Intermediate Painting Techniques in Procreate | Jeremy Hazel | Skillshare

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Intermediate Painting Techniques in Procreate

teacher avatar Jeremy Hazel, Education Through Creation

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

17 Lessons (1h 48m)
    • 1. How to use the course universal

    • 2. Working Nondestructively

    • 3. Blend Mode Basics

    • 4. Making a Custom Grid

    • 5. Symmetry

    • 6. Creating a Custom Pallet

    • 7. Brush Adjustment Version 1

    • 8. HSL Adjustment

    • 9. Advanced Gestures

    • 10. Using a Reference Layer as a Mask

    • 11. Setting Up the Project

    • 12. Spaceship Greyscale Render

    • 13. Detailing 1

    • 14. Detailing 2

    • 15. Spaceship Background and Luminance

    • 16. Spaceship Finish

    • 17. Thank You

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About This Class

In this course we take the fundamental basics of Procreate and utilize them in a complex composition and introduce a few new things along the way 

  • We cover Symmetry in Procreate
  • We cover detailing and layering strategy with grouping
  • We cover blend modes and advanced selection 
  • We cover complex topics like HSL adjustment and the basics of curves 

We included everything you need in this course to be successful including 

  • A master file of every blend mode in well as the math behind it 
  • A teachable file on Blend mode to assist with the learning of the technique 
  • Grid overlays to help with yoru symmetry 
  • Step by step workfiles for the final project 

