Learn to Phoodle using Procreate & iPad Pro | Kathy Klitz | Skillshare

Learn to Phoodle using Procreate & iPad Pro

Kathy Klitz, Living Bright & Saturated

Learn to Phoodle using Procreate & iPad Pro

Kathy Klitz, Living Bright & Saturated

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12 Lessons (1h 28m)
    • 1. Introduction

      1:21
    • 2. Class Project

      0:26
    • 3. Inspiration & Photo Selection

      6:55
    • 4. Brush & Color Palette Setup

      9:57
    • 5. Let’s Phoodle!

      12:15
    • 6. Shirt & Hair

      6:33
    • 7. Stripes on Shirt

      4:06
    • 8. Pants & Shoes

      22:52
    • 9. Mime Face

      12:10
    • 10. Accessories - Your Choice

      4:15
    • 11. Doodles & Background

      6:22
    • 12. Thanks & After Thoughts

      0:47
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About This Class

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Step aside Candy Crush & Sudoku - you are so yesterday as a pastime. Instead learn to doodle on photos using your iPad Pro & Procreate to create new brain cells, while tapping into your creative side. I will introduce you to this trending digital art style seen all over media. Then together we’ll create your first photo doodle or what call Phoodle, using the simple tools of iPad Pro & Procreate app. The class is suited to all levels. For Procreate Beginners, Phoodling is a crazy-fun way to learn Procreate tools. For Intermediate & Advanced, Phoodle will flex your creative muscle and may well become your new low-stress obsession. The class lessons will lead you through everything you need to know to Phoodle; from choosing a proper photo & the styles of other artists, to the use of Procreate’s tools. I also share my favorite brushes as we setup a dedicated Phoodle Brush & Color Palette. You will end up with a fun Phoodle experience, and a better understanding of Procreate, with confidence to Create, Whenever & Wherever you are.

