Fur Baby (Pet) Screensaver | Kathy Klitz | Skillshare

Fur Baby (Pet) Screensaver

Kathy Klitz, Living Bright & Saturated

Fur Baby (Pet) Screensaver

Kathy Klitz, Living Bright & Saturated

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16 Lessons (1h 58m)
    • 1. Introduction

      4:08
    • 2. Student Project

      0:59
    • 3. Photo Choice

      9:35
    • 4. Saturate Original

      0:54
    • 5. Imaengine

      10:48
    • 6. Procreate Touchup

      5:32
    • 7. Brushes Used in class

      3:37
    • 8. Draw Shield

      3:38
    • 9. Whiskers

      6:36
    • 10. Nose & Mouth

      9:39
    • 11. Layer Magic

      7:38
    • 12. Masking Nose

      6:33
    • 13. Eyes

      18:41
    • 14. Wow It!!

      10:28
    • 15. Dog Art

      17:46
    • 16. Final Thoughts

      1:01
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About This Class

Do you miss seeing your cat or dog while your at work or away from home?

In this class you will learn to create a modern-stylized Screensaver (wallpaper) so you’ll always have your fur baby with you. It will become your “secret little hug” that you get every time you open your smartphone or tablet!

This class is taught using an iPad Pro, Apple pencil, Imaengine app (free or upgrade for pennies), and Procreate app.Use native to Procreate brushes or thoses I listed below, and download my free Tuffs of Fur brush to create beautiful whiskers & tuffs.

We’ll Cover:

• Photo Choice - attributes that will create best results for your screensaver.

• Imaengine App’s artful process

• Procreate Brushes I use

• Layering of photos in Procreate for stunning results and several variations 

• Procreate Enhancements using 5X.1v

I will be processing both a cat and a dog, start to finish using slightly different tweaks. (Hey, I’m like you and wondered if this process works equally well on a dog ;) it does!

If you’re not sure about your Procreate skill level being good enough...I think I covered each step well enough that Beginners will learn and Advanced can skip through...with everyone’s art results fabulous and ready to upload as a Screensaver to ALL their devices. 

 

Meet Your Teacher

Teacher Profile Image

Kathy Klitz

Living Bright & Saturated

Teacher

I started in the field of graphic arts working in my dad’s typography shop in the early 70’s. Technology has taken me from hand cut & paste, wood/lead type, and a wet darkroom, to totally digital, instantaneous type and, well you know, Lightroom. Lol. After retiring from an alternative career, I returned to graphics via digital photography. Then one day I got an email from an online art teacher saying she was, “Now teaching on SkillShare.” In a nutshell, I took a peek, fell in love with all the classes and signed-up for Premium membership. That and my, soon after, purchase of an iPad Pro & Procreate app launched me into a whole new reason to enjoy my retirement years. I’ve learned Procreate as another art tool that at first complemented my Adobe software, b... See full profile