Meet Your Teacher

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Jeremy Hazel

Education Through Creation


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1. How to use the course universal: all right, Jerry Hazel here for Seven Seasons Studios and thank you so much for taking a look at her series, of course, is here on skill share. Now we created a series, of course, is to take you from knowing nothing about procreate all the way to being absolutely procreate, proficient through a series of bite size projects. Steps. So the course you find yourself in that you've enrolled in Maybe somewhere in the middle of that Siri's. Don't worry. We've included all of the techniques at the front of the Siri's in order to get you to the project that we working with in each area. But we do assume that if you're in the intermediate techniques, let's say that you understand the basics of digital painting and procreate, so you find yourself a little bit overwhelmed. Don't worry. Check out some of the other courses, see if the technique you're looking for is in those other courses. They are all published on skill share. So the way that we start you out, we start you off in the quick start guide to procreate, which then flows into the basics of painting in procreate, where we begin doing things like glaring and making the cherry blossoms that you see on the screen. From there, we take him into all about brushes where we make shade, Er's and liners, and we show you all about brush adjustment, how to import how to export. Then we take you into intermediate techniques in which we build this really cool rocketship project. And then we kind of round out the Siri's by looking at what's called a flat scape, using advanced techniques like perspective, depth of field and applies from different adjustments through procreate. So whether you're brand new, whether you're really experienced and you're just looking for this really cool project to do certainly hit us up. And if you find yourself overwhelmed, go ahead, send us a Q and A will figure out where it isn't a Siri's and we'll get back to you now when you go ahead and you begin this lesson when you go ahead and begin this course, all of the resource is that you're going to need and all the reference vials are included in each course, so you don't have to go looking. Just go ahead and look below this video. You'll see a class projects area and all of the resource will be included there. All right, so on behalf of said and see the studios, thank you so much for checking intercourse. Let's go ahead and get into it. 2. Working Nondestructively: All right, gang, welcome back to procreate. So this is gonna be our lesson on working non destructively. Now, if you're not familiar with digital art, there's two different ways you could work, right? So let's go ahead. Open up a new file on the desktop and let's look at what we call a destructive workflow. All right, so we're just gonna grab a brush. We're gonna go ahead and we're gonna have a hard brush. And let's just go ahead and sketch something out here, all right? We're just going to sketch a red blob on the on the front. So now if we go in here and we decide that we want to overlay a green color and we place this over here, this is what's known as working destructively. Because let's say we don't like the green color, while our only choice is either to use two fingers and tap back, or I then have to go back through and erase and in erasing, we actually destroy the picture. So a mark of a true professional is the ability to work non destructively. So when you look at the files, the key to working non destructively is in layers. So let's go ahead and we're gonna create this layer. We're gonna go ahead and we're gonna put a red color on it. Same thing we just did. I'm gonna turn down my brush a little bit, though, and we go ahead and create the Red Square and we flood fill it. All right, good deal. So now we're gonna come up and we're going to grab the new layer. We're gonna go ahead and make a green circle now, and using our brush, we're gonna create a green circle, and we're gonna flood filling. Now, the cool thing is, because it's non destructive, were able to make adjustments to the layers. So I'm able to move this layer apart from the other. And if I don't like it, I can always turn off the layer, turn on the layer, or I can go through and delete the lair. So, as an artist, you want to get away from what is called a destructive workflow from making decisions in your design that you can't come back from. The same thing is true. Let's say with mass Claire's. If you come up here and we add a mask, Lehren working with a mass glare is nondestructive because I can come in and I can do what you would think of as erasing this red area, which is a destructive operation. But let's say I go too far and I go woops, That's not gonna work. I can always come over here and I can just delete the layer mask and I'm a right back where I started or I can mask it and then I can color through it. And then let's say that, well, I want to bring a little bit of it back because I change my mind again, working too destructively. You don't get to change your mind. I can then come back, and I can undo that to bring back some of that original shape. So there are tricks and techniques that every professional artist uses, and each artist really strives to work non destructively so that we can make decisions about our art, and we can change the decision midstream. So when procreate, the use of Mass Claire's is a nondestructive technique. The use of regular layers is a nondestructive technique and if at all possible, you always want to make decisions in a way that allows you to go back. So as we go into this next lesson, as we go further down into more of a project based in this course, you're gonna want to make sure that you're working non destructively. All right, folks, that being said, let's go ahead and get into the next lesson. 3. Blend Mode Basics: All right, folks, welcome back to procreate. So this is gonna be our lesson on blend modes. In this course, we're just going to cover the basics of blend modes. So I want to start off course by talked about the three factors that influence your blood mode. The 1st 1 is the value of the layer. The 2nd 1 is the position of the layer, and the 3rd 1 is the desire to behavior of the layer. Now, Jeremy, you're saying, what does the layer have to do with this blend? Modes tell the lair how to interact with the layer below it. So you have this file in your downloads. There's nothing you have to do right now. I just want to show you how this works would come over to a layer. And let's say that we have this apple. We're gonna move the apple underneath the orange because you see the layers are stacked that way and because the blend mode is similar, nothing is happening. It's fully opaque. But now let's go ahead and change the blend mode on the orange. Totally different behavior now that we change the blend mode. So blend modes have a direct effect on your artwork. All right, so let's go ahead now and change back to normal. And let's grab my apple and let's move the apple back over. Let's go ahead and move the orange Waller here so we don't have to do that later. All right, so that's what a blood motives. Now the first thing we talked about with blend modes is the value of the layer you'll see down here. We have all sorts of grey circles. All colors have a value. If you were to take this red rectangle and you were to come over here and do a hue, saturation brightness adjustment and de saturated, you'll see that there is gray. So every color has a value, and some of this gray is going to be very similar toward the black end of the spectrum. And some is not okay, so you can go through with this color of gray in a kind of matches. What you would expect to see, say, Oh, I don't know, probably right about here. Okay, let's go ahead and undo that saturation. Now let's go ahead and do the same thing with the orange. Let's go ahead and de saturate the orange. Now, even the orange has a value of grey. Can you now go through and tie this orange up to one of these? I'd say you're probably very close to their Okay, now, let's go ahead and do the apple and the apple when we de Saturated is going to be much darker. The apple, when we de saturated is going to be very, very close to this value of great. So what the blend modes do is they look at the value of the layer, and then they do something that tells them how to interact with the layer below it. What it does is dependent on what you wanted to do. Now in your downloads, I've included a list of blend modes for procreate, and in the far left hand side of this list, I've included what the's categories do. So let's go ahead and take a look at the categories. We open up any layer we've got dark and categories lighten, contrast, difference and color. So here we can go through and decide exactly what we're doing. If the desired effect is for us to darken it, we could hit, multiply if you wanted to lighten it, we would hit, lighten. You get the idea. So now let's go ahead and work in the Grays right now. We're gonna go ahead and we're gonna hit. Multiply on the gray layer now what just happened? Notice how with multiply on the blacks or black, but the whites have all but disappeared. It's all shades of gray now on your downloads. In the far right hand column, there's an equation. You'll see that for multiply A multiplied by B. So it took the value of the A lair multiplied by the value of the B lair. And then that's what it did to the lair. Multiply modes are super good for shading and shadows, all right. Now, if you want to get a little more aggressive, I do a lot of color. Burnt color burn is a lot more aggressive. It's like multiplies angry, brother. All right, so it leads to darker highlights and totally eliminates the whites. Yep, it is multiplies angry, brother there. So if you're looking for an extreme darkening color burn might be where it's at. Now, let's say that I want to lighten it. You see, over the left hand side of that chart. Things that make things lighter. You've got lightened screen. Add in color dodge so you can go through screen is one you use for highlights all the time . Let's go and screen it. All right, So now screen. You see that the black disappeared you can go through. Enlighten it now. Lighten is the opposite of darkened, and you'll see what it's doing. It's taking the value of the circle above its comparing it to the circle below, and he keeps which ever one is lighter. So it's totally non mathematical, but it's still using value now. The alternative in here. Let's go ahead and look at the contrast Moz Now over on your sheet, it says. These make lights lighter and dark. Starker contrast modes are good for extreme ends of the spectrum, so let's say we overlay hard, light, soft light. Alright, you can go through and contrast and you'll see that it will do things with every area of the spectrum. So it takes a look at where the dark is in relationship to what's below it, and it will make a decision in terms of what to do with it. The same thing is true with the whites. It takes a look at the white and then it says, What am I going to do with it? So these modes make decisions. Now the difference. These air like inversions, subtraction, modes. So if you've got two things, it will go through and go through Exclusion difference Subtraction. This is best illustrated by the apple in the orange. So let's go ahead and do that. We'll move those back to normal. We're gonna go ahead. We're gonna move the orange over top of the apple. All right, so now here we had it in multiply mode. Let's go ahead and move this back to normal and you see how we change substantially. Now watch what happens when he hit difference. So we're gonna go to exclusion, and it's significantly changed. The look of this difference subtraction a completely different way to look at it. Now with subtraction, it takes the top from the bottom and then reduces So the value of B minus a. So that's how these modes work there very bold. And they're mostly used for artistic backgrounds. If you've ever watched for me the squirrel, that's how he does a lot of his backgrounds. All right, now, the last one is color. These are what we call component modes because they take the value of something, the hue, the saturation and the lightness. So the H S l, and with those hs cells, depending on how you do it, let's say that we decide to choose by luminosity. It takes the luminosity from the active layer, which is the orange and blends the hue and saturation from the layer below it, giving you that effect. Now let's look a