Meet Your Teacher

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Kathy Klitz

Living Bright & Saturated

Teacher

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

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Transcripts

1. Introduction : Hi, guys. I'm Kathy Clips in this class. We're going to learn how to paint and doodle on a photograph, which I call food all it's fun. And if you're like me, it will become your next big obsession. Maybe even replacing Sidhu Co. Or Candy Crush as your favorite pastime way to teach the class. I'll be using my iPad pro and procreate app. If you're new to that. Don't worry. I'll walk you through my process, step by step, from photo selection and inspiration from my Pinterest board to setting up a special brush in color palette so you can poodle on the fly any time, anywhere. So join me in this class and let's get food early. 2. Class Project: your student project will be to food, all the mind picture or a picture of your own, and be sure and uploaded to the student project section. Don't forget to use your brushes and your palates that you've created have a lot of fun with this. Who knows, Maybe you'll start seeing the world through new lenses. 3. Inspiration & Photo Selection : okay, We're gonna be bringing in a photo. I'm gonna show you also Pinterest. So first I open up my photos and this is what I had saved in what I took in to procreate, which I will show you after I show you my Pinterest. This is the final. This will be what you will be creating. Okay, let's take a look real quick at Donna, Addie and her style of doodling on photographs noticed how crisp her colors are and her shading, um highlights and shadows Just a real distinct style. The first time that I saw Donna Addie's work was a skill share class, and it was called 360 Feet. Five days of Adobe. Here's Donna Addy, her style right here. And then there's two other well known artists, Anna and Nikki, who have their own particular graphic styles. Okay, we're gonna open Pinterest. My Pinterest is meet me lakeside, and you can open it up and see food. Ill Art board and I have samples of what I've done as faras food willing, and you could capture that particular picture and just save it. Actually, you could open it up and do a screenshot, and I'll show you what to do with it later in this video, uh, ice cream cones, doodles, things like that. Food is a big deal in, um, food Ling. I was trying to just get pretty girls sitting outside of a coffee shop and it ended up I fell on this, uh, tremendous amount of beautiful women that in fashion. Okay, this is a great one. This is an example. Fashion and food to make a great food. All she has, the attitude and the background. I'll cover that in the lesson can be darkened. And later on, when we get get looking at the Pinterest board, you'll see doodles. Now, see this different style totally more detailed. Here's a very simple one with just outlining a lot of attitude. Real cool. There's, ah, yellow Nikki style right there. This is just putting dots on the background. How cold it sat. Here's a food one. And that's Donna Addy. See her shading. I mean, she just you'll get to know her style. She's great. Take this and look at what I did here. This is the original. I love everything about this picture. It just has a lot of attitude has a neat background. Um, her pants actually look like they've already been drawn, but they're not. It's just a high contrast with lots of shading and highlight here it iss done. Ah, notice, um, the background. And there's and ahead and just blacked out that board. There's her pants that I've done and the purse I love. Those tassels drips for the ice cream. And I added, uh, cat, that was just black and white clip art. I'll show you in in our lesson how we can adjust also the colors and how we can create shading and stuff textures and notice the background right there. How I've kind of filtered it out. Here it is on the original. Um, a lot of times you want to treat the background that way. Here it is with the adjustment, um, very simple to do on procreate, to create different looks with different colors. Okay, here's a cute When this is just another fashion picture that I did a screenshot of. I saw her dress and I reminded me of the famous Marilyn Monroe here it iss and with her dress that I brought in, fixed her shoes up added some fancy Panies and she's good to go. Here it is again, notice how I instead of darkening the background, I made it real bright. This would make a great one, the one next to it. Two. Okay, here's another changing this story. That's the whole thing with food Ling here, these boys air reaching into a pond and there's fish in there. So I'm gonna food all that. This is from unspool ash, where you can get free photos, art stuff. So you might want to write that down unspool ash dot com And what I did was I did their hats and their shoes and I created a new story by drawing in frogs. And right there you could see how I took advantage of the reflection and put a frog in the reflection and use the lighting. Those are great for those type of things for adding, and you don't want toe trace some necessarily. You just want to use them as your inspiration. If you don't know how to draw, then go ahead in and trace over them lightly, but make it your own. This is what's so fun about this particular art style anyway. just keep scrolling through. I'll let you do that on your own. Okay? Before uploading our photo to procreate, we're gonna be cropping within our iPad photos. So open it up and we're gonna crop off all of the excess screenshot. There you go. Now hit. Add to procreate, which is the little purple button and its sins to procreate. And there it ISS, and we're already to start food willing. 4. Brush & Color Palette Setup : Okay, What we're gonna be doing now is setting up a dedicated brush set and also a dedicated color palette for food Ling. So you could take it on the road with you and do it as stress free as possible and as simply as possible. So let's just open up any document canvas and what we're looking for. The reason we're opening up something is because we're looking for this particular brush icon. You click on it, you're gonna find a whole bunch of categories, each categories going to have a brush set in it. And those are the places that you will be using to create your food. All set, you. I'll try and tell you where I think most of these come from. But it's a good idea just to go through and kind of test out the different brushes at first and see which one Jew prefer. These are my favorite five. I have one more that I'll show you when we move over, and it's really good for doodling. My favorite being this monoline, because it's very smooth and solid, has clean edge, is perfect for this nice, clean, simple food, all style. And if you want to really make it smoother. If it's not coming out smooth, you click on it, and it brings up this and let me move this up, um, down at the bottom where their stroke. One. Make sure you're in that one, and because it brings up streamline, you'll want to push it up. Teoh 95 80 anywhere from 80 toe 95 97 I'll show you the difference. I go like this. It picks up, and when it's low, it picks up all the little crooks, and it's not very smooth. But when you move it up, it's very smooth and just a great brush, probably one of the best brushes preferred by all artists. And so let's see, Let's go into this other one that I like Studio Pen that's usually found in calligraphy right here. And, um, other pins that you'll enjoy using. Oh, what I want to say about the studio pin is that I use it a lot for just making dots so you could just touch it and depends on how hard what kind of mess. That one up, how hard you push it as to how big it is because it's pressure sensitive, but you can also control it over here in the elevator for size. And in case you don't know, that's where you can get your size differences. And then you could also, um, use this elevator for