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Transcripts

1. Introduction : Hi, my name is Kathy. You're a teacher today for a skill share class called How to Make a for baby screensaver. Now screen saver, I know that's an awkward, but you know, wallpaper. So we're going to be making a wallpaper for that will fit any of your devices. I'll show you and how I do it on an iPad. My process will result in a thoroughly modern screensaver. I'll walk you through all the steps to create a black and white version with some color. And then one with vibrant colors will be doing a cat and a dog will be doing something a little bit different from my other class. If you're one of the students from my pet portrait illustration class, we use a cheater app called ima engine or imagine, I'm not sure how you say it. It's spelled really weird. So let's just call it imagine vector app. And what we do is we bring in a photograph of a furry friend and we get to put all kinds of effect sonnet. I'll show you the one I use for, in particular for this screensaver. And you can apply that to a photo of your own furry friend. Or you could use the one that I demonstrate in class which is downloaded from an splash. I do a cat and a dog. What we'll do is we'll take that photo into the imagine app and we'll do an effect on it. And then we'll take it into procreate and we'll do some touch up and then enhancements in, within layers. So just turns out amazing. You guys are going to really enjoy this. The outcome is just mind-blowing. And if you don't work in procreate very much, if you're new to it, don't worry about it. I think I have you covered on going step-by-step. And it's a great way to have fun and also learned how to do procreate. So I have to apologize for my raspy throat. I'm in California in a valley and all of the mountains around us are, these are wonderful national forests and they're all ablaze. So we could hardly even bringing what you'll enjoy about this class is the result is amazing. You'll be able to put this photo of your furry friend on your telephone, or that's an old word. Screensaver, telephone. Ok. Smart phone. You'll be able to put on your smart smartphone or any of your devices, laptop, desktop, Sando these words. And iPad or tablet. And every time you open it up, it's like a big hug from your, your best friend, actually. And in these times where you don't get very many hundreds with coronavirus, it's just amazing. I've enjoyed it so much and not an unknown this dog and cat, we don't have a dog or cat anymore. But every time I open it up and I see this one that I demonstrated on an uploaded. How gosh, it's just so nice. I'm just glad that you joined me for this class and let's get started. 2. Student Project : Your student project will be to create a screensaver or wallpaper using your own for baby photos, or you could use one from an splash. Be sure to experiment with. Imagine app effects and sliders for that modern style of art. Then in procreate, Don't forget to explore. Create a black and white and a color version for your devices. Be sure to post a screenshot of your wallpaper to the class projects for the community to enjoy. Just have fun doing it. And I can't wait to see your for baby screensaver. 3. Photo Choice : In this lesson, you will learn what kind of photo works best for this kind of process using, I may engine whether you're using your own photo or choosing one from an splash. The apps and process that we use in this class will alter your photograph in order to get the best results in this lesson. Be sure to pay attention to these five aspects of a good photograph. I thought a good way to demonstrate this, instead of reading this to you and talking, I just show you some examples. I've pulled off the internet, some shot by just normal people and others done professionally. Notice these pictures are just great because they have such good lighting, lots of detail on the animals for perfect pictures for this process. And be sure to take advantage of the features of your camera, especially your smart phone. You could use the burst if your pet is moving, or you could also use a fixed focus. When you shoot indoors, it's real important not to use flash. And what I liked about shooting indoors, you can control the background. All of these have really good backgrounds for the imagine AP process. The color, the contrast, and even the poses against the background allows for drawing the whiskers. It would just be so pretty. Now these photos wouldn't work out quite so well, especially the dog and I even adjusted the curves to pull out his face. All of them have backgrounds that are just too similar to the color of their fur. This group of photos hits all five points of a perfect photo. Good lighting and detail. Frontal poses, simple background with color, texture and contrast. And last but not least, here's a real fun one. I love how this shaggy dog is inside a car and the lighting is filtered. I love the pose. I just think this is the cutest picture. The one of the Yorkie. I loved the background. He has a lot of detail on his face, But notice because of the harsh lighting, all of the top of his head and on the right-hand side, it's all blown out as far as details. You would work, but it wouldn't be nearly as good if it wasn't shot. Probably in the middle of the day. It should have been shot early in the morning or right before sunset, the golden hours. Okay, if you want more ideas, continue watching. Otherwise, jumped to the end of this video. But be sure to upload. I'm an engine vector AP. I show it at the end of this lesson so you could take a peek at the icon. Okay, here's some non-professional photos that I think are just perfect for this process. Cat owners have lots of opportunities to take pictures of cats lounging in a nice warm window or on a nice cozy bed. This is really a cute one. And even though it's on white or the creamy background, the face still is set apart from this background that is darker. So anyway, I just want you to feel like you can shoot your own pictures of your own animals. And they turn out nice. If you just get down on the floor with them. Preferably near a window or outside. If you have a dog and maybe a cat, you wouldn't wanna take outdoors. Or in a bedroom where you have a window with the lighting coming in as a good way to do it like with these cats. Sample of one that wouldn't work too good in the process because it blends too. First of all, it's too dark. That's the number one thing I notice. But also the background blends right in with the cat and it is out-of-focus. Seeing, let's do cats. And then let's go ahead. I know I'm going to be using an orientation of portrait. And so that filters out a lot of the cats. And here's the cat that I decided to use. And if you tap on it, you can see that Zoe gay, you're, John curve is the photographer, amazing photographer. And the reason that I chose this particular cat was because of the AIS. And I like the color. What I wanted to do was to make a black and white and then pop the eyes and I felt the nose was real. Q2. I paid attention to the background. I wanted something that wasn't too busy. Here let me show you how you can download it. You hit download and it goes to your iPads file of downloads. And you go to downloads, and there it is. And you just go up to the corner, save it to your photos. Okay, just a few more cats about this monochromatic when I like it, I like the details, but I don't think the whiskers would show up very match this one, however, with the yellow shape behind it. It's interesting, very contemporary and the whiskers would show up. I just loved the color and the way it matches the eyes. And then again, the whiskers and the contrast. This I think has does not have enough detail in it. Although it has beautiful eyes and have an amazing background. But the detail, you would never be able to pull out of the photo if it's not there. But this one right here would be an amazing screensaver with the yellows and greens and see it picks up the same as in the eyes. Then if we were to do the eyes, we would even make that more interesting. And this would be a really great one. I love this right here as far as detail in the cat's face. So okay, let's go on to dogs. Since we belabored that. And again, I want to make sure it's on portrait. Now if you're going to be doing a screen saver for a laptop or for desktop. Then go head. You would want to be looking for landscape. Oh, here are the dogs. To filter even further. You could hit any color. And let's go ahead and do this blue. And here's the little puppy that will be processing and the last part of our class. And we don't have to be in blue. Let's just go ahead and go any color. This would be a beautiful one with the background being dark and then the dog having a lot of features. I would definitely do the nose because that's interesting as far as drawing and procreate and also the eyes. This would be a good one, but the background being this colour. And then quite a bit of light on the dog's face brings out features. This would be beautiful as a black and white. I won't be using the imagined app to stylize Zoe's cat photo. So be sure to download the app and a photo from an splash or a photo of your own. 4. Saturate Original : To create our modern style screensaver it we need to boost the saturation of our original photo. Let's just open the original photo and go into the Edit part of the iPad. And I just simply hit the auto one time and that looks pretty good to me. And imagine app, which will be taking this into next. It will just have a whole different look, a lot more painterly. It picks up colors that wouldn't have been there if we were just using the unsaturated Original. Now save that saturated version into your special file and meet me back here. 5. Imaengine : The first thing I'm going to do is to create my canvas because I want to make sure it's the right size that fits this particular iPad. And who knows your ipad might be a different size or maybe you're wanting to fit it to a totally different