Ink Illustration Techniques in Procreate | Liz Kohler Brown | Skillshare

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Liz Kohler Brown, artist | designer | teacher | author

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12 Lessons (2h 1m)
    • 1. Ink Illustration Techniques in Procreate

      2:22
    • 2. Downloads and Inspiration

      4:04
    • 3. Creating a Limited Palette

      8:55
    • 4. Shadows and Highlights

      6:15
    • 5. Images and Sketching

      10:44
    • 6. Inking Outlines

      13:28
    • 7. Shadow and Hatching

      16:01
    • 8. Color and Highlights

      8:04
    • 9. Sketching with Quickshape

      13:44
    • 10. Hatching and Crosshatching

      13:11
    • 11. Stippling

      12:51
    • 12. Drawing Challenge

      11:23
217 students are watching this class

About This Class

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In this class, you'll learn three different ways to use ink lines and dots to add shadow, highlights, and depth to your work.  We’ll look at tons of tips and tricks for hatching, crosshatching, and stippling, and talk about how to add bold color to your linework to add variation and contrast that makes your work stand out online and in print.

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When you watch this class you’ll get all of the ink brushes I created that make it easy to add varied ink lines and shading to your work.  You’ll also get the hand lettered fonts I created so you can quickly add some hand lettered words to your illustrations.  

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I’ll be completing the projects in this class on my iPad in Procreate, but you could do this same process on paper, or a different digital drawing program!

First we’ll create a playful line drawing from start to finish, and look at easy ways to use hatching to define highlights and shadow on the object.

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Next we’ll use crosshatching to turn a flat line drawing into a bold illustration with lots of variation, highlights, and shadow.  I’ll show you tips for getting your crosshatching angles and line thickness down, so you don’t end up with an inky mess on the page!

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Next we’ll use stippling to add varied shading to a simple line drawing.  I created some stippling brushes that you can use to quickly add stippling to your drawings so you don’t have to place each dot by hand.  

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I created a drawing challenge to go along with this class that is designed to help you use your illustrations to share a bit about yourself with your followers.  This is a great way to get new followers and engage your current followers in conversations. So stay tuned to the end of the class to learn about the challenge and join me in sharing your ink drawings online.

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All you need to take this class is your iPad and a stylus or some inking pens and paper.  I’ll be using the Apple Pencil and Procreate, but use whatever works best for your personal style.  Let’s get started! 

You can get the class downloads here (the password is shown at the beginning of the class).