the opacity. Here it's 100% and the inherits pushed down. And then later on, we're going to cover this center, one that I have set as my color picker and will cover that when we do our color palette. Okay, let's make our own little set hit the plus sign and call it food all. And I'm gonna go ahead and go into my favorites. I'm gonna move it down. Just a couple, because sometimes when it's at the top, it Israel hard to get the brushes to move over. So going into my my old feudal one, I duplicate it. That's very important. Duplicate it and carry it over. You have to highlight it, since sometimes it goes to the one above it or below it, so just go in and repeat that process. The main thing is the duplication, and then moving and checking to make sure it's there. So go ahead and do that with all five. Okay. I like to keep things really organized and simple, So I want to show you. Also make sure you know that you can hold and you can actually move thes into position, reorganized him, set up our special color set up. What we're going to do is open up the canvas. We want to make sure that we get to a position just like we did for making our brush set where we have this little circle in the corner and it's set on pallet right now. Down here, we have four modules. This one right here is disk. And this one is palate. Those air the two that were going to use when we food all, um, for setting up the pallet, we need to be in pallets. Let me move this back down so you can see. And then we go to this plus sign. It brings up a whole new set available and click on that in you type in feudal, and it's a default. At this point, you could make another one a default. Just by clicking on that, you can also move these around by holding on to them and moving them like that. I like to always have my default at the top. And that way, if I get into the pallets, it's easy toe. See that once we get into disc over here, that's where we're going to be for most of the time when we're working on our food, all it has, whatever the default is right here. So let's get back into palette and I'm gonna show you we could pick a color from another pallet and it will show up there. Click it there whenever goes up. Here is all we have to do is click it. If we want to get rid of it, we can hold it til it says Delete. Working in the palette is easy in that you could choose colors from all these other palettes that you've created in the past, or else the ones that procreate task. But instead of being in the pallets, let's jump right over to the disc module and use that for choosing our colors. I think it's a lot easier toe work there, I think, particularly because most artists are so visual. Okay, we're gonna go ahead and go and pick our black by double clicking and our white by double clicking and to check the purity of it. You can go into value and check to see what the Hexi Decimal is for white. It should be all EPS. And for black, it should be all zeros, which it isn't. So let's go back in here. Choose it again. Double clicking and yeah, that's gonna be black, I could tell. Yep, there we go. So let's delete the other one. Okay, let's go over here. And what I like to dio for food lean. I like to keep my colors in this range because the saturation and brightness lends itself to this particular art. And so there's my blue, so we have the medium tone. So what we do is we just click on a color and we go down here. There's my shadow, and then we go up here and there's my okay. There's always different ways of doing things, So let's bring up my basset town skipper and I'll use him because I'm getting kind of tired of that mime being on my screen. Let's use him to demonstrate the color picker, so let's go into a color palette and let's say I really like this blue of the background. I click on this centre, this centre square color picker and wherever a move it the center mark has X wherever that is. Ah is the color that shows in the upper part. So say I like I really like that blue, which I love this blue color background You click on it and it shows up over here and you could just put it in your blues. And that actually is one of my favorite colors. Poor doing blue jeans. And I could go up and down for my highlight in my shadow. And it looks fabulous. So go in and make your simple food all color palette and then we're ready to food will reach back here. 5. Let’s Phoodle!: Okay, let's get food willing. Let's go ahead and bring in our photo that we cropped earlier that we had sent to procreate . And before we use this, I'm gonna show you another way of doing it. This is ready to go just by sending it to procreate. We could start by adding our layers and that's what we're eventually going to dio. But let's go ahead and get out of here for a second. And let's create by hitting this right here, a custom sighs new canvas and I'm gonna go 4.25 inches by six inches. And I don't care about the dp I because it's not gonna be printed notice right here. Maximum layers. 128. That's a lot. We're not going to use that many and be sure and hit create. Okay, we have a blank and let's make it a little bit smaller. What we're gonna do is show you what this looks like. We're gonna bring in by hitting the wrench over here. Add an insert photo. We're going to go to where I have it in my photos and we'll hit it and it brings it right in and if it were to be too big, we could scale it down. But in procreate don't scale up because it becomes blurry when I do my maps. If I draw something, I make it over size and I make it smaller. Whenever I try to make it small and increase the size, it becomes real pixelated. So if I were wanting to make this smaller, I would make sure that my uniform right here is on. Make sure you can see that uniform is on and magnetic. And when I do that, it doesn't matter where I put my where I move it as faras corners and stuff. It's going to go down at the same proportion. Go ahead and get out of there and I'll show you how to get rid of something. You could select it here. It iss right here and delete it. And then you could get out of that by hitting the X. And then let's bring her up and we're ready to poodle. So let's go in and look at what we have for the layers. We have her. We have the background white. We want to create another layer as we work in, um, we will merge them together, and that way it keeps it clean. So next What we're gonna do is I've decided we're gonna start with hat something simple to show you what to do. Let's go ahead and just open her up like this. This is not enlarging the picture per se as faras the pixels and stuff. It's because we haven't selected it. This is just increasing the size so we could see it like that with two fingers. So let's go ahead and go to our food. All were in disc mode right here. Can you see? Yes, disc mode on. And what we're going to do is go ahead and hit are red. Actually, let's go with our dark red because I'm going toe line around, outline around the outside. That's used the mano because it's so smooth and I can adjust my size that sometimes I tested out right here that's too big, and then I could use my two fingers and get rid of that. I want to make sure that I reduce her opacity, the opacity of the picture. So I when I right on top of it, I can see what I'm doing and I want to make sure that the next layer, the blank layer that I want to create the hat on is and I could name it hat by going like that and saying Rename hat. But I know it's selected because it's blue as faras being able Teoh draw on it. So let's go ahead and we have our pen. This is very loose. It's not a big deal. This is relaxing. So there's her hat and what we could do is go ahead and fill it with the lighter color. So I'm going to the medium tone. There's different ways of filling. Let me see. I think what I want to dio do we want to be on the same? Yeah, I want to go ahead and be on the same. Um, just drag and drop it Whips that went to the dark color. It's make sure we're on the lighter color. There we