device. So I'm going to go head and go into procreate. And notice how I have it in the orientation that's portrait. I could turn it the other direction and it would be landscape. But I want my I want my wallpaper to come up when it's in portrait position. So what I do is I hit my, my plus sign and now I can create new canvas by hitting here. And I can set everything. Or let's get out there. Or I could hit plus and I could hit screen size, which is the screen size of whatever device you have. But the one thing that I want you to know is that you do need to go in here and go to Canvas. That's the wrench canvas, canvas information, and that's the right size, but it's not the right DPI. I do want 300. So what I can do, I can go into this crop and resize, which is a new feature, go to Setting. And I could change the size here if I want, or I can change the DPI. So dpi 300. And let's go done. So now I have my Canvas. I know it's the size I want. And I can bring in my photo that I adjusted with more saturation. And it's in this case the cat from an splash. So let's just go ahead and do that. We'll go to the ranch and we'll go to Add and here's the photo. Now. I want it to be cropped and I want it to fill the whole area. So what I could do is just stretch it out. Whoops. Stretch it out. And I want to go beyond the edge. Here. Let's go ahead and do this. Make it smaller so we could see the whole thing I should have done that first, go back into the Move tool, and then I'll just bring it out here. And I want to move it up. You can have your magnetic on in order to keep it straight. Which I didn't which I want to actually, I want it shoved over more to the left, that direction so that it's a little bit more balanced. So I'm going to go ahead and give myself a little bit more room. And shove it over like that. You want to make sure that it bleeds off the edge. Okay. Oh, you know what, that's too high up there. Want to give myself a little bit of room up here because on a screen saver, remember you have your your time and your date. So I'm good to go. And so there's my nice saturated cat. And now I'm going to save it. Share as a JPEG. I'll save it to my images, my photo library. Okay, I saved that saturated photo, original photo that I cropped in saturated into a special folder and you could call your eyes, suggests you create a folder separate from just your whole library. Because you're going to be savings a few variations of this because we're going to be layering them to get our effect. Now we're gonna go into our imagined vector app that you downloaded. And we'll find that photo in our special place. And there it is, nice and saturated and cropped to size 300 dpi already. So now we're going to hit this arrow at the bottom. Just adjust that. See all the different effects that we have available to us. And within each effect weekend change up different sliders and oh my gosh, this is so much fun. This is really a neat app. And this is an app I've had for quite a while. Here's Colloredo, collaborator. And look does not like psychedelic. And you can change the colors, the amounts, the strokes, I like it a lot of times without strokes are very little. And then you have the different colors. Oh my gosh, this is so much fun. And so I want you to play around in this. You remember you have your photo. And what we're going to be doing is using this color Ama. You could like something totally different from what I've chosen. Like I love this right here. This is really cool. Maybe less stroke. And you could change the colors. But also if you're using a photo of your own cat or a friend's cat, then I want you to try the different effects, especially try this one. Let me see where is it's called plastic. Because we're gonna be using that for the dog part of our lesson. So say you could just change it. And in this one I, if you happen to use use this I use somewhere between 1117111317 dependency. You change each one. And just depending on which one you choose, this would actually be a really, really good one to use for the cat. And it was probably my second choice. One thing that I keep in mind for this process is that I usually send the stroke down to the lowest 0 or maybe one. And see the difference in how thick it is for the process that we're doing for this screensaver, it looks best not to have hardly any of that extra stroke, but we do want details on the face. And so you have to just play around with it. Okay, I'm finding plastic to be really nice, but I'm gonna go back into color AMA because what I'm looking at in plastic, Look around the outside of the body, how far out that lighter brown is. When I take you back in to colorRamp, will see the difference and I think it just adds some dimension and Color Ramp to have that closer to the body. Ok, backing color ramp. Here are my settings, 6685 for the color and then the rest is 0. Yeah, I really like how the lighter brown is tighter to the body. It gives it so much more depth like another whole painterly look to. And so let's go ahead and export it. So we go up to the top arrow and I'm going to choose four and save it as a J peg to my camera roll through it goes. What these numbers do is just change the size that is exported. So let's go out. We put that cat in that album. So what we have is we have the saturated cropped one. We got rid of the original because we have that in our download file, and then we have this one. And we're good to go. So let's go ahead and go back into procreate, into that canvas that we created, that we already have one layer of the saturated cropped original photo. And we're going to go ahead and insert the photo that we just did and imagine. And I'm going to put it in a layer on top of the saturated one. Hen we'll name it in the next class. So what we're gonna do in the next lesson is we're going to paint the background and do some enhancement in procreate. So meet me back here. 6. Procreate Touchup : We'll be using procreate 5X 0.1 for the rest of this part of the class. Since this is a new version of procreate, let's go head and look at the new way to do a color palette palette module. Just go to the bottom of your option choices. Knew from photo, I choose the IMA engine photo and it throws the call those colors on medically to the top. So let's just go ahead and get going. With the imagine photo on top. I'm going to create a new layer. And we're going to paint on that layer. Actually paint out these busy pieces at the whiskers and just kinda clean it up. So making sure that you're on that layer. We're using the Mano pan because it's so smooth and we could keep changing the size. Or we could for the little tiny pointed areas and stuff, you could use the studio pan. These are just native brushes, so I'm staying far enough away from the side of the face because I'm not sure at this point how I want this to be, but I want it the lighter brown to end up being sort of a little bit of a framework on part of the cat's body. So on this side, let's go ahead and smooth it out to, since we're in the dark brown. We're going to stay on that same layer with all of our colors and we'll just use our color picker. See why I'm not even bothering with the palate. It really is very fast, so I'll just keep working at it as far as adding more to it and taking away as far as the colors and see how it looks. Here. I kind of like these little pointy things sticking out. It just adds a little bit more texture. And then for the ear, I want to add a little bit more detail. So I'm going to use my studio pen and just add a little detail right here, make sure I fill it in. I'm gonna just continue working around the canvas and clean it up. Then as I move around, I could just use my color picker and clean up the little spots on the body and on the face. I'm not loving all this mess appear. So I'm gonna go ahead and painted out all these lines from the whiskers created by I'm a engine in even on the face, I'm gonna go ahead and do that. And if it means that I have to extend some of the colored areas, that's fine. It makes it less detailed. I'm gonna take advantage of this ornament. It's kind of to me abstract looking and I want to draw attention to it, but I don't want all this other stuff underneath that. So I'm gonna do this and you'll see how I changed my idea once site go to the other side. So let's just go ahead and go to the other area and see what it looks like. And what I wanna do on this side, just simplify it and make a divided part, just like on the, on the right-hand side, make an inner circle. I just hold it down, it gives a smooth edge and then I paint out that area. And I like doing this with the right-hand side, that little wavy part. And then just go ahead and smooth that out. I can fix that a little bit later. And then extending this so that it shows because I do like that added color. Okay, back to the right-hand side. Let's go ahead and get rid of what I just did. I don't like that. Outlined areas too busy. And as I do that color, I'm painting, not erasing. Remember, I could touch up anything that's missed. And then I wanna get rid of that type design down below. So matching that up, I'm gonna go ahead and redraw that circle and color it in with that same color. Now I could have done a drop, but I found that my circle wasn't enclosed totally. So sometimes it's just faster. And while you do that, I just kinda think, okay, I'm going to just go ahead and finish it up. But I'm pretty sure now looking at it from a distance, I'm going to go ahead in the end and make both sides look the same instead of curving upward, which I could tell I don't like are ready. Yeah. So I'll go ahead and just throw on a picture of what I ended up with. And you can see I did keep part of that ornamentation just so that it balances with that maroon color on the other side. But it's very simple. Okay, I hate it when I get caught up in these little details that don't matter. So I'm gonna just make changes maybe on the different versions. And I'll just meet you back here in the next lesson. 