color in the color mode. It takes the color, the saturation and hue from the top and then mixes it with luminosity off the layer below it. So notice there that in normal mode, the white portion of the orange that's overlapping the apple was white. But as soon as we go to color, it takes that dark luminosity into account and changes it substantially. All right, so that's a little bit about blend modes. All I need you to know for the basics of this procreate course is blend. Modes are a function of the value of the layer, which is it's grayscale value. The position of the layer which is which one is on top of what? Because a and B matter. And thirdly, what is the desired effect or the desired behaviour you want from your layer? All right, folks, hope that was informative. And now let's go ahead and get onto something and actually use these blend modes because there is no substitute for working through the blend modes, all right, seeing the next one. 4. Making a Custom Grid: All right, gang, welcome back to procreate. So in this lesson, we're gonna learn how to create a grid. Now I'm gonna show you two different methods, one of which is native to procreate. So now let's go ahead and go into brushes and, um, and my texture brush. And the very simple way to do this, folks, is they give you what is called a grid brush. OK, so you take your grid brush, make sure your size in Europe acid, he is all the way up. And now just begin to paint. Now, make your strokes consistent. And don't pick up your pencil during this, or else you get what's called double grid. See what's happening if I pick up my pencil to undo that. Okay, so that's one way to do it Now, why do you want to create a grid? Because, quite frankly, there's a perspective grid available. This is gonna be key when you talk about symmetry. So before we go into our symmetry lessons, I like to show you how to find the grid. Now what? I'm gonna show you here, clear that I want to show you how to adjust this grid brush We'll talk about brush adjustments later, but this is critical for right now. Go into your grid Brush. Click on the source Now. You see, the source has a grain source. It's a grid. See? Right there was his grain. Now click on grain. And now let's scale this bad boy up substantially. Right. So the zoom is set to follow size. I'm gonna go ahead on a scale. This bad, boy. Now watch what happens now. Again. I'm keeping my pressure very consistent. This now creates a much larger grid. Oops. You see, I brought my pen up in double stroked and see what happens. All right? So, again, I didn't follow my own advice. See where the two strokes changed. This is how you create a grid of varying sizes. Okay, so now you know how to create a grid, depending on how big the grid you is, you want to create, you go through and adjust the scale. That's the trick to grids. And then, if you want to tone this down a bit, come in, turn down the opacity, and now you're ready to roll with symmetry. All right, Now, the second way to do this Let's go ahead and clear this layer in your downloads. For this lesson, I've included two grids that I created in affinity desire. So if you have a vector based program, you can go out and you confined grids of various sizes. So how do we import a photo? Come into image, We insert a photo and now I gave you two. Right. We're on a full screen here. So you've got one for full screen and one for square. There you go. You're welcome. Now you can go through. Bring this bad boy full size now, once we de select it, you see how it consumes the entire campus. You're ready to go. So this is another way you can do it. So let's go ahead and I'll show you the square one. We go to gallery, we bring up a new one. This time I'm gonna bring up a square. Come over here and I size these specifically for the defaults and procreate and you go through and you insert a photo. And now this time, let's grab the square one. And there you go. So these are two ways to get a grid in procreate. You can do it organically, using the lair and the grid brush and to change the grade, brush you up the scale, or you can insert the photo. And in your downloads, I gave you two grids that specifically match procreate. All right, folks, just trying to add a little bit of value. This is going to be key going into our symmetry lessons. All right, let's go ahead and get into it. 5. Symmetry: All right, gang, welcome back to procreate. So this is gonna be our lesson on symmetry. So symmetry is something that procreate does not do. Well. Programs like sketchbook do a much better job of it. Even things like affinity designer don't really tackle symmetry that well. So I'm gonna show you how to work symmetry in two year designs here and procreate. So I've got a normal square canvas created. So let's go ahead now with Scrabble brush on. Let's grab our grid brush. Now for those that don't know where to find this, go to your textures panel in your brush and then click on grid. Now, as we covered another lessons, you could just scale. If your grid to be as big or as small as you wanted to be. I'm gonna go somewhere around 40% with mine. We're right about there. And now with my red color selected, I'm just going to paint. We'll see their my pencil lost connection with the with pad there up in the upper left hand corner. That's fine. That's not really where I'm concerned about. Now I'm gonna go ahead and turn out the opacity a little bit. All right. There we go. We're gonna turn down the capacity. This is the grid that we're gonna work with now. Let's go now, And let's change over to our inking pen. I'm gonna grab my technical pen. I'm gonna grab a black color and want to make sure that my sizes all the way up and now clicking on that area there. I'm gonna draw line now, Watch what happens. Because I hold it. That means my quick line becomes engaged, and I'm going to place it right about here. All right, this becomes kind of my center line. All right, Now, with that being done, let's go now. And the center line isn't required, folks, if you don't like it, you don't need it. Let's go ahead and lock that center line layer and let's go ahead and turn down its opacity as well. We're gonna drop that guy down even further right now. I locked it. Mark. Drop down. Opacity. Okay, cool. So you know, I didn't wanna lock this out. All right? So once I've got my layer locked, my center line loaded. Now what I'm going to Dio is I'm going to begin sketching now to do that. I'm just gonna go ahead and I'm gonna sketch out here. We're just going to sketch a very simple animated type of skull. Right. So I'm gonna go ahead and work in red, because again, I tend to work in red and keep it building up a little bit of a time. Make sure I'm on my sketch layer. And now this is key. You want to make sure that your sketches right around in here hoops. And I'm still working in black. Go to the center line, but you don't want to go over the center line. You want to give yourself some room, so if we go down through here, go here, let's go ahead and swipe this out here, okay? And we're gonna give yourselves kind of an eyebrow. Good here. All right. Give ourselves kind of eyeball and then go through. All right. Perfect. So pretty good there. I think we had a pretty good sketch. Now, I tend to add a little bit more detail than mine. Do whatever you want to do with yours. You want to do enough detail to kind of get the idea now what we're gonna do here now is we're gonna go ahead and we're going to take it. Once we're happy with the sketch. We go over to this layer over here and we make sure that we've renamed it. We're gonna call this pencil one. All right. And now we left Swipe, duplicate the layer, and now click on the selection and reverse it. Make sure that our magnetic is still on, and then we position it where we want it, and it will find a magic spot for it. All right, so that's a nice way to do symmetry. Now, you can take this as far as you want to. What I would tell you is take it to a sketched, final inked perspective and to go ahead and detail some of the outer areas. Now, how do you get this thing so that you can work on it in one layer? Take these two layers and combine them all right. Now, if you select u have one solid, symmetrical layer, the only challenges you're gonna have folks is with this selection. Unlock, Delete. When you go ahead and do this, you may have a gap. Like let me just get out. Another color pin here, right around in here. So you have to do a certain amount of adjustment in these areas. You see where there's a gap even right here. So it's not a perfect symmetry, but it is a great start, so you can take this as far as you want to. But realised the two halves you are going to have to kind of blend together in the final. The project. Now, let me show you one that I've done with this. The same technique has been used to do this particular image. This was done with symmetry. And then I added in the cherry blossoms after another one that I've used this technique with is I was working on this particular mask again. Symmetry. And you can see some of the areas where I haven't fully rendered this out yet. And then even in the butterfly, this is exactly how I worked through the symmetry in the butterfly. And even when I pulled this in together, I'm still having to work through some of these areas. So symmetry is one of those things that it will dio, but it doesn't do it Well, All right, folks, hope this helps you. We're gonna need symmetry when we go into our grayscale render. All right, seeing the next one 6. Creating a Custom Pallet: All right, folks, And welcome back to procreate. So in previous lessons, we took a look color theory. We took about palettes. We talked about a lot of this stuff. We're gonna come full circle now, and I'm gonna show you how to create one sheet that actually going to give you a palette. So we're gonna go ahead. And I've included a photo from pixels dot com in our downloadable. So when we go through and we do this, where to go here, we're gonna go to image, and we're gonna insert a photo. The photo that comes up is this one here of this building. So let's go ahead and insert that one. And let's go ahead and make it as large as we can get it, okay? And then we're gonna move it over to the side of this thing here. We're gonna pull a palette from this image. So when we're done with that, let's go ahead and click off the selection tool. Now, this is key here. I'm gonna go in, and I'm going to add a new layer. Okay, Now what I'm going to do, I'm going to come over here to my brush I'm gonna come over to my airbrush. I'm gonna make sure my hard brushes selected and I'm going to make it about half the size. Now, I'm gonna go ahead and make this bright black here. Now, we're just gonna make some circles. But we're gonna make each one on a new layer. We're gonna go ahead. We're gonna do three. You can re use this process to do 103 if you want. I will do. For Why not? All right, so you create some black circles and each one is on its own layer. And now here's what I'm gonna show you. Come over here. Make sure you're on this first layer. And now grab this tool. This is what is called the color picker and you'll see wherever this cross hair is, it assumes that color. So let's say that I really like this color. You see that? It's now added to here what I'm gonna do now. I'm gonna come over here and I Mahfud fill it now if you want Teoh, you come over here, you can create a new palette and we can go through here and we can title this. Let's call this the building talent. This is how you go through and Paul pieces off from the pictures. All right, so we added that there. Now we go through and you can do it one of two ways, right? We can do it this way. I now go to my second. I bring up my color picker and I want to grab this color of blue. And then I go in here and I flood fill it. Now I can come over here if I want to. I come over my palettes and I can add it to the palate. So there's a lot of different ways you could do it. If you like doing this, you can export. This is a J peg, and then you can share it with your friends That may not even have procreate. But if you're sharing with people that have procreate, I just usually skip this process and go right to the palate. Now, what I'm showing here is just how we go through. Let's go ahead and pull some of this lighter stuff. Okay? Now we're gonna make sure we're on Lear for their come up there. And while we're at it, Let's go ahead and add it to the palate. Perfect. Let's go ahead and grab some grays for the last one. Make sure on that layer. Grab our color picker. Oh, let's grab something in a gray. Probably right about there. And let's go ahead. Now make sure on that layer and flood, fill that one as well. All right. And lastly, just to show you what's up, let's go ahead and add it to the palate. All right? Now, if we bring up our disk, you see that the building palette was the default palette. This is how you use the color picker. Now, just in case you need one more lesson on it, the color picker is found by clicking over here in this area between the two sliders. And then you just click and drag it to wherever you want it to go. So let's say that I like this palette. One of the things that I could do You come over here, share it. Exported is a J peg. Now you're done. You can go ahead and export it over there. We call it building talent. Now anybody can open this, then wants to pull it from photo shop or anything like that. All right, that's a little bit on the color picker. Hope that helped. And let's go ahead and get on to the next lesson. I'm interested to see what you guys make with the pallets. All right, See you later. 