go. And the reason I did that, normally I would outline it in the same color. Is I Would I drop on it if you notice her hat has a darkness around it, sort of a shadow, and we're gonna enhance that So let's go ahead and do that and create another layer. And we're going to go with the darker color for the shadow. And I'm gonna go ahead and use this read pencil and what it airbrushed. What it is is it's that one that I showed you will like that where it's got a nice point to in kind of rough edges. Reduce it down quite a bit. You know, what I'm gonna do is kind of create some some fold center, little beret and a little bit of shadow area. Even though she doesn't have it in the original picture, I'm making this my own, and then I'm gonna take this and fill that area. Okay, That doesn't look so hot right now, but it's gonna look great in a minute, and then I'm gonna give myself another layer, and I'm going to do highlights. And I think for highlights, I'm gonna use my white because I know with highlights with my blending modes, I have a lot of opportunity with white to dio a translucent. So a luminosity type blend that will pick up the underneath color all your blends. What they do is it's the layer that you're doing the cholera on that, your blending, choosing the mode. It's how it reacts to the underneath color. So let's go ahead and use White. And I want to make sure I'm on a new layer. That's my highlight and pick my brush and think I'm going to use my staple and I'm gonna check out my size. And then I'm just going to give a little bit of highlight at the top to be like that. I think that's enough like that, Okay? And what I want to do with that highlight is Dragon underneath my shadow. I don't want it laying on top of it. I want it to be. I want the shadow creases to be more important. And so what we're going to do now is, um, let's go ahead and go back to the shadow and let's drop the opacity down where it looks a little bit more natural and we could use actually multiply. Let me show you what the's do multiply color, burn and because it's dark, I wouldn't use the light lighten. It's only going to be working with this mainly this darker one, maybe contrast. I'm not Yeah. Contrast it just disappears. You go back to normal. Um, some stay in this dark and I could go multiply and pull it down, Multiply picks up also what's underneath it and darkens so like that. And then let's go into into our highlight and using lighten because it's white. Let's do add and see the luminosity and let's drop that down way, way down. We don't want it to be really obvious. And then it's Turner. Grow back up. When? Then We work on kind of fixing the luminosity and stuff, and I think it would. I don't like this. I don't like this line going through here. And because we've done it on different layers, what we could Dio is used the eraser and just go in on that layer that has the outline and get rid of that. Outlined the Red Phyllis still there, I think. Yeah, I think this needs to get whips. No, that erased into her hair. Let's go ahead and see. Doesn't matter if I make a mistake. Uh, think that's pretty good. Okay, I like that. And what we can do is we could take her two fingers and you could either for emerging down , you could click on it and it says, Merge down here and you could do it one by one or you could make it simple and that's it for the hat. So what you've learned with Hat is you've learned how to outline, how to fill by dragging over how to do a shadow and with the shadow to use, multiply and to reduce it down so it blends in. And then that's a blending mode mode. And then also the highlight. We use this step. Oh, Brush and we used white m used lighten in our at blending modes and we used ad and we brought that down and it really gives a nice look. Can you see that? How it has kind of just different shades, sort of like what I think a felt hat would have that's probably felt Well, um, it's it's just really cool what you could do with this procreate. So now next, we're gonna be doing her shirt, so stay tuned 6. Shirt & Hair: no way. With Beret done, let's go ahead and move on to the shirt. So bring up a new layer by clicking the plus, and we're gonna choose White. Since we're working on the shirt and we're choosing the monoline brush so we can outline it , you can go ahead and bring it up close. Oh, let's go ahead and pull down that opacity on the layer of the girl and go ahead and start outlining the shirt. You want to completely enclose it so that when we do our color drop, it doesn't fill the whole page. And when we do up around the neckline, we're not gonna worry about her hair because that's going to be on a layer that's gonna be on top of the shirt. Don't forget that little tab on the right hand side. There you go. Okay, let's bring a little depth into that shirt so it's not so flat. So let's create some folds. Increases by using gray will use our monoline again. Oh, let's go ahead and use studio pin because it goes to a point and we'll bring the opacity down on the shirt down to about 25 30 and that way we could see where the photo has its shadows and folds. Makes it easier. Sometimes it's hard to do a just a pool and drop fill in those little skinny areas. So I just use my pan. And if it's not totally solid, I don't really care that much because I'm gonna pull the opacity down quite a bit. And I just put him the lines in areas that I think I might like. And sometimes I race What doesn't look good later, it being on a separate layer totally makes it flexible. Okay, lets see. Pull the opacity on the shirt up so we can get a good idea. And there we go. And get the girl capacity up. Okay? Pull down the opacity on those shadows and folds and wrinkles. Okay? I'm gonna test out in the lighten mode for blending. And I didn't like it. I tried screen and add. I'm going to stick with normal, but I'm gonna pull the opacity down to close to 30 and let's go ahead and merge it. So now we have the shading on the shirt layer. So it's all one. Pull it back and take a look Yeah, I like this. This is looking good now to do the hair. I'm real careful when I do this. I want to go ahead and duplicate my layer for the original photo and you switch it to the right and then hit, Duplicate and let's go ahead and rename that layer Main photo. And then let's go ahead and rename the other ones, too. That way, we don't get confused. Later, on, the way I renamed it is to click on it. And when the lying comes up menus, it's at the very top rename. Let's call it extra. And then we're gonna go ahead and name the shirt and I don't think really with food. Ling. It's that necessary unless you get into a lot of detail to name the layers. But let's just do it for the lesson. Okay, selector, extra layer, and go up to the top menu, the S at the top, and we're going to select just the hair, and we're doing this in freehand. So check that off the bottom and then just carefully go around just the hair part. We're going to be taking our three fingers after we're finished with this and swiping down to do a cut and paste, and that will put the hair on a whole separate layer. So watch this. Okay, so there we go. And there it is. Boo hoo! Okay, let's go ahead and turn off that layer of the hair, see how it looks. And then let's also get rid of that extra swipe it delete, and we're gonna go ahead and move. Well, let's first rename it to here. And then we're gonna move it above shirt and that puts it on top of the shirt. You'll see how different this is. There we go. There's our shirt turned on and moving it up. Okay, Now we want to do is get rid of some of that background that carried over. So we're gonna go into our feudal brushes to studio brush and make sure you're on the hair layer will choose a layer mask for the hair because it's non destructive. Will choose black a czar color and them will work with our elevators at the side for capacity. Um, I'm just playing it safe right now, but actually, I could be just having it cranked all