Learn to Use Procreate: Design and Illustrate a Bear Character | Nina Rycroft | Skillshare

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Learn to Use Procreate: Design and Illustrate a Bear Character

teacher avatar Nina Rycroft, Picture Book Illustrator

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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

10 Lessons (55m)
    • 1. Introduction

      2:37
    • 2. Basic Setup

      6:24
    • 3. Using Reference

      7:49
    • 4. The Final Sketch

      5:57
    • 5. Create a Windsor & Newton Colour Pallet

      4:55
    • 6. Flat Colour

      5:40
    • 7. Highlights, Shadow and Texture

      8:44
    • 8. Fur and Detail

      7:42
    • 9. Export and Organise

      3:43
    • 10. BONUS: Quicktime Video

      1:02
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About This Class

Learn how to use Procreate to illustrate a bear character from start to finish.

Picture book illustrator Nina Rycroft will show you the basics in Procreate while showing you how to design and illustrate a fun picture-book-style bear. In this class, you will learn how to use reference, sketch an animal character, adding layers of colour, texture and detail, creating your very own digital masterpiece!

You will learn:

  • the basics in Procreate
  • how to create a ‘Winsor and Newton’ watercolour palette
  • how to build up shadows, highlights, texture and detail
  • how to export and organise your files

You will need:

  • an iPad Pro (I'm using my 12.9-inch iPad Pro) and Apple pencil (or something similar)
  • matte screen protector on my iPad
    this is optional, but I've found that the 'tooth' of the matte screen protector makes the drawing experience similar to that of drawing on paper.

Make sure to download the handouts

  • Winsor and Newton screenshot that I used in class. However, you're more than welcome to use your own watercolour swatches to create a colour palette.
  • the bear cub reference that I used in class
  • my bear line illustration (I highly recommend that you try your hand at illustrating an animal character BEFORE downloading my illustration). :)37cd2294

Interested in character design? 

Below is my series of Skillshare classes that walk you through the entire process of how to illustrate a character from start to finish. Use this series to either brush-up on a particular skill or work your way through, for a comprehensive guide.

Nina's Skillshare Character Design Series

  1. Face Facts: Beginners Guide to Drawing a Self Portrait
  2. Face Shapes: Draw a Series of Character Using Simple Shapes 
  3. 101 Guide to Drawing Eyes
  4. Emoji Me: The art of Facial Expression
  5. How to Draw the Head From Every Angle: Part One
  6. How to Draw the Head From Every Angle: Part Two
  7. How to Draw the Head From Every Angle: Part Three
  8. Draw a Circus of Characters: Exploring Body Shape and Proportion
  9. Draw a Circus of Movement: Simple Techniques to Bring Characters to Life
  10. Draw a Circus of Line & Gesture: Design a Picture Book Character From Start to Finish
  11. Watercolor Magic: One Character Five Ways
  12. Illustration Masterclass: Exploring Technique and Style
  13. Learn to Use Procreate: Design and Illustrate a Bear Character
  14. • NEW • Animal Character Design for Picture Book Illustrators: Techniques and tips for designing characters with a narrative

Meet Your Teacher

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Nina Rycroft

Picture Book Illustrator

Teacher

Please link up, subscribe and follow me on: Facebook I Instagram I Pinterest I Website

Hi! I'm Nina Rycroft, a picture book illustrator. I worked as a graphic designer in Sydney and London before turning my hand to illustration, with my first picture book Little Platypus received a CBCA (Children's Book Council of Australia) Notable Book Award in 2000. Since then, I've had more than a dozen picture books published worldwide, winning some awards along the way. 

If you're interested in learning how and design and develop character, illustration techniques and picture book illustration, then please follow me...or even better...try one of my classes :)