7. Brush Adjustment Version 1: All right, gang, welcome back to procreate. So in previous lessons, we talked about brushes, what they are and where to find them. We covered the modification tab is just a little bit. So what I'd like to do now, I'd like to split the modification of brushes into two distinct lessons because it gets a little long in the tooth. If not so the 1st 1 is going to show up here. And then there will be a version two later in the course when we start using some of those modifications. All right, so let's go ahead and pick a brush. Now, I'm gonna go ahead and I'm gonna grab an artistic. I'm gonna grab the acrylic brush and I'm going to left Swipe, and I'm going to duplicate it now. The reason I did that, folks, I'm gonna mess with it. I don't want to ruin it. So I'm gonna come up here and I'm gonna click here on the rename It Test brush to now. Later, in the course, we're gonna be actually building a lot of different types of brushes. We're gonna be building lining brushes, stamp brushes, symbol brushes. But right now, I just want to show you what the properties do. So let's go ahead and start with the stroke tab. Now, all brushes have a pattern which is composed of the shape and the grain increasing. The spacing now isolates this. So this is an acrylic brush. I've got a red ink. I'm gonna move it up to full and I'm going to begin stamping. Now you see what's happening here? That's the ACC, Ehrlich. Brush Spacing is all the way up. If I wanted to be more flowy, I turned the spacing back down to zero. And now it's a flowy type of acrylic brush. OK, so that's what spacing does. Let's go ahead and clear my layer here. I'm gonna keep using the red color to kind of show you what's up. So now streamline. This is the liners, friend. Folks, let me show you this. So if I was to go through and pull line with this brush, it would show every wobbly imperfection that I had. Now, if you crank the streamline all the way up, watch what happens. It takes all of the wobble out of the stroke. Now you see the stroke before right here and you see the stroke after right here? That's the power of streamline. If you are doing a lining work, you want that streamline all the way up. Okay, so let's go ahead and go into the brush. Let's take a look at something else now. Jitter. I'm turning the streamline down jitter takes it, and you'll see that it's going to split it out and maybe move all those particles in a whole lot of different ways. So let's see what that does now you're familiar with what it is when it's down. Now that it's all the way up, look at what's happening with this. Now I know you're going. Why would anybody want that? But if you've got a spray paint type of brush or you crank down the size, it actually gives kind of a really cool effect. So jitter is about taking it off that center line and making it kind of random. So if returned the jitter back down, look at the difference in the brush again. The same techniques and the same sorts of adjustments can be used for a lot of different brush types of your doing spray paint brushes generous for you All right, now, let's go ahead and clear this off. Let's take a look at the fall off. Fall off is an interesting one. Fall off. You see how it gets a lot Mawr clear like this is a very opaque stroke. And now you see how this gets very transparent and eventually down to nothing. Fall off is the distance where let's grab one when you turn this up a little bit So this is a normal stroke, right? You'll notice at the beginning and at the end, there's no loss of paint. However, now let's turn the fall up off to about half. Okay, now we're gonna start in the same spot. Watch what happens. I'm out of paint. I'm not removing my stylist. This is all the paint that he gives me fall off is almost like it runs out to almost nothing. So I turned this down further. I should get a longer stroke, and that's where the fall off happens right about there. So fall off folks replicates the idea that you might dip your brush and paint, but eventually it's going to run out. Fall off has a lot of applications. When you're doing a more painterly type of application because sometimes the shorter strokes you want, you want them to kind of terminate into nothing like if you're going through and you're doing and you're building up like that, all right, so let's go ahead and clear that. All right, So now let's go. And during the fall off, back down stroke Taper is key Now Stroke Taper is going to change how this thing tapers. Now you see, the turning it up really didn't matter. But now let's turn up brush size and now turn up Stroke Taper. You see what happens there. Stroke Taper is largely dependent on how much size variants you give it, so sides variances. Nothing stroke Taper won't matter one bit, so let's crank the size up. Let's crank the taper up, and I want to show you how the stroke differs. You see that this portion right there of the stroke that's the stroke taper. So if you wanted to get this long, flowy area stroke paper is where it's at now. The end of the taper is largely dependent on your pressure. You're never gonna get one where the table here is equal to the taper here. It just doesn't work that way and procreate. So I'm gonna go ahead and I'm gonna turn that size back down. And I mean, I didn't turn the capacity back down. And now with the opacity down, you see how it's starting off, very transparent. And then it becomes highly opaque, clear that out. So I'm starting a stroke with capacity all the way down, and it goes from very transparent to vary opaque. Let's turn the opacity all the way up. Now we are opaque right from the first to the stroke to the last of the stroke. So it depends on how you want your stroke to really take up off the gate. All right, so each brush has different settings, So I just want to show you here, Let's go to a lining Brush. I think this is a good time to talk about this. It's grabbed a studio pen, noticed my streamline is all the way up. Spacing is all the way down, and then you can adjust the stroke taper, depending on what you want to do for the beginning in the end of the stroke. So if I was to do this see how streamline UN does all these jitters. So go ahead and take your streamline, turn it all the way down and try to pull that stroke. You see all of the imperfections in that line, folks, streamline is your friend. All right, So streamlines sorts all that out for you. All right, now other common areas is take a look at, like the airbrushing soft airbrush spacing I was right about here. So there's a little bit of spread. That's what gives the airbrush its effect. And there's no size variants. And there's no streamline on that. Because what you want on that soft airbrush is you want it to actually perform in that way a little spread out a little softer. All right, so that's the first of the different adjustment menus for brushes. We're gonna be looking at some of the different menus as we go through the course. And then when we get to the brush lessons here, we're gonna go through, and we're gonna cover all five of these when we start creating. So you get to know them, you know now where to find them. But to really get to master him, you're gonna learn them in depth. When we begin to build the different brushes, all right, folks will see in the next lessons. Let's go ahead and get down to some of the more technical stuff, so we get on to some of the projects. 8. HSL Adjustment: All right, gang, welcome to procreate. All right, gang, welcome back to procreate. So in this lesson, what we're gonna do, we're gonna take a look at adjustments on an H s L adjustment. Because the project we're about to get engage in is going to be all about gray scale rendering hs l adjustments. Folks are one of those things that is extremely powerful because if you do it right in a non destructive workflow, you don't have to go back and re colored thing if the art director or your client goes, you know what I hated and Blue do it in red. So we've got an image up that we built up earlier in the course using the book A brush. I just want to show you how this works at a color level, and then I'm gonna show you how this works on a great scale level. So let's go ahead and grab adjustment. Let's go ahead and adjust the hue saturation, brightness. So let's say that you really like the way that this letter came out. Now, this is key adjustments on Lee. Apply two layers, so make sure that you're on the second layer By the way, I loaded this file up for you so that you could follow along. It's in your downloads. Grab your hue, saturation and brightness, and now begin to shift the hue you see here. If you like the spacing of the book, a effect that you hate the coloring. You can adjust all the coloring through adjusting the hue of the layer. You can also adjust the saturation of these things. You see. I can make it even gray by de saturating, and I could make it brighter or I can make it darker. So the hue saturation in lightness area is absolutely crucial in order to pull this thing off. Now, that's how this works with a color picture. Now, let me show you something about gray scale and again, I don't have to do anything with this. I've included this file as well for you to work with. So let's go ahead and bring up this piece here and let's go ahead and look at how I did this. I've got it on multiple layers, and now if I'm working on this layer, this is what's called the wind line layer, and I decided that I want to do a Oh, I don't know. Let's do Ah, greenish tint to the wind line layer. Okay, so I take this, I create a new layer. You guys know how to do this by now? And now I go in and I flood fill. No, see what happens? I adjust the opacity down so that it's a little bit tinged to the green area. And now I can play with blend modes. But what I'm going to do here, I'm just going to show you how NHs l works. With this layer selected, I grabbed the hue, saturation and lightness, and I can change the hue of this to kind of see what works. This is going to be key to my cast light. I might want a lot of saturation. I might want a little less saturation. I might want it to be a little lighter or even a little darker so I could move it anywhere on this you that I really want. And I can change the entire look or feel of a piece. So once you're done with that, go ahead and click off the adjustment layer and you'll see that if I turn it off and turn it on. I've changed the mood of the piece slightly. This h s L adjustment, folks, is one of the quickest ways to change the overall mood of the peace. Now, you got to be careful because you see the reflected light. Let me just grab read 10 here. All right. See the reflected light, like right here, that's no longer matching. So I would have to go through then and do into the hs l adjustment on my reflected light layer. But that's all. And why we work non destructively in order to achieve the right color balance. There's a ton coming up. We're gonna do a grayscale rendering project here in a second. So let's go ahead and get on to the next one and start rendering some stuff out. All right. Seeing the next one 9. Advanced Gestures: All right, gang. Welcome back, Procreate. So this lesson is gonna be a relatively short one. This lesson is about advanced gestures. Now, there's an entirely separate lesson on the basic gestures. But as you get more advanced in an artist, you're going to want to come up with some gestures kind of speed of your workflow. So there's gonna be three that we're gonna be talking about. I'm gonna show you how to pinch to combine layers. I'm gonna show you how to snap a line, and then I'm going to show you how to go ahead and race