Music by Ben Sound

Transcripts

1. Ink Illustration Techniques in Procreate: Hi everyone. I'm Liz Claiborne. I'm an artist designer and teacher. Today I want to show you three different ways to use lines and dots to add shadow highlights and depth to your work. We'll look at tons of tips and tricks for hatching, crosshatching, and stippling, and talk about ways to add bold color to your line work, to add variation and contrasts that makes your work stand out online and in print. When you watch this class, you'll get all of the ink brushes I created that make it easy to add varied inclines and shading to your work. You'll also get the hand lettered font site created so you can quickly add some hand lettered words to your illustrations. I'll be completing this class on my iPad in the app procreate. But you could use paper, Canvas or whatever digital drawing program works for you. First, we'll create a playful line-drawing from start to finish and look at easy ways to use hatching to define highlights and shadows on the object. Next we'll use cross hatching to turn a flat line drawing into a bold illustration with lots of variation, highlights and shadow. I'll show you tips for getting your crosshatching angles and line thickness down so you don't end up with an inkling mass on the page. Next, we'll use stippling to add varied shading to a simple line drawing. I created some stippling brushes that you can use to quickly add stippling to your drawings so you don't have to place each dot individually. I created a drawing challenge to go along with this class that's designed to help you share a bit about yourself as an artist and designer with your followers on social media. This is a great way to get new followers and engage with your current followers and conversations. So stay tuned to the end of the class to learn more about the challenge and join me in sharing your ink drawings online. All you need to take this class is your iPad and the stylus or whatever digital or traditional drawing materials you like to use. Let's get started. 2. Downloads and Inspiration: First, I want to take you through all of the downloads and resources that you'll need for this class. You can find a link to get to the download section on the project section, on Skillshare. Make sure you're on the website and not the app. Once you click on that link, you'll see that you need a password to get into that page. I'll show the password on screen right now. Once you get into that page, you'll see that you can scroll down and see all of the downloads here. We'll start with the procreate brush set, so I'll tap that to open it in a new tab. Then you should see the download option here. If you don't see that download option, I would try a different browser to see if that helps. Tab open in and then choose procreate as your app. Then it'll open whatever document was opened last and you'll see the new brush set at the very top of your brush library. If you head back to the downloads and resources page, you'll see that there's a troubleshooting suggestion page here, so if you have any trouble with these, just check out that page. Before we get started with our drawing project, I want to take a look at some inspiration. So if you go back to the downloads and resources page, you'll see the Pinterest inspiration board. I'll click on that to open it. You'll see on this page, there are so many different ways to use line work and dots in your ink drawings. Well, these are mostly black and white and we'll be working in color. This is a great time to get an idea of how detailed you want to go with your drawings. You may like this more spaced outline approach with some varied lines, or you may prefer the stippled book where you're using a lot of tiny little dots to create shadow and highlights. We'll be looking at both options today, and also some crosshatching. You may just want to start by scanning through here and getting an idea of what kind of line work you're drawn to, and what kind of colors you might want to add to this. You can see some of these pieces are colored, while others are pure black and white, you may be more of a pure black and white person. This is a good time to start thinking about that. Of course, we don't want to copy anyone here. This is just a good time to get an idea of your line work style and what kind of line work you're drawn to. I love all these little swirly indentations that show highlights and texture at the same time. That really goes with my style. I love these evenly spaced lines. I'm obsessed with organization. Having these straight lines nicely space beside each other that really appeals to my personal style. I also love the stippling and how you can use all these tiny little dots to create shapes. Take your time scrolling through here and maybe even jot down some ideas for some objects that you would like to try. I'll be giving you ideas for objects for every single project, but of course, in the end you'll want to start doing your own thing. This is a great time to just get some ideas and play around with various lines styles. 3. Creating a Limited Palette: Next let's talk about color. A limited color palette works really well for this style of drawing. I've created a few color palettes for you that you can use in your drawings. We'll also look at some ways you can create your own palettes and test this out on a composition. The next document is the color palette file. I'm going to open that in the same way, tap it, tap "Download" and then choose Procreate as my App. This file will go to your gallery so you have to go back to your gallery. If you're in a stack, you have to get out of that stack. Then you'll see it at the front here. When you open this document and look at the layers panel, you'll see that there are several groups and each color set is its own group. these are some color palettes that I'm suggesting, but, of course, you can use any colors that work for your personal style. I'll be using the first set throughout the whole class, and you can try any of these. I also included a set at the bottom that allows you to make your own color palette. If you want to do that, just open that layer group and tap on the first circle. Choose a color. Tap on that layer and tap "Fill" so that's your first color. Then he can just continue that same process. You can see the pattern that I'm doing with these is choose a dark color. I'll choose that blue. Then just go towards the bright spot on the color wheel here so you get a slightly lighter version of that. That's my second shade. Then even brighter, that's my third shade. That just helps me keep my highlights and mid tones consistent throughout all of these drawings. If you'd like to make your own palette, just continue that process through this whole line, or just use one of mine. At the end of the class, I'm going to tell you about a drawing challenge that I created. I suggest that you do a cohesive color palette if you try the challenge. That way, all of your drawings will work really well as a cohesive set. Really all you have to do is choose three main colors and then pop in those lighter and even lighter shades and then just choose a background color. Then, of course, once you create your color palette, it's a good idea to test it out and see how it looks. I created a document back on the Downloads and Resources page. It's called the color palette testing file. Same process to download that. Now, if I go back to my gallery, there's this document here. You can download this document and try out your new color palette. I'm going to go back to my color palette document, finish up that color palette I was creating, and then we'll apply it to this color testing document. One thing I'm thinking about as I'm creating this palette is getting a range of colors. If you think about the three primary colors, then you want to try to choose at least one or two of those. That would be blue, yellow, and red. For example, in the red section, I might choose a pink, which is in the red family. In the blue section, I chose dirty blue and the yellow section I chose yellow. If you look at all of these color palettes, they all go at that same theme. The yellow family, blue family, and read family. That's one way to make a color palette. Of course, there are a lot of other ways and you can use here whatever works for your style. That's my new color palette. I have no idea how this is going to look until I apply it to document. I'm going to go to "Palettes" create a new palette,tap and hold on each of these colors, and then tap on my palette to save them. Now that I've got that new palette, I can go back to my desk and it's there saved as my default palette. I'll go back to that color testing document. Now, we can start playing around with popping these colors in. Let's start with the background color. I chose this pale, peachy color as my background. Then for the blue, I'll use that on the plants. If I open my layers panel, you'll see there's a layer called plants. You can just choose your color, tap on that layer and tap "Fill." Same thing with the plant highlights. I can choose either my middle blue or my lighter blue and now I've got a nice contrast. I'm going to repeat that with all the layers on this document. Feel free to take some time here to play around with your new color palette. Sometimes if I can't decide between a color, I'll set one and then set the other and tap two fingers to step back, three to step forward and just keep going back and forth like that. I like the darker version here, it's a little more bold. I can take more time and play around with these colors. You could take a lot of time and really get the exact color that you're going for, but this is a great way to test your new color palette. Let's say, I didn't like one of these shades. I could just suggest that and save it here in the color palette section. Let's say, my pinks, maybe I think those are a little too saturated. I'm just going to tap on the pink layer, tap the Adjustments Menu, tap Hue, Saturation, Brightness, and then bump down the saturation a little. That's a little more muted. That goes along better with my concept. I'm just going to tap and hold the sample, that new maroon color and put that in my color palette. Now, I have that new version. Let's get the lighter one. Then the highlight. If you want to get rid of those original pinks, just tap and hold and tap "Delete" and now you've got your new color palette. it takes a little time to refine a color palette, especially because with this project, I'm going to be doing a series of drawings and I'm committing to a single color palette. I really want to be sure that I love that palette before I move on. Back on the Downloads and Resources page, there's one last element to this color section. Color palette 1 and 2, color palette 3 and 4. Those are the palettes that are included on the palette file that we just looked at. If you open one of those same thing downloaded to Procreate, then when you go to your palettes, you'll see it in there. Here's the ink drawing pallet 1 and 2, and in drawing pellet 3 and 4, and you can just set default for the one that you want to use or, of course, use your own palette that you created. 