My dozen or so Skillshare... See full profile

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Transcripts

1. Introduction: Welcome to class. Here I'll be showing you how to design a bear character in a picture book style using the drawing app, Procreate within Apple pencil and iPad. My name is Nina Rycroft, I'm a children's book Illustrator, and I'm probably best known for my watercolor illustrations and my animal characters. Now I'm relatively new to digital illustration, and like anything new, it took me a little while to get used to using the iPad and the Apple pencil. Now that I've made that transition, I learned to be going back because I want to, not because I have to. Now at first, I struggled to create illustrations that mirrored the same mood and tone as my traditional watercolor illustrations. To overcome this, unlike with any new equipment, I first had to become familiar with Procreate and using the Apple pencil on the iPad. In this class, I'll be covering the basics in Procreate. As well as getting used to working digitally, I found that I needed to apply the same process that I used when illustrating a traditional watercolor illustration, and this process is what I'll be using in this class. Instead of using a normal pencil, we'll be using the Apple pencil to create a rough sketch of out there. Instead of using printed reference, I'll be showing you how to create a Google search duct to place, by the side of the canvas. Instead of using tracing paper to check the length and the size of the limbs, head and torso, and to change your animal character from walking on all fours into a more anthropomorphic style of walking on the two hind legs, I'll show you how I create and use layers very much like I'd use tracing paper. The biggest revelation that I had with achieving a similar mood and tone to my traditional illustration style was the color palette. Over the years, I've developed a color palette that I felt comfortable using, a palette that was recognizably me. In this class I'll be showing you how to create a Winsor and Newton watercolor palette. I'll then show you how to create selections to lay down the first layer of flat color, will then be adding in layers of texture, shadow, and highlights, and to finish up a illustration, we'll be adding in the fur detail. Once you illustration is complete, I'll show you how to export and organize your digital files in Procreate. Grab the iPad and Apple Pencil and join me in learning how to use Procreate design and illustrate a bear character. 2. Basic Setup: Thanks for joining me. In this lesson, I'm going to take you through a few Procreate basics. When you've opened Procreate, you can see a plus sign in the top right corner. Click on that and you'll see a long list of new canvas size options. I'm going to now create a custom sized canvas. I'd like to make this square, and I'd like to make this canvas a high resolution. If I want to print it out at some point, I have that option. I'm going to make my custom canvas size 240 millimeters wide by 240 millimeters high. I'm going to make it 300 Dpi and I'm going to call it Square Hi-res. Let's say I want to do a series of illustrations. I can go back into new canvases and this new Square Hi-res canvas option will be there. Now that we have our new canvas up and running, at the very top, we have a bar with some basic tools that I'll run through. I'm going to move up to the wrench at the top left, and I'm going to click on that. Now you can see that I have the light interface highlighted. If I click on that, it now becomes a dark interface. I prefer the light, so I'm just going to click it back on. Here I have the right-handed interface button and if I click on that, you can see the side panel has moved from the left-hand side to the right-hand side. I prefer it to the left, so I'm going to click on again. Here I have my brush cursor highlighted, and that means I can see the edges of my brush when I draw. Here you can see the edges of the brush and with the brush cursor off, you don't see the edges of the brush with the mark that you're making. I like to have it on, so I'm just going to go back in and turn the brush cursor on. If you head over to the video, I like to have a time lapse recording of my on my canvas. It means like much at quick time at the end. The share button allows you to do just that, to share your image in many different ways. I'll go through that later. If you click on the canvas, you can see that there is a drawing guides button. So you'll have the option to make your guides thicker, thinner, strengthen or weaken the opacity. You get to change the size of the grid depending on what you're working on. But for now, I'm going to go back and turn the guides off, I won't need them for this particular illustration. The arrow on the very left, this is how we insert a file, insert a photo or take a photo and I'll show you a bit more of that later. Along the top of this great panel, we have some tools that I'll run through quickly here on the right. We have the brushes, we have a smudge tool, we have the eraser, we also have layers and we have the palette. I'll run through this again in more detail later, but for now, I'm just going to choose a gray and then come back to the brushes. Here you'll see that we have an HB pencil. You can see that the HB pencil, if I move this down, we have quite a fine tip and as I move on this panel here, the brush can make it larger, it's almost like the pencil becomes blunt. Now if I hold my pencil slightly in an angle, you get that nice blending that you would if you're working with a traditional pencil. Here, I'm going to move down to the 6B pencil. Now, I like to use the HB pencil when I'm first starting my sketching, when I get more confident, I like to move to my 6B pencil. You can see if I chose my 6B pencil, I come over here and I'm going to make a nice sharp line with my 6B pencil. It's not very different. Then I'll go medium and now I'm going to go darker. You can see how much darker it is. You can also go from light to dark depending on the pressure that you apply. If I were to tilt on the side, the 6B pencil's much darker than the HB pencil. You can see here this smudge tool. You can see what happens when I drag or smudge across the pencil markings. With my eraser, I'd like to use the Studio pen as my eraser. It's