7. Brushes Used in class: Okay, here's a little overview of the brushes that I use and the main ones that I used for texture, for the background and then also for that shield area I get from design cats. And it's the instant artist collection by Lisa glands, GLA in z. And she's also a teacher on skill share, and she teaches on design cuts and cells. Other places like creative markets. So she's, she's very well-known and she's beautiful brushes. So I like to use our brushes. And this one, Bubbles. Let me show you these up-close bubbles is what we'll use as the background texture for the cat. And then Lisa glands dots. And I'll be using that in the variation version at the very end of the class. So let's go on to Toronto that will also be used in the variation of my drawing. And this mixer graph, retro is a half tone that I will be using and I'll be putting it on the cat, on the shield part, the white on the cat's body. And i'll be reducing the opacity. And then I have this spotty. It's also a lease, the glands brush and I think that would be real cute. I don't use it in the class, but I think it would be real cute to use for a dog texture. And I'm talking about a background texture. So anyway, it goes through the, the backgrounds and textures that I use and the other precious I use are just pretty much native brushes I always use for outlining and a lot of the drawing, the mono line. And then for erasing, a lot of times I'll use this heavier mono weight. And I use a lot of time studio pen to get into the small parts or maybe no grander pencil. Then for the whiskers, I like to use my own brush, which I created just to work with for doing whiskers and on animals for instep anyways called toughs suffer and a lot of time. So I'll use it on the ears or around the mouth, or if the canvas is small enough, it will work for whiskers. But in the case of this larger iPad size, then I resort to this struggle. And I love this particular, let me go like that. See some beautiful fan and it breaks PSAP. So it looks interesting for whiskers or hair, and I'll put a link to that. 8. Draw Shield : In this lesson, I'm going to draw out the white marking, which I call the shield on the cat. And it will be a placeholder for a texture which would give it a really modern style, especially for my black and white version. It a new layer to draw on and reduce the opacity of the IMA engine. And then turn it makes sure that the original on splash saturated one is on the bottom and turned off. Drawing with white on this white is going to be really hard to see to trace. So I'm gonna create another layer and fill it with a dark color. And it doesn't matter what color, just whatever dark color comes up. And then we'll just go ahead and fill it, go to that and felt. And then I'm gonna move it to the bottom. And well, just as long as it's underneath that, I'm an engine. But that way it gives me just kind of contrast boost. And I'm going to reduce the opacity a little bit more. And then back to my white Mano pen. And I'm just going to draw and I'm going to keep it loose and not worry too much about it being exactly on the line. And I'm gonna go ahead and do two areas, two spots instead of one because I'm not a 100% sure at this point if I'm gonna do one big one or two smaller. So keeping it loose and then when I get around the nose, I have to be careful not to get too close. I did get a little close. So I'm going to fix that when I'm finished with this, just makes sure that when you connect all your areas, that you enclose them because then you could just do a quick drop, color drop. There we go. And I can tell I don't like it as two, It'd be too busy. So I just connected them. And then I'm just smoothing a matter a little bit. And now with my eraser, I'm just gonna go in and clean up the areas so it's not so close to the nose. And see those two little spots on the outside of the nose area. I'm gonna go ahead and clean those up to create a layer and then do my color pics and just paint them out. You want to keep it simple? And then I'm gonna go ahead and turn off my shield that I drew so I could get underneath it and finish painting amount. And there they are on and off. And I'm gonna go ahead and merge it down. I'm merging onto the the IMA engine photo. And everything will be merged down onto it except for the whiskers and the shield. So I'm going to rename the shield. Keep separate the way I think twice before I merge everything down. 9. Whiskers : To do the whiskers, there's a little bit of preparation. I still have those two images. And I'm going to play with the opacity of them, turn them off and on. And also notice that I have at the bottom, I still have that dark layer. And that helps me see when I reduce the opacity of those photos. It helps me to see where the original whiskers are so I could trace them, seems to be best to turn off the IMA engine and reduce down the original and splash that saturated and let it contrasts the whiskers against that dark background. So I'm gonna go ahead and rename the layer whiskers. And I'm going to have white, and I want it to be pure white. And for the brush will use my brush. Toughs of For. You can download it in the resources. And so we can see our pencil when we trace, let's reduce the opacity on the original layer, and that's the UN splash saturated layer. So back in the layer for whiskers. And let's go ahead and take that brush and practice. And you could actually, if you turn your hand as you go into a curve, you can get a nice curve on that. It's not a real long brush. So for the whiskers down by the mouth, the longer whiskers, we'll go ahead and use a different brush. So practice. And you could turn off your image so that you could see it better or even increase the opacity. So you could see what it looks like against it. You just have to practice a little bit. It's not hard to do. And you don't want to do too many of them. And you want to make sure that the opacity on the brushes up all the way. As you can see, my brushes too short for the size of my image. So I'm gonna go to the strangled brush for doing the cheek whiskers. And I'll make sure that I put the link in the resources for that brush. Again, practice, but remember to, to change your size of the brush because you don't want them to all be the same. Thickness. These hair and for brushes are sort of flicking motion brushes. And you just have to practice and you'll get the feel of it by the time you finish this particular portrait. That's what I love about procreate. You can just use two fingers and, and go backwards. Or you could create a second layer, which I ended up doing for this in order to do the struggle on a different layer from the little eyebrows. I think less is more in the case of the whiskers because I'm gonna be adding some little whiskers with my other brush again under the lips. So I kinda think I'm done. Okay, I ended up with two layers of whiskers and the one on top is the one that I think turned out better. I read drew the eyebrows. So I'm going to delete the one that just had the eyebrows on it. So now I'm going to create another layer and go back to the tough suffer. And I'm going to get a really small size, just 1% size at a 100% opacity. And just flick on a few of these. I'm just letting the photo guide me as to where to put them in the direction that they're turning. If they overlap or you just don't like the way it looks, it's quick enough to just take your eraser and even erase a block of them and just redo them because it goes so quickly. And then take a look at it by backing it out a little bit and you'll see that you need to clean up from even the other layer of whiskers. So just take your eraser and erase it off of because that's a separate layer from the photo. Just clean it up. And you can back it up and you can turn off the original image and see the whiskers contrasted against that black background. So this is important. We're going to merge just the whiskers with the whiskers and not with the image. We're keeping it separate just like we did the shield and we're naming it whiskers. So let's turn everything on and see how it looks. It looks great. We're keeping those separate though, remember? And let's go ahead and that layer four at the bottom, the dark fur contrasts. Let's get rid of it because we won't need it anymore. And let's go ahead and pull up the opacity on all of our layers that we reduced down. And I'll meet you for the next lesson. 10. Nose & Mouth: In this lesson, we'll do some feature enhancements that will add the hand painted quality to your artwork. On this cap will be doing the dots under the whiskers and we'll be enhancing the nose and the mouth. Now if you're working on a photo of your own food baby, then just pick one to two features that you want to enhance. And don't include the eyes because we'll do that in a later lesson. Okay, let's go ahead and open up our layers and create one layer. And we're gonna go ahead and do the dots under the whiskers. So let's call it dots. And will choose just solid black for our color. And then for our brush, I'm choosing Dadi dots. It's in that same struggle package or set of brushes, but you could use instead just your studio brush or your Mano. Ok, let's test it out. And what I like about it is it has a ragged edge on this dot. And I'm looking for the right size. And I kind of think I, what I need to do is go ahead and reduce the opacity or get rid of that layer and just have the original saturated so I can really see what I'm doing. So let's do that. And just testing it out again. And I know I can erase. Now. Actually I, I kinda think I prefer something that's less structured as this dot as far as a line. So if I were to do this again, I would probably just use my studio pen. And that looks pretty good. So now I'm just erasing off some of the edges and some of the dots to so it doesn't look so structured. And this is going to be reduced down, way down. And probably on multiplies what I'm thinking to just blend in and just want it to be faint. Usually with my pet portraits, I just go ahead and do a dot at the base on a separate