to get that same look over here starting from and if the corner of the eye . But further down Dalvin around, up and around. This one kind of comes down this way. That and because I'm on that multiply brush, it's gonna get darker, darker. It's already a pretty dark color. I'm going to go to another clipping mask. I'm still on layers that are all underneath the eyes and nose. All right, now I'm going to this shade of brown. Oh, was that the woman was already on came going back over to the regular wash brush, so it's not so dark. So the trick with all of this is just layers changing colors looking at what you have over here. It's gonna get lighter over here as you go out. And if you just keep going on different layers, you can really play around and I'm change up whatever you're doing, you know, if you if you don't like the look of what you just did, you can just clear that layer or erase part of it. I see a shadow behind the ear, which is why I went this With this stroke dark behind that year, there's a shadow behind this year, too. I am going to add a layer on top of the ears. So here's our ear layer. So go above that and I'm going to lighten my color. Should I go all the way there now I'm gonna go right to the center, so the layer above that years is going to have some for that covers that base of the year and at this medium brown on both sides and then come back and add a a lighter brown. And then there's definitely some highlighted areas on top of that darkness. So I did add all that dark around the eyes, but I'm also adding light on top of that. So for this snout area, there isn't really a lot of for lines. I think I'm going to switch to the willow charcoal and I'm going to go to the, um let's see. I think I'm gonna go back to the darker color the when we chose for this area. And let's just get some texture there that's not furry. You could see that I'll go up a size a little bit, and I really want to dark in this area down here. Although where I just realized were on a layer that's above the eyes and nose. So I just covered up a lot of that. I'm gonna undo it and go back down to one of the lower layers and redo that so you can see a lot of this is just kind of trial and error fighting the colors that are gonna work for you and really dark basically black under here. So when you come down to the super dark, just stick with me, Willow, for now. And I'm looking at the shadows over here and the shadow over here and then remembering that this this base layer is, um, under the clipping mask It's this layer right here. So if you need to change the shape of that, you need to go to that layer and probably just go ahead and go to that color as well. And go to an inn. Came brash do and then you can play around with that shape and the clipping masks will all conform to that. It's really hard to tell where the face ends and the shadow begins on the log. Let's go ahead down to the log and add some shadow clipping mask. It's good that dark color we were just on and probably just willow charcoal, actually. And just get some shading down there. Yes, well, and if you look around the pause, it's kind of dark around the log on the pause as well. I need to go to this base color, Any race, this little tiny bit right here. It's covering up the log, so we have a lot of dark colors here. I'm seeing this, I looking smaller than this, I I'm gonna find which mask which clipping mask that happened on. So it was this one up here and go to make wash in the eraser, just kind of erase some of that brown there. Maybe go to the leader that has that. I go to the multiply quash, get some more dark area up there. That's a little more even. I'm not liking this big swoosh right here, which is probably there. I'm just erasing a little bit of it. 20. Realistic Hedge: Highlights and Background: So now we're gonna focus on some of the lighter colors. We don't want to keep using that wash brush too much because it gives very wide strokes. So find a brush that you like, Like this ink brush, Maybe one of these, that super light brown come up above everything and see if you like the look of the textured brush that that IHS I like that I met about 9% and I'm not going to add every single line. We don't need every single line, so it's going to start with some of we'll see what brush was that. That was Gen. Inc. Some of the highlighted hairs in here and even just getting a few of them on there makes a big difference. You see, the highlighted hairs come really close to the eye right here. You're not quite that close. They come up in around. - That's too light for underneath the eye. Sound just easy. This color on this forehead area. I guess it could be called, and you can see the light section between the eyes and it come down a smaller size here because I'm having to press really light to get a fine line on that 9% and there's some light hairs kind of coming out around this now. My pencils decided to be weird, So at this stage, it's all about fine tuning. When a turn that background back up to a pretty light color, How about just wait? We'll come back to add more of the for, but I want to come down to the green background so it might be easier to go ahead and start with kind of a middle tone green and then go to a layer that you're on that super dark green. I personally like Laura Poona, always the biggest size. You can see some darkness over here. Obviously, you don't have to do this just like the photo, but and it's all blurred greenery in the background, so that's canonized. I'm just looking at the photo back and forth, back and forth as much as I can come up to a little lighter colors, I think ethnicity a little lighter, but gray er they're shadowing on the log, which would be something you could do on this base layer. If you just want Alfa, lock that and, um, go to let's see what the log colors were over here. Maybe just go to, uh, you know, a streaky, brash, like Salamanca just kind of give some darkness to that base underneath. I want to turn that texture layer for the log to multiply and see if I like it better. E dio I like that better. It just looks a little bit more blended to me. All right, when I assume out and I look at those side by side, I see, um, my I've got my eyes that they kind of have this angled direction like this. His eyes are more like that, like he's kind of sleepy. And and then, of course, I still have a lot of hair that lighter that I want to add some more lightness to over here in here. Maybe focus a little bit more around this snout, but let's change the angle of those eyes. I also want to kind of make a better transition between the spines and the for the color. I think if it's more of this brown color up here, it'll look like it's just kind of going from spines differ, but let's change