4. Shadows and Highlights: Next I'm going to talk about placing shadows on your drawings. This can be a tricky subject for someone who's just began drying or has just started adding shadow into their work. We'll cover a few tips and tricks for getting the right reference image and adding some shadows to your work so if you already feel really comfortable with adding shadows and highlights to your illustrations, feel free to skip this section and move on to the next one. The first thing to think about is a reference image. I almost always use a reference image when I'm drawing so the first question is, where do you get your reference images? You can get them online, I'll show you a few resources today. But truly the easiest way to get good reference images with perfect shadows is to take your own pictures. It's so much easier when you first start out because you can control the shadows to be exactly as you want them to be in the drawing. It's really hard to find a perfect reference image when it comes to shadows, so I recommend taking your own pictures and working from those a try. When you're taking your own pictures and looking for reference images, here are a few examples of what to avoid and what to shoot for. The first damage is too dark. There is no shadow or highlight that's easily definable because the light is in front of me. You don't want the light in front of your object, you want it on the side or the back of your object, so that you're getting a really nice defined shadow that really shows the shape of the form you're working with. The next picture is too bright and the light isn't in the right place. The Sun is almost directly above me so the cup is creating this big shadow right across my hand and it just looks weird. In a drawing, you would just see lines cutting across my wrist and it's just uncomfortable for the viewer. The third picture has some nice balance to it. The shadow really shows the shape of my hand, especially you can see across my thumb, the shadow is really showing the shape of my thumb and it's also showing the curve of the cup on the inside of the cup and the outside so this is a nice photo. The light's coming from the left side and it's soft. It's not an extreme light. You could do hard light or soft light here. I tend to like soft light because I think it's a little easier to get the shadows out of a picture that way. In a minute we'll take a look at that photo and we'll isolate some of the shadows so we can start playing around with how to plan out your drawing, but a few more tips for taking pictures or finding a good reference image. Make sure it uses a single light source. You don't want to have three or four different lamps on in a room and try to get good shadows. Next, study your photos, figure out where are the shadows and highlights are. If you can't define where they are, it's probably not the right photo for drawing. Next, take lots of photos You never know what interesting shadows you'll discover if you just keep searching for the perfect photo. Of course, you can always improvise. Once you get comfortable with adding shadows and highlights to your drawings, you'll find it pretty easy to just add in a shadow. In the beginning, it's good to stick to the photo but once you get comfortable, just feel free to throw in a shadow or a highlight. It doesn't have to be perfect. Here's the photo that I showed you that has some soft light. I'm going to create a new layer above that photo and just choose a really bright color that's easy for you to see. If you look at this photo, you can see that the shadow here follows the shape of the cup. The shape of the cup is slow sloping and dipping down so here's a nice highlight and it even gets a little bit brighter right here. There's two levels to this shadow, I might circle level 1, level 2, and then the shadow is level 3. Again here we have one type of shadow and then here the highlight is like right on the rim, 1, 2 and 3. Then there is a nice bumpy shadow that goes down my hand and it follows the shape of my hand. That's something I'm looking for these photos is a shadow that follows the shape of the object. The shadow cuts across here. That's just going to be confusing for the viewer. They're like, "why is there a shadow right there?" If you can find an image that has a shadow like that, or if you can't and you're just working from a different image then just add it in. Just follow the form with your shadow and nobody's going to know the difference. There's another little shadow. I'm just going through and studying this photo and figuring out where are my highlights and shadows so that when I get to doing my line work, it's just really easy to add it in. Now I can just save this image to my camera roll and I have a nice image with all of my shadows mapped out so you don't have to worry about that anymore. Now that we've played around with how to identify highlights and shadows, let's go ahead and create our first drawing. 5. Images and Sketching: For this first project, we're going to create a simple line drawing of a potted plant and then use lines called hatching to add shadow and highlight to the drawing. For your reference image, if you have a potted plant in your house and you can take a great picture, that would be a good option so you can get the right shadows and highlights, but I'll be showing you how to use some reference images in case you don't have a potted plant at home. I'm going to start by finding a reference image. I have a list of free image resources for iPad artists and designers so you can click on that and see a lot of different options here for all kinds of different images. I'm going to go to the site called Unsplash. I like this site for more modern images, whereas some of the others are for more vintage style images. I'm just going to search house plant. You can scroll through here. You may not find the perfect plant, of course, but for example, I love this leaf shape. I'm not crazy about that pot, especially the shadows. There's like two different levels of shadows, but I like the leaf shape so I'll just take a screenshot. I really like the shape of this pot. I like how it has two different parts and there's a really nice shadow cutting straight across here that shows the form. I don't really like how pointy those plants are, but I think I can use that pot, so I'll screenshot that as well. Now, I've got a couple of images to work from. This is a great way to use reference images. Don't try to exactly copy a reference image unless it's your own. Even though these are free for personal and commercial use, it's really better to create your own composition that doesn't look like anyone else's drawing or photograph. There's a lot more plants styles, pot styles, there's so many different options on this page so take your time here and find one that fits your personal style. The only thing I would suggest you stay away from is really tiny leaves. Those are going to be hard to add these lines to so something big and open like this is great. Something with some really wide open leaves. These are nice big open leaves. If you choose something with really tiny leaves, it's going to make your job a lot harder so I would stick with something wide and open. I'm going to open my photos app so I can pull up those pictures that I just took. Then I'll tap edit, crop, and I'm just going to crop this image so I can just see the plant I need. Tap done. Same thing with this plant. I only need the pot here, so I'll just crop that out. Now I'll head to procreate. I'll create a new document and I'll be working at 3,000 by 3,000 pixels. That size works well for me, but you can work at any size you'd like here. I'll push this over to the right side, and then just slide my finger up here, grab my photos app, and stick that on the side. So I want to be able to see those reference images as I work, and I can use that little bar to scoot it over. I'll get black has my color and in the ink illustration set that we downloaded, I'll grab the sketching pencil and I'm just going to start by sketching this shape in. This doesn't have to be an exact replica of what I'm seeing on this photo, it just needs to be something close. I know I like the shape but I don't need it to be exactly perfect. First I just get a really rough shape. I can tap the move tool, make that a little bit smaller and then I'll grab my plant image here and start putting some plants in. For the first few leaves, I'm looking at my reference image. I really want my first few leaves to teach me how to draw these shapes, so I'm following the form pretty closely for these first few leaves and then as I start adding more leaves, I'll have to improvise because this only has a few leaves and I want a lot more. You can decide here if you want to stick to your photo more or if you want to just improvise a lot. I'm also going to add in a little bit more overlapping than you see here. I really like leaves to overlap in this kind of illustration because it gives the whole piece a lot more depth. I might start by just mapping out where some overlapping could happen so I could bring this leaf over here to overlap this one and this leaf that points down can be overlapped by this one. If I do overlapping in one place, I'm going to try to do it in another place because then we get a little more balance across the drawing. As I'm learning this leaf shape, I'm realizing that there are two really important things. The tip needs to be pointy. That's an aspect of this type of leaf, so I need to make sure all the tips go to some kind of point. The base has a very rounded meeting with the stem. I want to do a little rounded shape as I get to the bottom of that stem. I'm just thinking about those things as I'm sketching it in. This is a rough sketch so it doesn't have to be perfect, but I'm just trying to get close. I'm also going to overlap the container a couple of times so that's going to add a little bit more depth to the drawing. If I do it on this side, I'm going to try to do another one over on this side just to get a little more balance. At this point, I'm just looking at the overall shape. You can really zoom out and look at your drawing and see is that the right shape? And if not, you may want to change it. So see this big blank area in here? I'm not crazy about that so I'm going to take this leaf and move it down. I like to make big changes like this before I go to a more refined sketch because your more refined sketch is a lot more work, and so if you're working from a bad original sketch, then you're giving yourself a lot more work. Try at this stage, even though it looks really rough, to just assess if the shapes are nicely spaced and there's a lot of variation in the lines, and there's a lot of variation in the directions that the leaves are pointing. I can see that it's a little bit far on the right side of the page, so I'm going to shift it over, make it a little bit smaller so it fits this composition better. You can also see there's not a lot of space right here, but there's a lot of space on this side, so it's unbalanced. What I could do is bring this leaf that's on the side over a little bit, change it's direction so we get a little more balance from left to right. You can also grab the selection tool, make sure freehand is selected and just circle elements to move them around and try something different. I feel like if this was a little bit higher, it would make the whole composition seem a little more interesting, right now everything is very compact. I'm just going