layer than the whiskers, but at the base of each of the whiskers. And then I can merge them together after I decide on the blend mode. But I just wanted to try it this way, this time. Kind of like it, but I'm not totally sold on it. You may just want to do yours with regular DOT and just dot it where you want it. And now I'm going to put it at multiplying and bring the opacity way down. I just want it to be very faint. And it will be above the shield eventually. So I'm going to keep it separate two, along with the whiskers and with the shield. A good way to do it, and I don't do it in this demonstration, is to go head and combine it with, merge it to the. Whiskers. So o whisker and dot is on the same layer. So I'm just touching it up. And I won't really know exactly the opacity and tell I turn on that layer, this layer. So see, I can move it up and down and really fine tune it. Then when you turn on the shield, you can kinda see how it shows. Okay, setting up to do the nose, let's go ahead and go into each of these layers that we moved down to different opacities and bring them all the way up to start with, that pushes the color to 100% on our ima engine layer. And I'm gonna be using that pink color. So let's go ahead and create another new layer to draw on the nose. And I already created a small little palette that includes that pink. And so let's go ahead and choose it. And we'll use the mono line pan. I'm just going to draw a smooth line around the nose. And I got that idea for that shape. It was one of the effects that happened in ima engine. Okay, let's go ahead and create another new layer. And it's going to be for the light pink part. And that too was part of that effect. I'm going to reduce down the opacity so that I could see underneath that better because i want to extend up, but I don't want to cover up all those cute little furry hairs on his nose. And this nose is going to be at 100%. So the opacity on the other part of the body of the cat will be reduced down so those little hairs can show, but the nose will be solid. I'm gonna go ahead and switch brushes to Narain HDR, pencil, it's spinner. And what I wanna do is connect that drop area with the upper area so it doesn't look like a drop. And kind of at the same time cover-up that darker areas showing so it doesn't look like a blogger or something. Which cats get. Mm-hm. Fill it in. And I'm touching it up, just giving a nice shape to that Nostra. Okay, let's get started on the mouth and we'll go ahead and create a new layer and we'll use a dark color. Black is good for mouth's and also that little nose connector part. I love to use just the native brush to procreate called Read. And it's a pressure point type brush, so light at the beginning and then push a little bit harder and it gives you that nice point with the thicker at the bottom. Just follow the lines that you see. And on the right-hand side, I just created a little bit more to define the mouth. Now create another layer and we'll be working on the line on the nose. You could use a color picker and pick one of the pinks. Or what I like to do is just pick the same color in the news of blend mode, using that same brush, the read brush. So let's go ahead and try it. And I'm going to turn off one of the layers so that I could see better. And there we go. That worked out, see it's set pressure point when, and it just works perfect for this. So I'm going to bring back up though opacity all the way up. And you can see how nice it looks, but it doesn't show up. So we have to change the blend mode. And you could do this before you even draw it. You could see it as you draw. I thought it was gonna do it and multiply, but it just doesn't look too pink. So let's go down the line. And I think, yeah, okay, differences. What works and dropped opacity so that it sort of blends with that pink color. And the mouth also needs to be done to it. And it's good to multiply and bring down the opacity in that kinda blends it in. I always like to do that. And there we go. We'll go ahead and keep those layers of the nose and the mouth separate, non merged. So we don't lose everything we've done. Let's go ahead and make a duplicate of the whole file. So go into gallery and select that file. Then duplicate. Then go to the upper right hand corner to the ex, to deselect and well, rename it to desaturate. And we'll use this for the rest of the lessons. 11. Layer Magic : From the two layers that we make in this lesson, we'll be able to add color and textures and do all sorts of variation, make a really modern screensaver. Okay, now we're working in that new duplicated canvas called 2D saturate. Let's go ahead and duplicate the layer that's called IMA engine. I found this part really important. Go ahead, highlight everything and make a new group, and then duplicate that group. So you have two new groups, exactly the same. And go ahead and call the top group storage. I don't do that in my video, but I recommend you do rest of the video. We're going to be creating different layers and this becomes a place to store them. Let's go ahead and move dots, whiskers, and the shield up above the new group. We don't need to put them inside storage just below it. We're not going to be using them until later. So this is a good place for them to sit for a while. Okay, it's finally time to go ahead and put the nose and the mouth onto one of the IMA engine cat photos. So let's go ahead and highlight them and will include one of the IMA engine cats and we'll do a group. The reason we're doing a group is we want to use flatten instead of just merging, because merging would change the opacities. So let me turn them off and on. You could tell this top one, which is the composite. You can tell it's the composite because look at its nose, has the line, then the bottom photo, the original is the unspliced dash, and then the centre one is the IMA engine without the nose. So let's go ahead and duplicate that. I'm engine that's a composite, the top one. And the reason we're duplicating it, we want to name it and we want to store it up above. So we have a copy of it in case we want to use that later on. Okay, with that out of the way, now we're going to work with these three layers, and this is where the magic begins to happen. So let's go ahead and reduce on the top one the opacity down to 40 and it's unnormal. And on the second one, we're going to bring it down to 50 and we're going to use Linear Burn. Okay? Here we go down to 50. And Linear Burn. And then the bottom one, the original on splash. I'll keep it at normal 100%. Now with these adjusted opacities, let's go ahead and highlight them and group them. And we're going to flatten them. And that brings them all together. So it's now a composite of those different effects. And let's go ahead and duplicate that. And let's go down to the bottom and we'll rename it. These two are exactly the same. We'll rename it. Come pause for composite flat. Okay, we're going to jump up to the layer above. It says original, which is really a composite flat. Highlight it. And we're gonna go to adjustments and hue saturation. And let's drop saturation all the way down. I really love how the texture show through because of the different opacities. But I do see that it's kind of gray. So, and the black isn't real black. So let's go back into our layers. And we're going to duplicate that particular image. And we're gonna go back into curbs this time. So highlight that and go to adjustments and curves. And we're gonna brighten it and dark in it. So let's bring the highlights to the left and that Brighton sit and then the mid tones, which you'd be in the middle. Let's pull it up just a little bit. I'm mainly going to be watching the mid tones and in this side area and also see the for area, the details. This I'm not too worried about. I'm looking at it only for it being white. So let's boost that a little bit and just kind of move it around and see what it does. I could see that the black isn't very black. So let's go ahead and move it. And I'm not worried about the eyes and the nose because they're going to be something totally different with color. But I am looking at this for area in all those details because I don't want to blow the amount. So adjusting the black, I like it when it's darker, but I don't want to blow out that side area, but I want to get as dark as I can so that when I have the white whiskers against it, they really pop. Okay, working with this midtone again, I'm getting some good contrast of the for details, so I'm liking that. Okay, here's my final, it's a little bit brighter on the body, and then it's got a nice contrast of the darkness. So let's go back into the layers. And let's go to the first black and white that we did and we'll rename it to before we get rid of it and let's call it desaturated, unadjusted. So d sat and adjusted. And we'll put it in our storage. Now let's name this one, and this will be the one that we're gonna be using for texturing. So let's go ahead and call it final two texture. And we could tell it's black and white just by looking at it so we don't have to even add black and white. Ok, with them both on. You could begin to see some of the possibilities for different versions of screensavers. Some of them could have color like this one with enhanced eyes and nose. And then also we can go back to the black and white and enhance the eyes and the nose. In the next lesson, we'll be doing a mask for the nose. I'll show you how to keep those little hairs in there because that's so cute, but still bring color. And then the last one after that will be coloring the eyes, which is a little bit different process. So let me go ahead and bring up the whiskers real quick before we leave. 