quite flexible and it erases it's quite solid areas, so I quite like it. Now to undo, I'm going to use two fingers and I'm going to tap until I get back to the blank page. Moving to the Layer icon, you can see that I have already named my first layer sketching. I'm now going to add a new layer. I'm going to click down and I'm going to rename this layer, color. If you're to put the color layer underneath sketching layer, you'd be able to see the sketch on top of the color and neither one would interfere with the other. I'll go into more detail about layers when we're actually working on our illustration. Finally, in the top right corner we have Pellet icon. I'm going to actually choose a gray. As I go through this class, I'm going to go into a few things like colors a little bit later. For now, I'm going to just be choosing a brush. You can see the whole list of brushes down here. I've got a sketching, this is probably the ones I use the most and I switch between HB and 6B. I probably start sketching with my HB and then when I do more gestural work, I probably change to my 6B. Now that we've chosen a pencil with a great color, join me in my next lesson, where I'll be showing you how to sketch up the beginnings of the bean character. 3. Using Reference: Welcome back. In this lesson, we'll be sketching our bear character using photographic reference. The first thing I'm going to do is choose a brush. So I'm going into sketching and selecting a 6B pencil, and I'm going to select a gray color. I'm just doing a quick test before I actually start. Swiping up from the base, I can open up a doc where I can select and drag to the left, Google or Pinterest and have really easy access to reference at the side of my Canvas. Here I'm typing in bear as I want to draw a bear character. You can see how easy it is to look for images and then draw to the right-hand side of these. You can see I've laid in a so-called shape for the head and a snout shape, I'm just drawing in the nose, and I'm just doing a really simple outlines and just starting to establish the head of the bear character that I'd like to illustrate. I'm moving around the nose and I'm going to move around the snout, around the mouth, and I'm just looking at the reference to the left and just trying to get a sense of what the profile of a bear cub looks like. Where does the eye sit? How far back? How tilted is the snout and the forehead moving along the back of the head and the ear. How large is the ear compared to the nose? And just making those adjustments as I move along. I am using the pencil quite lightly, and at this stage is just putting in a general feel and trying to understand the shapes and the proportions of that head and the snout. Now I'm going to head over to the selection tool and at this point, I choose not to have magnetic selected. Magnetics is the magnet icon in the bottom left toolbar. This allows me to shorten or lengthen the bear head. I'm dragging it over to the center of the page, might get slightly smaller. I want to leave enough room for the body, and I've decided to tilt the head up a little bit. So now making a new layer, and I'm going to name it body. Looking at the reference, I've got a basic understanding of the size and proportion of my bear. But really what I want to do is actually bring this image in an underneath so that I can trace. To do this, I'm going to make a new layer and I'm going to drag it underneath the body layer, and then I'm going to go image, insert and I'm going to actually bring the image of this bear in, and I'm going to tilt it and turn it and enlarge it so that the drawing of my head and the photograph of the head is similar in size. I'm now going back to my layers and with two fingers, I tap on layer three and you can see how I can change the opacity of the layer by dragging my finger to the left and the right of the Canvas. Now it looks similar to a sheet of tracing paper over the top of the photograph. Back to layers, and I'm going to click on the body layer, and I'm going to continue sketching. Now I have a better idea of the shape and the size of the actual body compared to the head. I still have the body and the head on separate layers, which is great because now I am going to select the head and I'm going to use this opportunity to make any final adjustments to size, shape, and position of the head in comparison to the body. Now I'm going to go back to layers, and I'm going to select the body and then back to the pencil so that I can continue sketching. Really keep it to simple shapes at this point. Switching back to layer three, I'm just going to make a slight adjustment and move it and then back to my body sketch so that I can draw. Here I want to get a really good understanding of the structure of that bend leg. How does it bend? Where are the joints? How does the foot look? And get a really close look at all those details, and how does the leg and the limbs connect to the body? Going back to layers, I am going to deselect the photograph layer so I can have a better look at my drawing. Back to layers. I'm going to select the sketch layer, swipe right on the body layer, both are selected, so now I can change the size and proportions of both those layers together. Back to layers again, and I'm going to go back to the photograph, and I'm going to adjust the size and the placement of the photograph underneath. As I want to draw that bottom leg of the bear. I want to have my bear matching. I have to sort of almost look at the sketch that I've done and the image underneath and kind of blend those two together to get the right positioning. You can see how the reference comes in really handy as far as size and proportion goes. To draw a straight line, just drag a line across and hold it at the other end for a second and the line will straighten, and now I can put in the details of the feet against the ground. Now I'm going to move up to that second arm. You can see I'm drawing circles where those joints are, the shoulder joint, the elbow, and I'm just drawing in that front paw. Although the reference isn't directly underneath my sketch, I'm still referring to it to get the length of each limb. So from the shoulder to the elbow, the elbow to the wrist, the size of the paw, I continually go back and forth, just so I've got a better understanding of the size and