to pull that out a little bit and now we've got a little more space. I'm going to do the same thing with this guy, make it a little bit bigger. I'm just expanding everything, I think I went a little too tight with the original sketch. Don't be afraid here to just get really messy and totally change your original composition before you start doing any detail work. 6. Inking Outlines: I'm going to open my layers panel, reduce the opacity of that sketch, and create a new sketch layer. Now, I can start getting a little bit more refined with my sketch. At this point, I'd like to zoom in and be a little bit more careful about my shapes. I'm doing that rounded shape down to the base and of course, take a few tries here. Your first go on a shape is not going to be perfect, but maybe the second or third one will be even better. I know I want to have these dip all the way down and here, the stems and then I'm going to have a little bit of thickness to my stem. I'm just going to go through and draw those in because these stems are really thick and I like how that contrasts nicely with the leaves. I'm going to try to bring that into my drawing as well. I'm just going to continue the same process for finding my sketch all around this composition. You can see as I draw these leaves, I am trying to really get a lot of variation in my align. Sometimes when you first start drawing leaves, you'll think that they need to be perfect like this and that's actually the opposite of how a leaf is. A leaf is totally irregular and strange, but it does have some characteristics that tie the leaves together like these pointy edges and these rounded bottoms. Those are some things to keep in mind as you draw your leaves. Don't be afraid to get really wonky with the shapes. If you're doing these really perfect shapes, it's going to look very stylized, which is fine if that's your style. But if you're going for something a little more realistic, you may want to try just going way more loosely than you normally do. Whenever I have elements that overlap, I always draw both elements fully and then erase the one that's on the bottom. I think if you try to draw half pieces of something, there's always going to be something a little bit off about it. I suggest just going ahead and drawing things that overlap each other fully and then doing some erasing to clean it up. As I work on this, I'm going to go ahead and close my reference image, that really drains your battery. if you're actually not using your reference image, go ahead and close that out, you really don't need it. I'm happy with how those leaves look. I'm going to swipe to bring back my reference image and start working on the spot. I'll do this on a new layer. It's easy to erase the pot and not mess up my leaves at all. I'd like to do the symmetrically, but you certainly can do this however, you'd like. Just going to draw this straight line and hold it and then let's duplicate that. Flip horizontal after tapping the Move tool, make sure Magnetics is on here so that when you shift that over, it goes perfectly horizontal. Now we've got two sides that are perfect mirror images of each other. I'm going make the circle here and then hold so I can get a nice quick Shape tool here. You can see how that created a perfect oval for me and I've got a nice oval shape. Let's do that again down here. That's the outside of my pot. Then I also have this outer circle here that contains the top part. I'm going to do this on a new layer here. The top part of the outer circle, new layer, the bottom part of the outer circle and honestly with this part, you could just duplicate that first circle because the sides are almost straight up and down. Let's just duplicate that bottom circle we made and now we're getting some nice shapes that we can use and just erase what we don't need. I'm going to merge all those together, get my sketching tool. There is the sides, this little water catchment section. I don't need anything that shows through the pot here. This cannot be removed then I have these tiny little pieces that can be removed. Really this part is just made of circles and lines. You may have a totally different shaped pot and you would create that in a different way but this is a really simple way to make this pot shape. I'm happy with how this looks. But of course, if you feel like something's not right about your drawing, you can do another sketch layer so you can merge this new sketch, make the original sketch invisible, reduce the opacity, create a new layer, and start an even more refined sketch layer. Do as many sketch layers as you need. Don't feel like you need to rush into it. The sketch is the most important part for creating the base shape. It's pretty important that we take our time on this step. I'm also going to clean up any little areas that are overlapping or any little messy spots that might confuse me while I'm inking. I'd just like to have a clean sketch when I ink. This isn't necessary, but it certainly makes it a lot easier when you're trying to focus on your lines. I'm happy with that. I'm going to create a new layer, and this will be my inking layer. I still got black is my color in my brush set. I'm going to grab the graph tapered edge ink. The main difference here between the tapered and the not tapered is the end. With the tapered, you're going to get this tapered edge that comes to a point and with the not tapered, you're going to get a solid edge. This really just depends on your personal style. I prefer the tapered, but there's some cases where you might need that not tapered as well. Just go with whatever feels good here and before I get too deep into inking, I'm just going to do a few leaves and then zoom out. I'll take care of this leaf here and then we'll take a look and reassess. At this point, you want to zoom out to the level where you think this will be viewed. For example, if you're going to look at this on Instagram, it's going to be pretty small on people's phones. If your line was really really thin and almost invisible, that wouldn't really work well. Same thing with a super thick line. I'm using brush size seven and this is the 3000 by 3000 pixel canvas. You can stick with that size. You could go a little bigger or smaller, whatever works for your style here, but just be sure to double check your size before you get too deep. Another thing I do is I go to that layer, tap rename, and mark the brush size seven percent. I do that because if you want to come back and work on the drawing later, it's nice to use the exact same line width and if you're working on a lot of pieces at once, like I usually am, it's easy to forget what brush size you were using. That's one trick if you do a lot of work in procreate and you sometimes forget what brush you were using. You could even type the brush name if you sometimes forget what brushes you're using as well. I'm going to take my time here and just follow my sketch and I'm also going to make sure that I don't have any weird little overlapping. Here's an example. This line is going past the other line. That really just looks messy. This line didn't go far enough. You can see where the ink line is. There's a fine line between too far and not far enough. Take your time, zoom in really closely and make sure these ink lines are nicely touching each other but not going too far. I'm also flaring out here at the bottom. I want each part to open up onto the main stem. I'm making sure I get that a little bit of flair even if I forgot to do that on my sketch, I'm going to keep that in mind every time. On one node here, I could just use quick shape and make this a perfect oval, but I find that with the inking step, if you join it by hand, it has a much more authentic look. For example, there's just a slight difference between this line that I did with quick line just now and this line which has a little bit of the human hand to it. You can see a slight difference there and I think viewers can really pick up on that. When I do my final ink drawing, I try to never use quick line and I don't worry so much about this line being perfect even if you're really good at drawing straight lines, just keep it a little bit loose because as you saw in that Pinterest board, the ink drawing style has the hand in it so you can feel the human hand was creating each of these lines one by one and we work with digital drawing and painting. Sometimes you have to add in the look of that hand even though it's easy to do it with the guide of the program. That's just my personal style. Of course, do this however you like. 7. Shadow and Hatching: So I'm happy with how that looks. So I can make my sketch layer invisible. I'm going to move to a new layer now. You could lock your ink layer if you're worried about accidentally drawing over that or you could just swipe left and tap duplicate and make the first one invisible. So then you've always saved one there just in case something goes wrong later, you've always got a backup. I tend to do that a lot. If I spend a lot of time on something like this, I don't want to accidentally lose all my work. So just something to think about as you're working. Duplicate layers, save layers, lock layers, just try to stay safe with not losing your work. The next thing I'm going to do, is place my highlights. So lets just grab a bright color and the sketching pencil. If I open my reference image again, I can take cues from that for my shadows. So for example, there's a big highlight here, that extends back to here. So if you want to just remind yourself, you can draw some lines that show you where the dark part is. I'll do that here, so it's really easy for you to see. Then when it comes to the leaves, you could really just guess because you don't want to use that other reference image that has a totally different light source and it's just going to be confusing. So at this point we know our light is coming from here because this is bright. So just picture these leaves and think about, where would the light shine on these leaves, if there is a light coming through the window? So maybe this side of this leaf, because that other side would maybe be folded over. So that part would be dark, that part would be dark. Maybe just one little section on this one, and then the rest is folded over. So you can see this is not an exact science and it doesn't have to be perfect. So just play around here and think about when it comes to leaves, they're so varied and they have so much movement to them, that the viewer is going to accept whatever you place down as the shadows. So unlike something, like a hand that needs to be a little bit more accurate to look realistic, plants are just so chaotic that you can really get away with some shadow mistakes and nobody's even going to know the difference. If they do, and they mention it, then that person is just a jerk, so ignore them. So I've got some ideas there about my shadows. The light's coming from here, their shadow all on this side. I'm just going to reduce the opacity of that layer, so I can just barely see it as I'm doing my inclines. I'll create a new layer. Get black is my color, and go back to that rough edge tapered ink brush. Now I can start adding in my shadow. So one thing to think about here is that these lines not only show shadow, but they also show form. So what we can think about is the shape of the object. So for example, this