12. Masking Nose : In this lesson, we'll bring color to the nose by using a mask and adjustments. So let's go into our layers and we're going to reveal the underneath image, the color of the nose by creating a mask above the black and white. And we're going to choose black. So it reveals and are mono line pen and just color in the area that you want to show through to make it easier, let's go ahead and reduce the opacity of the black and white layer. And now notice that it appears that we're painting in paint, but it's really black. That's the reveal color. So what you're seeing is revealing the underneath pink nose on that ima engine composite layer. So just make sure it's totally painted. There we go. We had some little spots. And then you could switch to white. And instead of the racer, you don't want to erase, but the white will hide. So what we're doing is just touching it up and getting inside the nostrils and smoothing it out. There we go. Okay, I'm thinking that this nose is awfully pink. So let's go up into storage and bring back the original on splashed photo. I like that softer color and we could use that as kind of a guide for our adjustment. I've turned my orientation to landscape so you could see it better as we do the adjustments. So let's look at the layers real quick. Notice that I've renamed whiskers to whiskers keep separate. We just wanna make sure that these three layers are kept separate until the very end. And then we have the Layer Mask with a black and white. And then we have the composite flat, which is the brilliant or vibrant knows, which is to vibrant that we're going to fix. My goal is to get that painterly look, but make it the color of this lighter on splash colored their original, Maybe even a little bit different from that. So we'll use the adjust. So I'm going to turn that off. And I'm gonna go ahead and move my composite flat right underneath. Doesn't have to be, but I'm going to bring it right underneath the black and white. And we're gonna go ahead and use the new procreate version 5.1 in the adjustments to adjust this color. So let's make sure that we're on that composite layer and hit the adjustments will go into hue saturation. We're gonna go into pencil. You just have to get used to it by trying it. And it's pretty simple. You have to make sure that you're on the pencil that you want or the brush that you want. By using the pencil, we're just adjusting the nose so we can continue to use this particular image to adjust the eyes later on, the first thing I do is always just change the hue slider, which now it's on purple, 30% so I can see what I'm doing. And then we'll make adjustments when we're done. And what's neat about it is that you can totally adjust the brightness, the saturation, and the hue color. Ok, it's at a 100% opacity, and let's back it off so we could kind of see how it looks with the other black and white tongues. Let's go ahead. I know I want it to be what it normally is. So that's 50%. So at 50% is normal on everything, that's the default. And I just want to push it up just a hair too, where it has a little bit of a peach tone to it. And then I'm going to just back this saturation off just to hair and then brighten it. I'm gonna brighten it quite a bit. That might be a little bit too much like whole numbers. So let's keep it at 60 and maybe 48. You don't wanna get too low on the saturation because it starts to gray it out. And then on my hue. Let's take it to 51. 52. That looks almost fluorescent. Let's go to 51 and it just make that much difference, just these little fine adjustments. So let's go ahead and say Fine, by getting off of that, I made a copy of this composite flat and I took it and stored it up here in this New Group, which is all my extras in case I mess up. And so let's see how different that looks like that. Okay, I'm gonna go ahead and rename this. And this is a new feature to you can write on any area which I always have a problem with. Or you can just go to the civil pad and type out. So I'm going to rename this adjusted composite flat nose. So I know it's the nose. When I do the eyes, I'll change it for the eyes. And then what I did was I went ahead and re-adjusted the nose just a little bit. My new numbers are 53 for the Whew, it's warmer. And then forty eight and sixty one, sixty one brightens it up a little bit. It's less neon looking. Joined me in the next lesson and we'll be enhancing the eyes would use a slightly different technique. 13. Eyes: We'll bring color enhancement to the eyes and this lesson, using a mask to reveal the IMA engine layer, similar to how we did the nose. To do this, change your color to black, and go up to brushes and choose mono line. Now you could choose a different one if you want, and go to your layers, to the black and white, click on it and choose mask, and it will create a Layer Mask above it. That's what you're going to want to select to draw on. So using your pen carefully go around the I. The reason it's brown is because it's revealing that ima engine image below it. Make sure also that you're on a 100% opacity and that you cover the whole area. Just snug it right up to that black border. It's all these brown areas that is going to be changed and adjustment to green. Not really sure until I backoff how far I'm gonna go. I'm gonna go ahead and take out some of this right here. So I want to get to my white backoff, uh, my pen a little bit. The reason that I'm using white instead of the eraser is because I'm on a Layer Mask and white hides and black reveals. So you can go back and forth. Now I'm just doing the little minor touch ups to make sure I have good coverage. It's worth the extra time. You're gonna be looking at this a lot. I can guarantee you you're going to love it as a screensaver. Okay, I'm gonna take this one underneath because that's the one. The color one is the one that I want to address. And I can tell already this eye is a little bit darker than this side. There's less detail. But I'm not worried about that in this case for this painting because I know I'm going to mainly be drawing on it. It's not going to be so much like the nose where it shows through underneath. So let's go ahead and get going on this and take this composite nose for the eyes into. Actually if you feel safer, what you can do is just do a duplicate because you, while you could always go to fingers back, but that's kind of a hassle sometimes. So let's go ahead and. Work on the original cuz I know it's going to work out. And then you could delete that afterwards. So let's go up to our adjustments, hue and saturation. Again, we're going to use the pencil which we love. And we're at, let's go ahead and put it at 505050. And that's a 100% of what we're working on. I mean, what we have for the original. So we have our pencil at Mano line. Oops. Oops, oh, you know what? You do have to, let's change it a little bit. You do have to chain. Actually, it's easier. I know I'm gonna go green. It's easier if you change these a little bit so that you can see, see what you're doing. Remembered that what we're doing right now, we're not doing a mask. What we're doing is selecting with the adjustment pencil. So this is just a selection. And then we'll make the adjustment when we start doing different variations because we're just selecting the iss. In this case, we can actually go back to Brown Town Or if we wanted blue eyes or something like that because we're destroying the rest of the IMA engine layered that is below the black and white so we can make future adjustments. Okay, so now we have that and it looks horrible. But let's go ahead and adjust it. So I have done this before, so I know what I'm doing here. 57. And then we want to saturate it quite a bit. So let's go up to 66. And then the brightness, let's take that down to 53, which would be more bright than the average member of 50 being the average or whatever the original was, the default. Okay. That looks great. And I'm again, I'm not worried about this being darker than this one, because by the time I draw in these parts, I'm going to choose colors from here to brighten it up. So there we go. So 57655053. So let's go ahead and get out of there. Get rid of this one which we don't need. Between the two cat layers, create a new layer to draw on. Since the drawing layer is below, are carefully drawn. I mask. We don't have to worry about anything showing outside of that mask when we draw. Okay, let's get going. This is going to be fun. Let's work on this 1 first. Work with my studio pin. I think it's easier to get into these small places. Let's go ahead and pick something that's well, I like this color, so I'm just going to define it a little bit better. So let's say Penn fairly small. And I going to do the same thing here. And then I'm liking this brown town. But I think first, I need to go over to the darker eye and still work with that light greens. So let's go ahead and add that to this one to brighten it up. Okay, that looks good, but it needs to be kind of more of a rounded look view. Make it sort of curved on top. It gives the I am more rounded curvature. And then let's pick a little bit different color, more of a mid tone of the green That's pretty bright on that right side that we just did like this better. And it matches more the left eye. And now let's try this brown. I think these different colors are real pretty. And it's real typical of a cat to have all these different tones in their eyes. They have beautiful eyes. So let's add a little flip that over here to carry it so it's symmetrical. And then just some touching up. And let's do this orangeish color. I like that color. And added over here to just little touches. We don't need a whole lot. At this point. I'm just ignoring the catch II, the highlight in the eye, because I'm gonna do that on a separate layer. Notice this teal color on the palette when that I made. And so I want to make sure that I add that back around the pupil area. It gives some more artful luck and create a new layer for the catch is that way we can blend it separately. I know that's white. And I'm still on that studio pen, which I like for doing this because I could kinda just scratch it in, make it like that. Let's go ahead and go here and reduce the opacity so I could see what I'm doing and get back onto. I'm going to create another layer because they may vary between catch eyes. When I do a blending mode, if