the way up. Teoh 100% and just be taken it out. But working with the brush, I could get in and kind of finally tuned those hairs. It just takes a minute. This is a food all. It's not rocket science. So let's go ahead and just keep going and okay, here we go, a little bit more details, and it's getting pretty good. Let's go ahead and take some of it off on the left hand side. And then let's call it today. There we go. OK, that looks pretty good. That's the head and pull it back. Okay, Okay. Every everything at 100%. There it is. On off. That's good to go. Merge down the mask to the hair, but keep the hair on a separate layer so that we could put it above. The stripes were doing the stripes. Next. Join me 7. Stripes on Shirt : Leo. Okay, let's create a layer in between the hair and the shirt, and we're gonna put the stripes on. Well, it's first picked, the color black, and if you notice I am still, my opacity on the left hand side is still down low from the hair. I never figured this out until the end, so here's our layer in between and let's make a clipping mask. The clipping mask will allow us to only as we draw our lines. Onley draw on the shirt because it's clipped to the shirt, so you click on it and go down to clipping mask and you'll see a little arrow, and that means that it's clipped to it. I'll show you what I mean by that by swiping. That's first pic our studio pan in black. Here I am, still with low opacity and too large to small. Move it up. Okay, perfect on the clipping mask. All demonstrate how it's attached only to the shirt when I draw my line. Okay, let's get started at the shoulder and noticed that there's a seam for the sleeves. So let's go ahead and start and stop on that, but we can go off the edge because we're on a clipping mask at the neckline. So let's get the other side. And keep in mind that your stripes need to kind of matches faras distance. They should be kind of squiggly because we want some movement and then we could go straight across. We don't have to worry about, um, it drawing on anything that as faras skin because it's just the shirt. And that scope hadn't gives some contouring. Okay, let's give lots of movement to it by dipping it down. And then we could even start at the bottom so that we can even a map and make it look more like it's bending. I'm going to speed this up, so continue watching and notice how I handled the sleeves so that the lines or the stripes followed the curves of the sleeve. Okay, and now, with just a little mark to add a little bit of shadow at the neckline, there you go. Okay. To add to the contouring, let's do another gray shadow, so create a layer above the shirt and it doesn't really have to be clipping mask, but I'm not that even go out of it and pick our gray and let's go ahead and do the studio pan again. And let's draw that. Okay? We can take the opacity down and around 25 and then let's merge it and let's go ahead and merge the stripes down onto the shirt will leave the hair on a separate layer because we'll be doing her face later. But right now we're going to go on to the pants and we're gonna practice with texture and blending modes. See, then. 8. Pants & Shoes: my favorite thing is doing the pants. I don't know why, but I think it's because of the texture and the three doing it with just three colors. So let's choose our three colors. I've actually gone in and used my color picker on the pants and come up with three colors that I like a medium. Ah highlight, um, and a shadow. So let's go ahead and name our layers and will last. One will be pants and will move the pant layer down below everything so that our highlights and shadows air on top, and we can control him in the blend modes with the way it interacts with that bottom medium color. So let's go ahead and pick our medium color, and we're going to choose our monoline and start outlining. I'm already almost done as I'm talking, and I saved the straight line for last because it could be crooked and just hold it down and it straightens up. But you have to. It has to be just a line. Otherwise it would start straightening up other parts of the pant. So then let's go ahead and outline the center part, staying below the shirt. If we got underneath the shirt. It wouldn't matter that much, actually, because we're gonna be putting the pants below the coloring below the shirt. But I like to just kind of keep it neat and make sure you just go ahead and follow the lines because we want the pants not to look real straight there. Crinkled. She's got her knees bent. So we want to reflect that. And we're gonna be filling the layer by doing a drop on each section. So you want. Make sure it's all enclosed. Here we go. Okay. Looks great. Well, I spoke too soon, because when I back down in size, I see that I hadn't outlined that part. Easy fix, though. Just make sure you enclose it and do a drop. And it all blends and saw the same color. Seamless. Okay, back and layers were going to go ahead and go to the highlight and choose our color, the lightest color, and we're going to bring down the opacity of the medium color of the pants and go tour studio pan. Now that the capacities down, we can see where the highlights on the pants are on the edges. So let's start Just kind of tracing them out loosely and you'll see. I'm gonna be changing this later because I always dio I overcomplicate things the first time. But I'm gonna go ahead and show you that process because you may be that type of person to and you'll see very clearly how much better the simple look more that Addie the Donna Addy style looks. It's so much better than the Messi, so it's dropped that on. Okay, the beauty of having layers is that you can go ahead and create another layer for the same type of highlight, but on a different layer, because I might want to change the blending mode on this one on this side, I'm not sure, but I'm gonna give myself that flexibility. So right now it looks the same, but later on, it might be a little bit lighter, then the other side, because it's picking up more light as faras highlighting. Okay, let's go ahead and mess around a little bit with the highlighting the blending modes. Let's work on this one first, and trust me, I went through every single one of these. At every opacity there is. It's just kind of my a thing. I dio I enjoy it. Okay, Now I'm gonna be working on the other highlight leg, and I'm gonna be doing the same thing, and I What I ended up doing was on both of them. Deciding add in the lighten mode was the one I wanted at this point reducing the opacity. And I'll figure that out later, too. Okay, Now I'm going to add a little bit more highlight using white around the knee part of that upper leg. And so let's pick the white and go in with our brush. And I'm using the studio pen because it's pointed. It doesn't really matter, though. And I'm gonna go ahead and highlight it, bringing up real close. Okay, here we go. And with the blending modes, you'll see the big difference of putting this on here. It's just a nen Hance mint. It won't look this way. Once we go into the blending modes, we could do all kinds of things to brighten it and really blended in. It just gives a subtle touch. So let's go ahead and see bringing down the capacity, and we're at normal right now. But of course I'm gonna go to add. That's probably my favorite. Who isn't that nice? Because it picks up the different colors below. You have the dark and the medium. So the light turns out like it's like we used a really fine point. Ah, studio pit. Okay, we've brought our main picture up to the top, and we're going to reduce the opacity of it so we can see through it and it's a little different way of doing it. But I feel like at this point, I need that flexibility. And I'm going to add some more of those highlights because I do like that look, and I'm working on that upper here. This is a better view, the upper leg and filling it in. And remember, when you do it, you can always erase. That's my big thing. So I like to put it in and just kind of see how it looks were using at this point the studio pan and just dropping backing off and looking at it is a really good idea. Don't be too afraid that it's gonna be too much. OK, here I am, doing the different modes again. Okay? Continuing to draw highlights on the other lake the lower leg now and do highlights. And I'm using my studio pan because it's pointed the hidden reduced the opacity of the layers so that I could see better to get the creases. And now I'm in the monoline and I'm finishing up that line that I did for the seam with the thicker pin and I'm using white. That's gonna be a base for some detail now, continuing with doing some more highlighting and filling in on the knee part with some solids. And let's see, I'm not sure this is looking a little bit messy, so I think what I'm gonna be doing is I'm gonna go ahead and put my shadows in, and then I'm gonna adjust as faras the racing. So let's pick the darker color, and it's Fillon using sort of the shadow outlines of our photo. This is a nice clear color, noticed that it's brighter than just having a really dark black or grey or even a dark, dark blue, and we could always adjust it by using our blending modes. If we want it darker or weaken, refill it very easily, so we'll be dropping the color within the lines. So let's go ahead and do that. And I'm already thinking this looks pretty busy dropping the opacity to see if that might save it. Oh, that looks really terrible. So what I'm gonna do now is I'm gonna start erasing. And this is my way of simplifying. Um, maybe I'm just too complicated, but it is almost as though everything I do I call over complicated, and then I have to simplify it until I'm happy. So I'm gonna start erasing also the highlight area and you'll see this going to turn out great. Okay, Yeah, that the more I take off, the better it iss. It's almost like a waste of time. And I could tell what I'm going to be doing next is going even darker and adding texture. And then with the opacity being brought down a little bit in certain areas, it's gonna look really great. Okay. When I dropped out the bottom photo, I could see where when we did our select for our hair, it picked up a little bit of lines that were left in. So I'm gonna go ahead and take the racer from the toolbar above second to the layers and just sort of erase all that mess because it would otherwise show up on the face that we do , because the face is going to go under the hat and under the hair so they hair is where that was showing. So I'm taking care of all that and it's looking pretty good. Maybe some of the red tones I'll go ahead and take care of them. OK, looks good. Okay, let's go ahead and bring that layer to the top again and reduce the opacity a little bit and see what? Well, actually, let's just drop it out for a second and see how it compares, turning off and on as far as texture. And if I need to go darker, Yeah, I'm sure I need to go darker. So let's go ahead and pick a darker color and make a new layer. Here we go and tested out okay, that Yeah, that's perfect. The dark kind of navy blue. Okay, with their studio pen. Let's go ahead and do a little details with shadowing and start in the darkest areas around the belt. Just little details. It doesn't have to be. Ah, Fat Pan will just kind of scribble it in, and then we'll take it down to the leg or up to the leg. Sorry. And do those fine details for the seams increases and around the knee part the darkest areas. And then we're gonna start giving some detail to that seem, and we're not gonna make solid lines. Were just going to kind of hatchet in bringing up close. I'm not even going to redo this if I don't like it because it doesn't really matter. It's just to give the idea of texture. Okay, you could see as I'm doing this, you could also see that there's the texture of the genes showing up in that underneath photo. We're gonna be doing that next. Okay, Now, around the belt area, some just dark details. So actually will be putting some highlights on that area and a button. So we want that to show up. So it needs to be a little bit darker. Add a little bit more kind of fill it in on the upper leg, some lines. See, I'm getting into that that mode again, where it can't stop. But I'm not gonna be taking these out. These will look good, They're gonna blend in. Okay, I think that's pretty good. As faras shadows and let's go ahead and start adjusting the different capacities and going into the different choices for, um, the blending modes will go ahead and pull the original picture down and pull it up so that we could actually see how it's going to look and how it's gonna interact as we play around with the modes. And once I get it just right, then we'll start putting the texture using the Flix brush. So see, I use the add a lot as faras highlights shadows. I like the multiply because it really gives a depth to the color. So playing around my usual overdue Yeah, kind of like that and comparing it, I could see Okay, let's get our flicks brush and bring it in, and we need a dark, dark color and just using the underneath picture to get an idea where that darker shading needs to go. You don't want to overdo it, and you want to watch the size of it. And remember, you could always use your two fingers Teoh back up if you put to match or if you start seeing too many little swirl lines. You want it to look smooth and also a little bit darker than what you would normally think of doing. Okay, I got it on her arm. No problem. Go into the racer and studio pan Very well, mono pan and be probably better, cause I could make it bigger and just pull that erase it off. Yeah, the reason I was saying you wanna make the shadows a little bit darker is because we're gonna go ahead and put white flicks for the highlighting and that will make that stand out . And then with the blending modes, see, pulling it back just gives it a touch of depth. And it gives that Sprinkle type texture of the the stitching, the threads on the denim. Oh, I love that. Okay, now, this is This is where you start developing your own style. So kind of play around with it. I mean, you know, you might like it. You may not like it. You might find something you like better. That playing around with the different modes and the different brushes. You have a lot of opportunity, okay? And I want to make sure that the knee has plenty on it and say, pulling it back. Okay, again, erasing around the outside, up Ernie and around the the lower by of the background where some of the flicks got on the background, I could have done a clipping mask that I just wanted to do it quickly and play around with it. So, um, if I were probably at a coffee house and just sitting there relaxing, I would probably go ahead and pull up the leg over the pants and a clipping mask so I wouldn't have toe think too much. And I probably wouldn't if I were someplace else. Go through all these blending modes at the way I do can getting close to the end. I better be, anyway. Poignant app and then trying that that ad I love that kind of gives a blue color to it, a luminosity that looks so pretty. And then once you put the background picture behind it, the original photo you'll be adjusting it again. Okay, I wanna make sure that those seems show or not the seams, but the the real dark navy blue that we did little stripes and everything for the folds, but I don't want him to be real obvious. So blending mode is the way to do that. Otherwise it looks to hatch e. - Okay , What I decided was that it definitely needed more highlight Behind that seem inner seem so that those hatch marks and you know how seems look and around the belt area. So I'm going back in with a light blue and doing this and then I'll put it underneath or else all blended in, depending on what I decide as faras the blend mode. But it definitely isn't gonna look like this That will be behind everything. And I'm just using the mono lot monoline brush for the long seem and then the pointy studio pen for the highlight around the belt. See pulling it down. And that's just on normal. It just adds a pop, though. I love that, and it will really make around the belt area. When we do the button, it will make that pop gives it depth and definition. Okay, let's choose our color. I like to choose something towards sort of a gold, so it sort of has the gray in it, and when I blended, it will pick up the blue underneath so it will actually blend in. I don't want it to be real obvious. That's too big. Let's let's see. And I'm using the studio pan, which I love to make dots with the studio pin. It's just a tap down and you can control the size with the elevator, but also with the pressure say so that looks pretty good. You don't want it to be real obvious. Let's call it betton. Okay, One last thing we're going to Dio is let's go ahead and pick up the red from the hat. I like that color and let's do the shoe strings to make them pop since we're here and then will in the next video work more on the face and the upper part of the picture. So let's go ahead and and I'm using the monoline pin. I could have made it a little bit fatter, but, uh, I think what we'll do is we'll take the opacity down a little bit and you do some eraser because I want to make sure that it's too much. Pull it down. Okay, That way I could see what's underneath, and I just want to take a tiny bit off, make my pan a little bit smaller and just erase it off. Here we go. Ok, OK. It's your choice now I see as I'm pulling it up closer. Ah, the pants right above her fingers needs to be just touched up. So I studio pan, and I'm gonna outline it with the medium and fill it in in an ad, a few flicks to it. Any race, the edging that goes up onto the table and call it a day. But, I mean, that's not even gonna show. I mean, this is a food will, not a print type thing where people are gonna look at it really closely. So But I like to just keep going and going, as you can see. So there you go. And in our next video, listen, we'll go ahead and put a mine face on our girl 9. Mime Face: way before we get started, let's do a little bit of inspiration. So we have some idea of what we're going to draw. Here in Pinterest are three pages of examples. I kind of like these girly pretty ones. I think there are appropriate. So I think I'm going to stick with that. Some of these get kind of scary looking. This is what I did the first time. Okay, What we're gonna first do is do the white face, the mind face, and so we want to go ahead and create a layer and it's gonna be under the hat and under the hair. So let's do that. And we're gonna pull the opacity way down, choosing white and choosing our monoline. So we'll have a nice clean line where to use that special tool that we used once before and here, let's pull it down. That's pulling down the original photos so that we can really see what we're doing. Especially white on white. Okay, here we go. Let's go ahead and draw it. And you don't have to worry too much about being jiggly because we're gonna use the assist of the tool, which is new fairly new within. See it says Eclipse and me lips, and you can go ahead and make it bigger, smaller as long as don't lift it and it's a little bit crooked. So and we're gonna move it up first. And, yeah, I could see its cricket. Let's go ahead and go into the layer and you could really see it. Yeah, see, it's crooked. So let's go in, select it the move and I'm gonna use my fingers and just give it a little twirl and that's perfect. And then we're gonna drop some color on it. There we go. And it's solid right now, 100%. So let's go ahead and bring it down. We're gonna be doing the eyes, so we want to drop it down. I think 15%. So we could really see what we're doing when we do the eyes. Okay, so we're gonna create a new layer above that and choosing the studio pen because it's pointed and also because it goes small. We're gonna go ahead and just do the eyebrows lips. So let's bring it down. And it's not any riel big deal. You can always to finger or erase, but these air Pretty simple. And then for the eyelids. We're gonna our eye liner. We're gonna go up a little bit and give a nice curve. If we wanted perfect ones, we would just hold on to it again. And it would make a nice arch, just like how we can do a perfect circle. But this is good enough, and I think we're gonna make it a little bit thicker. But let's go ahead and do the bottom first. And I like those points, and I'm not going to stress on that. One of them's a little bit bigger, but I could take care of that in a second, and I'm just gonna fill it in. This is just a real quick face, okay? And I could see it's a little, little tiny bit off as's faras length. And so let's go ahead and adjust it. That's perfect. And bring it up again. And let's go ahead and let's make this thicker, okay? And kind of fix that corner that got a little fat and then eyelashes just do four of them or do whatever you want, but I'm just going to do for and I'm not really too worried about how long they are. Okay, I'm getting white and I'm going to use my studio pan and just give a little dot and it's controlled by pressure. That's probably a little bigger than what I want, but I'm gonna go ahead and go with it. Just gives a little bit different. Look who I like it so pretty. And what will be doing eventually is erasing out the I part. So the photos shows through where her ideas. Let's go ahead and do the pointy and give a little diamond and then fill it in Just there. Ken. Let's connect it. It's a lot easier if you want. You could drop it down a little bit lower and have a dot, but I'm gonna go ahead and put a dot of white inside the area anyway, so and just kind of take a little off. So it's symmetrical. Okay, let's go ahead and get that white whips. OK, fix that capacity first. Oh, let's do the lips jump around and I want Let's go first with the red, we could always change it, and I'm not gonna stress on this, but it's a little bit off. I'll fix it. Okay. And, uh oh, gosh. Fill it in and we'll fix it. There we go. By the time you bring the opacity down, it doesn't really matter. I do see kind of a roughness at the bottom so we can erase that too. See what the opacity does. You really can't tell on the opacity and tell you Decide on the final face the white part. How dark you want it. I'm gonna fill it with pink. I think I want something more pink than red. There's enough red on the hat and everything shoes so you could just fill it. What I did was I selected it, and I just went in the little menu at the side and did a fill. Okay. Using the same pink, I'm gonna now work on the cheeks. Let's bring them up to more of a peachy color. And there we go. And then we're gonna draw circle. I don't have to be too worried about again about it being perfect, because I'm gonna hold it down. And it's a nice circle. It's Go ahead and pick circle. You had that choice as long as you choose it right away. And then I'm duplicating it and I'm moving it over the way I duplicated. I just swiped to the left and chose duplicate. And then I'm using the move to tool to move it around. And then I'm going to just get him both centered, under kind of centered, or at least somewhat centered underneath that the diamonds and then I'm coloring it. There we go with drops. I'm gonna go ahead and merge them together. I could have merged them and then dropped the color. But what I'm gonna do now is make them bigger. I have my move, tool, and whatever I do now that they're merged, I could move them. I could change the opacity. It effects both both of them because they're on the same level. Okay, I'm not real happy with the pink lips so I could go into this adjustment over here a the top left hue, brightness and saturation. And I can choose thank you at the top. And I could do saturation, see how this you works. And I like it a little bit. PCI. That's that's great. It's not quite as peachy as the cheeks. And that looks a lot better. A lot softer