proportion. At this point I'm just sketching more detail around the hand I don't really like the shape of the arm, so I'm just going to select it and make some adjustments. It's just a matter of sketching, scribbling, changing, adjusting, using the eraser tool, then coming back with a pencil tool and work until you're completely happy. At this point, it doesn't have to be pretty, it just has to be in the right place. This is still a very early sketch stage. I'd like my bear to be holding something, so I'm just adjusting the hand for that, tidying things up a little bit. Back to layers, and I'm selecting layer three so that I can move the photograph and I just want to make slight adjustments to the head. I'm on that sketch layer and I'm just adjusting the head, making it smaller and fitting with the proportions of that body. Back to my pencil tool, and I'm just going to connect the head to the body. Hiding layer three now, I'm going to go to the selection tool and select that forearm. I want to make it slightly smaller and making those final adjustments. I got my pencil and I'm going to just work my way around the bear character and the position that I have without the photograph underneath. I'm just, I guess moving and adjusting and trying to get a shape that I'm really happy with. For me, this stage is the most important stage of any character design. You really are spending quite a bit of time, adjusting, changing, getting the proportions right, trying to understand the shape of the body versus the shape and size of the head and so, it's just a matter of sketching, scribbling, and being quite messy about it. It doesn't have to be perfect at this stage at all. It's still a work in progress. I'm just going to put the final adjustments to this bear. I'm going to select the body and make it slightly smaller and a little bit more squat as well. Having made the final adjustments, I go to layers, I select the sketch layer, and I go to merge down. Now the head and the body layer are now merged. So join me in my next lesson, where we'll be refining the sketch. 4. The Final Sketch: Welcome back. In this lesson I'll be showing you how to refine and add more detail to our sketch. The first thing we're going to do is add a new layer. We're going to click on the body layer with two fingers so that we can change the opacity and make it lighter. Then we're going to click on the layer above, grab a 6B pencil tool, and I'm going to remove Google so that we have a larger canvas. We're going to use our sketch underneath as a guideline. We're just going to clean it up a little bit. We're going to discard lines that we don't need anymore and we're going to simplify our illustration. At the moment I'm moving around the leg, the back of the leg, and just zooming in and zooming out as I need to. Adding in more detail. It's really important to get some good reference of things like the feet, the paws, maybe the nose and the eyes, and to really understand what that looks like. I think it's really important to not rush things like hands and feet and to actually spend a bit of time on those items because they do make all the difference to your final illustration. It's like we did all the hard work in that first sketch where we were making adjustments and we were retracing, drawing, making mistakes. Here, it feels more like the hard work's done and we're just moving around and just adding in, changing things over so slightly, maybe adding in a bit more detail here and there. But really all that hard effort has been done and we're just almost having a little bit more fun. It's a bit more relaxed and more like a tracing exercise. I still think that quite a lot of work can happen at this stage. As you move around, you'll see the bear in more of its simplicity. I think that really helps understanding your character and what you want from the character. You can see what I mean by the detail of the nose. Like what does it really look like. If you don't understand what a certain detail looks like, go find some reference and really make a point of getting it right. I'm adding in the mouth. I'm opening up the mouth as well. You can see how I'm changing it over so slightly under the chin there. I'm doing the same with the eye. Just adding in that detail, a little brow and moving around that hand, that back arm and putting the detail in around the fingers and the paw. I want my bear to be holding something, but I don't know yet what that would be so I'm just leaving it blank for now. Here I'm making the most of it being a tracing exercise. I'm getting more confident in my line work and more, I guess, playful. I'm thinking about, I guess the pressure of my pencil and adding in a bit more rhythm with the heaviness and lightness of the line. If I'm not happy with the line, I can easily grab the eraser tool and rub it out. Here I'm placing in the areas of the bear that I would like as, I guess, too-toned. I'm going to have a white and a brown bear, so white belly and a white snout. I'm just making some guidelines for that. Adding in a bit more detail around the hand and just scanning my way across every part of this bear to see if everything is how I'd like it to be. Here I've decided to change the shape of the back because the bear is kicking his leg up in the air. I think the back needs to be more rounded. I'm making adjustments for that as well. Adding in some lines of movement. Here I'm starting to add in some shadow on the back of the bear. The back of the leg, the back of the neck, inside the ear. I'm going to move round the arm as well. The shadow will add a bit more volume and weight to the bear character. Adding in a bit more detail as I move around. I'm just scanning the body, imagining, "where would the shadow fall? Where would the highlights be?" And adjusting it to what I need it to be. I'm just scanning around the entire body and just adding in those details. Back to the layer, I am taking away my sketch from underneath and I'm readjusting the tail of the bear. Now I'm going to add a new layer. I'm going to bring up Google Docs and drag it over to the left. I would like to get some reference for a pine cone frond. I'd like to have my bear hold this pine cone frond. I've got my reference on the left and I'm just sketching what I see. Not exactly, but as close as I need to. My bear looks like he's