I do a blending mode, just scribble it in. You don't have to fill that hole area. Because it looks good. I liked this. I Better than that. I know. Something about that I don't like. So let's see let's see if that looks better. If we were going to watch both of those bright greens to see if it looks better if I do something like a of i. Let's see where we normal and take it down a little bit. It's not quite so crazy. Okay, I think what I'm gonna do on this is I can always take it into adjustments are all psychologists role, you know what, I'm going to have to take it in and adjustments because I didn't do it on a separate layer. So that's an opportunity. So let's go ahead and go in here and more on pencil. And let's go ahead and change the brightness for sure down just a little bit. So it's showing up pink because of the Hue over here, which is fine. But I do have to stay within it in order to not adjust around too much, which wouldn't be that big of a deal. This isn't exact science. It's not like baking a cake where you can get some really cool effects. Actually, I liked that little darkness. So let's go on purpose outside at the top. And same thing over here. Okay. So let's see, it was too bright. So let's bring the darkness down. Let's get to 50%. So we can see what we're doing. And then you, because to me it doesn't like it. Maybe 50 is what we're ads, so 48. And then let's move it down below the 50%. How about 47? That looks pretty good. And on Whew, I'm did believe it at 51. It's not that big of a deal. Let's go back into our layer and make sure that we know what the opacity is. Because I know I had taken it down. So let's bring it down to around 6065, somewhere in there. I think that looks really good. Sometimes what looks good is to do like I like this over here with the two catch eyes are too broken pieces. Sometimes it's good to do something over on this side. So let's see. Here we go here. See how it gives it sort of a rounded look. So I like that. And I'm not sure if this this aqua color shows up enough. So let's go ahead and create another layer. And I'm going to drop it down underneath the catch eyes. Yeah, I'll drop it underneath the catch eyes because that way I don't have to worry about it over here. And let's go ahead and make sure we're on there and get back into that same color. And we'll do something with a blend. I think I like Mano line. And that's a little bigger too, so I like that. I want to stand outside so you don't squeeze up the pupil, which I kind of did on that one. And let's drop down a hair more. Stay on the outside. So that's a lot better. And then we'll mess around with the want to be able to see both eyes with the blend mode. So let's see. I think I want it brighter. So little wild, normal and just drop it down a little bit. And that's probably best. So normal at 75 and just brightens it. Okay to give a little bit more roundness, I can see this little bit of brown right here. I'm going to bring some of this color, that more yellow color into that. And let's do it on a separate layer. And I'm going to choose the studio pen. So I have a point. And I'm just going to freehand it. What I'm looking to do is just create some kind of curve so that it helps the eyeball part look more rounded. And then I'm going to go ahead and erase this little part with my little point of my brush. And there we go. That adds quite a bit. I think that and catch I being curved makes it look well-rounded. Okay. And then as far as the catch eyes, let's play around with them a little bit. Usually do, I think an ad. So watch that normal and add a like it just picks up a little bit of the color from underneath. And then let's go ahead and do the same thing with this one. Okay, now we're done with the enhancements to the cat, but we have a lot more that we can do to make this a fantastic screensaver. We could work on the background and the decorations and also DO opacities to change the color for different variations. So, go ahead and join me in the next video and we'll get started on that. 14. Wow It!!: Okay, I know that that this brush that I'm gonna be using for the shield area has a little bit of a, a crease in it. And so I wanna make sure that I make this small enough so I'll be able to make it real big and I can move it around. So let's go ahead and do a layer and go into retro textures and that brush. And I have it all the way up. And I'm going to make sure it's big enough that I can move it around. I could avoid that area that I know is there. Okay. And then let's go ahead and do a clipping mask and it's fine. It has some dirty spots because this is a grungy brush. So let's go ahead and reduce the opacity. I like even numbers there. So let's do 30. Thirty-five. Not that that's even but see you save for me to remember. Ok, so we're doing that. And then now what we're gonna do is we're gonna do bubbles for the background. And so let's go ahead. In fact, I'm not going to merge this until I finalize as far as the opacity, we want to always make sure that our whiskers are kept separate. And this is why we kept it separate so that we don't have to worry about having to go around in the background. So I'm gonna go ahead and turn it off. And I'm going to create another layer above the cat. And because the background is not separate from the cat, which I could have cut it out and put it on a separate layer. Really, this seems like going through all these steps. It takes a long time, but it really doesn't because of these little shortcuts. And so let's go ahead and we created a layer. And let's go into our bubbles. And it's in the least like glands instant artist collection. So let's go ahead and I might make it red only because I'll be able to erase it out easier seeing it being red. And then what I'll do is change it to white. So we're in red, were in bubbles. And I don't know if it's going to be yeah, I like it the full size. And I'm just gonna go to here and I'm not lifting. Okay. That's good. Now I'm just going to take my DC. How come I did it and read it would have been hard. See white on white. So in that layer, I'm going to go to my big fat pen. You can go onto your mano if you'd rather. But I want to figure out this area real fast. Well, okay, now I'm gonna go into my Mano pen. Okay, if you could see on here, this is that line for the background art. It's Take it off. We're just about done. I'm gonna tick that off right there. Then I'm going to change my color to white and make an alpha lock and fill their ego. Sometimes you have to think, hmm, okay, and then say, I'm not loving that going far away from it. Take the alpha lock off. Let's see how it looks when I reduce the opacity. Yeah, I like that because you could see the difference now between the dark background and that little shadow. So it makes sense. And I'm not going to worry about this because let's turn on the whiskers and see, yeah, that takes care of that. Oh, that looks great. And I'm still unsure about this. We will see. Ok, so what I wanna do next is go ahead and change the color of this area on both sides to a lime green color that I pick up in the eyes just to make it pop. I think this is a blank layer. If you're ever wondering, just click on it and go like this. And it says Layer empty at the top when you hit this arrow. So I know nothing's on it. Sometimes I end up with blank layers and if I do that, then I know I could delete it and just reduce down the size of all my layers. So let's go ahead and go into 0 first, let's pick a color. I don't want this real bright. Kinda want something. Yeah, OK. This is a better, that's really bright. And over here is a little less sprite. So we'll go ahead and go with that. We can always change it. Okay, we've chosen our mono brush and we're just going to be very simple. We're on that new layer, going to go like this. And we want it to be very fluid and I held it down so that it's a nice smooth. And then I'll do the same thing on this side. Then we'll clean that up. There we go. There we go. Your love this, this is really nice. Oh, wow. Okay. I see, I do not like this down here. So I'm going to go back into this. Take my eraser and use the real big one, and make sure I'm on that layer. And I don't have to be careful. Oops. There we go. I like that better. And I like that the body shows better down here. Okay. Now, what I could do is go ahead and draw a shape in here and fill it in. And not sure if I'm going to do that or not. We'll see at the end of the video, if I do that, I kind of liked it the way it is. It's nice and smooth. So I say this is done. They could be improved. 