leaf has two shapes. It curves over this way, and it curves over this way as well, but this way we've already done with these lines. So that shows. We'll call that the vertical form. The horizontal form goes this way, or maybe this way depending on how you're looking at the leaf. So what I like to do first, is go through and place these directional lines to just show me what direction is this form shaped in. So I can see that this leaf is curving over. So on this side of the leaf, they are curving this way and on this side of the leaf, they are curving this way. So something to think about, it makes it a little bit easier to place your lines, if you go ahead and put down just a little guides like this to help you space things out. So what I'll do here is try to get this space evenly, but of course they don't have to be perfect because perfection is what a digital drawing program creates, but your hand is not perfect. We want to show that in the drawing. It's that handmade look that makes these ink drawings interesting. So at times I'm stopping my pen, and then letting it flow again. So that just creates a tiny bit of variation. Then at the end, when I get to one of the ends of these shadows, sometimes I'll just do a little point. I don't do that every single time, but sometimes I do. If you get to a weird space like this, you can just erase one and keep going. So I make these lines in the beginning to help myself stay on track. But a lot of the time I have to erase them because the spacing isn't perfect. So make sure you've got those on a new layer separate from everything else, so that you really have the flexibility to erase those lines. The more you do this, the faster it'll go. Before you know it, you'll be watching Netflix and adding these lines and not even thinking about it. Especially if you've gone ahead and added in your shading beforehand. That just makes it so much easier because at this point you're just following the formula. Now I'm on the opposite side of the leaf. So I'm trying to do the opposite shape. So on this side we did a curve that way. On this side we're doing a curve this way. Sometimes I find that I do things too predictably. I'll go through and create some variation, add in a few of these dots, just make it a little more varied. Then zoom out. Before you do your entire piece, make sure you're not putting these lines too closely. If you put them too closely, and then you zoom out like you'd see it on Instagram and you can't see the lines because they're so tiny then you need to space them out a little bit more. Feel free to leave some space in there these don't have to be tightly packed. Same thing on this leaf, getting my shape to find first and then just going through and adding these lines in. One thing to watch out for is abruptly changing the shape of your line. You can see here I have a C-shape and here I have a backward C. I'm going to start transitioning from one C-shape to the next so that by the time I get to this last one I've got a nice transition. Sometimes you just have to erase them and start fresh to get the shape that you are going for. You can see that each of these is very different so I'm trying to get a lot of variation here. This one has one big open area that extends across two parts of the leaf. This one really just has one side of the leaf this one the shadow goes across too. I'm trying to create a lot of variation here so that each piece looks very different. I'll just continue this same process and finish up all the lines on my leaves. Once I finish adding all of these and I tend to go in and just add a little bit more variation. If these lines are like boo, boo, boo, boo, boo, exactly the same that's a little bit boring. I'll come in and just give them a little bit more variation add in a couple of dots, zoom out and see if there's any areas that really draw my attention that are just so predictable. I'm ready to have some shadows down here. With the leaves the form went horizontally whereas the outlines went vertically. We have the same situation here. The outlines are going vertically so the shading lines can go horizontally like this. But you may need a little bit of help keeping those in line. What I tend to do is create a new layer grab a bright color that's easy for you to see and then just draw across the form. This is the shape of the pot now I've got that shape. Tap the Move tool and move that down, duplicate it move it down again. I'm just creating myself this little guide, making sure magnetics is on the move tool so that every time I move one of these it goes perfectly in line with the others. Let's merge all those layers by pinching them together, duplicate that. Then we just have this really simple grid that's going to keep us on track. You could even merge and duplicate again if you want a lot of lines just depends on how much help you think you'll need for keeping these in shape. I'm just going do this one spaced out layer, reduce the opacity, create a new layer. I'll get black is my color make sure that rough tapered ink brush is still selected. I'm following my shadow line and I'm following this directional line, making sure I'm on a new layer. Just going to start at the bottom here, making sure that variation is still there like we did on the leaves. I'll repeat this process around the whole container and all of the shadow areas. Keep in mind that these don't have to be perfect, you don't have to worry so much about every single line being perfectly spaced. Really that's what gives it a handmade black is it being a little bit off, everything is not quite perfect and that's totally fine. It tells people that it was done by hand. I added in a little bit more variation on this edge. The same thing on the inside but now we need an inner curve. Just like we did before new layer, get that curve, take the Move tool and move it down and duplicate that a few times. I know there's not supposed to be a shadow on this side but I just think it would look way better if there was a little bit of variation over here. This is where your artistic license has to come into play because nobody is going to tell you how to do the perfect shadow for each composition. You just have to go with your gut and see what feels right. If something feels really blank, if something feels missing, why not create a new layer, add some shadow and just see how it looks and maybe it won't look right, but just try it out. You can always delete that layer later. Usually when I do that I discover that yes, something was missing and I'm really glad I added it in. Just pumping in some shadows on this tray on the bottom. That's another important thing to keep in mind with these is you don't want to miss doing a shadow on one object in the composition because that's going to draw attention to that one object like why is there no shadow on that one thing that's pretty odd. We also have the bottom part of this little tray. For that I'm just going do some horizontal lines such as a flat object it's a dark space down there. Get a little more variation in here some of these look too predictable. 8. Color and Highlights: We can always add in more lines later, so don't feel like this is the end for the lines. But I do want to add in some color, too, so I can see how this is going. So let's make all the guide layers invisible. All the shadow layers highlight layers. So now all we have I'll drag everything up to the top That I need is my outline layer and all of my shadow layers outline pot shadows and leave shadows. So next I want to drop in some color. I'll start by creating a new layer below all of those in Claire's, and I'll be using the hell it one. I get that first color, which is my background layer and tap Phil, and I'm going to do a new layer for every single color, so you'll get used to that process of creating new layer at a new color. So for this, I want to color the pot, and I can do a really easy color drop, using my outline by just tapping on the outline layer topping reference. Go back to that new layer and she's my color. I'm gonna do this bright orange and then just drag that color onto the pot. Now, if you drag it onto the pot and it fills the entire page or it doesn't do it right before you lived up your pen on a color job, you'll see color drop threshold. If you drying that, uh, too high like this, it's gonna fill in way too much of your campus. So top two fingers to step back. So you need to find a happy medium with your threshold where it's not too much, but right on the border of just filling it. So you may have to adjust that a little bit as you work. So if you find that your color drops not filling the right spot, just play around with that threshold again. Another reason color drop might not work is if you didn't finish a line fully so there's a little open space here that will totally ruin your color drop. So that's one thing to go around your outline and just double check all the little areas air closed in new layer new color, and I'm gonna fill in my leaves so you can see this threshold didn't work well for that leaf. So I'll step back, drag it in, reduced my threshold a little, and then I can start color dropping. So the more you use that threshold option, you get used to having to do that often when you use ah, more textured line like this one. Let's fill in these branches new color, new layer. I'm gonna go with this medium Peach just dropped that in, and you can stick with this solid version. Or you could go one more step, you layer and let's go with this bright turquoise. That's my mid tone for my turquoise color. I'm gonna grab my fluid ink brush and just pop a highlight. And so I tried to do a color drop, forgetting that my reference like you're still on. So go back to that reference layer top one time top reference to turn it off. Now we can go back to my highlight layer and fill that end. So, of course, this highlight thing is optional, but it does add a nice extra layer of depth to your drawing, and you can do one layer like this. Or you could also do the highlight color. So, you know, because you're doing these own separate layers. There's no harm and trying it, seeing what it looks like. Maybe you'll hate it, but you can always just delete that layer and share this in whatever format works for your style. Some illustrators do a ton of highlight and shadows, whereas others just worked with solid gold color. So you kind of just have to feel it out and see what works for your personal style. I'm going to do the same thing on my bucket. You can see I'm not being super exact about this shape because it doesn't need to be perfect. It's just kind of an idea of a shadow, so don't worry too much about that. I feel like the contrast between the branches and that new shadow isn't quite right. So I'm gonna change my branches to be this brighter color. So on my branch layer, all swipe two fingers right to put it into the Alfa Lock state. Or you can just tap on it and turn on out, flog, then tap Phil Layer. So now I have a little bit more contrast between my branch and my pot highlight. So that's why I like to have those three levels of each color, so that even though you're working with a limited palette, you have a little flexibility with adding in some extra variation. Let's try some more highlights just to see how it'll look. I think they're just way too bright. So I'm going to go to adjustments, hue, saturation, brightness. Dump it down a little bit, so that's a little bit better. And so now we can just turn this on and off and see. Is this necessary? Is this really adding to the illustration, or is it just making things a little confusing? So go with your personal style here, play around with whatever works for you. One last thing I want to do is create a new layer. Get black is my color, and I'm going to grab this brush called lights stippling just the size until they like the dot size over here and then just gently tap to get some Sprinkles around here. Of course, this is optional. I just think it adds a little bit of an interesting texture to the composition. So now we have a finished illustration that we could share online at the end of the class and the Challenge section I'm going to show you a lot more examples of the same type of illustration, different ways that you can use thes lines to highlight different shapes and different forms. So check out that section if you want to see some war examples of how you could apply the same style to this kind of illustration, and let's go ahead and move on to our next shading style. 