marching and holding the pine cone frond. You can choose to do a balloon, a musical instrument, whatever it may be. Just have a bit of fun and play around with the idea of the bear holding something. Adding in a bit of an insect flying through. Here I'm going to delete my sketch layer and my reference layer, and I'm going to join the pine cone frond layer with my bear layer. I'm going to merge those two together and rename this layer sketch. Join me in my next lesson where I'll show you how to create a custom Winsor & Newton color pellets so that we can start adding color to our bear. 5. Create a Windsor & Newton Colour Pallet: In this lesson, I'm going to show you how to create a custom Winsor & Newton watercolor palette for Procreate. I'll be taking color samples for my palette from this image, which you can download as a PDF from the project section of this class, or you can photograph or scan your own color swatches. Most of my picture book illustrations I created using the Winsor & Newton watercolor tube paints. I tend to have my favorite go-to colors, and I've found that it's easier to keep my digital illustrations in line with my traditional illustrations simply by using the same color palette. The first thing we're going to do, we're going to go into layers and we're going to click on the plus sign to add a new layer, and we're going to rename this layer color palette. While we're in layers, we're going to turn off or hide the beer sketch. Now I'm going to head over to the spanner. I'm going to click on the spanner and I'm going to go to the down arrow on the very left, and I'm going to insert a photo. Head over to all photos and click to insert the file, and then adjust the size so that it's large enough so that you can get accurate pickings of those colors. Now click on the color palette which is the top right button, and click on the plus sign, and untitled palette has come up and you can click on that and change the name to Winsor & Newton. Click "Done," and we're now going to start copying over the colors. Pick a color from the image. I'm going to press the small square button that sits in the center of the toolbar on the left-hand side. Now while I'm holding down the button with my left hand, I'm dragging the Apple pencil over the color that I'd like to copy. The color appears in the top right corner. I click on that, my color palettes come up and I can click on that first square in my Winsor & Newton color palette. I'm now going to do the same with the second color. With my left hand, I'm going to hold down my finger and I'm going to drag my Apple Pencil until that color comes up in that top right corner, and then I'm going to click onto the Winsor & Newton color palette. Here I am a third time and you can see the colors changing from the last color to the new color. I click and I dropped that color into my color palette. Basically I'm going to move across the line. With each new square, I'm going to select a color, and then I'm going to drop that color by clicking on the color palette and dragging that in. Just use same technique and work your way through the entire Winsor & Newton color palette, or if you've brought in your own color palettes and just work your way through a top to bottom, left to right. They can see that a lot of these swatches I graduated from light to dark. At this point, I'm going to choose the middle of the range color, and then later on I might want to add a darker version of that same color and then the lighter version of that same color. It's completely up to you. You may decide that you want more than one Winsor & Newton color palette and maybe break the palettes into blues and reds and browns. Again, this is completely down to you. I'm actually running out of room here, so what I might do is I create a new color palette, and I'm going to rename it Winsor & Newton, and I'm going to put on my browns and skin tones in this particular color palette. I'm just dragging the basics across, and I'm going to then underneath those basics, drag a lighter and a darker version of them. Colors like Raw Sienna, Burnt Sienna, Burnt Umber are all colors that I use a lot and they mix in well as skin tones. To actually have lots of variations of those will come in really handy for future projects. Now I have two Winsor & Newton color palettes to work from, one with the brighter colors and one with variations of all the brown tones. Again, it's completely up to you how you want to divide your colors, and I've just imported a very simple Winsor & Newton color palette, but you might have your own much more detailed color palettes that you want to import. Now head over to layers and you can see my color palette. I'm going to hold that down and swipe to the left, and I'm going to delete that layer. Now that we have our Winsor & Newton color palettes organized, please join me in my next lesson, where I'll be showing you how to add color to our bear illustration. 6. Flat Colour: Welcome back. In this class, we're going to add a base color to our bear. To do this, I'm going to break the bear illustration into sections. So I'm going to start off with the arm. Before I do anything else, I'm going to bring this on layer, underneath the sketch layer. I'm not going to work on this back on. So moving closer, I'm going to highlight my Selection Tool and get started. I'm not going to work my way around the area that I want selected. I find it easier to work small sections at a time, just adding to the largest section. So as you can see, I'm drawing small blobs from the outer edges of my selection through to the inner areas of the selection. I just find it easier to work this way, rather than work on a large selection. I'm now moving up to the palettes. I'm going to hit to my "Winsor & Newton Palette" and select a color similar to the naples yellow here. I'm going to click, drag, and drop onto the arm selection. Now I'm going to click on the "Arm Layer" and I'm going to click on "Alpha Lock". Applying the Alpha lock will allow me to only draw inside that area, even if I have a large brush, and I go over the edges, you can see how it's contained in the area. So this would be very similar to how I would lay my watercolor down. I would whip the paper in the areas that I'd like to have the watercolor and then I'd come back in with my color. So here I'm creating a new