15. Dog Art: And now a quick lesson on how I made my dog screensaver. With this particular pitchers sense it doesn't have very many details on the for. I'm going to just go ahead and take the splash picture into ima engine. For my picture, I'm using the plastic style and here are my settings. And we'll go ahead and take the JPEG into our library and up the canvas, but I've already made to the size of my iPad. So I have plenty of room at the top. Remember, this is a screensavers, so I have to save room for that date and time. I've renamed it ima for ima engine. And that's what came out of ima engine as far as the artwork. And we're just going to be working on this and adding to it. And we'll do a little bit of iWork and on his nose and color and that's it. Let's get started by creating a layer above the IMA image. And we're gonna be using that layer to paint on. We're going to use the brushes and make sure that they're full opacity. And I'm using the mono weight because it's nice and fat. Then I'm going to switch over to the mono line and start brushing out the whiskers. I want the background to be just the dark blue, so I'm going to clean up any spots along the way too. I want the edging to be real smooth and all fill in the dark color by using the color picker. On the cheek, I want to make sure it has a nice crisp edge to it because I'll be adding my white whiskers to it later. Now here's the whisker details created by ima engine. So I want to remove those. I'll just use my color picker and I'm gonna go all around the face, touching up the colors and also removing those whiskers. And this time with this dog, I don't have to add any dots for the underneath the whiskers because he has plenty. Oh my gosh, I'm noticing these lavender colors with this warm sort of orange brown. It's just beautiful and it's going to look so pretty with this color scheme against that dark blue, bright, bright background for a screensaver, signed, definitely going to be doing a color version of this as well as the black and white and merge the background onto the IMA image. So now we're ready for the nose. This is where the fun begins. This is one of the key features of this dog. So let's create a layer and let's call it knows base. I'm using the monoline brush because it has a smooth edge. But first let's go ahead and reduce the opacity of the image so that we could see as we draw what we're doing. I use the color picker to choose the color of the base of the nose. It just needs to be something very dark and something other than pure black because we'll be doing the nostrils with black. So I'm just following the edges of the image and doing a colored drop. And then I'm going to touch it up a little bit. I like how they have that little line underneath their nose to their mouth. So I always like to accentuate that. So let's go ahead and create another layer and we'll call it nostrils. Now this is going to be impure black. And you'll want to do the three layers, the base, the nostrils, and the highlight on three separate layers. So you could use the blend modes. You may have to play around with the different layers so that you can see what you're doing. And in this case I'm going back down to my splash original because it has the best view of the nostrils. It's important to keep that base at a 100% opacity and I want to be able to see those nostrils. So what I'm gonna do is create a layer in between the two. And I'm going to put the highlights so the white will accentuate the dark nostrils. For my color, pure white, and then for my brush, I use a native procreate brush called flicks. And I'll, and I'll take it down quite a bit in size. And also, I'm going to turn off the nose space and just rely on the original photo for placement. Since this is a separate layer, I can erase anything that goes beyond the news. And I just want to make sure that it's underneath enough where it really sets off that nostril. And you could turn on the base and add to it, which I need to do. And I'm using kind of a curved movement to my brush so that it makes a roundness to the nose. And also varying the size of the flips, especially on top of the nose gives it texture. And then for the highlights, I always like to lower the opacity and change the blend mode I generally end up with ADD. And I'm pretty sure I'm going to this time also. And I do the same thing with the highlights in the eyes. Okay, I've decided even though it's not really a feature that I want to highlight, I want to fix this mouth because it seems like it's kinda short on this one side. So I'm gonna go ahead and create a layer underneath the nose space and call it mouth. And I'm gonna use just a darker color, black, solid black and my studio pan. And I just want to extend it on especially the right-hand side. So I'm going to draw the whole thing, but it's just going to be not as fat as what it is, but it's going to give it a little bit more shape. That made a big difference. Now let's go ahead and group the three layers of the nose and we're going to be flattening them within the group C watched The knows that it doesn't change and it didn't. Now let's merge the mouth and the nose onto the IMA image. We're ready to work on the eyes now. So let's go ahead and create a new layer and call it iss. I may need a skinnier point to your brush, so I'm going to use the studio brush and I'm gonna use the picker to pick my color. And I'm gonna go ahead and add it to my palette because I'll be using that same color on my left. I also, right now we're working on the right eye. And I'm just outlining that and dropping it, coming up with some pretty interesting colors. So let's create the iris layer above it and do the color picker. And using the same studio pen, just do a circle. And then let's merge them together. Pretty simple. I went ahead and renamed that layer, right? I, so that I could distinguish it from the left die when I draw it. Create a new layer, and let's name it right pupil. And using our studio pen, just draw a small oval, circle and color drop. Now create another layer. And that will be for the eye highlights again on that one, be sure to add the right to distinguish from the left. And for your color, choose white, pure white. And then for your brush, use the studio pen and just scratch it in. And we'll use the blend mode in this. Lavender will show through a little bit. I always like to add a couple of different highlights to the eye because I think it helps rounded out and makes it more interesting. So we'll be adding a little bit more later on. But let's go ahead and play around with the blend mode. As usual, I choose my ad and we'll go ahead and repeat the same process with three layers on the left eye. I'm gonna go ahead and leave these layers for the I separate, not merge them together. And let's go on to creating a new layer for the whiskers. So we have high contrast. Well, choose pure white AML, use toughs of for, for the whiskers. Again, I'm gonna go ahead and just practice and checkout my size for the brush. And this is just to loosen up. This will totally change over here. Cr ready, I've gotten loosened up. And you just have to be patient but it should be a quick stroke. Yeah. Backing off. I could tell its too busy, too many so you can just redo it, it goes so quickly. It's these little hairs that contrast against the background that looks so good on the screensaver. And then these little toughs on the neck or just a lot of fun. A lot of times they'll be around that year or around the eyes depending on your picture. I've done this so many times yet. I still end up erasing, so don't feel bad and go ahead and erase if you need to and redo it. That looks so good. Okay, back in the layers. So let's turn them all on and take a look. Now remember, the whiskers are gonna be kept separate, but let's go ahead and highlight all of the layers and then group them. And I recommend making a duplicate of that group and just tuck it up above. And then we'll go ahead and work on this original group that we made and duplicated. So let's go ahead and take a look at it. The problem is, is when you have different blend modes, a lot of times when you flatten them, they do this and this is exactly what happens. So I'm gonna go ahead and just Say OK, I'm fine with that. Create another layer and take my white and just fill in that highlight that turned red. And do you see this right? I layer above the IMA? Well, that's that flattened layer. It has all the different layers. So I'm going to merge that down first, and then I'm going to merge this highlight down on top of it. And it worked out fine. If I had done it just the opposite, then it would have, again, made a funny color. So let's go ahead and duplicate are flattened. Imap, Now this has everything on it except for the whiskers. The whiskers are up above it. And let's go ahead and call this D saturated. And this, like what we did with the cat, we desaturated, but we're not going to at least in this particular picture. Now your picture might be different. You may want to do it like the cat and change the opacity so that you can see underneath it more detail. But in this case we're just going to go up to the adjustments above. Let me get it in place so you can watch it. And go to hue saturation and brightness and go to the whole layer and just bring it down. Now at this point, I'm happy with my blacks and whites. I could take it into curves at this point and boost it a little bit, but this is great. Now let's go ahead and create a mass can work on our desaturated black and white one. We've created Layer Mask and we're in black ink. And we're going to go ahead and just draw out the eye to reveal the layer underneath which is color. And we'll repeat that same process for the left eye. Although this color, I looked good with the blue tones, it needs to be warmer on this black and white, so I'm going to adjust it. But first, I really like this color version and I'm going to keep it as my for a baby colored screen saver option. Now back to the black and white. What I ended up doing was masking out the color too, but I think it's too bright and I don't really want to adjust it and the adjustments, so I think I'm going to just paint it on, but in the meantime, let's go ahead and make the adjustments for the I. Duplicate that bottom layer and we'll work on the duplicate. Let's go up to adjustments and go to the hue saturation. And I'm going to just go ahead and use the whole layer because this is a duplicate anyway. I just want to make it a little brighter and more saturated, but mainly warmer. And I created a layer underneath whiskers. To do the background. I'm using grid to make it a little bit more masculine. It's a native brush to procreate. And I did it in white and reduce the opacity way down. It's just perfect. With my whiskers turned on. I'm going to go ahead and export to my special storage place each one of the black and white versions for my baby screensaver. Oh my gosh, I love them all. I'm not sure which one to use. 16. Final Thoughts : So how did your's turn out? Mine turned out great. I hope that you are able to get your first baby onto your device as a screensaver using this really neat process. And if you did, be sure and take a screenshot and upload it to the student projects section. Also, I'd like to thank you for taking this class. And if you'd like to know of any future classes that I do, which I have a couple in the works right now. Go ahead and do the follow and I'll let you know when I upload my next class. So thank you and take care.