an entire layer. So let's go and get started. Now you bring up any image known to man. I'm just gonna use this image because it's the one that was up when I stop this. All right, so let's go ahead. Let's look at the layer structure. Now you see the layer structure, there's a layer two of their five a layer four and a lair. One watch. What happens now? I'm gonna go ahead and put the pencil down, and I'm going to pinch these two layers together. Watch what happens. Layer two and layer five just merged. Now watch layer five, layer four. All right, cool. That is how you pinch layers to combine them. Now, if I go ahead and hit two fingers a couple times, notice I can bring the layers back, which I did. And this the same folks as when you go over here. Let's go ahead and take this one and go ahead and merge them down. You see it? It accomplishes the same thing. All right, so that's how you go ahead and pinch them. You're going to see me. Use the term. Pinch him to combine them several times. Now I'm gonna show you how to go ahead in the race. A lair? Now, this doesn't work all the time. In this image, the ink is on top of this image. So the in clear is on top of this under color layer. So what I'm gonna do, I'm gonna show you how to erase this in clear. So what, you dio take your three fingers and then you swipe them side to side. Now, it might take a couple times because procreate is not great at this. So you take three fingers and you go ahead and swiped out side to side. All right? Just like that. Let's go and use two fingers to bring it back. All right, So you saw that show. Now, the last show that I want to show you were gonna go ahead, We're gonna go to gallery, and we're gonna come up to our gallery, and I'm gonna bring on this particular item here. We're gonna go ahead and we're gonna clear that layer, and I'm gonna go ahead and do with my finger. Since it's all about gestures here and now, watch what happens. You guys already know how to do a quick line. So I grabbed the black. I grabbed my technical pen and I draw squiggly line. Now, if you hold it, you know that you get a straight line. That's what's called Quick line. Now I'm gonna show you how to snap the quick line. You use one finger, place it on and you'll see. Now it's confined to 15 degree increments. This is extremely powerful folks. When we get into some of the later Mandela work that we're gonna dio. So learning how to do a quick line is awesome. That gets you a straight line. But learning how to take that straight line and confined its 15 degree increments is the trick. So let's go and do that one more time. We're gonna grab our technical pen. I'm gonna turn mine up a little bit so you can see it. Well, I'm going to do it this way. I'm gonna hold it. There's my straight line, and now I'm going to put a finger down and snap it into position. All right? So that is how you pinch to combine how you go ahead and erase an entire layer using a three finger swipe. By the way, I do not use that one very often. And how you go ahead and constrain a quick line to 15 degree increments. All right, folks, hope this help. That's a little bit on advanced gestures. Let's go ahead and get into the next lessons. 10. Using a Reference Layer as a Mask: all right, folks, and welcome back to procreate. So in earlier lessons, we were talking about masking using different mask layers. We talked about free hand and automatic selection. I want to show you how to use a layer of line art to be your mask lair for different selections. So this is a little bit of an advanced concept. And if you have a completed lessons on automatic selection and manual selection, you might go back and review those if you get lost. All right, So let's crab are thinking technical pen. Let's make this black, OK, we're gonna then go through and make a four square box, okay? Something that looks exactly like this. Now let's go up here. Let's add a lair. But now where the layer is what we're calling lair one. Let's click on it and call this the reference layer. Now you're asking what does that mean? Okay, so let's say I want a color one of these boxes in blue. What I can dio is I can create this layer and I'm gonna rename and I'm just gonna call it Blue and because I called lair one the reference layer Watch what happens When I select automatic select tap on the screen, that square turns blue, but you'll notice there is no square on that layer. It's pulling the reference layer from below its saying. What Jeremy wants to do is consider Layer one to be where all of the information is stored . Now I can go through and fill it with blue. I'm just gonna flood fill it, and we're good to go now. I can take a look. Let's go ahead and use the same layer. Let's go ahead and select automatic. And now you'll notice there's no data on this blue layer because references checked down below. I want to go through with my selection tool and I want to select their. And now let's call it green will place it in the green. So this is very important for your workflow. Let me show you why. If you click on here, let's rename this layer. Okay, we're gonna call this outline. Let's say you're one of those artists that likes to do outline first or you're doing an engine project. You can do your outline lair and then tell your let's go ahead and rename this one color layer to pull from your outline layer. Now let's try this again without the reference watch what happens? We unsolicited reference. So now outline is not selected as a reference, and now I try to pull the same selection tool automatic. See what it does. It can't see it. So the outline lair folks is critical reference here. Identifying it as a reference layer allows you to use that layer as a selection mask for the layers on top of it. So even if I had another layer, let's go ahead and move this over and let's try it again. Now again, I've got reference selected down below, so it's looking at that layer and saying all of my rules of engagement come off that layer . Come over here. Let's select. Make sure automatic selections on and tap, and because the reference layer is selected now, I am able to flood fill this thing. All right, so that's the power of the reference layer in terms of practical workflow. If you are good at what you do when you like to say, do the outlines first, maybe that's your method. After your sketch. If you get a good solid outline, you can then use it as a reference layer to call cadence on the entire rest of your thinking and coloring process. We're going to use this when we sketch a character. We're gonna use this when we work on the cherry blossom. We're gonna work on every program. Every project that we use this is going to have an impact on reference. Layer is one of my favorite tools in the procreate toolbox. All right, folks, hope this help. Let's go ahead and get into some projects here, coming up and we'll use this. 11. Setting Up the Project: All right, gang, welcome back to procreate. Now, what if I were to tell you that one hour from now, you'd be able to create this piece of digital art with just what you know right now? You probably say that's a lot of scale there. And that's a lot of time. Not really. We're gonna walk you through how to do this exact thing, using all of the tools and the techniques that you've learned in the class so far. So let's go ahead and get into it. The very first thing you're gonna want to do is we're gonna go ahead now and we're gonna create a new workspace, and we're gonna make it the sides of our screen. All right, so now with this, we're gonna go ahead and add two layers. Okay? Now, these are gonna be divided into separate lessons, So we're not gonna take the whole thing at once. We're gonna go ahead first and foremost. We're gonna call this layer one, and we're going to use the symmetry technique that you learned in an earlier lesson. So to do that, we're gonna grab in inking pen. I'm just gonna grab my technical pen. I'm gonna go about halfway down on the size, and I'm gonna draw a line. Now, you remember when you hold the line, it will then lock. And then if you put one finger on the line, it will draw it completely. 90 degrees. All right, so this almost gives us our line of symmetry now with the line of symmetry. Now, let's go ahead and go there, too. And let's call this our base rocket. Okay, not Rocky. Let's go. That route rocket, There we go. I can spell today. All right, So with that being said, let's grab our painting brushes and we're going to go ahead and we're gonna use the round brush. Now, I'm gonna go ahead and I'm gonna start a new palette. So I'm gonna go to Palette, gonna click the button, and you know how to do this. And we're gonna go ahead and we're gonna click a new palette. There it is. Untitled. We're gonna make it the default. All right, Now we're gonna want kind of a blue rocket. We don't want it highly saturated. We want something right about in this area, so I'm gonna go ahead. I'm gonna click on that color of blue. Now, in order to make this work, we're gonna use some basic shapes. All right, we're gonna come in and we're going to start painting this rocket, so I'm gonna make the rocket look a little bit like this, right? And yours doesn't have to look like mine. You could make it look any way you want to, And then I'm gonna make the fin on the rocket look a little bit like this. And then this Finn here on the rocket is going to look a little bit like this. Now again, we're utilizing our sketching concepts, and we're keeping everything really loose. Okay, now, we're gonna go ahead now and we're going to solidify this. We want to make sure our rapacity is all the way up, and we're going to make some hard lines in this rocket. Good. So we're going down and we're making lines with the rocket. Now, remember, if you have problems pulling these lines, take a look at your streamline setting and see if it's where you want it. Now what I'm going to do here, I'm gonna go down the symmetry line because I'm looking to make a complete shape. Now, once I got that, I'm gonna flood fill. All right? Perfect. Now I come in, and I feel in all little spots and all of that kind of stuff. It's not essential that you do this. You gotta close enough for horseshoes and hand grenades. Now, I'm gonna show you how to do a gray scale rendering. This is something that we haven't covered before. And I really like doing my paintings and gray scale before I actually go into the detail face. So I'm gonna bring this up. We're gonna now create a new layer, and we're gonna rename this layer. We're gonna call it shading. All right? Perfect. Now you're gonna want a different palette for this. You can actually build right on this palette. But I have a palette that I like to use for all my gray scale rendering. And surprisingly, it's called gray scale. So I'm gonna go ahead and set that for default, and I'm gonna set this layer to multiply. Now, the reason that you do a gray scale rendering is because then you can put any color underneath it, and as long as the layer is set to multiply. You don't have to redo all your shades and tones and all the crazy stuff. So we're gonna use a couple of the techniques to set ourselves up here before we end this video. We're now got our shading layer set to multiply. We've got our base rocket shape set. Now, here's what we're gonna dio. You're gonna come to selection. We're gonna make sure automatic is selected. I'm gonna tap on the blue. You see how it went, brown. Now we're gonna bring up our selection. Now the trick here. Now, folks, tap on the gray square there and make this the reference layer. Now, what that does we're actually gonna begin working in this shading lair. But by doing this, what it's telling that shading layer is you're going to treat that base rocket layer as the rule. So even if your shading on the shading layer, it won't go outside the lines of the base rocket. So this is a nice technique in order to create a mask that doesn't allow you to work outside the shape. All right, so we're gonna go ahead and cut this first lesson here. What? I want you to get to is creator shading layer. Set it to multiply. Use your paintbrush to create a base rocket shape and then make your symmetry layer there. We'll go ahead and name that symmetry line. All right, Cool. So if you can get here in this lesson, were in pretty good shape. All right, folks, getting project to this side and then we'll see in the next lesson. Have a good one. 12. Spaceship Greyscale Render: All right, folks, welcome back to procreate. So you've got your rocket this far. You've got this base shape, and now we're gonna go ahead and we're gonna lock the base rocket layer, and we're gonna go ahead and