layer called Body. I'm going to start selecting small areas, much like I did with the small circular areas and just building those up. Now for an area like the eye, you can see that I can select large area, and then I can actually select inside the eye, and click on the minus, and this will deselect that eye area. So now I'm just going to work around the rest of the bear's body using the Selection Tool. Now it's really worthwhile going back over the areas and tidying up every last detail. So if there's something that you've gone over, for instance, this is just a little bit too much. You can see here I've removed it from the selection. So here, oops, that's a bit dark. So I'm just going to grab that naples yellow, lighter tone, and finally adding that Alpha lock to the body layer. So now I'm going to add a new layer and I'm going to rename it leg. I'm going to place this layer underneath the arm in the body. Exactly the same technique I'm using the selection tool and moving around the leg quite carefully. So now is just a matter of picking a color and dragging that into the selection. I'm now going to click on the "Leg Layer" and at the "Alpha Lock". So now I'm going to add a new layer called White Markings. So rather than choosing a white color, I'm actually choosing a soft gray, and then I can add my highlights and shadows to that. So I'm just going to work my way around the areas that I would like to have a white, very much like I did with the arm, the leg, and the body. Working my way around the eye, the snout area, and the belly. Once I've done this, I'm going to create a new layer, and I'm going to rename this layer branch. There's quite a bit more detail in this branch area, but just work your way around as best you can. So I'm working my way around all the areas that I'd like brown and I've just selected a brown is too dark. So I'm just going in and I'm selecting a lighter brown. It's seems to look a lot better. So I'm happy with that. Now, I'm going to put now flocking there and create a new layer, and this layer, I'm going to rename Green. I'm now going to get my Selection Tool, and I'm going to select all the areas of that branch that I would like to have green. So you can see I'm moving around quite quickly and it's not perfect, but neither If I was to do a watercolor, it wouldn't be perfect either, so a little bit of going around the edges is fine. So while I have the Selection Tool and I want to add us of a grass area below, and dropping some green. Now I could do individual drops of green for the leaves. Instead, I'm going to grab a studio pen, and make it a large brush, and just wash in that color in those final leaves. So once again, I'm going to go into layers and select "Alpha Lock". So now I'm going to add one final layer, and I'm going to rename this layer Black. I'm just going to select the area of the nose and I'm going to not use black. I'm actually going to use a charcoal gray. Selecting layers. I'm going to add the Alpha Lock on this layer. So here we have the first flat layer of color. Join me in my next lesson, where I'll be adding in shadows, texture, and detail. 7. Highlights, Shadow and Texture: Welcome back. In this lesson we'll be adding texture and shadow to a bear character. First thing I'm going to do is go to my layers and select the body layer. I'm now going to go to my brushes and select the Nikko rule. Now going to my palette. I'm basically going to select a color that is slightly lighter than the base color. When I think of highlights, I'm going to think top-left corner of my illustration. So anything facing top and left, I'm going to add a little bit of this highlight. It's only subtle, but it really does add depth and interests to the illustration. In order to get a shadow, I've selected the base color. I'm now going to my color palette and I'm clicking on classic. Now if you can see the base call is highlighted, I'm going down and to the right. The color that I choose will be deeper and a little bit darker than the base color. The brush that I've chosen is slightly smaller so I can get into the ear and sort of move around a little bit more freely. You can see how I'm moving my brush in and around the bottom-right areas of the bear. This is where the shadow would fall. I'm going to go back into the color palettes and choose again, a deeper darker variation of that tone. You can see that I'm adding to that bottom right area. Back onto the color palette and I'm picking up a burnt sienna type color. You can see that I'm adding it as part of the shadow and I'm just layering on, a layer after layer. I'm not being precise. I'm just adding a bit of texture with that Nikko rule and just like scribbling, rubbing. Just kind of getting a sense of volume for my bear. In effect, if the sun is shining in the top-left, you want everything that is in shadow, in the bottom right. I adjust the size of the brush so I can get into the ear and behind the neck and do more detail around the head and the eye socket. When I actually create illustrations in water color, I don't actually use black as a shadow. I use purple, so I'm going to go back into my color palette and choose a violet color from my Winsor&Newton pallet. Under brushes and artistic, I'm going to choose the gouache brush. Now these brush has a really lovely soft texture, so it's actually really lovely for shadowing and smoothing. Using that purple color, I'm going to be adding yet another layer of shadow to the bottom right corners of my bear character. Back-up to layers and I'm choosing adding in the purple. Now I'm going back into colors and I'm adding in a bit more of that burnt sienna when yellow ocher just to add a bit more depth and texture to that back arm. I'm going back into the color palette, choosing a lighter tone and back to the Nikko rule and I'm just adding highlights to that back arm. Just in the four fingers and the top of the arm. With that same lighter color I'm going to the body and I'm adding highlights to that body area and smoothing it out. Just bring in bit more texture across the whole body area. I'm going to do the same with the leg. I'm going to come in with a darker color on the leg. Coming back into the color palette and choosing a purple. Back to brushes I'm going to artistic and that gouache, smoother kind of brush and I'm just adding in even more purple and just rolling through layers of texture. Here you can see a wide gap between the two sections. I've taken alpha lock off the back leg and I'm just filling in this white section and making it similar color to the back leg. So doing that I can come in and just fix up any sort of harsh stand out white lines that might be a bit strong for the eye and just sort of soften those up a little bit. I'm now heading over to my layers and choosing white markings. I've chosen my gouache brush and a white color. I'm now going to highlight using a largish brush. I'm going to highlight the snout area and I'll also just play around with softening it so it's not too harsh. Upper on the left, you can see that I'm pressing the middle button with my index finger. Now this is selecting colors and I'm able to select and blend different tones of white and gray. So really it's just about mixing the grays and the light grays, the darker grays, and trying to find some kind of nice blend. Again, you want the shadows underneath and to the right, and you want the highlights more towards the top and the left. Just sort of imagine where that sun is coming from when it's up in that top left corner of your illustration. I don't want everything to be shiny and clean. I do want to have a little bit more of a painterly feel to it. Here I'm choosing the gouache brush once more, and I'm just changing it to a larger brush with my left hand, I'm going to be clicking on that square so that I can select colors within the actual painting and just blend. Use that technique to blend and soften the grays. I spent quite a bit of time on this now, so I'm now going to add a bit more shadow to the belly area and you can see how I'm coming in with a deeper gray and just moving that around with the gouache brush. Now selecting white as my highlight and I'm just going to place the white on the top left edges of the belly. Pressing with my index finger, I'm selecting a gray and I'm making the brush a lot smaller. I'm going to just add a shadow in to the bottom right-hand side of the eyeball. Just using a slight gray here to the highlights and shadows and texture up. Pretty much complete with my bear so far. I'm now going to go to the branch. I want to add in some textures and highlights and shadows for the branch, so back up to the color palettes, and I'm going to choose a burnt sienna style color. I'm going to enlarge the brush. I'm just going to add a little brush of highlight on areas of the brown. To add a little bit more interest, I've gone back into the color palette and chosen a different tone of that burnt sienna just to add a little bit more texture. Also now a highlight with the yellow ocher. Having chosen a raw sienna style color, I've made my brush very large. You can see I'm just bringing in highlights across the greens and also the cones. Just very gently I'm just moving that texture through the branch. Back to my color palette and I'm choosing a purple as my deepest shadow. I'm coming in to the bottom right hand of my cone and various areas on the branch and just tapping in some depth of color there. Now with the burnt amber style color and a smaller brush, I'm just adding it even darker tones of the brown and through that branch. It's just a matter of layering in texture, color, texture, tone, and just bringing more interest to that illustration. Now I'm going back into the color palette and I'm choosing the green layer. I've got a darker tone of the green and I'm just going to be brushing a few shadows in and around with this darker green. Finally, I'm on the grass area and you can see how I'm adding in some darker green tones and playing around with the palletes with the classic and just picking up slightly lighter or slightly darker tones of that green and I'm just playing around with texture so about just placing as much interest in those areas as possible. I'm going to add while I've got the highlights in the greens of the leaves and just setting in those final details. Please join me in the next class where I'll be taking you through the process of adding in more detail of fur and texture. 8. Fur and Detail: Welcome back to the final lesson. Here we're going to be adding the final touches to our bear, adding in the fur and detail. To begin, I'm going to hit over to brushes, sketching, and pick up a 6b pencil and make the thickness of the pencil about 30 percent. I've picked out a roar under looking color under the Winsor & Newton Palette, and so anything that's a dark brown would really work with this. Now, it might take a little while to get your rhythm going. What I'd suggest is that you start working the fur on the back of the bear, and I'd suggest adding the fur in detail towards the shadow side of the bare. Now, because I'm thinking fur tends to go from top to bottom and follows the line of the body, so as you can see, I'm moving around the arm and I'm actually changing the direction of the fur as I move down the arm. Just think of how fur would actually lay across the body of any animal that you're doing. Here I'm working around the neck and the shoulder area and a little bit of the fur around the ears as well. I want this to look like natural fur. It's very easy to fall into this idea of making accurate patterns, try and be a little bit haphazard with it and just see what it looks like, step back from your illustration every once in a while and have a look to see if the fur is looking natural. What I'm going to do now is go into layers and go into my layer tin, which is where I'm placing all the fur, and I'm going to take the alpha lock off. The reason for this is I want to be able to get right into the edges and soften the edges of the bear. I don't want to have this hash line, and right around where I've got the outline, my pencil outline, I want to be able to get in there with a bit of a brown and soften that area as well, taking off the alpha lock will allow me to get close into those areas. Adding more detail around the eye and the top of the head, and as the fur hits those lighter areas, there's less of it and it's softer. Now I'm adding in some fur detail around the base of the chin and around the jaw, and you can see how I'm contouring around the shape of the head using this fur texture. Working my way down the torso of the bear and not putting too much further detail in those lighter areas. Because I don't have the alpha lock on this layer, I can actually I guess poke some fur a bit outside of the lines, I guess you could say and just add a bit more of a natural edge to this bear illustration. Working around the back of the foot and leg, hitting back to my Winsor & Newton Palette, I've grabbed a rural amber style color, and I'm going to use this mainly around the darker, shadowy areas of the bear. Now I'm working some texture into that shadowed leg, and I'm just working the fur all the way down to the foot where it hits the ground. Really it's just moving around the bear and adding the fur, placing more fur, I guess in the shadow areas, and just finding a natural rhythm and flow when it comes to adding this fur texture. Here I am on the second arm and I'm placing the fur the way it would naturally fall on the animal, I'm just following the line of the arm and the wrist. I'm not going to put too much fur around the hand, just darkening this of shadowed areas. Every now and then, just step back from the illustration, have a bit of a review, and keep adding the fur as you feel it needs such. I'm back to my Winsor & Newton Palette and I'm choosing a dark brown Subaru amber, but a dark version of the color, and I'm going to use this darker brown and just tidy up in and around the edges of the bear, adding a few extra darker bits of fur as well. Then I hit back to layers and I'm going to grab the white markings layer and place it underneath the fur layer that I have. I'm going to grab a white color from the palette, and I'm also going to go into layers and take the alpha lock off so that I can work outside the area and blend the white markings area with him with the brown. Once again, it's just finding that rhythm and stepping back and seeing what looks good. While I'm on the white markings layer, I'm going to hit over to the snout, working in some fur detail in and around the snout, in the edge, and around the eye. Now backup to layers, and I'm going to hit over to the green, and I still have the whites, so I'm going to add some highlights. I'm now going to hit down to the grass area and add some white highlights. The grass area is looking quite chunky and clunky for me, so I've just thickened my pencil and I'm just going to scribble some white in and around the edges of this just to soften it so it's not such a solid line. On that left panel, I'm going to press that button with the index finger and pick up a green, and I'm just going to do a little bit more scribbling in and around this grass area. It's going back with the white and the green until you're happy with the look. I guess when you're doing this process, you just need to know when to stop. I think I'm just going to leave it here for now and move on to other things. Back to my Winsor & Newton color palette, and I'm picking up a Naples yellow color, and I'm going to add in some textures to the pine cone. I've made my pencil a little finer as I worked through some detail, working that highlight all the way down that tweak right to the very base. Back to my Winsor & Newton color palette and I'm choosing a yellow ocher. Selecting the body area, I'm now going to work my way around the edge of the entire body of my bear character. Using the yellow ocher as a pencil, I'm going to soften those edges, if I've got hard, white lines, I'm going to soften those. In and around the foot, I can highlight the areas of the toes and taking the opportunity to highlight some fur as well. I'm moving across to the hand and just adding some highlights around the hand. Next, I'm going to add in one final layer and then rename this layer Fly then I'm going to add a bit of color to my insect. Once I've edited a tiny bit of color to the wings of the fly, my illustration of my bear with all the detail and the fur is now complete. Make sure to join me in my next lesson where I'll show you how to export and organize your files. 9. Export and Organise : In this lesson, I'm going to show you how to export a file. I'm also going to show you how to export the time lapse video, and I'm also going to just show you very quickly some ways to organize your procreate gallery. Here is my bear. What I'd like to do now is go back to gallery. I'm actually going to rename this as bear illustration. Done. I'm going to click on it, and I'm going to go into the spanner and I'm going to share. I'm going to come over to the Share button, which is the arrow pointing up. I'm going to share it as a JPEG. Now you can choose how you want to share it. I might actually just share it directly onto my Mac. That's going to import and download onto my Mac. I can also choose to e-mail it to myself. You may also enjoy the option to watch the time-lapse video recording. It's just heading over to the spanner, and it's the top button on the video. Rather than watch the time-lapse of my video now, I'll put it as a separate bonus video at the bottom of this class. If you want to export the time-lapse, export time-lapse video is the last thing here. Export the full length or thirty seconds. I might go the full length. I'm going to share that to my Mac. A couple of other things that I'd like to show you. Just as we got back into gallery, you can see that I have these files in a folder called as bear in it, and you can see that I have all of my files and procreate. Now if a time, this area, this gallery can get really disorganized, so it's handy to do a bit of housekeeping off to each project that you work on. To help keep you gallery organized, I'll show you how to sort your procreate files into folders. I'm going to drag this tiger onto this file, and then I'm going to drop it. I'll do the same with this tiger here. I'm going to drag it into this file. Now I have all my tigers together. I could share that some type of faces too. I'll put those in. I can do that with these dogs, about three layers of dogs. If I was to drag one on top of the other, another top layer on. I now have all my dogs together. This new folder has a generic name called stack, and you can just click on it and rename it anything you want. I'm going to call this folder the dog. Once you've labeled and exported your bear illustration, make sure to share it in the project section of this class. I love seeing your work, and I cannot wait to see what you come up with. 10. BONUS: Quicktime Video :