9. Sketching with Quickshape: For this next project, we're going to use cross-hatching or cross lines to add depth and shadow to a flat composition. I'll be using a cassette tape as my reference image but you could use any flat object here. It could be your iPad with a pencil on it, it could be a sketchbook, it could be the book you're reading. Just go with whatever works for your style here. The cassette tape will work well with the challenge that I'll introduce at the end of this class. If you want to do the challenge, you may want to stick with the cassette tape, a CD, a record or some other music related flat object. I want to cover flat objects in this class because it can be tricky to figure out where to put your shading lines when you're working with a flat object. I'll start here on Unsplash to get my reference image. I'm just going to search cassette tape. I don't really need something fancy, I just need a basic shape, so this is going to work fine. I'll just zoom in here, take my screenshot. Then back in Procreate, I'll be using the same size, 3,000 by 3,000 pixels. Let's pull up that reference image. Again, we're starting with the sketching pencil with black ink. I'll just do a basic sketch of the shape. This is a pretty simple shape but it's got a lot of shapes that are going to require some help from Procreate just to get it nice and even. Again, I'm just doing a really rough sketch to start out with. I don't worry about things being even or perfect, I'm just trying to get a basic shape. I'll tap the Move tool to make this a little bigger. I feel like this could fill up most of the canvas and that would look nice. I'll grab that Freehand Selection tool because I think I made this part way too big, so I'm just going to size that down. I also want to include some text in this and I'm just going to write drawing playlist. This is part of the drawing challenge that I'll talk about at the end. The challenge for this is to tell your followers what you like to listen to when you draw. You could write the name of an actual band or artist here, you could just write drawing playlist, whatever works for your style. There's my basic shape, reduce the opacity of that and create a new layer. Now, I can start creating my shapes. I tend to work from the inside out because I find it's a lot easier to space things if you're going from in to out rather than out to in. I'll start by doing this inner circle. I'll draw a circle and then hold to get that QuickShape tool. Then it's not quite right, so I'll tap Edit Shape at the top here and it says Ellipse. I want it to be more of a circle, so I'm just going to adjust that. You can also, if you draw a better circle than I did, get a little closer to an actual circle. Then we need to tap Edit Shape, it'll give you the option for circle. My circle was so bad, it didn't even know was a circle. Just try to get a little bit closer than I did. I'll duplicate that layer, tab the Move tool, make sure Magnetics is on, shift that over and I'm watching that blue line to make sure I'm going evenly across. Now, I can start working on this inner part here. Whenever I draw a box, I'll first create a new layer. I'll draw the short side of the box. I'm just dragging and holding to get a straight line, two fingers down to get a horizontal. Now that I have that shape, I can just duplicate that, tab the Move tool, rotate it and now I've got a perfectly aligned box. I tend to do that a lot with box shapes. You'll notice with every shape I create here, I'm making a new layer. That's going to make it a lot easier to space everything. I'm creating the top part of this shape, duplicating it, Move tool and then using that Magnetics to get it to go nicely down to the bottom. New layer. Now, I need a rounded edge here but I wanted to be almost a perfect circle, I'm just going to draw a circle on that edge, Edit Shape, turn it into a circle, and then I can use these little dots to just resize it. I may have to tap Circle again if it gets out of order, tap the Move tool. If you turn off Magnetics, you can really subtle adjustments here. I'll just play around with that until I get that outer curve that I want. That looks good, so I'm going to erase this side of it, zoom out and make sure that shape looks good. Let's merge all these pieces together duplicate them, tap the Move tool, flip horizontal, and then just shift it over with the Magnetics tool on. This is just an easy way to get shapes that are even from side to side. I'm just creating one side, duplicating it and shifting it over to the other side. You can see here why working from the inside to the outside is so helpful because it's really making it easy for me to space everything without having to adjust to fit things in. I'm going to do another rectangle, this will be my top side, my right side. Again, I'll just duplicate that rotate it and then I've got a nice shape. You may want to merge these shapes as you go or you may want to keep them separate. I'm going to go ahead and merge. Now, everything is on this one layer. I only keep things on a separate layer as I'm drawing. Then once I'm done drawing, I'm happy to just merge those together. I'm repeating the same process, drawing one side of a shape, duplicating it and shifting it to the other side. I'll do the same thing for the outer shape. Then there are these little screws that are in the corner of these cassette tapes. On the same layer that contains my outer rectangle, I'll just draw, let's zoom in get a nice circle, Edit Shape, turn that into a circle. Then if I duplicate that shape, flip horizontal, I have a nice circle on that side. If I merge those two layers, duplicate it again, tap the Move tool and flip vertical, now I have four nice screws in the exact same spot. Just a really quick way to get some evenness in your drawing. Also, I add just some little lines here, just to give a little visual interest to this cassette tape and I'm going to fill those in. I'm going to duplicate that shape, I'll tap the Selection tool, tab Freehand select it, drag three fingers down and copy paste. Then I can just put that in the same place on this rectangle, merge it with my outer shape, duplicate and flip horizontal. You can see how I'm using that outer shape to help me. It's also helped me see that this inner part isn't quite in the right spot. What I can do is go to that layer that contains the inner part, select it with the Freehand Selection tool and then shift it over a little bit so it's right in the center. One last thing I want to add to this is that text, I'm just going to draw that in. I'll show you some options for this using font or hand lettering to add in that text. One last thing here is these tapes circles in here. Again, create a circle, Edit Shape, tap the Move tool and get that wherever you want it to be. Then let's erase all the rest of that circle, duplicate it, tap the Move tool, flip horizontal and let's make that side a little bit lower, so it shows that the tape is being used. I'm going to repeat the same process to add a little bit of detail to these inner parts, including some spokes. I'll just draw a circle over this existing circle, tab Edit Shape and turn that into a circle. Then if I tab the Move tool, I can get that right in the middle to create a nice little border. I can have a bold circle around there. I'm going to go ahead and remove my cassette tape image. I'm not even really using that anymore, it was helpful in the beginning, but at this point it's just draining battery, so let's get rid of that. One thing I want to add to this are some spokes. Also, if you turn on Magnetics when you're rotating this, you'll get a really nice, easy 45 degree angle turn. That makes it easy to have just this perfect spaced spoke area. Of course, I don't need to draw those spokes again, I can just merge them all, duplicate the layer and shift it over to this side. 10. Hatching and Crosshatching: I'm happy with how this sketch looks. I'll merge all of my sketch onto one layer, and make that first sketch invisible. Reduce the opacity and start inking. Now, you could do another sketch layer if you feel like there's still things that you need to work out. Take your time here as long as you need to work on this, then I'm going to start inking. Just as we did in the last project, I'm just going to go over my lines and I might go a little thicker with my brush on this one. I'm going to go with 10 percent. Rename that layer 10 percent and start drawing. I'm happy with how this looks. I can make my sketch invisible. I want to add that text in here that says drawing playlist. You could hand letter that if you like hand lettering. But I've also created a hand lettered font that you can feel free to use in your compositions. The first one is the Road Trip Print font, and the second one is the Road Trip lined font. So you can download both, use whichever one you like. Just like we did before, you just tap on it, tap "Download", and then choose procreate off the app. I've already done that, so I'm not going to do it again. Once you do that, you can tap, "Add text". When you go to "Edit style", you'll see the font on your list. So just suggest the size here so it fits nicely in that space. Then I'll duplicate that layer, tab move, and move it down here. Then tap "Edit text" and change the words there. So I'll make my sketch invisible. Now, I can start adding in my highlights and shadows. I'll grab a bright color that's easy to see, so I'm going to picture that the light is coming from the top corner here. That means this area would be very bright. I'm also going do a second layer of shadow. So we'll have very bright, medium brightness and then darker. You can just play around with this a little, decide where you want all those lines to be. I'm happy with that. I'll reduce the opacity, create a new layer for my inclines and get black as my color. For my first inclines, I'm just going go perfectly horizontal. It's not as easy with flat objects to determine a curved direction for the shadow. If we do a curved direction, the tape is going look curved. What we want is for a flat object to appear flat. I'll tap the Actions menu, tap Canvas, turn on the Drawing guide, edit Drawing guide, and then reduce