lock the symmetry layer. Now, with my shading, their selected I'm going to begin working in my gray scale palette. Now, if you don't have a great scale palate, it's a simple as may be pulling seven different types of gray values of gray and putting them together. I like to start in the middle because you can always make it darker. You can always make it a little bit lighter, but you can't really start out dark and then you realize, Wow, I went way too dark off the bat, So I'm gonna start somewhere over here, maybe the third or fourth area, and you see how I'm kind of in the center of this thing and I'm gonna go ahead and I'm gonna use my soft airbrush for this initial rendering. So I've got the opacity fairly up. I've got the size fairly up, and now I'm gonna go ahead and just start sketching in with my soft airbrush Now what I'm doing here is I'm defining what is where right? You see that? This is half the fin, So I'm gonna start defining half the fin, and then we've got some of this going on over here. So we're gonna go ahead and make sure that we're in good shape there. I'm defining where that Finn is. What's in front of what? Raise up this side? I'm gonna drop down the opacity and all I'm really doing here. It's kind of setting the stage for the shape of my rocket are in a drop down the size capacity. And there's really no, it's done when you can go ahead and do it and finish it whenever you really want. What I do is when I can see the shapes clearly identified. And if it had to stand on its own as a grayscale piece and it was pretty good, I would call that close enough for horseshoes and hand grenades. But some people go all the way to Wonderland with it. We don't have time for that here. So what I'm doing here is I'm also getting an idea so that when I do the symmetry portion of this. I know who's on top of who and what's on top of what and all that kind of stuff, and it's a very slow buildup. I'm not saying that. It's an immediate thing. This will take you a lot of time to figure out when enough is enough. And now you see there, I'm now going to kick it down to a little smaller or against less intense she degree to do this portion. I'm pretty good there. I think I'm pretty good here using my gestures to kind of work through. Make sure that I know what I'm doing. Who's on first? Who's on second type of thing, Okay. And then we're gonna go a little bit to the darker side. Now I'm gonna go take my airbrush down a little bit. Notch. I'm gonna come into here, really kind of blew this out. Now you can put a hard line in your work. I don't. I come from a tattooing background where we did have to use lines because over 2030 years of a tattoo, the line work is the thing that really holds up, especially in the early days of pigment. But I also come from an airbrushing background where you would not do, Ah, hard line. A lot of the times you would let the peace stand on its own, so it's a nice little balance there. Sometimes I do a hardline. Sometimes I don't. We're gonna go ahead and raise that up a little bit and then drop the opacity down a little bit. I'll tell you, folks, rarely, only very rarely in life. Do you ever have to do anything at full on opacity. Most the time. Everything is subtle. Digital art really is subtle. That's a slow, subtle buildup of different tones, shades, values, colors. Rarely will you ever go through and go. I'm going full on opacity and full on saturation. It's usually the mark of an amateur artist. Okay, so I think I'm fairly good there. You got the basic idea, the last thing that you could do if you really wanted to. You could do a little bit of very, very light gray, crank up the brush size a little bit, come almost fully off this thing, And you see how I'm applying a little bit of gray on the side of this to make it a little more tubular. You could go down this rabbit with the multiply. It really won't do you any good. There's a lot of other techniques for that. All right, so now the last piece of this. Now, this is where the magic happens. Stay with me. We're going to De select. Now I'm going to come over to my base rocket, and I'm gonna unlock it. Unlock the rocket. All right, Now we're going to select it. We're then going to duplicate that layer. We're gonna select it, and then we're gonna flip it. Now, make sure your Magnetics air on you. See that that blue magnetic stripe is checked and you're going to place the rocket right on top of the other one. Now on select. We bring it down to get an idea of where you are with that, you can get a little bit better idea here. I think we're in pretty good shape right about there. We can make some subtle adjustment now it looks like the Magnetics air causing issues. You go free form and you could get it a little bit closer. This is part of the trick of symmetry. You're gonna have to do a little bit of adjustment. It's never going to be full on perfect sketchbook. Pro does a tremendously better job at symmetry than the other. All right, now watch what happens. I'm gonna take the base rocket layers, and I'm gonna pinch them together to create one. Perfect. Now I'm going to come over now we can use my smudge tool and watch what happens now. I'm eliminating the center line through use of my smudge tool Hopes. Got a little bit too smudged. Happy there. Let's go ahead and use a hard brush and we're going to smudge. Here we go. How about that, huh? We go right brush for the right time. Now, that's how you eliminate your center line out of this equation. Now, if you needed to do a little bit more, you can always come in, come in with a paintbrush, and then you can color pick. You guys know how to work the color picker, and you can color pick and brush it away That way too. Go ahead and grab a modified round brush. All right. You see how that black is disappearing? All right, now we're gonna do the same thing over here. Select your shade. Duplicate your shade and you see how it got super dark. Go to your transform tool. Flip your shade and now move it into position. All right. I think we're pretty good at that point. Now, what are we going to dio? We're gonna merge those two shades, then Pau, one shading layer multiplied out. Now we take our soft airbrush and we can finish kind of gray scale in this bad boy out so we could go through shade out some of that middle line there. I'm gonna go ahead and smudge this around a little bit. See how we're kind of getting rid of the middle ground. Now the lines around the rocket ship are a little bit rough. Don't worry about those outer lines. Not too worried about him right now. All I'm doing is I'm kind of pushing just this feeding around the screen, making sure that I'm pretty good here. I'm gonna go up to this tailfin. Go ahead and shrink that bad boy down. Crank the opacity up and we're gonna go sort this out. See how I'm getting rid of that middle line. Now, when I got rid of the middle line. I now have another problem. I've got to go back to my airbrush, gonna grab my grayscale palate, and I probably gotta put in a little bit different midline. All right, so there's a lot of adjustment to be done after you go through and do the merge on a symmetrical design. I tend not to mess with the middle a lot until I've already got the merged. So your job here in this area is now to go through, select your base layers, select your shading layer and then combined them, flip them and create your finished rocket there so we can go ahead and take the next step. All right, folks, I'm gonna go ahead and cut this video here. Go ahead and try that, and then we'll take the next step, see the next one. 13. Detailing 1: All right, folks, look back to procreate. So let's go ahead now and take the next step in this rocket. Let's go ahead and clean up our layer structure a little bit. I'm gonna come over here and I'm gonna unlock my symmetry line, and I'm gonna go ahead and elite the layer symmetry is done for me. Come over here and you see, once we remove the line, we've got a few areas we need to clean up with this paintbrush. So again, we're gonna grab the color picker. We're gonna come over to the purest blue color. We're gonna make sure we're on the base rocket layer, and we're gonna go ahead and make sure that that thing is all solidified. Now, if it really drives you nuts and you just can't stand it, you can go in now and with the airbrush, I'm gonna use a hard brush. I want to crank the size of this bad boy down substantially, and you can go through and clean up a little bit of that outline around the nose groups. It's not clean up the nose, huh? All right. I need to go a little bit smaller. All right, good deal. All right. If you wanted to, you could definitely go along the outside of the rocket and do what you do. All right, So now let's go ahead and put in the porthole. So we're gonna go over here, we're gonna bring this up. I'm gonna make sure I got my brush selected, and I'm gonna go to airbrush, and I'm going to look at the hard brush. Now, we're gonna go ahead and do kind of an off white. I don't want it to be full on white, so I'm gonna go over about here and now we're pretty much done with a grayscale palette for right now, So I'm gonna go ahead and go to palates. I'm gonna find that untitled one that I began. I'm a set that is default, and I'm gonna add my white over to that pallet. Now, I want to make sure my size is right about where I want it. And I'm gonna pop this bad boy into existence Now. I don't like the size of it. I can always come to the Transform tab and I can shrink it. I can do whatever I want to do with it All right. Looks good right about there. Perfect. All right, so we got a window. Awesome. The space man can see out the window. Great. Now I'm gonna come back over to my gray scale there, and I lied. We're not done with our grayscale palette. I'm sorry I said, that is the fault, and I'm coming back around here. Now I make sure I'm on my sheeting layer. I grabbed my soft airbrush and I dropped down on this side, and I'm just going to go in here, and I'm gonna add a little bit of grayscale around the portal here. They see on kind of staying in the areas that are already dark gray so that I'm not getting into the really light areas with the dark gray stuff. The reason you work in gray scale like this is because it will give you the ability to change colors. So let's say that later on, you want to make a kind of a green rocketship. All you got to do is go back and refill that base layer. We'll show you all that here as we go through. Okay. Well, I didn't crank that up and swing that across. Just like so you see how we're kind of making that into a thing, Starting to get that look where we know that's a little bit raised up. That's what we want. Okay. All right, that we're pretty good there. What I'll do now is, since I've already got that color gray out, we're gonna go ahead and shrink this bad boy down. I'm gonna make sure I'm on this layer, and I'm gonna go ahead and just put a little bit of grey shade in the portal. All right? Cool bass. Man needs to see out. Okay, I'm gonna go up one level. I'm gonna make sure you come back to here. Woops. Let's not do that, huh? That wouldn't be good. Okay. You gonna lightened that up if you wanted to. All right, So spaceship is getting there. I think we're in fairly good shape there with it, All right? Oh, and take off those fingerprint smudges. So now what we're gonna do is where to begin texture ing this spaceship. So in order to do that, we're gonna go ahead and we're gonna add another layer to it. All right? We're gonna call this rename Texture layer. All right. Perfect. Now the texture layer. We're gonna go back to our palette that we started for the spaceship man we're gonna set it is default. And now we're gonna come back to our disk, gonna select that, and we're gonna come down substantially into maybe the dark blue area. And now this is one of my favorite brushes. You go to the painting brush and you grab the Nico role brush. OK? Now, in order to select just the spaceship, remember, this is the reference layer. Let's go ahead and select our spaceship again and now were able to color on on Lee the spaceship layer. We have our darker grey. So we're gonna go ahead and put that down and we've got the Nico role brush selected. I'm gonna keep my opacity about half now Look at the texture that's created on your spaceship with this brush. I'm zooming so you guys can see this. This is actually really super cool. So texturizing is all about just making it kind of look a little bit metallic, making it look a little bit weathered. You're in pretty good shape there with that. We got a little too much pattern there at a little bit. Too overzealous. You see how you can see the brushstrokes in there, So keep the pressure light. Keep moving. Keep your brush moving. If you stamp it, you're in deep doo doo. All right, that we're moving onto the tail in here now. Metallic right, folks is never just metallic right is never just dark. You've also got some lights, so you're gonna want to go through. And I would drop my brush a little bit for these. You're gonna put some lights in there too. Okay. Some light spots and dark spots. And now noticed this is on top of the other. Now, you do something really cool with this year, we're gonna go to this texture layer. We're gonna go ahead and we're gonna bring this up. And now watch what happens here. I'm gonna go lighten screen. Now let's see what happens here. Were able to lighten and add a little bit of lightness to this. Hopes that a lot of lightness to this area. So this is absolutely crucial to getting a good texture. You didn't drop that. Pass it down a little bit more. All right, Now what I'm going to do. I'm coming over here and I'm going to subtly do the side of the Rocket. And now I'm also going to go to my airbrush, and I'm gonna make sure I'm there. And now, with my screen still selected, I'm going to go ahead and hit up the side of my rocket. All right, Now, finishing up the texture portion of this because I know we're getting a little bit long winded here. Let's grab some dark purples. We're coming back down to the base rocket shape. We've still got our Nico role brush selected. And let's throw in some purples to kind of add a little bit of visual interest to this year , because again, blue is kind of boring in and of itself. You see, because you worked in the gray zone thes purples, air really showing up in these areas. This gives your rocket it really nice texture there on top of the grey area. And then we're gonna come back over to the texture layer that we've set to screen, and we're gonna move that bad boy up to almost a ridiculous white level. Okay, now we're the last things we're gonna do here on this screen layer, just so we know you're gonna come over here, I'm gonna grab the white, almost the lightest whites. You're gonna come over here and I like to use for this one. I like to use my oil paint brush. You could also go through and use your Ah! Oh, where is it? It's the thinking brush will just be the oil paint and then making sure that you're on this layer, let's add another layer. Let's go ahead and screen this bad boy, and then what we're gonna dio you're just gonna come across. You're just gonna come across the portal and add a little bit of white to it. All right, folks, that's the beginning of our rocket ship In the next area, we're gonna go through and we're gonna finish text during this bad boy and get on to the next step. All right, we'll see the next lesson 14. Detailing 2: all right. Getting welcome back to procreate. Now, let's go ahead and finish this bad boy up. We're now gonna go in and we're gonna add one more layer, and we're gonna go ahead and we're gonna rename this the drawing layer. Okay. And again, in the complicated piece, you could have 30 40 50 layers. So good drawing habits, good layering habits, good naming abbots make for good projects. All right, so with this in the drawing layer, we're gonna go ahead and we're gonna go into our sketching set. Actually, let's go to the inking, and I'm gonna go ahead and I'm gonna grab our Inc bleed pen. All right? Now, this is really trial and error. We're gonna come back to our palate, and I'm gonna shrink this down now to the extreme. And now you want to start this off the rocket? So I'm gonna go ahead and start off the rocket on keeping minimal pressure on this. And now you'll see that I'm just drawing a very faint line across the middle of the rocket . Okay? What you don't want Let me show you what? You don't want that you do not want that right? you want to add a little bit of interest so that you see where these panels come together and how they actually work. So around this portal, you're probably going to want to create a couple areas and then you're gonna want to create a panel line that kind of goes like this. This kind of texture ring on here, folks, is crucial to pulling off the illusion that this thing is actually viable and working. So go ahead and do as many as you think you need to do. And now I'll show you a trick. Once you're done with this, you go up and you create the white color. And now zoom on in here. And now here's part of the trick. Same brush kind of follow that line with the white just like this. This is the difference between a rocket that looks pretty awesome and looks like you put some thought into it. And a rocket is just flat, boring and super lame. Okay. And a little goes a long way. I'm not saying the highlight hell out of it. Like right there. You see where we have that I light coming through that would make sense then that there would be a little light, manipulative dot There, Right there, Right there. Cool. All right. And because we have the selection the way that we dio, we're all good. Now, I got to do a couple more down here. I forgot to take care of my fin. Go ahead and put a dividing line right down the center of him. There. Let's see. How do the panels go together? That's the question your audience is gonna want to know, right? So we grab a little bit of that there again. That's a little too little too thick. There we go, working it. There we go. A little bit there and a little bit here. All right. Look at that. That rocket has now completely changed the game there. We're gonna go ahead and drop a little bit more right along this area here because I want this thing to look, cause I really I say quasi causes a rocket ship after all, and then I'm gonna make one subtle adjustment here. I'm gonna go back into my layer. Really Go back to my base rocket. I'm gonna bring this up a little bit. I'm gonna grab my light airbrush, and I'm gonna go ahead and drop that raise that every girl, all right? I just wanted to kind of augment that a little bit more. Now I'm back my lining layer. Check this out. Okay, So once I get this, we've still got our brush selected. I'm still in my thinking. I'm working with my ink bleed. No, I didn't crank this down even a little bit further. I'm gonna go ahead. I'm gonna put some rivets down inside this bad boy just like that. Not too many, right? You don't want it to make a pattern, because then you're are then obligated in the eyes. Just gonna pull whatever the hell they're looking at. But you want to make sure that you got your rivets in the right spot somewhere. All right, enough So that the I understands that it just didn't come into existence. Now we're gonna come up here and we're gonna make sure we got this, and we're just gonna put little dot on each one. Just enough to add a little bit of interest. All right, looking good. Now I see one more thing I really want to dio with this layer selected what we're calling the texture layer here, screen layer. I want to go ahead and below this bad boy out, and I'm gonna do one more thing here. I'm gonna come over to my spray paints. I'm gonna grab my flicks brush. I'm gonna go ahead and drop my size down a little bit. And now you want to take this lochs. If it looks like garbage, you don't want to commit to it. And with that screen technique, it really does kind of hit up the rocket a little bit in some different areas to give it some nice texture. All right? And I said I was done, but I lied. Okay, One won't right about here. Grab a soft airbrush. Okay, Now, I think we're in pretty good shape there. So here's we're gonna do. We're gonna be selected. That looks like a pretty good rocket. We're gonna come down here now. Then I'm going to grab my hard brush. I'm going to then crank down the size a little bit. And now this is one of these areas where you want to take it slow. I'm going to make it my eraser. And now I'm going to trim away now make sure you're on your base rocket. Now you see how I'm just brushing the edge. You missed this part up. Bad things happen, cr manipulating my image over so that I can get where I want it. I've got a little bit of a hiccup here, so I'm gonna shave that off just a little bit. Shave that down just a little bit and I'm keeping my strokes fairly consistent. All right, so good deal now, in orderto we wrap this thing up in in order, get onto the background. Let's do this. Go over to your layers, swipe every one of these layers and then you see this triple line. Let's group them together a now good naming structure. Let's call this rocket and we're done with this part. So let's go ahead and cut the video here, folks. And then we're gonna get you onto the next lesson. We've been going now for about 30 minutes. I promised you this in under an hour. Let's get it done. 15. Spaceship Background and Luminance: All right, gang, welcome back to the rocket projects. So we're now in version four. Here. You got your rocket finished. Now, let's go ahead. We've grouped him. Now, let's go ahead and adjust the color. Now we're gonna add a lair, and we're gonna go ahead and we're gonna make this a purple layer. So let's go ahead and make kind of a dark purple because, well, space is dark and I'm gonna be in the lower area. So I'm gonna go ahead and put that down. It's purple. And then let's flood fill this bad boy all rights, we got the rocket and we've got the purple. Now, let's go ahead and position the rocket. We're gonna grab the rocket layer. I'm gonna grab the transform tool. And now I'm gonna go ahead and move the rocket wherever I need to. Now, why did that just happen? Because we had the rocket underneath the layer. So what we're gonna have to do now is go back. Not a big deal. Just refilled layer. All right, now we're Ellen. All right. So we put the rocket where we want it. It's gonna be like that. Let's go ahead and just fix this problem. Solve problems, stay in salt. Just gonna paint this. We're gonna grab the airbrush. We're gonna grab it. We're just gonna go ahead and paint this bad boy altogether. All right? Well, it's going to be a pain in the backside. We'll just take care of that right now. All right, So we're back to positioning the rocket. Remember your rule of thirds and composition. You want the rule of Thirds says and I'm just gonna put a layer on here so you can see what I'm illustrating that you want to divide this screen theoretically into thirds. Right? So you want 1/3 here? Third here, and you want your interest points to be in these intersection points? It's common in art. It's common in photography. It's one of those general things you learn in our school that you really just don't violate . So we're gonna go ahead and position the rocket right about here. Now, in order to make the background, what you're gonna dio is we're gonna add another layer. We're gonna bring it down below the rocket, and then we're going to find our nebula brush. Now, this is going to be down in the loom in its area. We're gonna be using a lot of this limits, and we're going to work in a kind of a pinkish something around this area. So we're gonna go ahead and put that into the chart there. All right, we crank this up, return this down a little bit. Oops, that's a lot too big. And now we start throwing the luminess portion around everywhere. Now, some of its large, some of its small. Some of it. You press hard so that you don't I m c I'm gonna shrink some of this down. Some of it. I'm going to move up a little bit now, So we've got some areas here where we've got some ruminants. Now, what we're gonna look for is I'm gonna show you guys how to really do sort of the Blaster. Okay, so we've got a background layer we're gonna keep working on the background as we go, but right now I'm gonna show you how to do the blaster. Add another layer. Let's go ahead and rename it. We're gonna call it Rocket Blaster. Okay, put it underneath the spaceship. And now we're going to come over to our luminess brushes. We're gonna grab the light brush. And now I've modified my light brush. But we're gonna use the stock one here just so you guys can see what's up. Now, when I say I modified it, I'm gonna go ahead and crank the max up to this bad boy here. Okay? That's really one of my modifications. And then in the stroke, I crank up the taper and I cranked down to the end Taper. Now, this is where I'm gonna go ahead and shrink down my workspace just a little bit. Now, what I'm going to dio is I'm going to grab a yellowish kind of an orangish something big, bold and bad, right, cause now this is This is fun time here and what I want it's going to begin with a very small taper and swoop out. So we're gonna just test this out. Um, now, I wanted to tape her a little bit more, so I'm gonna go ahead and turn down the size a little bit, okay? We're gonna drop down the sides of this bad boy a little bit, but I want a little more taper on that. So a little bit further. A little bit further and now I shrink it down there. We dio turn down them in. Ah, lot of times of these brushes. You just got to try stuff. Okay, Cut. So, once you got that, I'm gonna show you trick. Go ahead, Do this. Now, select that layer. Let's duplicate it. Okay? Now, when we do that, how do we duplicate? We swipe over and we duplicate. Now watch this. It made it super bright and unbearable. Let's use the Goche in blur for this other layer. Now look at what just immediately happened with your rocket. Okay? Now, if you don't like that and it's a little bit too much, you can always delete it. You could always delete it and you can come back again and you can shoot again. Grab the brush. Tried a light brush. Now you can even apply Goche and blur to that layer at the same time. If you really wanted Teoh so you could do it any way you want to do it, I'm gonna go back through and I'm gonna keep my original because I really liked that bigger , bolder pattern that I had there all right. So once you've got that, that's how you do. The rocket burst. Now we can go through, and I'm gonna go. Just go ahead and duplicate it. And then I'm going to apply the go Schindler because, quite frankly, I like the look of it. Okay, Now, that might be a little bit too big, too bold for some of you guys. That's completely fine. Now what we're gonna do, we're still working with the luminous brush. Let's go ahead now and what I'm going to do, I'm gonna go ahead and put in a couple pulses, so I'm going to go ahead now, create a new layer, and I'm gonna move it down below the background here and with the pulse brush. I'm gonna go ahead and move it up, and I'm going to do kind of an off yellowish type of white here, and let's see what it does for me. All right, Now, how do you adjust that? I'm gonna go ahead and I'm gonna just the spacing out a little bit, So we're gonna go ahead and just spacing out a little where we go. There we go. A few goes a long way. There we go. Perfect. Now, once I've got the luminous there, this is the one of my other tricks. I grabbed the flare brush. Now I go big, bold white on the flare brush. Now, this one, I strike a little bit to the left and what I'm doing here. I'm trying to get it to a line close to the pulse. A little bit of trial and error with this will kind of help you along your way. All right. Perfect. Now let's check out why we did this. We're gonna use one more here, Coming in with my glimmer. Now, watch what happens with the glimmer now. No 1 100% full on white. I'm making sure my capacities up got the glimmer brush going on. Okay. Now, if you don't like it that spaced out, you can certainly come over here, increase the spacing and make it a little less crazy for you. All right, Now watch this. The power of the blend mode. Look at how each different blend mode changes, what's possible? And so this is really just playing around with it, trying to figure out exactly where you want to be with it. I like to really work in a screen type blend mode, but I will occasionally go with color Dodge, so all right, let's go ahead and stop this video here. We're almost done here, and let's continue on with a background in the next lesson. All right, guys, by now, you should have your background beginning to be formed. We worked with Luminess in this one, and next time we're going to start working with the background, shrinking it down and making it a little bit. Mawr Spacey. All right, we'll see the next one. 16. Spaceship Finish: All right, gang. Welcome back. So we're now working on the background of this thing. We've got some of it laid out. Now, let's go ahead and darken it up a little bit, right, Because in reality spaces dark. So let's go ahead and add a new layer, and I'm gonna drag it down between the nebula layer we've got in that background. Now, what I'm going to do here is we're just gonna go ahead and switch over brushes, and I'm gonna go ahead and I'm gonna use my soft brush. I'm gonna go straight up black with this. I'm gonna turn the opacity of I'm gonna turn this side up a little bit. Now, let's go ahead and make it a little bit darker here and now you see here we're not going all the way dark in a lot of places. And then there are some places where we're gonna want to make it pretty pretty dark. All right, Now, in order to do this part, we're also gonna have to come up into this area here. So now I'm onto this nebula layer and let's go ahead and drop the opacity down a little bit and temper that down a little bit there. We g o making it happen. OK, so I think we're in pretty good shape there. That's looking a lot darker. Let's go ahead and crank that up. Crank that down. Let's kind of hit in some of these areas. Okay, now same nebula brush we used. Let's go ahead and do it again. Folks. Hit the nebula, crank up the opacity a little bit. I don't, uh, add in some of that. Now it's go ahead here and let's do a little bit with lose, right, cause there's a lot of blue. So let's go ahead and make it a dark, dark blue. And let's go ahead and keep it on that layer and let's try another brush texture here. Let's go ahead here and, oh, I don't know. Take a look at Let's go with our spray paints, all right? And let's go ahead now and grab this medium nozzle. All right, so let's go ahead and do that. Crank that bad boy up. Keep the opacity low until we see exactly what it's doing to us here, and you see, we're just using this in a little bit of these areas here to get kind of a bluish look. So now what we're gonna dio as I still want a little bit more dark here. So what I'm gonna do, I'm gonna go ahead and switch this layer over to multiply. I'm creating a new layer. I'm just not happy with how light this is. So I could do a hue saturation adjustment on this, but I'm not quite ready yet, so let's go ahead and grab our airbrush grab are soft brush. Let's go ahead and grab some dark. Must drop the opacity a little bit And let's just take this in. Let's go ahead and open this up just a little bit. And now we're gonna target a couple areas. Oh, that looks really nice. I love what it did to the loo minutes there. All right, cool. So let's go ahead and bring this up a little bit more. Put in a little bit more blue. Alright. Looking pretty good. Pretty happy with that. Now, let me show you something else here. We're gonna go up to here, we're gonna bring this layer up, and now this is kind of a really cool technique. We're gonna go ahead and we're gonna grab our brush, and I'm actually going to use the Oriental brush. We're gonna go ahead and we're gonna go pretty white on this. Okay? Now watch what happens. We're gonna go ahead and crank this bad boy up to a fairly large amount and keep the opacity about 3/4. Now, watch what we're doing here. You start now. We don't like that. I'm gonna go ahead and undo that. I'm gonna drop my size just slightly increase the opacity just a little, and you see what it's creating. It's kind of creating this nebulous galaxy here. Ah, go a little bit. A little bit larger, A little bit more opaque. A lot of it's trial and error here, all right. And we're going to go a little bit larger on that, A little less opaque. And it's not an exact science man. Sometimes you just try some stuff. Sometimes it works out. Sometimes it doesn't. Okay, so I've kind of like that. Now let's play with the Let's move it over so we can see we're doing with it. Let's play with Thea blend mode a little bit now. We're gonna try to really contrast this bad boy, See what happens there. Now, I'm gonna go ahead and I'm gonna swap over this layer a little bit. I'm gonna go ahead and do NHS l adjustment. Now I'm gonna go up there. Were here on we're gonna make it a little bit lighter. All right? And then let's place it under here. Now, let's go ahead and bring that guy underneath all those layers. There we go. All right? And I'm happy with that. So now one of the last things we want to do here, we can touch this thing up just a little bit further. We're now gonna you with free hand selection. And now what we're going to do. Let's go ahead and add in a little bit of underlying because this under side of the ship is going to be lit up differently. So let's go ahead and grab our rocket open layers. All right, we're gonna go and we're gonna grab the base rocket. There we go. Oops. All right. So now with the rocket ungroomed, we're now going to grab the blue rocket layer. We're gonna grab our selection tool. Now. What I'm trying to do here is I'm going toe Lighten up this area of the rocket because it's taking on some of the shadow, let's say, or some of the lightness from the afterburn. So we go through and we select this area. And now with this selected let's go ahead and do a little bit of modification, we're gonna come over here, we're gonna grab this yellow I'm gonna grab kind of a whitish yellow when a crank this opacity down and we're gonna grab the soft airbrush for this. And now you see how we're just kind of ever so slightly tweak in this thing. All right, Now let's see what we got when we remove it. All right, Now, that looks a little bit too firm, right? So what we can do with this? Now, let's grab our smudge brush. You got the soft airbrush going on for this much. You can go ahead and smudge that out and you're only working on the blue, so you're not really hurting anything now you see how much that kind of ads in that reflected light to it. Now let's go ahead and do the same thing now, on the underside of the other Finn so I'm still on my rocket layer. Now what I'm going to do, I'm going to free hand, select this area right here, and then I'm going to do the exact same thing. So I've got my soft airbrushed selected. Now what I can do at this point, I could do a couple different things. I can either smudge it out like we did before, which I think is probably the best option. Or we can go through and I'll show you what to do on this next. Finn, we're gonna go through. We're gonna free hand, select, and I'm grabbing this portion of my fin. Now what I'm going to do just to show you how this works, I'm going to save This is a separate layer. Now watch what happens. I can take that layer. And now selecting Onley that layer Alfa, lock it now. Why did we Alfa lock it so that I could actually draw on it without having a color? Everything else? See how I'm able to color it Now you see how there's that firm line. Watch this. I can apply ago, Shin Blur. But on Lee to that layer, you see, they're kind of goes through and blurs it out for me. So that's another way you can do it. You can then select it is a layer and goche and blur it. Now what I'm gonna do is I'm gonna go ahead and I'm just gonna fade it out anyway, because I like that effect that, to me is a better way to go. All right, So let's go ahead now and finish this bad boy up. We've got the reflected light there. We've got our space seem kind of figured out. I think we're in pretty good shape. The last thing that I really want to dio is we can add a little bit of motion blur to this afterburn. So let's go over here and I'm gonna go ahead and combined these two rocket Blaster layers. So I just combined him. Now that's a destructive operation. I can't undo that. Now what? I'm going to dio I'm gonna go ahead. I'm gonna crank down the opacity on this just ever so slightly. And then with that layer selected, I'm going to use a perspective blur on that layer. All right, good deal. So you ca NRA literally play around? It's for hours and hours and hours. I think we're in pretty good shape there. I hope this is to show. Do you kind of in this hour how you can go through with minimal skill and get maximum effect on your images using procreate? All right, folks, I'd love to see what you got going and post him up the assignments immediately following this area. I'd love to see your screenshots of your rockets. All right, folks will see in the next lessons. 17. Thank You: All right, so that kind of rounds it out there. So you've gone through. You've got some individual lessons that you've taken You created a beautiful piece. A portfolio are we love to see it. Check us out of the Facebook group. Go ahead and post your work to the Facebook group. And if you're interested, go ahead and check us out at seven Seasons studios dot com. We have a ton of free resource is up there for people that work in procreate, including free brush sets. And we have a whole ton of YouTube videos. Alright, guys, we'll see in the next ones. Thanks for taking the course.