those eyes. So a majority of that I area iss on this layer right here. I am going to erase with Mike Wash brush. I'm at 18%. I'm gonna erase some of this and that will kind of help it. Give it a slope down and then if I erase some of this So what I'm erasing is, Well, it's erasing this kind of purple color to, But I'm trying to erase is that super dark color when I need to add back that purple color ? Because we did use it on the same layer. So he raised to some of this up here and that sloped it down a little bit. Then he raises the very dark, dark, dark brown instead of erasing. I might just go ahead and add purple on top right here. I'm calling that purple. It's kind of that super dark gray purple so erased the dark brown up here. But you can see that this next shade of dark brown is exposed now and it really went this brown on it. So I need to go to that color into the layer that has that color and add a few strokes in here. This side looks OK, so that helped a lot. Just those two little changes. They still look a little bit slanted to me in the wrong direction. That's much better. Sleepy little guy. And while I'm on this brown, I'm gonna talk about I'm gonna do that transition we talked about and just get some of that Brownback here being careful cause I'm on a later. That's above that years there. That's good. 21. Realistic Hedge: Finish!: so I think we're almost done. I think we need to get some lighter tones. Let's go ahead and do another clipping mask down here below the eyes and I'm on my wash. I want a pretty big size and I just want it very lightly. I'm looking over here at some of the highlighted areas. Some of this is going underneath. I think I'm going to go way up high again. So I'm going underneath these super highlighted areas here. That way I can have some of these light highlights go right on top of the year. Sounds a little too long of a swoop. The hair isn't really that long. They keep referring back over to the photo. I think I'm pretty happy with this. I can spend a whole bunch of time fussy it around with this. One thing I might do. If I look here at the spines, it's much more of a dense area of spines. I might duplicate that whole section, flatten it, select it, flip it just to have a variety and, um, actually put it behind the original layers and then lower it down a little bit. So they're the spines that air further back. And then I feel like there need to be more spines pointing this way. One thing you can dio is take one of those layers, select part of it and move those over as long as those in the back. Then you know your selection, even though it's kind of a random selection back there. It's just hidden anyways, so it doesn't really matter. And I also feel like those spines is kind of are a little bit more visible down in here. So what I might dio is take a layer, maybe this front layer, which is our original group, and moving above all of our other things we intentionally put for in those layers, Um, toe hide all of those ends of those spines and it does still kind of look like it needs a little bit of hiding. Um, I think that might also I might change the color. I'm gonna go ahead and flatten that and go to hue, saturation, brightness and dark in them a little bit and looking over here, and they see some dark areas going down into the for, and then let's just do some smudging on them to make them blend into the for a little bit more. I think I'm happy with that. They look a little blended down into the for instead of for being covering them, being drawn on top of them. All right, back up to that highlighted area with all these little tiny hairs. Seven to go. One more layer above this front layer of spines. I am going to choose a color that's similar to that spine color, but not quite a little bit more towards the grey on that wash brush. Just going to give a couple strokes. No, I don't like that. Let's go up to this color. It is some highlights. Strokes? Kind of just a little bit of for hiding those. Okay. All right. So, as you can see, this part takes a lot of trial and hair and fussing around and looking really closely. And what do you see? What do you see? I see very light gray in this area right here. Okay. Quite that much. Although I am on a layer that's above my nose layer. So if we want to stop doing that, you can good another clipping mask and maybe turn the opacity down. Get some light hairs in here. What do I see? I see a lot of lightness right here between the eyes. We already got some highlighted hairs, but I just wanted to be a little bit lighter. What did I see Now? I see some lightness coming up over here. A term, a capacity backup. And over here, some short little Harris over in here and just for us, to your heart's content. I mean, this is this is not hyper realism, but you can get pretty close, and I want some really light way up at the top. Big brush, lower rapacity. Could some highlights seem really lightly? Maybe drop the opacity even more. Okay, I'm going to stop because this video will be forever long if I don't. And another thing that you could do to make the pause look a little bit less digital. What I'm seeing is the edges is to just go to the Paul layer claw layer and, um, go to layer on top of it all, but don't make it a clipping mask so you can go outside and alliance if you look really closely, there's some, um, hairs and things on there, So maybe pick kind of Ah, a medium brown and just kind of play around getting some texture around there and and that will give it a little bit of a less digital look. And there really is. There's a lot of little hairs that kind of go that way. There we go. That's already much better. So just look closely and draw what you see Have a lot of for that covered that cloud. But I'm OK with that. I'm pretty happy with that. I think that's a pretty close. We're not going for photo realism, but that is a pretty cute little hedgehog. I can't wait to see some of your projects and what you end up doing, it's so fun. I have a lot more fun with the boar stylized hedgehogs, but it is all fun. And here I am. I'm fussing around with it somewhere, so I'm going to stop. And I I hope you had fun with this hedgehog class and, um, post your projects any type of style, any hedgehog e one poster projects in let let us all see what you're doing and let me know how you like the class. But also come join us on Facebook. There's a really wonderful Facebook group that I add men with Liz Color Brown. It's called iPad. Artists, illustrators, letters, digital planners and offices. It is one of the kind ist most friendly art groups that you will find. I promise. Don't be afraid to share your art here. We, um We love it. All right. See you next time. 22. The Forgotten Silhouette Hedgie: a quick screen recording: