Midcentury Illustrations in Procreate | Jennifer Nichols | Skillshare

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Midcentury Illustrations in Procreate

teacher avatar Jennifer Nichols, Leila & Po Studio

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

23 Lessons (3h 15m)
    • 1. Introduction

      1:12
    • 2. Downloading Resources

      2:57
    • 3. Pinterest, Links for References, and a comment about brushes

      2:05
    • 4. Creating a Canvas

      2:03
    • 5. Brushes for Class and Examples for Using Them

      18:15
    • 6. Drawing Faces- Proportions

      1:48
    • 7. Drawing Front Facing Face

      6:00
    • 8. Drawing 3/4 View Face

      5:57
    • 9. Drawing Profile of Face

      7:29
    • 10. Some Hair Styles and Practice Sheet

      1:40
    • 11. Wire Frames for Adult and Child

      1:49
    • 12. Interior Designer Drawing Part 1

      11:38
    • 13. Interior Designer Part 2

      11:00
    • 14. Interior Designer Part 3

      11:50
    • 15. Interior Designer Part 4

      19:36
    • 16. Playground Part 1

      14:19
    • 17. Playground Part 2

      11:43
    • 18. Playground Part 3

      10:01
    • 19. Playground Part 4

      16:05
    • 20. Hills and River Illustration Part 1

      16:20
    • 21. Hills and River Illustration Part 2

      6:51
    • 22. Black, white, gray, and red...another popular style.

      10:21
    • 23. Two more Quick Styles

      4:02
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About This Class

In this class we will learn about face proportions and use that knowledge to draw a few different angles of the face that are commonly used in Midcentury illustrations. We will briefly discuss the differences between adult and child body proportions as well. From there, we will draw an adult figure and learn how to illustrate it with a Midcentury appearance. I’ll also walk you through an illustration of children playing on a playground, showing how to shade, highlight, and texturize with this wonderfully simple art style. I also show you a simple style using black, white, and gray along with one bright color. Finally, I’ll show you some tips and tricks for illustrating a scene with mountains, trees, and a river.  I have plenty of free downloads for you as well, including over 30 free brushes!

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Meet Your Teacher

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Jennifer Nichols

Leila & Po Studio

Teacher


I’m Jennifer Nichols and while I’ve always been an artist, I’m also a teacher, a musician, and a lifelong learner which is one reason I love Skillshare! I love sharing what I know about iPad art and the Procreate app. My teaching style allows you to follow along with me and learn a ton along the way.

If you are new to Procreate, I would start with the Beginner class and then you’ll be ready for any of my other classes! I gear most classes toward beginner and intermediate level procreate users. ANYONE can succeed at the projects I teach no matter what your artistic abilities are! All resources that are needed for my classes are given as free downloads, including palettes and brushes!

Here are a few illustrations I’ve made in Procreate. I lo... See full profile

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Transcripts

1. Introduction: Welcome to my mid century illustration class, where we're gonna have a bit of a focus on people for this class, and we're gonna keep it really simple looking at how to draw different angles of faces, some hair styles of that time, some body proportions for adults and Children. I have over 30 free brushes for you in this class and will have a lot of fun with some textures and patterns will be drawing a few varieties of styles from that time frame, and it's just a lot of fun. I also am providing a couple of sketches for you to illustrate yourself in the class. Information. You'll find a link to the Facebook group that is just a wonderfully supportive Facebook group that I run with Liz Color Brown, and it's a lot of fun. Teoh. Share your work and get feedback if you want it and just get to know people who also do. IPad aren't I'm Jennifer Nichols of Leila Post Studio. Let's get started 2. Downloading Resources: for downloading. Resource is, this is a different class, but all of them are the same for my classes. You need to be on a browser, not in the sculpture app, and you need to have it in landscape mode. And then you just go to the project and resource is tab on the class and you'll see the resource is over here. Depending on your browser, this might be, you know, slightly different. But for safari, you can either tap and hold and get a little window to download, or you can simply tap it will open up a new window. Then you can tap again and you'll see this little circle with the arrow bounced down and you'll see sometimes a progress bar right there. Once you have everything downloaded, you can tap on that and you have a list here and then you tap on these, it will go to your files app which looks like this. All ipads have it, and it will be in your download section. This is alphabetical order, I believe so. Make sure you know the name of what you're looking for. Come and find it here, tap on it so that was a brush set for the brush sets. They will be at the top of the categories here for brush sets. When you download a swatch that's a palette. They will be at the very bottom of the list when you download an individual brush. If it's not a full brush set, it will be in the imported section of your brushes. And if that is the case, you can always drag something out and go to the category where you want to put it and drop it in. When you download a procreate file, it will end up in the very first spot of your gallery. So if you're in a stack, it won't show up in there. You have to come back to the main gallery page, and if you open up a J peg, it pops up in a new window. If you want to save it, you can add to photos like that when I include J pegs. I only include free use photos from websites like picks obey, so you're free to save them and use them however you like. If you have any questions, go ahead and go to the discussions of any of the classes, and I always check messages and I can help you out 3. Pinterest, Links for References, and a comment about brushes: I have a few Pinterest boards for this class. You can find me at Jennifer Nichols Art. I will link that in the class information as well for the Pinterest. Um, profile. When you're searching for me, make sure you're searching for people, not boards or pins, and then you should be able to find me. I have some vintage colors, some vintage furniture and some vintage illustrations, as well as some information about drawing people, because we are going to learn a little bit about drawing people in this class. If you do not have a Pinterest account, don't worry. I have linked a few different links to some pretty famous mid century illustrators, so make sure you check the class information for those links. One final thing I need him mentioned before class really gets going is I recorded most of these classes with my brushes all in one mid century category, and I ended up needing to split it into two categories for uploading it onto skill share. So now I have it in two categories. You're welcome to go ahead. Once you load them both, you can select all of them and move them into one giant boulder. So to do that, you just just like you're selecting a whole bunch of layers. Swipe right on all of them. Grabem, tap the folder. You want them to go into drag them down, Maybe to the bottom. Hopefully that'll work and then let go. 4. Creating a Canvas: to create a canvas. You can go to this little plus sign and then this plus sign right here. Choose the dimensions you're used to working in. I use inches. I always make it 10 by 10 and 300 d. P I, which is a high res dp I So that's plenty for this particular iPad that gives me 55 layers . If you have a larger canvas at 300 d. P. I, you would have fewer layers. If you have a different type of iPad that doesn't have as much ram, you would have fewer layers, so you'll have to work through that, depending on your iPad and depending on how many layers you like to work with. I like to work with a lot of layers using clipping masks and steps. So, um, I don't normally need 55 but if you could at least get 20 with your dimensions, that would be great, and then you can title it right here. 10 inch, 300 dp. I just so you know what it is. Step create. So you've created your canvas. But if you go back to add another canvas, you'll notice that it's now on the bottom of your list and has the title. So you know exactly what you've got there. If you forgot to title it like this untitled canvas, you can swipe and edit and go ahead, entitle it and then safe. So that's how you create a campus. I typically use 10 by 10. If you think you're going to do some printing, you might want to do a more typical printing size like eight by 10. And other than that, um, you know, just make sure you're making it the size that you want to print it or a little bit bigger, but don't make it smaller because you can't blow something up and still have a nice resolution on that print. 5. Brushes for Class and Examples for Using Them: I created over 30 brushes for you to use in the mid century illustrations. Some of them are stamps. A lot of them are textures. And I just wanted to go over them really quickly and show you some things that you can do with them. So the stamps, you kind of have to assemble your own way of using them and the textures you can do lots with. So I'll show you a the the leaf texture. Well, actually, you know what? I'm going to show you this little bit of an ornament texture, and I just have black selected. And the way that I made the brush is you can actually pick it up in and set it back down, and it it doesn't set into a different place. You can. It just keeps feeling unless you change the size of the brash or leave the page and come back. I think there's, you know, some limitations, but you don't have to fill the whole page before you pick up the brush. Um, after I did that, I realized I think I want to do it a little bit bigger, and I want to show you a trick if you want something even bigger. So let's say this brushes on the biggest setting and its not quite big enough for what you need it to be. I want to show you how you can adjust it in the brush setting so you can do two things to get this print to be bigger, you can go into the grain and move up the scale, or you can go into the properties and move up the brush behavior. It's already on the max size, so that means we need to come back to the grain and the scale. Just make a little adjustment and then see, so you could go a little bit bigger if you want to. But what I want to show you is what you can do with most of these texture brushes. You can Alfa lock the layer. So I did two finger swipe to the right that the way you canal flock has tapped the layer and top Alfa lock right there, you can see the check Mark is already on. I know it's hard to see in the video, but there is a bit of a grid showing behind the window here, so I can tell the Alfa lock is on, and what that means is I can't draw anywhere else on the page except where the pixels already are. So let me choose a really bright color to show you an example of that. If I want to try to draw right here, I can't because there's no pixels already there. The page is Alfa locked so nothing can happen except on the pixels that are already there. So if I want to color, that changed the color of something. I can do that really easily just like this, so you can go through and, you know, it takes a little bit of time. But it was the best way to provide thes designs to you with just using them as a brush. You can pick a fun color scheme, and you can go through and, um, do do all sorts of colors on your design. So that's one way. The other way is to go ahead and use a clipping mask or multiple clipping masks. They add a layer, tap it and tap clipping mask, and you're gonna have the same thing. If you are drawing here where there's white, nothing is going to show up, however, it is showing up on that layer. But the ink the pixels are only going to show up above these black pixels or what? Whatever color the pixels are doesn't matter. Underneath your clipping mask. That's where your color is going to show up so I can cover that green with the orange. I can do all sorts of things, and I can also move. That could be mask, so that's not useful in this particular instance. But that is useful sometimes. Um, one of the other things that could be masks are useful for is making easy changes. Oh, I decide. I don't like that orange. I'm just gonna clear that orange and choose a different color and start again. If I didn't have a clipping mask and I'm using Alfa Lock and I decided I didn't like that orange, I could just go ahead and choose a different color and start covering over the orange. Um, I can't erase if I race a race, the design, but I can start over. Let's say I want to start over. I don't like me colors at all. I'm just gonna go since Alfa Lock is on. I can choose any color and tap Phil Layer, and it's just gonna go. All of its gonna go to that color. So if you're short on layers and, um, you know that this is a nice way just using Alfa Lock is a nice way to make some color changes. Oh, we have a stripey brush That's a fun background texture. Um, these air, some greedy brushes. That one is a kind of check story one, and this is a very solid line one, But other than that, those are the same. We have some Platt's. Those were good to pitch as a clipping mask on top of a shirt of the leaf ones are fun. And then doing the Alfa lock on that, you can color each one differently. Hex. A gunman is really loud, but if you, um change, change the opacity way down, and when you alfa lock something and change the color of it, the opacity comes back up, so you have to drop the opacity back down again. So it could be a nice background that's not so loud. If you have just play around with that capacity, this one's kind of fun if you play on a layer underneath it with some fun, UH, mid century colors. Let's do when it is blues so you can play around with all sorts of color schemes. I'm doing a rushed job here, and it's on a layer behind all of that. So that's kind of fun. And then you can merge them or not. If you aren't hurting for layers, there's no reason to merge them. This is just a swirly and if a boxy, almost seventies, but supposedly about his fifties, sort of a sad Ernie. I called this a Saturn one because they all kind of look like little Saturn planets. Boxee as the ornament when this stripey one is also very loud, kind of fades in and out of thin and thick stripes, and this diamond one, let's make it bigger. This would be time consuming. At that height that size, I'm gonna make it a little bit bigger. Let's go so the the brush size could go all the way up and then let's see. That's bigger. They went in a little bit bigger than that, So tap on it again and go to green Good scale. So those diamonds are bigger now, and for this you can just drag and drop color into the diamonds. So it's a little bit time consuming, but not bad. If you don't want your color to be on the same layer as the black than what you would dio iss go to a layer underneath it. But tap on that diamond layer first and top reference, then go to the layer underneath it and then do your dragging and dropping. So I'm using the diamonds as reference to where we want thes colors to go. But they actually aren't going on that same page so I can take off the black outline when I've done or, um, completely changed my mind about the color scheme altogether. Um, by clearing this and starting over, and the other thing that you could do in this situation is, um, change the color of this black without changing the color of everything else you have on there. So you could do that by Alfa Lock choosing a color and still so then he would want When you're done, you would want to turn that reference layer off. All right, I want to show you it's good of a blue here and fill the page Could a new layer and let's go to some of these stamps. I'm just gonna go to almost white some just going to do some quick examples here. So I have three layers now. I have the blue layer, I have a layer I'm about to work on. And I have the layer with all these stamps on it going to go up to my wide, huge pencil texture filler and gonna get offend orange color here and just kind of put some color behind somebody's. You could also drag and drop in fill in these clothes to shapes. I'm gonna go back up to the layer that those stamps are on and and to go to my model a brush just it's, um, dunce and the final thing I'm going to do. And this is just a very quick outline of something you could do with the brushes. I'm going to go to my speckles, Jen's speckles going to go to a light gray, and I'm just gonna cover the whole thing as evenly as I can. This one does get darker, thicker if you keep going over the same spot Then I'm gonna tap on the end, and I'm going to play around with blend modes. Get a zoom in so we can really see the white areas because the blend modes will be different on the different colors. So there's multiply. You can play around with the opacity. That's kind of nice. Dark still shows very gray. Oh, that is making things really bright. It doesn't show any of the speckles on this, um, cream color here, but it's really, really bright for these other colors, so that is kind of a cool look. I'm not sure how vintage that ISS, and you can play around with the opacity on those speckles, too. Let's keep looking at these other blend modes later is not what I'm going for, so I just kind of go through them pretty quickly. I know the ones I kind of favor. So it's a linear burn is nice because the white does get some speckle to it. We continue capacity way down. It still gives it a little bit of a gray look, but that kind of makes it an older vintage e look. Another thing you could do is play around with be hue saturation brightness of that speckle layer. So if you select the layer, go to the magic one tool, new saturation brightness. And since we just had gray, we're just gonna play around with the shade of gray. So if you go upto white on the linear burn blend mode that it's currently on, it's not showing up at all. And if you go down to black, it just doesn't look that great. So if you don't like any of those, you can just tap on the screen and tap reset. Let's try this one more time with this blend mode, so I think that kind of has an ace vintage look. Potentially a bit of stripes in the background would be nice to you. Wanna add another layer above that blue? - That's kind of fun, all right, so there's some examples of what you can do with all of those texture brushes and these stamp brushes. This one we didn't talk about, we can talk about that really quick. Well, just group those together and turn that off. This is a stamp brash, where I might use it with different colors on different layers and rotate and get a very vintage look like this 6. Drawing Faces- Proportions: for our fun and simple illustrations that were doing for this class. We do need to talk about face proportions a little bit. We don't need to worry about it quite this much, but I did want to show this to you and provide it for you for your own reference. And it really used to showing the top of the head which is down here, This parts the hair appear the top of the head to the bottom of the chin can be divided into two big sections. And that middle is the eye line, and that is an important one. Will need to remember and you can see the here comes a little bit above the eye line. And if on this side, if you look, the forehead, like the hairline to the chin can be divided into thirds, and then you have the brow line and the bottom of the nose so the ear falls between those two, then the bottom third of that between the bottom of the nose and the chin. You can divide that into three, and you've got a part of the lips and the little indent of the chin right there. So you can use this as your reference. The width of the head is five eyes white. And, uh, when I in between, When I have space in between the two eyes and then when I have space on the outsides. So you're gonna get this in appropriate file and it will be with some other pages as well. But don't worry about the details, and we're just going to be a doing. That's in the super duper simple versions of this. And then we're also gonna look at what the face might look like when it's turned 3/4 and then also profile, So let's get started. 7. Drawing Front Facing Face: So pick your favorite. I'm sketchy brush. I always use my six b brush and we're gonna start with a circle we're gonna do, just like that other face I just showed you. But a much more simple version. We're gonna do a front facing face. I'm gonna do circle and let it snap to a circle or in a lips and then put your finger down and it makes a perfect circle. If it didn't make a perfect circle, you can edit that shape and select circle. Once you have your circle, we're gonna come down. The jawline kind of comes down on both sides from the side of the circle. There's a lot of different face shapes. So that's something you can explore in other classes along with all the very precise face proportions. Um, there's a lot of great classes out there, So if you're interested in taking classes on all the different face shapes, I would check out skill share, and, um, they aren't necessarily for procreate, but that doesn't really matter. It could still sketch in procreate while you're doing those classes. All right, so we're gonna coming down and then over so you could make it a little more pointy or a little less pointy. Okay, once you have that, you can erase this middle life, and that's your basic overall head shape. So if you remember what I just showed you, that the halfway mark is the eye line so you can just kind of judge what the Middle ISS. So it's not the middle of the circle. It's the middle of the whole head, and you can make this snap into a horse on a line by putting your finger down once you get the lion to snap into place, and then it does like 15 degree increments there. While this is still an option to edit shape, you can kind of eyeball, see if it's in the middle. If it's not, you can edit shape and you can drag it around a little bit. I bought that one, all right, so you have your basic structure. We don't need all of those other proportions. So if you'll remember, our ear started, um, above this I line, we have the eyes and, of course, the brows. The nose can could have come from this little intersection here, and then the mouth. There's so many ways to make the mouth, but we're just doing super super simple. So maybe your nose is a little longer. Your mouth is down here. I would suggest put in the mouth a little closer to the nose because then you have that little chin dip right here, and then it comes back out here. So the mouth is not exactly halfway down between the bottom of the nose and the chin. All right. You can make your forehead as tall as you want, and then your hairline usually comes above that top of the head there, and then you can just kind of play around with hairstyles. I'm just gonna do a super simple hairstyle here, and that is a very, very basic shape. And we'll talk about some different eye shapes that are simple and some different nose shapes that are simple. I'm not gonna go into having like, 20 different examples were just looking at mid century illustration examples. And if you do go to my Pinterest's or Google for some images, you will see just how simple this, um type of illustration is for especially for faces. So if you're anything like me and drawing humans was a little intimidating. This is actually a great way to start practicing because you can. You can do whatever you want. Look at how why do these eyes are how far apart they are. And, um, you know the proportions. I'm teeny tiny head to super long body. They're just not super important. Super simple faces here. All right, let's just go ahead and just give you a better idea of what this will look like without those guidelines. Super cute. So that is the front facing face. I'm including this little chart so that you don't have to remember all those steps. So we do the circle the jaw erased the line, drop the halfway mark, and then a vertical line. And then at the facial features, we forgot the neck on that last one. We just did, and then your hair said this will be included in your resources section. 8. Drawing 3/4 View Face: we're gonna do a 3/4 view face, and that's just looking straight ahead. But then turning your head to the side of it. It's not a looking upper looking down view, so it's a little bit more simple because of that. And we're going to start with our circle, let it snap to a circle, but your finger down and with the last one with the straight on view, we we did the job down like this, and now we're doing a similar job. But we're just kind of pushing it over to the side a little bit. So let's say the chin is going to be maybe over here instead of right in the middle. So we're going to come down from the side, and then this one is gonna come over and at. So that is our jaw now. And this person is looking that way. So for the lines that we're going to need to know where to put the eyes and everything, it's a little bit different for this particular view. And let's go ahead and erase this section here. Sorry, cleaning power lines a little bit, and now we're gonna go, um, the Virt the vertical line here is gonna curve off to the side. So the top of the head is still kind of coming around the forehead and then down to the chin. So we're still ending at the chin, and we're starting at the top of the head, but we're gonna curve off to the side and for the eye line, remember, it needs to be about half way, and that's going to be over here. Um, so halfway between the top and the bottom, But over here on this line at the intersection is where that halfway point is, So the line is not going to go straight across. It's actually curved. This pencil does a nice shading if you tip it. But I'm I'm trying not toe to tip it too much. So now we have this nice, curved I line. And if you remember our chart, we have the here comes above the eye line a little bit. But now it's way over here so you can look at some reference photos and just kind of depending on how far that head is turned. That year will either be kind of right here, or maybe over here more So is having come a little bit above the eye and then down the eyes themselves. When you think about something farther away, it's a little smaller. So this eyes going to look a little bit smaller, but, um, and it's and it's gonna fill in this space quite a bit. And then this I's gonna look pretty normal. We have a space between that knows area. The nose is going to look more more along the lines of a profile of a nose, and the mouth is going to look smaller over here and bigger over here. So we have a smaller space over here in a bigger space over here. So that's kind of an easy way to remember, um, what to do? I may go ahead and erase some of these lines and then the forehead so we can give the part of the hair there, and then you have a very simple way to make a 3/4 view face so you can add more details to this obviously ups. We forgot the eyebrows. So we're gonna have a tinier eyebrow on that side in a bigger eyebrow on this side. And you know, there's we're gonna not worry about details for the eye right now. And we're just learning kind of how to construct. This is a nice starting point. If you can kind of practice this it, I'm unsurprised it. How quickly you kind of getting the hang of it. One of the things I I had a hard time remembering at first Woz, when you make the the lines I could it was logical to me to make the lion curving, this line, curving in the direction that the head is turned. But then I kept trying to make the eye line like this instead of like this. So it's just practice and observation. Looking at references. This will be included in your procreate download so you don't have to remember all those steps. The neck is also on this particular when and hopefully that will be helpful for you. 9. Drawing Profile of Face: All right, We're going to do a profile. A straight across sideways view of ahead there are snapped to circle and making it bigger this time. Yeah, I think I might want to make that smaller, actually, And get a little smaller. We'll go with our regular head size we've been working on. Okay, so we still do a jaw line, and we're doing it way over here. So that jawline is similar to the one we just did. Maybe not quite as far down. And then it's going to go over and up, and this is actually going to be how you know where the ear goes. Said this part can extend up in. It kind of is almost parallel with this part over here. And we need to add another little piece on to this, and you think of it as the nose. So I'm not quite connecting it to this where this line meets the circle and coming down a little bit. And I'm sweeping out for a nose. I can change the shape of that knows later. But for now, that's what you need to do is a little swoop of the nose and then down to the gym. So we need the halfway point between the top and the bottom. Mm. But right here, we'll lower. Okay, so let's get a horizontal line. All right, so that is our eye line. It seems really low, but that is our eye line. Remembering that year comes above the eye line a little bit. And this is going to be the front of the year right here. So that your is right over here, the eye for a side view. One very simple way to do it is kind of the iris, and then the eyelashes make that. And in the brow, maybe you can see some eyelashes from the other eye over there. This is where we're going to assemble for her mellf in nose and chin, all of that. So I'm gonna go ahead and I'm gonna go to a red so you can really see what I'm doing. So it's ah, no swoop. And then a little curve out for the upper lip. You can curve out all the way back to that line. So then we have the upper lip curved back out for the lower lip. Back out to that line. The little in dent of the chin, and then we're gonna come out past this line for a little chin bump. So I'm gonna show you on a different layer, go back to my black and I mean a trace What we just did, and then we'll turn that other layer off. So the trickiest per is this. I just kind of came down from the I. Now you think about where the hair might be. Her forehead would be up here, Maybe long hair. I'm not gonna worry about you raising that head lying back there. I think you can get be just of it here and then to finish off the lips. You can, you know, make the little priests. You can make a little in dent for the corner of the mouth. You can try to add some lip color shading. There's a lot of different ways, but that all depends on the style you're going for and as well as the I. You might have some very different ways to do eyes. This is more of a Disney. I, um and then you can, you know, at a nostril. So there's there's a lot of details that you can leave off, um, and have just a very, very simple version. So there's a profile, and you'll get this as well in your per great file. So all of these will be just separate layers in your file. So don't forget the chin bump here. I made the nose go above where I originally put that black line. So these air changes you can make. This is more of just a guideline to get you to come down at an angle as you're coming down , and also to show that it's all bumped out from this original jawline. 10. Some Hair Styles and Practice Sheet: so I'm providing appropriate document for you to download. That just has some simple sketches I did for some hair styles. Just look online for inspiration. Look, a tsum, um, vintage illustrations and then some empty ones for you, as well as a second page that has all blink ones for you to keep practicing. And you'll went to add a neck on. Damn it. If you want to make them look a little more masculine or feminine, um, skinny, your neck, wider neck and so on. So, um, one thing to think about is where that middle guideline would be for the eyes on each one of these. So if you look at where the ears are, you can figure out that those eyes should be about right there. Okay, so once you're adding eyes later, oops, once you're adding nice. Later, however, you want those eyes toe. Look, that's approximately way. They're going to be so half of that. I hope that some of you might post some of visas projects in the project section as well. That would be fun to see some different faces and hairstyles that you come up with 11. Wire Frames for Adult and Child: I wanted to include this just for quick reference for you. I have the adult and I have the child, basically just a 3 to 6 year old. You confined charts out there that focus on the other age ranges if you need them. I wanted to just point out that, you know, if you if you look at measuring a person by how maney heads high they are, you can use that as a way to get the look of a child versus an adult. So this 3 to 6 year old child is five heads high. So for the torso area, it's two heads and for the legs, it's two heads for the adult. You have the torso area being three heads in the legs, being foreheads, so you can see the proportions are much, much, much different. And you can't just take this type of figure and shrink it down and have it look like a child. It'll just look like a little miniature adult. We're going to be doing a drawing of a tall woman in mid century style, and you can refer back to this when we're doing that tutorial coming up. And for the Children. We actually have, um, a lesson where we're drawing a whole bunch of Children. So if you want to come back to this particular page, this will all be provided for you. So you'll have this all these different pages in this procreate document that you can come and look at, um when you need to reference that. 12. Interior Designer Drawing Part 1: So if you look at this reference photo and then look at our grid for the adult, you can see that it pretty much follows this. So we have a very long torso. But even a longer bottom half the exaggerated parts are very narrow shoulders and, of course, the extremely skinny waist, whereas the male is very straight up and down. What I like about thes vintage illustrations is just how simple they are. We don't need to look at these air, just pointy little feet. We don't need to worry about so many details. We don't need to be super realistic. Let's see if I can't. I can't really zoom Looks like she's prepping to pick out her wallpaper. All right, I'm gonna go ahead and stay on my six B Over. The kran is fun, too. It's a little bit more sketchy looking, and if I take this figure and I look at it and decide where the halfway point is, her waist is a little bit above what I would say. The halfway point is, so if we say that this is the halfway point, her waist is above that. So in this top half would include her head and her whole upper body, and then in this bottom it would be her skirt didn't really swoop out like that, and her legs don't take here. And they aren't just almost like little points. This foot seems to be kind of pointing towards us a little bit on that one is pointing a little bit away. I would say that in the reference photo, her waist is even skinnier than this, and she has a little V in her shirt. There goes back behind her neck and then her arms are just come in straight out if you think of where the neck iss and it coming over and neck coming over. So she's holding things in this photo, so her arms air out kind of a funny position, and then she has kind of a tipped head. But she is a 3/4 view looking that way. So let's get our little circle and our little angled jaw over there and then are curved. I line curved a vertical line there. No. All right, go ahead and get a little bit more of an arm on there. Instead of stick figures, let's turn the opacity down on that and do a bit of a bit more of a final sketch. So we do have her face kind of all drawn out here just like we did in the previous video. And I'm just kind of looking at the reference photo here. Her hair iss cute little up do. Or maybe just a short little squiggle back there. Can't quite tell. All right, let's turn that sketch layer off and see what we have. I think our proportions air a little bit off here, but mostly thing she just needs to come this way a little bit. No, maybe not. Maybe it's my angle. Do you think this part is a little bit off so you can fuss around with that? No, my dog is snoring. Give her some little shoes. We can't really see her hands very well in this older image. And this one's her arm is behind the wallpaper. But I would recommend doing some practice with the face proportions that we learned about already and just trying to get a good vintage look. And I'm noticing this top portion is looking okay, but this bottom portion needs to be taller, so I think what I'm gonna dio is miss this bottom part down her head is tipped up a little bit. One easy way to do that is literally just selected and tip it. Then you can have to move it back into place a little bit in our position here. She does look like she is looking up so you can make some adjustments to the face to make it look like she's looking down. So her head is tipped up, but she is sort of looking down some just playing around with the proportions, looking at the reference photo and making some adjustments. And I feel like we really need to finish off her hands. So if we are going to draw something here, then we can. Her arm then disappears behind the little thing she's holding. And then always c r her fingers over the edge. They're gonna be up and over, so they're gonna be kind of sticking up. And then she's got one pinky up. It looks like a claw right now, so I will make these hands very, very simple when I finished the illustration, But for now, I'm I think I am going to just go ahead and leave this like this and not make it look exactly like that. Just maybe that's a little swatch of fabric she has there. 13. Interior Designer Part 2: gonna delete the original sketch and get a bunch of layers underneath this more finished sketch. Antonio Pasolini. Way, way, way down. One of the things that we need to change is the background. The background shouldn't be a white, maybe a bit cream, really close toe white, but not white. That'll help already. Give it a bit of a vintage look and just kind of come halfway down ish. And let's look at her clothes. I have to mid century pallets, so I have this one Coleman Century one, this one mid century, too. And then we have the skin tones, so I'm gonna switch over toe one here. I think that I like Let's do this deep, Deep red for her dress. If you choose Jen's Inc or Mid Century Inc. Jen's Mid Century Inc. Um, you get an X little rough edge, Let me show you. If we zoom in, you can see the ref edge That's the Mid Century Inc. And here's my regular ink. The Mid Century Inc is if you press lighter, it's a little bit more streaky, so just kind of pick, which, when you want depending on the look you're going for I'm gonna go with my ink and I'm gonna fill in her hole dress when you use the texture, a brush and you dragon drop, you do have to go around and fill in some some spaces that are a little bit too textured to fill in with the dragon drop method. So this is a nice way to get a nice Phil but still have a textured edge on top of that dress. I am going to add a clipping mask, and I'm not a big fan of this yellow bet. Apparently, it's a good mid century color, so let's go ahead. And this is where it's kind of nice to. I don't have to stay in the lines with a clipping mask, and I think it might make her collar to match her built. So because this is a clipping mask, I can come back and change this later. I'm not a fashion designer, so I don't really nowhere. Teoh add this color necessarily and just kind of winging it since we used that a monotone image for, um, the reference, we don't really have another reference to look at for how to color this in some to go to another clipping mask and going to go back to that red. But I'm gonna come down really dark and get some pleats, and then we're gonna add some texture at another clipping mask, and we're gonna go to a light gray just like we did when I was showing you this speckles brush. And there's a few options for texture. You could go straight to that speckles brush down here. There's this uneven, stamped texture, an even stamped texture. I called this one a skin shader because it just was doing a nice job getting some shading on the faces. This one's this measure, but you could also use it as a regular brush, and I think we can just go ahead and pick that even stamp. For now, go to a pretty big size like 40% and we're on a light gray. But if you put this layer on multiply, hopefully you can see that it just kind of Durkin said a little bit. So you can almost use This is a little bit of a shader, but right now I just want a little bit of texture. So I've got the texture on and I am going to turn the opacity way down because they don't want it to be super obvious texture. Just more of an aged, uh, an aged look for that color. Then one of the other things I'm going to do with this base red is to finger swipe to the right clubs to Alfa. Lock that layer when you go back and choose that Read, which is it From here? And and then I'm gonna go. I'm gonna get a couple other slight different shades here, So I'm gonna go a little bit towards the yellow, sliding this up and then slight this up to get a lighter color of that red and then go to my damp brush. And since that layers on Alfa Lock, I can just kind of tappin swirl, and it's a little bit water coloring. I'm just trying to make the color a little less flat. It might be easier to turn off the texture that we added, and we'll come Bring that back on later. I'm gonna go back to that red. And this time I want a darker tone. So I'm gonna slide my bar towards the blue and slide my color down towards the back. So that's kind of how you make a shadow. Although that isn't quite a shadow. I need to go a little bit darker. So making a tent or a lighter color of what you need, you slide your color a little bit more towards the yellow in a little bit more towards the white and making a shadow or darker color of what you need. Um, go a little bit towards the blue and towards the black. I hope that makes sense. And now let's turn our speckle later back on. Just let me show you how with what that does for the drawing. If I toggle it on and off, it just gives it a little bit more of a vintage lick. And you know, if we end up not liking this shade of yellow here because it's on its own clipping mask, we can change it. So I'm not liking it. I'm not a big fan of yellow. I'm gonna go into hue saturation brightness. Well, definitely not green. Um, definitely not brighter. So if you're not liking any of that, go ahead and Alfa lock that layer and pick a different color entirely. Maybe this teal and then tap and fill the layer. Maybe. How about this orange? Oh, I like that a lot. So I know I did the lighter and darker tones in the dress. That was mostly because I It's a lot of surface area. I think that these teeny tiny bits of orange aren't is important to do that, but you could definitely do the same thing. Um, so if you're on your orange, you can go a little bit lighter. That layer was already Alfa locked. Go back to that original orange and a little darker. All right, let's a group together those dress layers. 14. Interior Designer Part 3: So here's where we have a bit of a problem because her arms air out. It's okay to go completely underneath all of the dress layers to do the legs and the arms. But we have a problem here with the chest and the neck where it's overlapping the dress. This is going to need to be on a layer that is above the dress layer, or we can no, we can't use a layer mask on that because the dresses all multiple layers. So all right, so we're going to just do the head and neck area on a separate layer than the arms and legs . So let's start with the arms and legs. Play around with what you want. Your skin tone toe look like I have a whole skin tone palette for you. This isn't necessarily a vintage color palette. This is just a skin tone color palette that I found online thes are actually hair tones and then thes air all skin tones, and I just put a little column of white there. In between, I would love to see some illustrations of um, with some very and skin tones. That's another thing that was missing greatly missing from many of the vintage illustrations. There were a lot of very, very light skin tones, so I have another illustration that will do together with a whole bunch of kids holding hands and all different skin tones. All right, You don't need to be super happy with your skin tone at this very second because we could make changes to it, just like we did for the dress. And I think I might go ahead and spend some time on the hand. Now if we pretend that this arm ISS going all the way up so that we know where that hand is supposed to be, I think it's just a very simple hand. That's kind of holding. Holding onto the fabric like that is all that's needed there. And a very simple turn this sketch layer off. No, I guess I need to schedule. You're on. I just need to turn it way down. Very simple hand. The little pinkie sticking up on that one and then down here at her legs, I could probably make these even thinner for, um, more accurate representation of mid century illustration. And while we're on that color, I'm gonna go on a layer above the dress and care, face and chest. I confined Tune that later A swell. The tricky part down here is that I need This isn't quite lining up here. And to think about where that, um, the arms lineup could see how it kind of looks crooked right here so we can adjust that in a couple of ways. This one looks like it's lining up just fine. This one either needs on adjustment for the arm over here. Dress up here, miss Slope her shoulder down a little bit more. And now I need I need this arm to come out this way. So that's what I'm gonna do. I'm gonna go back down to that arm layer, select that whole arm and this angle it and move it, and just kind of eyeball this line so that it's going to stay under the dress sleeve and line up here. The mount Take a look at that. Looks great. I think this arm is a little thinner than this arm and clean up that elbow, give her a little bit of an under arm. We all have it right? So as you can see I did have a lot of mess going on here. There really isn't a great way unless you're going to see if you had these orange collar in a different layer. Well, we do have it as a different layer. But if we had it as a layer above this skin color, then it's going to cover the neck right there. And if we have it as a layer, um, well, it's currently a layer below that skin color, and we can either. There's a couple of things we can do. We can fuss with this and get it just right. But then if we need to make him a move to this and we already have some shading and things like that happening, um, then we have to kind of really do a lot of editing. So this is where a layer mask will come in handy and I'll show you how to do that. I'm just kind of thinking about I'm gonna extend before you do a layer mask. I'm just gonna extend things a little bit just in case down the road. I make some changes to this dress or something like that. They think her neck is nice and thin, and I'll leave it like that. All right, so if you tap on the layer that has this skin tone tap on and tap mask, you now have a layer mask, and if you draw on this layer, you can see it selected cause it's a darker blue than this one. If you draw on this layer with black, it will basically look like you're erasing this, um, layer that's underneath it, that that it's clipped to that. It's masking. And then, if you make a mistake and you draw too much with black, you can add back to this white just by selecting. Wait so it automatically selected black for us. I'm going to stay with this ink brush because I do still want to have that textured edge, and I'm simply going to it's gonna look like I'm erasing. So I do want Teoh. I already grooved down here and erased. I covered too much of the mask. Um, and I want it toe line up with that collar so that when I just lucked out, I got it lined up right with edge of that orange. If it's too hard to tell you can turn down the opacity of the layer that you're kind of erasing in a sense so that you can see now I can see that orange layer underneath it. And I could get right up to the edge without gassing and turn the A pass Ity back up was turned the sketch later off, so you can see that better. Well, that's a really low cut dress for the times, but whatever. All right, So, um, that looks like we've erased. If I decide to shift this around a little bit, I will really regret the fact that I erased if I actually did erase, but I didn't erase. If I turn this layer mask off, you can see that it's all still there. It's just kind of hidden. And like I was telling you, if I If I accidentally Rick did that, what I just did, I can fill it back in, just like so, um, it comes in handy. I actually don't use later masks too often, but with the people drawing people I've found, I've had to use it more often, and it's most likely it's It's mostly when I have some clothing that needs to go behind and in front of a skin tone instead of having the neck on one layer and the head on a different layer. You know, some other way of doing it, that this is a nice solution. She's looking great. 15. Interior Designer Part 4: so on a layer above everything else and we don't want to make it a clipping mask. We're gonna go ahead and give her some here. Let's go ahead and choose a dark hair color over here, and I'm gonna go to my mid century inky, and I'm just kind of basing it off of this illustration over here. I'm going to stay with a pretty dark color for her facial features, but not quite that dark. And I am kind of not doing exactly what my sketches showing at this second. - So I want to do a little bit of shading on her skin. So if you go ahead and add a layer above it and turn it into a clipping mask, I'm on the layer that's above this skin here, and I'm under the hair layer. Go ahead and go to her skin color and let's go a little bit darker this way as well as this way. Get we could get the skin shader or one of those other textures like the even stamp also works, and this is gonna add a little texture as well as a little shading. So think about where she would be shaded kind of around her, um, hairline side of her face, her neck under her chin. And then let's also get a little bit of highlighting. This will go back to that original skin color, go towards yellow and a little bit towards white. It's pretty hard to see, but that's actually a good thing. We just want it to be very subtle. And then let's do the same thing on a layer above the arms and legs. Turn it into a clipping mask. I've got my light already. It actually could be a little bit lighter for some highlights. I'm just thinking about the tops of her arms in the tops of her fingers. Maybe the front, semper legs would be a little bit lighter and the tops of her feet. And then let's go to the darker tone again. That dress would be shading her legs right there. The underside of her arms would be a little bit more shaded, so you can see it's just a bit of texture and shading at the same time. Very few details. So if we look at some of the other examples, there's just some very simple shading, if any, we could do some rosy cheeks on her. If you want to do another layer for that, just in case you don't like it, you can just kind of pick a nice pink color. All right, we're gonna go back to her hair layer. I'm gonna actually go back to that hair color as well. And, um, just any brush I'll do my ink this mid century Incas a little hard to use at a very small size. And let's go back to see what her shoes looked like. Pointy little Mary Jane type shoes. So she has a little cover on her toe. There is a bit of a hell on those, and there is a strap on those. But I actually I'm gonna leave this strap off, all right? I think that she is done. Now, let's just work on a little bit of fun fabric and wallpaper. So the fabric is going in front of and behind her arm. So we have the same situation as we had over here with using a layer mask to, uh, to make that happen. So that's what I'll plan to dio. And I'll just go on a layer on top of everything else and I wonder what color she likes. Let's pick something from our mid century colors. Call it one. Let's pick a nice bright gold. Although this was the pallet we were kind of going off of with the orange and red of her dress so it might look better to stick with this palette. People go ahead with that mustardy yellow, and I'm just going to pretend like her arm isn't there. I'm on my inky brush or my jen's Inc wavy. See if it'll drag and drop. Yep. So if you look what I did here, I came above her arm level up here. I came into her hand where we did her fingers and then I just have Ah, a little bit of, you know, gathered wavy fabric there, and you could put the other side hanging down over there. You could even just put it on on the another layer under her arm. But then you've got your fabric layers really separated, so that's just a personal choice for how you like to work. So you can do something like that and have the fabric that's behind her arm being on it layer under her arm the fabric that's on top of her arm being on a layer above her arm. Or you can use the method we used with a layer mask here. So in that case, you would just make all of the fabric on one layer and then use the layer mask on the fabric layer to kind of erase where the hand is showing right there. So I think I'm gonna do that. I think I'm gonna go ahead and bring this up here and merge the two fabric layers, and it kind of hit her arm right here. So I'm going to turn the opacity down on that so I can see and I'm going to add a a mask. And I'm already I'm black this day on my pinky brush and I'm just gonna erase the fabric. Well, mask the fabric. My opacity is a little too low. I just want to be able to see the hand under there a little bit. And I'm gonna just make it look like her hand isn't buried under the fabric that is flowing to the other side. So I'm exposing her hand now. I can still add layer masks, clipping masks I mean above this fabric layer, and, um And then I can use my own drawing on the clipping mask for this fabric to kind of indicate where the front of the fabric is compared to the back. So, for example, if I go ahead and put this on multiply and I stay on this same color, then I'm going to get a darker version of that color. And I can Diskin if go along the edge here and just trying to get a little bit of ah division between the front and the back, and it doesn't have to be precise because of the style that we're working in. And then, of course, this piece of the fabric is going to be a little bit more shaded. So maybe we went a work on this as a separate layer, a separate clipping mask, and it's kind of, um, buried and shaded back there a little bit. Oh, I'm not gonna use jagged brush. I love jagged brush, but we're not using jagged brush for this particular type of illustration. So I'm smearing this a little bit with my damp brush, so I just basically just wanted to shade it back there and I'm keeping that on a separate clipping mask so that I can change that separately from what I'm going to do on the front section of the fabric here. So I can add another clipping mask and I can go ahead and put that one on, multiply as well and maybe get some pleats, Not pleats, I guess would be the wrong thing to call him. But simple wrinkles and some shading along with some texture. This would be a great example for where we can use the grid texture. So go ahead and put this layer on multiply. I'm still on this same color and I'm gonna go down to this great textured and I'm gonna go really tiny and I didn't turn it into a clipping mask. But I can still come back and do that. So this kind of gives you an example of what it could be. A mask is really doing so here it is not masked. Once I turn it into a mask, it's only going to show wherever the pixels are on this bottom layer that it's masked to even have multiple clipped layers to this one main layer. So I think that's all the detail I'm gonna put on that fabric. Well, actually, one more. I'm gonna go down to my main layer. I'm gonna alfa lock this. You can treat this just like you always treat layers and pretend like this isn't here. You could do all the things you normally dio. I'm just gonna go ahead and do make it less flat, just like we did to her dress. So go up to my damp brush. Okay, So to a new layer. And let's get this wallpaper sample. This will be a fun place for you to use some of those brushes that I showed you. Okay, let's see. Let's make it great, I think. And we are going to come gonna have to use a mask here to expose her fingers. And you can just make it whatever size you want. I'm not gonna worry about it being a scroll or anything like that. All right, let's get a mask there so that so I don't go to Eraser. I just go to black with any brush. I'm going to turn the opacity down so I can see those fingers. And I just went to exposed those fingers. I'm actually using this as an opportunity to not not quite exposed every single detail of those fingers that I originally put on there. I'm not exposing the arm cause that arm is supposed to be hidden back there. There we go. And now we can go above that, a gray wallpaper and turn. It could be mask on. We can go to the Great Wall paper and Alfa Lock and maybe lightened that up with a damp brush, just like we've been doing. Oh, this could use some texture to some nice textured fifties wallpaper. We'll do that on a clipping mask I think I'm gonna use. So this mid century grassy is a very, very fine line. Let's go ahead and turn this tumult a play fun. Turn the opacity down on that. And then I'm getting it. I mean, to go ahead and use somewhere clipping masks above this, but I might actually make that grassy layer on the top of everything and that will apply that texture to that. Whatever design we put on here. So what design are we going to put on here? Probably something yellow, Unfortunately. Okay, let's see. I am going to wrap this up and I am going Teoh put on a simple and trying to get my canvas to be kind of straight up and down here. If you really want this texture to follow the flow of the paper, say your paper is blowing. If you're on that texture layer, you can go ahead and go to liquefy and go to the push. You know, kind of pick a pretty big size, and you can manipulate that. That's one of the really great things about a clipping mask. That mask is going off the edge of that grain. We just can't see it because it's way over there. So as I push this in, it's bringing that in because I colored outside of the lines. So it's not indefinite. You can see it ends, right? So, um, so you can get it a little bit more lined up with the actual strip of your wallpaper by pushing it around with liquefy. Okay, so that's not very attractive, in my opinion, because the colors air not very pretty, but I'm gonna go ahead and see what it looks like to drag that texture. The yellow texture under the gray stripes and then the stripes are applied to those as well . Gonna turn that down a little bit more as faras that weird yellow goes. I'm much more happy with that. I'm only choosing the yellow because I've got the yellow over here. I'm not an interior designer. This is just a fun little illustration and I think we're done. 16. Playground Part 1: so I'm gonna be on just my six p sketchy brush. Just pick whatever brushy like to sketch with. I already have a few layers. I'm going to go to the top layer. So let's draw a nice hill in the background and I'm going to go to a new layer so I could move this around, but I'm gonna draw a swing set. Maybe it's gonna be the view, the angle that were viewing that swing satis a little bit to the side. Now I can move that around. Maybe it's off in the distance if you go to your browser and bring it up and over to do split screen. So I typed in old Children's slide and then I'm going to images, and I'm just gonna I just need to look at a slide. So I'm just looking at the overall shape here. All right, so we're gonna do a very simple slide, Gonna dio swoop, swoop, kind of like a ribbon. And then if you think of this top corner as a line coming down this top corner, this is going to be our ladder. If you want to do some of those bars that are more of a support bar. You can add some details like that, but this kind of illustration almost looks better without too many details. I'm also going to add with the legs down here, that's just a sketch and will come back to that. But we're gonna have go ahead and move that around, and then let's go to another layer for our kids. I thought it would be fun. Oh, I just realised we didn't finish our swing set. So just have some chains coming down. Two sets of chains and then some sort of indication that there is a little seat on there. All right, on a new layer. Let's go ahead and dressing kits. All right, I'm going to go through when with you. And then I'm going to fast forward the rest of them gonna dry head these air on their own lier so we can, you know, move them around later and do whatever you want with. Um So don't don't worry, if you make him too big and you need to make them smaller later, this is just the sketch. So I'm gonna make this kid facing that way. But since it's a stylized kiddo. Here I am. Just not gonna worry too much about that jaw and that little bump out, but I'm gonna keep it in my mind. So I'm gonna have a little nose a little. I get a lot of poem on here, and here we go. So his chin is pretty high. We didn't do the big jaw hanging down, and as I look at this and pretty happy with the mouth part, but this part's coming down too far, so I think I'll just bring this in over here. Bring this down over here, then he can have a tiny little neck. Now, when I see mount, look at it again. I'm seeing the nose being way too high. Some just going to make some little adjustments. Lips. There we go. I like that a lot, all right. And then I'm gonna sketch a little bit about where his hair would be his or hers. So I kept in mind all the things we learned in class for the profile photo, the profile drawing. And I didn't want it to look realistic, so I didn't keep all of those proportions as they should be. And because of that I have a big high forehead and a teeny tiny knows I have a big chin that slips down instead of up to the ear, and this is just more of a stylized look and it's really fun. It's really fun to play around with. And, um then if you if you want to develop a character, you can start practicing a certain look and then different positions of that look. All right, so now let's go on to the body, remembering that if we make it look like a small child, we need to take that head size. And we need to think about that torso being about the same size and then the legs being about the same. So we're really only talking about this tall of a child. Okay, so we have the waste. We have the shirt, let's have one leg well, and this other leg would be coming out over here, and her other leg would be. Although this leg is tapered sill, its taper that lake too. All right, now we have the arms. So since this leg is outfront the back leg, this arm that's closer to you will also be out front remembering the proportions her hand would come down to about here, and the other arm would be swinging back a little bit when you're walking. That's how it looks. So, um, I'm just kind of visualizing that in my head. A reference photo would probably be a good idea. Okay, so she's just walking along. Maybe she's walking over to go play on this light in the proportions we've got going on here. I am thinking that she is a little bit big, so I'm just going to make her a little smaller. But if we keep her down here and she's closer to us, she will look bigger than the kids who might be playing farther away. So for now, that's good. I am gonna pull it my Pinterest board and bring out this illustration, and the reason for that is because I went to see the position of the kids and their legs and arms. I'm not copy in this. I'm just kind of get an idea of where those arms and lengths would go, and I'm going to fast forward through this part, and hopefully you can do some practice on getting your, um, a little child drawn even just one would be great. And then we'll come back and color in this scene. - So I have my very rough sketches of my kids. I looked at some of the legs here, and I see how they just curve instead of worrying about any. So on the winds that have bare legs. I just did a really simple curve. This one is more like this one where there's some clothing uncovering the legs in order to incorporate her into a similar look. I will be making her feet look very teeny, tiny, like there's or it can turn. There's into bigger feet like this. But I think that she has more of, ah, modern character look than a vintage mid century look. So I'll be making some changes to her. I'm gonna play around with this and finalize my sketch. What I mean by finalizing my sketch is I'm gonna do the entire sketch over again on a new layer and have it be more precise. So if that's not something that you care to do, you can skip straight to the coloring, and I'll show you my final sketch when we start the next video 17. Playground Part 2: So I finalized my sketch and just really made it'll nice and cleaned up, added any details, changed the shape of the characters and just, you know, basically just cleaned up the sketch to how I'm going to want to color it. I went ahead and put everything on one layer and added a bunch of layers underneath it. I'm gonna turn down the opacity on that layer. I met about 27%. And on the background, I'm gonna just choose. I'm in the mid century palette number one. I'm gonna choose this kind of golden in the middle right here, and then I'm gonna just bring it up really close. Toe white just kind of have an off white, eggshell sort of color, creamy color in the background. Now, I'm choosing this really pale green here, and I'm gonna bring it down. Director inthe e mid century class set of brushes. This huge pencil texture filler is a great one for filling in, but still having a little bit of texture. I'm gonna go down to the bottom layer and I just want to show you whips when I show you what it looks like. Close up. So you can fill in but still have some texture. It does fill in pretty solid. Also in some areas gonna just do a nice outline for the hill. And I think this might be a little bit too dark. So I'm going to go to the magic wand, hue, saturation, brightness and just brighten it up a little bit. So we're going to another layer above it, and we're going down to this mid century grassy, and you can stay on this color, although I now have a different color because I lightened it. You can stay on that color and then just turn that layer into multiply that multiplied blend mode. By tapping on that letter, it will be an end and then changing your blend modes right here. I'm gonna go to a pretty big size. I met about 33%. Now I'm gonna go bigger, and I am pressing really lightly, and I don't want to cover the whole area with this grassy stripey texture. I'm just getting some on there, and I don't want it to look like I've swirl the brush around either. So it'll probably be darker right underneath the kids and underneath de play equipment. So you can kind of get that looking a little dark by going over those spots a little extra . And that's what it looks like. If you want to turn this into a clipping mask, then you won't go off the edge appear. But it also prevents you from having any spiky grass past the edge. It stops right at the edge. So there's two ways to do that. Um, and you know, you could just play around with with what you like. If you want some spikes to come above, you can leave the clipping mask off. We'll go on a layer above that, and we're gonna go ahead and draw our slide and swing set. I'm gonna go ahead and shoes. Well, it was just this dark brown or dark grey right here for now. We could make it darker. Later we went, and I'm gonna use the GENS. Inc at about 28%. Gonna move up to about 40%. Those looked a little thin. I'm going to tap it, hold the eraser so it selects that same brush for the eraser. And on this bar that's under the slide, just gonna erase most of it. I'm not being super precise yet. I'm going to a slightly smaller brush. And now for the slide. I actually went to go behind this, but in front of this so I can select this and put it on a different layer. Three finger swipe, cut and paste. And now you can see that this bar is on a separate layer and I could go. I need to go under this layer. But I need this layer to be under that. So that'll make sense in a second here, let's go ahead to a nice light color. Let's just go to this light blue for now, we might want to change that later. I'm going to stay on my ink. So now my blue is covering the edges of this poll because that poll is underneath can right here. So we have a bit of a problem right here on this poll because this bar needs to look like it's going under the slide so we can just go ahead and go to the later that that bar is on and erase it. Now, we're not gonna want to do this until we know for sure that um, this blue layer is staying exactly where it's staying, but that's what that's how you would fix that problem. Or you could tap on this tap mask. And he's that mask method that we used in the tutorial with the woman who was picking out her while paper and fabric. I'm going to this layer of for the bars that air under the slide. I'm going back to that dark gray, and I'm just gonna put those polls, that air kind of holding up that bottom end of the slag. Now I need to get these edges to show up on the slide, so I'm going to go to a clipping mask above it. And let's do a fun color like this bright orange right here again. We can change that later. Having a hard time with that pinch here. Since we're in a clipping mask, we don't have to stay in the lines here. I do want this on a separate layer because I might want to shade it differently. Then we shave the blue section, check it out. This edge could use a little bit of work right here. So we go to our blue layer. We go to our blue color because this orange is a kulaib, the mask on top of the blue. We can make changes to the blue, and those changes will still show up above it On that orange layer up here, we need to make it look a little bit more accurate with making this look like gave rim. All right, there's our slide. Let's go ahead and group are slide layers together just to make it easier to keep track of . Go to a new layer, go to that. They start gray. Got a lighter grey, smaller size, keeping it simple, not drawing a chain here. 18. Playground Part 3: I'm going to turn the opacity upon her sketch layer a little bit more so you can see those kids. And what we're gonna do to save layers is we're gonna dio all of them on, like all of their skin tones on one layer and then all of their clothes on another layer. If you go into the pallets, you can go to this skin and hair tones, palette, the's air hair, thes air, skin. You can find all sorts of, um, pallets online. If you don't like the ones you're finding here or you can just make your own, I'm on a low layer above the other things we've been working on. And I'm just gonna start picking Cem colors. I'm staying on my ink brush. I can't see too well with that capacity so high on that, so I hope you can actually see this. Still, it's OK for the legs to kind of just end up underneath the clothes. The clothes will cover all of that. So I've got all their skin and now go into a layer above it, and I'm going to do there close. I'm gonna go back to one of the other palettes. Let's see. I'm going to go to a mid century, too, for the kids who have a shirt and pants on or shirt and shorts. I am doing the under the things that are under other things. So if the shirt is gonna overlap the shorts, I'm doing the shorts on this layer. Since I'm on one of the lower layer still, - and I'm gonna go up earlier to get the other shirts and I'm going to go up another layer for their hair and we can also start thinking about their shoes so the shoes can probably be on the same layer is their hair. I'm going to keep this super simple and just make little black shoes on all of them. And now for hair color. Let's see, let's go back to those skin tones and hair tones. Let's go to this brown and then go pretty dark. That's pretty fun. - All right, so we're just getting this base color down for everything, and then we'll add texture. I'm gonna come down a layer. This layer only has a couple of shirts on it. I'm putting the faces on this layer because some of those eyebrows might go up into the hairline a little bit and then they won't be on the same layer. They'll be under the bangs, for example. So for the eyebrows, go to a color that's similar to the hair color. Maybe a little doctor, and I'm getting him down, basically to black for all the eyes. For a little bit of knows, I'm going to this skin color and a little bit darker and just making a little indication for a nose skin color, darker nos skin color. His nose is a profile I'm not going to do. I don't think I need to do anything else for that knows, skin color darker nos and then her nose is also a profile for their mouths. So I'm on a really, really dark red, and I'm over towards the grey, and I'm really just going to make a little indication of a mouth on sympathies. You might. You might want to just do black. Here we go. So now we need to do the shading for everything 19. Playground Part 4: I'm going to show you how to do some of the shading for one of the figures. Let's choose this guy right here. So if it's easier for you to label these, you can just label them. Or you can just toggle to figure out which which layer you're on. We're going to start with the skin layer. You can just use Alfa Luck and make your changes, or you can add a clipping mask. I love clipping masks, so that's what I'm gonna dio when I choose his skin color. Go a little bit towards blue and a lot towards black. Not a lot a little. And that is a shade so you can come down to this skin. Shader, or even this even stamp texture and think about the underside of arms are going to be a little darker. The underside of the chin. You can do the same thing for her. She's your skin color. Go a little darker. Got to keep in mind that they're all on the same layer so their hands overlapped, which also means that you can easily get this into the wrong place. Can you see this light texture we got on him so you can erase it. Since it's a clipping mask. I just erased that part of the clipping mask. All right. I need his skin color darker just to get some shadows. Her skin color. So not only is this getting some shadows, it's adding some texture. You can see the little speckles. I'm making her kind of more overall dark there. I'm just gonna keep going. I was gonna just do one, but I'm gonna keep going. I'm going down the same layer since I'm on the normal blend mode. And now I need skin color, and I need to go towards yellow and towards white to get a a lighter color. So I'm just gonna come in with some highlights. Skin color towards yellow turns. Wait. It's really subtle changes here gives it a more vintage textured look. Skin color, light light. - So you can see I'm moving the colors very slightly. A little bit towards yellow, a little bit towards white. I don't want a huge difference. We're going to do the same thing with the clothes clipping mask so you don't have to just choose lights and darks for this. Um, I would go ahead and switch to a texture. So I'm going to just go with the even stamp texture. Oh, this crisscross E is 12 Also, these grits would make a nice fabric so that even stamp texture you go with her dress color . I just want to get a little bit of a texture on their for his white shirt. There's not a lot you can dio go kind of gray. Oops, that layer has his shorts on it. All right, so for this pink, let's go ahead and get a nice texture on their for his shorts. Gonna go lighter cause they're already so dark his pants. And I think that's all that's on that layer await her dresses on that layer to, So we need to go to her yellow. I don't want to go to Neon here, so I'm going to the later that has the eyes, nose, mouth, eyebrows and T shirts making a clipping mask above that and then going to shade some T shirts here. How about Hiss? So I just added the lightest grey plaid to his shirt. There a little bit of a grid to his shirt, and finally there hair. So I'm going on a layer above their hair, making it a clipping mask, going to come down much, much, much darker than the hair color and got to my six b and just make some streaks. - All right? We're almost done. Well, we're done with these guys. Actually, we're gonna do a little bit of texture on the swing and the slight, so I'm turning a layer above the swing into a clipping mask. I'm gonna choose this gray, go a little darker. Let's go to the uneven stamp. Texture pretty small size. Let's get some text around there. Could be mask above these bars. Clipping mask of of thes bars. I'm gonna go ahead and Alfa lock this orange layer. It's already a clipping mask, so I can't make a clipping mask of that. So I'm just gonna alfa locket and change the orange directly. Someone has select my orange go darker, go to the even texture. Well, I need to Alfa luck, my orange Oh, I need to go to my orange layer. I was Alfa locked, but it wasn't on the layer and the blue layer Think I'll just go ahead and Alfa, like the blue layer a swell go pretty drastically dark here. Too much. You can see. I'm just getting some texture. Let's go ahead. And grouper kiddos here. And I want to go on a layer underneath the grass. So I have to drag one down there and then this rough streaks fresh. I just want to get a nice pail pale, pale blue go to a pretty big size Oops. And finally, I'm going to a layer above all of it. I'm going to go to the background color, and I'm gonna go to a very solid brush. So for now, just my big modeling brush and all I'm doing is kind of framing out my picture and making it look erased without erasing it, because I'm not sure I'm gonna like this. Look, I'm going to switch to this huge pencil texture filler because I want a textured edge along that I think I really do like that, actually. But if you if you decide against that, it's just on a separate layer, you can turn it off and you have your whole illustration back. Oh, I forgot her little belt. So for her belt, I think I'll just go on a layer that is, it's got the T shirts on it. I'm gonna choose in a stark red, and she's her read. But go darker. As I look more closely at this, I'm not liking this texture. I like this texture much more for this mid century look. So probably go back and change that. If you look at Pinterest again, you can see that if you go to the vintage illustrations, there's a lot of very mild speckled texture. There's some more rough texture there. Oh, there's kind of the sky we did this kind of streaky could do some white clouds in her sky as well, But that's all for now. I can't wait to see what you guys do with your version of this. I wanted to come back and show you my very final version. I I I lightened the grass, so the main grass layer. I just changed it with hue, saturation, brightness, and I kind of cleaned up the clothes. I went to the main layer of each of the colors. Each of the items and just kind of sharpened the corners on things by erasing a little bit . And since we used clipping masks, it just works really well, it just you know, you can make lots of adjustments and the shading that you do just, um, is still there. All right, so I just wanted to show you the final version, and I can't wait to see yours. 20. Hills and River Illustration Part 1: I want to show you how I did this illustration just very quickly. And I'm going to provide you with my rough sketch so you can use it if you like, or you can do something entirely different. But instead of having the focus be getting the sketch done, I just wanted to let you get started with that so that you can practice some of the illustration skills. So go ahead, open this procreate file and turned the opacity down on your sketch. I am going to select big sections of this sketch and fill them with color. Very simply, he's the selection tool. Complete this election. Find the green that you like. We can change it later and fill it in. Then this mountain is underneath that mountain so we can do the same thing. For that go a little darker, drag and drop. And on a layer above the mountains I'm going to put this river. I am just gonna go with a nice light blue. So for the green, I am going down below all the other layers I just selected at whole bottom half The trees can be on top of everything else, so let's go up to the river and add a few layers above that and we'll start with the tree trunks You can add to selections. As long as this ad button is blue, you can keep adding you can remove a selection if you feel like you need to and take a part of it away because for their the branch was too thick. So I just removed a piece. I'm gonna come back over to add if you can't see the sketch well enough, you can turn the mask visibility down by going to the wrench tool preferences and selection mask visibility. Okay, I think I have all of my trees and branches. Well, I'm gonna add another tree right here, and I'm gonna pick and I start brown and feel layer. If you see some that are a little bit too thick and you want to change how they look, you can do the same thing with the selection tool and just come in lumps. Select it. Three fingers wiped down and cut, and for all of the leaves, were going to go on a layer underneath that good or selection tool. They will go to a nice golden yellow color and fill the layer. So we have our base colors down now. So we're going to do this hill first, and I'm actually going to two finger Swipe all of these layers to Alfa lock them. And then I'm also adding a clipping mask above each one. We're gonna go to this layer that has the mountain that is in front of the other mountain, and we're just gonna get some color variation on there with the damp brush. We can go to that color and just do some slight color variations on that hillside. We'll do the same thing to this hill, and now we'll go to the clipping masks above those two pieces. So the clipping mask above this one, I'm gonna turn it to multiply. So you tap on that in and then find the multiply blend mode and I'm gonna come down to my lips. I am in the wrong brush section. I come down to this spacey rough streaks, so I'm going to the quippy and mask above this layer now, turning it to multiply. I am going to the river layer. I think Let's turn off the sketch for a little bit go to the river layer and shoes. The color. Let's get some brighter colors. Go up to the damp brush. It's going to do what we did to the hillside. So I've got some color variation now on the river itself, and I'll go to a clipping mask up of that. This time I'm going to this ref streaks brush, not this spacey ref streaks, and I'm gonna go back up to a light blue and go pretty close toe white. I'm on the largest size and just giving the indication of the flowing water. I'm not doing too much light back there because I want it to be darker where it's farther away. I'm going to add another clipping mask. So if I go to the river layer and add a layer because there's already clipping mask above that, it automatically turned that one into clipping mask so I can't see that color very well. I'm gonna turn the blend mode to something a little different just to play around with them . I think I like the color burn since this teal right here, you can see it's nice and pretty. It made it darker back there because the blue was darker underneath and finally we will go to that restaurant is Bresch. Go to a really light, maybe even white. Go back up to the top layer of those two clipping masks or even at another clipping mask, and we're just gonna get some streaks that are a little bit more spaced out. I'm going to clean up the river over here. It's kind of coming back down this way. So to do that, this is one of the things I like about clipping masks. I don't need to worry about this clipping masks. I just go to that base river layer, and actually I will use the selection tool gives us a nice, crisp edge. Three finger swipe cut. When I removed that section of river, it exposed the the layers behind it. So what I need to do here is extended this mountain down just a little. I might just go ahead and move the mountain just enough to cover that little seem where the river is. We have could be masks we need on several other layers, so let's go to the one above the yellow leaves. So first we need to go to the Alfa locked layer of the yellow leads select that color and at some variation, the clipping mask above. That is where I'm going to add my leaves. So this Jen's inky leaf swipes brush kind of a funny name. I'm going to turn that on to the multiply blend mode, and this brush takes some practice just pressing and swiping. Once you have your leaves, all exactly how you want them. You can Alfa lock that layer to finger swipe to the right, and then you can, um, adjust that as well. Maybe not. Have it on multiple A. If you're going to do that, just because some colors don't work so well with multiply so you can come back to some of the more golden colors. Go back up to damp, brash and change the colors of those leaves as well. It does make them blend into the tree a little bit more, so it just it's all about the look that you want. If you want them to stand out more, you can keep them the way you just have them. If you went to light, you can go back to a darker color and add more dark So it just gives them a little bit of texture and variety and said, Just having solid color there. So I think I'm happy with the leaves and that part of the tree. I'm going to come to the trunk now. It's already on Alfa Luck. You go to that brown and I think I like an orange or brown and darker and I'm gonna go to my mid century cram. I'm on. I'm on the trunk layer itself. I'm just adding some darker texture right to the actual Alfa locked layer and pressing really lightly with my pencil. Right now, you can see what I've done there with some texture. If you don't like how some of these turned out on the ends, Um, when we did our selection, you can easily just go through any race and clean those edges up. Now I'm going to the clipping mask above those and going to a lighter brown and my six b pencil and just adding some lines. Very, very, ref. I don't want them to be super smooth and swirly. If you're not sure about the color, it's OK. Just keep going. You can change the color later. Since those trees air so small I'm gonna bring it the size down. And now you can play around with the blend mode on this. So we're gonna look at these trees right here, and he's him in right here. If you want them to be darker streaks, you can change the blend mode to do that the other way that you can change the color is toe alfa lock and just change the color directly from here. If you want them to be kind of reddish, you can just tap feel layer when it's on Al pha luck. So I'm gonna keep him as this light color. You can also go with hue, saturation, brightness and change it from here. You can it. Once you find a color you think you like, you can check back and forth between the original and the new by putting your finger down. I don't know if you can see that it toggles back and forth and you can decide which one you like best. If you don't like any of the changes, you can tap anywhere on the screen and tap reset, or you can to finger tap toe end do three finger tap to redo any changes that you've made. All right, actually, like those changes that kind of brightened it up in a little bit more orangey. And I'm happy with the trees now, when I'm going to skip these little shrubs down here because I did those in the exact same way that I did the trees so you can go ahead and just treat those just like the tree layer . 21. Hills and River Illustration Part 2: I want to show you one section of how I did the grass. So it's on Al Pha luck. Let's go to the color and do our color changing for that base layer just like we've been doing for all the other layers. All right, so that was all on that green layer. I'm going to the could be masked above it. And I'm going to do the same thing with, um, some varying shades of green. And what I did here was, I did this rough streaks brush. They did it fairly small size, So 50% and I changed colors. I am so sorry about all the sounds you're hearing in the background. We are in quarantine due to Krone virus, and I have my whole family at home making cookies and things like that upstairs. So I'm just doing the best I can to find time to record where it's is quite as I could be here. So that's what I did and obviously use different shades of green. You can change the blend mode. Um oh, that's a nice break color burn blend mode there. So just dio do that all over. Did it over here I did it over there and then on a fresh layer. That's not a clipping mask above that. Actually, it would be best if you brought that layer above everything that just automatically turned to a clipping mask. Even do your flowers. And the reason why you want that above everything is because then you can add your flowers to kind of cover the base of your trees of your wanting to kind of mask that a little bit. All right, So for some simple florals, I'm just gonna go to my ink Jen's Inc, um, on the layer above everything else, play around with what kind of green you want. As you can see, it's gonna be there so much green. It's gonna be a little tricky to find a green that stands out but also matches. So this is a nice green. If I went to bright over here, that's not a nice green. So I'm gonna come back over here towards the grey, maybe darker and again. You can change that color later as well. So I'm just on my ink and go down in size, and I just did a whole bunch at once, so I did some clusters of flowers. The stems. I went to my leafy swipes fresh for the leaves and did a nice lung, made a smaller size. I went back to my pinky brush, Jen's Inc and I did this cream color. You can do any color you want, however, you want your flowers. And I just did a very simple pedals like little wild daisies, a nice golden center and that's it for the stones. I just picked a light gray. You just go to any of these grays and go much lighter. Um, I chose the white pencil stroke, and I'm just going to show you one here. I just whips. I'm on the wrong layer. Go to a fresh layer. That's not a clipping mask. And I just went around and made some really uneven and varying sizes of rocky, blah bees. That's my technical term and come down to a smaller size, and I just did on the same layer, and I just kind of didn't a little bit of shadow under each one. Very, very minimal. Simple. So that's all I did here, and I did it all way round. I'm not going to show you how to color the girl. Because if you watch the tutorial on the playground and all the kids, you will know how to do that. All right. One last thing is that sky. So come down to underneath everything and do your sky color whatever color you want, your sky to be like the light blue. I like the rough streaks and then you can add some white clouds. If you did that, I would go to another layer and go toe white on a smaller brush size and I just kind of swirly, swirly, swirly like this. I'm on that same stripey brush. Last but not least on a layer above everything. We're gonna do this really cool texture, this just grid texture that gives it a nice aged look. And that is this brush right here called Jen's Grid textured. We're gonna go to a really light gray. The size depends on how you want that texture to look. And obviously this isn't the lucky one. So you play around with the blend mode and I think I like linear burn the best, but with a really low capacity. I met about 35%. There we go that. All right, I know this is incomplete, but I just wanted to show you all the different techniques for how to get it to this point . And you can finish, um, your own using the skills, just practicing. And I'm gonna tap this mountain back over to the edge, and then I need to check over here and make sure it's still looking, OK? All right. Everything looks good. All right, have fun. 22. Black, white, gray, and red...another popular style. : if you go to this Bernie's Myers link that I provided and it's the one with Aleta Texture at the top. But scroll down to some of her other types of illustrations where she uses just one color plus gray, black and white. I am going to quickly show you how to do this type of illustration focusing on how clean and crisp the edges are for the clothing and hair. I'm just gonna quietly go through this and you can follow alone. I already sketched it out so we can just get going. I'm gonna use this orange right here and then just bring it down a little bit redder. And for this I'm using a lot of this monoline brush because of the crisp, clean edges. And then I'm just gonna bring it down really small. I'm also on a really low layer going. He's the selection tool for the bench, and I'm gonna highlight the whole bench. And if you look back at those at that link, you'll see that this is a very imperfectly look, which is kind of nice. So if you tap, you can get straight lines. So I finished on that circle and was just get a pretty dark gray. We can change it later if we feel like it and dragon drop to fill it. So I'm pretty much finished and I'm going through making sure I have some nice clean corners on all of my edges here for the clothing and the socks. No little rounded edges, and I don't know if you followed exactly what I did, but I did a lot of specially texture with the sandy brush. Similar colors, just a little lighter, a little darker from each of the layers. And that gives it a nice little vintage look as well. I was inspired by this image on picks. Obey. I searched on child sitting, and this was one of the things that popped up, so I decided to give it this sort of a look. 23. Two more Quick Styles: I'm going to provide you with this sketch right here. And if you don't have Pinterest, take a screenshot of the class right now and save this image just for some inspiration. We're not really going into details about this particular style of illustration, but the the interior designer sketch and drawing that we did is similar enough. And so I just wanted to provide this for you and hope that if anybody tries to complete this illustration in a vintage style, I'd love to see it. I'm just really curious to see everybody's different way of completing this. So if you post it in the project section, that would be great. If you are part of my Facebook group, that is another place that I'll be able to look at it. So I just wanted to give that for everybody, and I want to show you one brush that I haven't used very much. So if you just have a base color and then go to a clipping mask above it and go down to this sandy brush and then just start playing around with different colors, gonna zoom way and so you can see those speckles. And if you look at this there starker wins and lighter ones and Grey Irwin's. There's even some kind of brownish and just play around with all sorts of colors mixed in on this one on layer, and you'll get a similar look to what you have over here for the links that I'm providing you. One of them is for well, actually, two of them are for Bernice Myers. And if you scroll down the bottom on area of this blawg, you will find I might have gone too far. You'll find a topic for mid century illustrations, so I didn't find. Here we go, mid century artists posts on fish link block, fish, ink block and you can scroll through. There's three different Bernice Myers. She has to that I have noticed two very different styles. So this is one of them, and it's great. Look at the high texture. And so I wanted to show you also really quickly how to get this type of look. - So I did that all in silence because I have a lot of noise got going on in my house right now as well as outside, so you can do that Same exact type of look for a lot of this type of illustration, and I used this ref streaks brush. I just used one clipping mask. I am looking forward Toa playing around with this. Look some more, and then if you choose, um, make sure you're kind of choosing mid century color palettes. This one's a little bit bright, but I can always go through and change the hue, saturation and brightness. Just turn the saturation down a little bit and it makes it more dull. So if I toggle back and forth, you can see it getting brighter and solar hopefully can see that in the video.