the grid size. So that it's really easy to see all the little lines that I need to make here. You can set the distance of these to be the exact distance that you want your actual shading lines to be. Let's just test that out. I'm just doing this exactly on the blue lines. If I zoom out as if I was looking at data online or in a print, then those lines look nicely spaced. I'm happy with that. What I like to do here, especially with objects where you need to break up the shapes, rather than having the lines going end to end like that, I'll have them end right before that new line starts. The reason for that is if I don't, it just becomes a really lined, blobby mass. We miss out on some of these nice dividers that we've created. Once I do that whole row, then I can come into this row and do the exact same thing. I'll repeat the same process over the whole cassette tape, making sure that my lines are going to this little red line. That's my shadow limit. I'll take just a few minutes to do that. I also want to be sure that I'm going to the correct line here. I've got two lines of shadows. My first line that's horizontal will go all the way to this inner shadow. Then my cross hatching will go to this outer boundary. I just want to make sure that I'm taking these horizontal lines all the way to that outer line. I'm going to go ahead and fill in these black stripes by using that reference layer, just like we did to color the plan image. That just makes it a little bit easier for me to tell the stripes from my inclines. You can see when I go in between the text, I'm not going to touch the text, I'm just going to leave some little spaces in between, so the viewer can see that the shadow continues, but I'm not actually disturbing the text in any way. You can see I've done lines horizontally all the way up to this border. Now I have this other border. I'll make that a little more visible so it's easy for you to see. This is my next border. For this I want do my crosshatching and I need some help with that to keep my lines even. I will go to Canvas add a drawing guide, choose isometric and zoom in, reduce the grid size. We have to decide here at what angle will we do these lines. I like to do them, so they're clearly crossing the original lines. Not a perfect cross up and down like that, more of a diagonal, maybe 45 degree angle across. What I usually do is put the guide down, maybe increase the grid size just a tiny bit, zoom in and on a new layer, making sure to do my crosshatching on a brand new layer. I'm just going to do a few of these and then step back and look. I'm looking to see if I have enough space here. I don't want it to become solid black. I want to have a little bit of space just enough so the viewer sees that it's crosshatching, but not so much that it looks black like these lines. I'm happy with that. Now I'm going to do the same process using these blue lines to guide me. Still not going all the way to the edge. When I come to a place like this, I'm not going to touch this new line. I'm going to stop just short of it. Let there be just this little tail of crosshatching sticking out. I do zoom out often when I'm doing this, and just make sure everything looks okay. Sometimes you'll realize that your lines are way too tight, and you need to step back so it's good to reassess as you work so you don't get too deep into this and then need to step back. As you can see, it gets a little complicated near texts. I didn't fully do the cross hatching here in this tight area between the texts. That's totally fine. If it complicates the composition then just don't do it. I have everything I need here and I can remove those highlights now. Also get rid of that guide because that's distracting. I'll tap Canvas and turn off the drawing guide. Then I can add in some color just like we did for the first composition. I'll make sure this outline layer is set as my reference layer, create a new layer below it, and fill in the color for the background. A new layer for my first color. You can decide here, do you want to use color to show line and shadow? Or do you want to use color for example, just coloring the shape of the cassette? With crosshatching, it's such an intense look that you almost don't need to use color for highlight and shadow also. I tend to just use color to fill in the shape and make it look nice. I'll take just a few minutes to do that. Again, I'm just going to pop in that stippling texture that I did with the last composition. Because I want to have a cohesive look for all of these drawings. I would call that finished. You could of course, keep playing around with color and shadow and adjusting little things on the drawing here and there. But let's go ahead and move on to the final shadow method, which is stippling. 11. Stippling: This next technique will be using stippling or tiny dots to add shadow to composition. I'll be using a cup, because that goes along with the drawing challenge. But feel free to use any object here that works for your personal style. My only recommendation is that you choose an object that has big wide open spaces rather than tiny little details. For example, a cup has a big wide front area that we can add some stippling to. Whereas, something like a keyboard on a laptop has a lot of tiny little details. That's going to be a lot more difficult to add stippling to. Go with a cup and follow me if you want to do that or choose another object and find a reference image and we'll get started. Rather than starting from the very beginning with this piece, I'm going to jump right into the stippling because you already know my sketching process. You've seen exactly how I lay things out, how I get these outlines. Let's pick up here with creating some stippling. I've got my outline layer on the very top, and then I've got some letters below it. The first thing I want to do is add in my letters, because I know I want those to be a very specific size and I need the stippling to go around those, so those need to happen before the stippling. I'm going to use the font again. This is going to be the font called road trip print that you can download from the resources page. First I'll just size that so it fits nicely here on the page. Duplicate that, tap on and in tab edit. I'm going to let the latte text be a little bit smaller. The only problem with this is it straight and my cup is curved. I created these lines just like the lines we created when we were making lines on our pot. I just drew that and then duplicated this down the line, so it's the same curve as this mug sleeve. Now I want to shift these letters around. If I tap on the letter layer and tab rasterize, I'm going to do that on both of those. That turns them into, rather than a text layer, a pixel layer. Now I can get my selection tool with free hand selected and grab each letter and just shift it into place. This doesn't have to be perfect. It doesn't have to be a perfectly spaced hand lettered quote. This is just some playful lettering on the cup to tell the viewer what is in the cup. Just shifting these gently, and I'll do the same with the word latte. Now, that I've got those letters in place, I'm going to play around with adding in my highlights. First I'm just going to give myself a guide like I always do. I don't like to think about highlight and shadow when I'm working on it, I like to have that all done and then I can work on my drawing solely. There is my shaded area. I'll reduce the opacity and I'm going to start with the stippling brushes. You'll notice there are six stippling brushes. Three of them are regular stippling brushes, and the other three are concentrated. For example, if I grab this medium, stippling brash, it goes all over the place. If I grab the concentrated medium, it goes in a tiny line. Depending on whether you need to fill a big space or small space, you can choose between concentrated and regular. I'm just going to start with light stippling. If I go to my outline layer here and tap select, tap automatic, and then start tapping here. If you have trouble with this, we have to do the threshold just like you would do when you're doing a color job. For example, that's obviously too much because it's selecting the entire canvas, 80-85 looks a lot better. I'll redo that with the 85 percent threshold. Now everything is selected inside the cup. If I create a new layer, get that light stippling brush and cover it, then it only appears within the cup. I don't want any stippled outside of the cup. Next, I want to set my stippled size, 14 looks pretty good. I think we could even go to 15. It just depends on what kind of style you want here. What I usually do at this point is go set them all, light, medium, and heavy, all to the same size, and the same for the concentrated. I'm setting them all to 15 percent because that's the size I chose. This will just make my life a lot easier when I start actually stippling, if all my brushes are already in the right size. I'm going to set my single stipple, which is the very last one to the same size. Just like I normally do, I'm going to rename that layer "15 percent", so now I know what size those stipples should always be. I need to go in and randomly add one or two in. Here we go with the light stippling brush. I'm going to do one light covering. Everything has this a little bit on it, then I'm going to get medium stippling, and start working on that darker area. I'm just going on the left side of the cup. I recommend you pick up your brushed often when you do this because then you're not going too far with one single sweep. Let's go to heavy stippling and get some really dark contrasts in there. When it's up against the outline, you can almost go totally black. Just doing little taps to add in little bit so that we have a nice smooth gradient rather than some big chunky areas. You can grab these concentrated ones and do some more solid stippling right along the edge to really get that dark contrasts going. Go as far as you want with this. Some stippling, as you'll see on the Pinterest board, is really subtle and light, whereas others gets really intense. But you can see what these brushes, this process is super quick. Take your time here. Once you're happy with how all that stippling looks, tap the selection tool to undo that selection. Now, our only problem is we're losing out on some of that outline. It's difficult to see where the cup ends, where the sleeve curves over here. One thing I like to do first, duplicate that layer and make the first one invisible. That way you're saving that layer below in case you change your mind later. I like to grab the eraser with the fluid ink brush here. I just go through a little bit smaller on that brush size, and just erase the stippling around where my outline is. We have a couple of options here. You can just erase it like that, and just leave that outline so it's visible, or you could actually erase all these little extra bits, and then later come in with the single stipple, and just fill those areas in a little bit more. You have to decide here what's gonna work best for your style. Do you like the way it looks when it's just totally erased? Let's reduce the opacity of that layer so it's a little easier to see. I'll go ahead and just erase all around the outlines and we can take a look and see what that looks like. I need to do the same thing around the text, so that my text is clearly visible. I'm not going to do it with these other letters, because I don't mind these little dots that are here just barely touching the I. But these letters that are just totally covered by black, those need to be cleared out because the viewer just can barely see the letter. If I return the opacity to that layer, you can see it's much easier to see everything now. If there's any little areas that bother you, just grab that single stipple and go in and add some in. Here I'll add a few to the center of that A. If there's any little weird like half circles or semi-circles that you don't like, you can fix those by just giving it one little single stipple. It's up to you here how much detail you put into this. This is being viewed on Instagram add this size, nobody's actually going to see that edge anyway, so it's not that important that you clean it up, but you're doing it as an art print of large size, then it's definitely going to make a big difference to go through and not just have this slice cutting across here. In that case, I would go through and fix all these little half circles, semi-circles. Let's go ahead and pop some color into this composition. Again, I'm using the same color palette. I'll do my final step, which I always do, which is just adding a little bit of stippling to the background so that everything has a cohesive look and works well together. You can see once you get your outline, the stippling is super quick and easy. It doesn't take as much work as the lines. But depending on your style, this may or may not work for you. Let's go ahead and talk about the drawing challenge. 12. Drawing Challenge: Now that you've learned all of the shading techniques in this class, I want to invite you to try a drawing talent with me. This challenge is designed to help you share a bit about yourself with your followers. If you're someone who's trying to gain more followers or trying to engage your current follower base, this is a great way to share a bit about yourself as an artist or designer. With each prompt on the list, I'll show you some options from simple to complex. You can spend as much or as little time as you'd like on each prompt. This is not a dated challenge, so you can start and finish this challenge at anytime. You may even want to announce it to your followers so they can follow along with you as you post each drawing. The first prompt is what's in your cup. If you already did the sibling project, you already have an example of what's in your cup. You just drag cup a glass or a teapot, and then include your hand or some lettering that says what you're drinking. That's just an idea, but feel free to play around with this. You can see for the first one, I did the stippling project that we just finished but I also did one with a teapot and my hand which took a lot more time. You can see how you could spend as much or as little time on each of these prompts as you'd like. But the more time you spend, the more interesting the composition can get. Maybe play around with some of these being more complex and some of them being more symbol. The second prompt is what's on your desk? You can dry your desk surface and objects or just draw the things on your desk individually. You can see I drew some art supplies and just organize them altogether. Then I also created a composition where I put all of my objects on my desk, and drew each one and added the shading to each one. You can also make it even more complex by adding in your hands or you holding something that really shows the viewer a personal touch and they get to see a little bit more of the artist in the illustration. The next prompt is what's on your windowsill. You can draw window and put some objects on the window sill. This can be as many objects as you want. You could do a really close up view and just have two or three things. Or you can see am out a little like I've done and have five or six things. You can play around with different types of shading on these. Maybe you want to do the step playing, maybe you want to do crosshatching, or even a combination of both. The next prompt is what's in your snack stash, dry your favorite snack or indulgence in a bowl, on a plate, or in your hand. I've just drawn three different snags here, dark chocolate, wasabi peas and some tea. Then I included my hand on my iPad, which you don't have to do that of course, you can just include the snacks. You can include one snack, two snack, so go as far as you want with this, don't feel like you have to have a super complex illustration if you're not ready for that. But if you are, this is an opportunity to really show your followers a lot about yourself. The fifth prompt is what's in your feed, draw your phone or iPad and letter or draw something that you'd like to see on your feed. It could be Instagram accounts that you like, podcasts that you listen to, apps that you use, whatever you like to look at and you want to share with your followers. You can put that onto the screen. Of course include your hand if you'd like, but that's optional. Then I've included my ear phones here to which you could do with any type of ear phones or just not include them at all. Just have your phone or iPad and maybe a desk background. Number six is what's on your Canvas. Draw your iPad or sketchbook and put a sketch on it. You can just copy and paste a sketch that you've already done. Of course, a bonus is to include your hands, your desk, or your whole body from above. Here I've also thrown in my hand holding a mug and my other hand drawing. But you don't have to have that much complexity. You could just do the iPad or just the iPad or the pencil sitting beside it. Or you could just do your sketch book and a pencil beside it. Whatever you've got in your sketch book or in your feed, just drop a sketch in there so people can see what you're working on. Number seven is what's on your walls, draw what you see on your walls or what you wish was hanging there. This is not really what my office looks like. I'm not this organized and good at decorating, but I do wish that this is where my desk looked like. I'm doing an ideal desk. You can do the real thing. You could do a combination of real and not real. Put as many objects as you'd like in here go with whatever works for your style and whatever you want to share with people. The final prompt is what's in your playlist. You can draw any thing that references music like a cassette, tape, record, CD, iPod, anything where you can put some text, you could write like I did and say drawing playlist. Or you could put the name of a song or an artist that you want to talk about. As you share these, you can use the hashtag iPadinkchallenge in your caption on Instagram to share your drawings with me and everyone else in the challenge. You can also tag me and follow along with my drawings for this challenge by following my handle at Lizkolerbrown. A few tips for getting better engagement on your posts. If you want more people to comment and like your posts, you want to get more followers and find people who are genuinely interested in your work, here are a few tips to keep in mind. Number one, keep it cohesive. Use the same color palette and line width for all the drawings like we talked about in the color section. You can also use the same texture, treatment, background color, whatever you need to make it feel cohesive. That makes people feel like they're following along with a story and they're more likely to check back and see the rest. Tip two is explain yourself, include a captioned who explain more about the image and invite your followers to add their input or opinions. Starting a conversation is a great way to engage with your followers. For example, for the drink prompt, you could say, this is what I drink when I'm drawing. What about you? What's your favorite drink? What do you always have the side your sketchbook? Tip three is write and then draw. You can try writing out your captions on a Word Doc or a Google Doc to give yourself some ideas for what to draw if you're having trouble coming up with ideas. It's easier to plan in advance then to try to come up with a caption every time you want to post. If you go ahead and write out some captions, it might inspire some more drawings. The next tip is keep it playful. If you can get someone to laugh or smile or cry when they read your posts, you're much more likely to get a loyal follower who really cares about your work. Try to write meaningful captions rather than just stating what the image is like this is my desk with some stuff on it. It doesn't really get people excited and interesting. Give it a little bit at the backstory so we know more about you. The next tip is to use variation. You can have some of these drawings be single objects and others be more complex. The cassette tape pairs really nicely with the desk with a lot of objects on it because then you get that contrast and you're not overwhelming your viewers with a lot of information every day. The final tip is to make the prompts your own, play with ideas and change them to fit your personal style. If you don't like one of the prompts, just change it. This is your challenge, so use it and whatever way works for your personal style. The same goes for the number of prompts. For this challenge, I came up with eight drawing prompts that you can use to inspire your enjoyings. If you've already done the two projects in the class, then you already completed two out of the eight and you only have six left. But you can just do four or you could do 10, you could do 20. Whatever number works for you. You can come up with more prompts and keep us going. This is a great drawing challenge to work on your personal style and share a lot about yourself on your count. I hope you enjoyed this class and that you feel inspired to start creating your own inked illustrations. If you liked this class, you may like some of my other classes where we cover a lot more ways to design and paint on your iPad. How to create insect animations and illustrations. How to sell your iPad art and designs on society six, and how to paint wildflower illustrations in procreate. Check out my skill share profile to see all of my classes. I also share a lot of downloads and resources for iPad artists and designers on my website. If you'd like to get more like you got for this class to check out my site. I would absolutely love to see the projects that you create after you watch this class and especially if you participate in the challenge. Please share which you make,you can do that here on skill share in the project section. Or you could tag me on Instagram or Facebook. You could also join the Facebook group I created for iPad artists, designers, letters, and digital planners. It's a place to get opinions and advice on iPad, drawing, painting, and digital planning and get inspired by digital creations from around the world. If you love creating things on your iPad and want to join other people around the world in conversations, sharing ideas and seeing each other's work, check out the group to the link on my website. If you have any questions about the processes you learned in this class, please feel free to reach out to me. You can reply to my discussion here on skill share, or you can contact me through my website. Thanks so much for watching and I'll see you again next time. Bye bye.