and more pretty. There we go. Looks kind of weird with her eyes being all frosted over will take care of that next. Okay, let's bring up the layer for the face, the white face and will adjust it. Make sure it's adjusted and make sure it's underneath the hat. And what we're going to dio is erase. There we go. There Eraser were in. Erase the eyes. The well, we're actually erasing the white said that the underneath photo eyes show up. I'm trying to use just a simple way of doing it with just a dot, but it's making it too big. So just kind of a combination of sizes of the brush just to erase it. And good to go cam into the layer right now of the white face. And I'm making it smaller. Amusing the move tool. I noticed it was a little bit big, and I moved it up, and now I'm just gonna kind of touch it up around the edge and make sure that it's underneath the hat, that layer, and then I'm gonna start merging. Actually, let's make her lips a little bit bigger by using the move tool and then re centering positioning. And that looks better. Okay, let's go into the eraser and take the edge off the lip that was bothering me. That's better. Much better. And bring the opacity down. Kind of back it up and look at it. And that C let's put a little dot inside that area. Just toe. Highlight it. And so I'm going to use again the studio pan to make a dot and it's gonna be white. There we go. Okay. Checking the opacity again. Now that everything's done, I just want to make sure that the nose shows up. The details show up underneath. Also, what I didn't show is that I erased in the I part when I dropped her face down. Just so you know, toe, watch out for that and I call it done. Okay, in the next lesson, we're going Teoh, concentrate on accessories. There's the watches and rings and we have the necklace and hearing. So I'm gonna just go through that very, very quickly and let you pick your own things to Dio and use some of the methods that we've already learned. Okay, Meet you there. 10. Accessories - Your Choice : I'm gonna go ahead and just let this video run while you watch, and I'm gonna leave it up to you to do the accessories and jewellery. If you're doing this picture the way you want, you could use the tools that you've already learned. The circle an ellipse assist, the blending modes and clipping mask if you want to. In the drawing, I've done, uh, the watch the ring. I did a stitch on the button and I did a necklace and the sun glasses on the table. I colored. And then I fancied up the earrings so you could do what you want and just enjoy what I've done as far as some guidance. - Okay , Did that give you some ideas of what to do with accessories and enhancing some of the stuff that's just laying around? I'm gonna go ahead and merged the hair and the hat, but make sure the hats on top of the hair and that the face is underneath the hair also. So get those layers straight and then put the face on top of the striped shirt layer and I'll meet you in the next video, and we'll be doing the background and talking about further emerging 11. Doodles & Background : e o E. Again. Now we're going to merge all of our drawn layers into one above the photo. I do that first by pulling my picture off to the side so I can watch it as I merge. And then I begin to pinch the layers together to merge them. Or else Sometimes I just go off to the side, um, of one layer and do the merge down one by one. I watch very carefully when I do the pants, though, because with some of those blending modes like add, it turns out Wong keys. If that happens them, what you could do is use your two fingers and go backwards and redo. Yeah, that looks pretty good. But I do see one thing in the lower right hand corner. And so let's fix that and just do a brush in. Okay, that looks pretty good. So now we have that layer. Let's go ahead and merge that down. Okay. Take time to admire your work. And now we're gonna be working on the background. The mirror needs to be obscured. I do that often. I either lighten it or dark in it. In this case, I'm gonna lighten it. You could choose what you want to do by the color you choose And also add some doodles to the background. I'm gonna I'm gonna put my doodles on the mirror If you are short on ideas for doodle art, go ahead and go to my Pinterest page and get some ideas. Okay, let's go ahead and open up a new layer. I'm choosing white because I want to use ah, white toe obscure. And let's go ahead and call this mirror. Okay, I'll choose the water and pigment brush and I want to make sure that I moved the mirror below so that when I paint on and it's not gonna go on the girl and I chose a pretty good size, I'm lowering the opacity a little bit and I'm gonna be I like that texture. So I'm gonna be painting that on the frame just a little bit. But then I'm gonna go ahead and go into the erase and using the same brush any race so I don't lose that texture. I'm going to just lightly take it off with the opacity of the eraser down a little bit. Yeah, that looks pretty good. that That just gives kind of filtered nice check texture to that old mirror. Okay, Since I have the girl on top, it really doesn't matter that I've gotten some of the, uh, white on her because it won't show. Except for if it's on her face, because her face the opacity Israel low. So I'm gonna go ahead and let you know that you need to check that just so that in your case, what your food willing it may affect it. So you want to erase off of any area that it might show through? Okay, Now we're gonna take ah, light purple. I'm gonna work on the doodles on the mirror and just a lavender Let's call that doodles. And I still have that underneath the girl And I'm gonna choose my monoline brush for just making straight lines and I just hold it and it straightens itself. I could thicken it if I want. This is just doodles. It's not something that's really gonna matter. Plus, I'm gonna be changing the blending mode, and it's just gonna blend right in. So there we go. Just collect that. And I did the perspective and checking it out and it goes underneath the girl. Okay, pay attention to this. Do an Alfa lock on the doodles, and what that does is create sort of a clipping mask. But you'll use this all the time, and what you can do is just draw simply on that layer, and it doesn't affect anything else. So I'm using the eraser instead of a paintbrush, and I'm going to subtract by erasing. Then I'll go back in the other direction, any race, so it creates little triangles. I use the awful lock a lot to both erase and draw on, actually, probably should have used it for doing the stripes on the shirt. Okay, we're almost done with making the triangles and will go back into the layer that was on offer. Lock and click off of it. So it's no longer Alfa Lock and choose a darker purple and the monoline panna gone and let's go ahead and make lines and hold it in, straighten down the side just to enhance it a little bit more. There we go a little bit more and then let's fix that little corner by racing the mess and then let's go in and choose white and will use the studio pan and do some dots. Okay. I'm not gonna worry about their sizes. This is gonna be blended into the background. Anyway, it's just a doodle. Okay, let's go into the dot layer and emergent down to doodles, and we're gonna adjust the capacity and also put it on multiply So it blends nicely into the background. That looks great. And we're gonna pinch it all together and we are done. Congratulations. You've done your first doodle. 12. Thanks & After Thoughts : Well, we made it through class. And I appreciate you joining me. I hope that you will feel confident now when you use procreate and enjoy many years of food lane or creating on pro appropriate while you're on the road. Um, I also would appreciate if you would give me a review. I could use your input for my next class. This one was my first class. My next class will be pet portrait. It's and I'm looking forward to seeing you there to thank you.