Pet Portrait Using iPad & Procreate (Part 1) | Kathy Klitz | Skillshare

Pet Portrait Using iPad & Procreate (Part 1)

Kathy Klitz, Living Bright & Saturated

Pet Portrait Using iPad & Procreate (Part 1)

Kathy Klitz, Living Bright & Saturated

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9 Lessons (1h 13m)
    • 1. Introduction

    • 2. Class Project

    • 3. Perfect Pose

    • 4. Body

    • 5. Facial Markings

    • 6. Nose

    • 7. Mouth & Eyes

    • 8. Wiskers & More

    • 9. Thanks & Next Level

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About This Class

Create an adorable Pet Portrait for yourself, as a gift, or to sell, using only your iPad, Procreate app, and a pet photo. In this first of a two-part digital illustration class I will walk you through my simple but multi-layered process; from the perfect pose to your final class project portrait. You will learn to capture your furry friend’s unique personality using only a few brushes & colors. My easy Draw & Color Drop method results in a clean modern portrait that you will want to frame to bring smiles to any room.

  • A basic knowledge of Procreate is recommended. It’s hard to believe, but, NO prior art skill is necessary because you are loosely tracing or guided by a photo. Your true love of a furry friend trumps any fine-art skills in this class. 
  • Then, to enhance your pet portrait see my next class, Part 2 -Your Pet Portrait Gets Personal - after learning to draw your pet in this first class you will be wanting more so we will take a deeper dive into my fun tricks to make your pet portrait even more unmistakably unique & personal.

Meet Your Teacher

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Kathy Klitz

Living Bright & Saturated


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

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1. Introduction : thank you. Doing in this class is taking a picture of a corgi, and we're going to basically trace him certain parts of him. And I'll be showing you if you want to use a picture of your own dog, some of the best ways to shoot it and what's important, what way to be walking through and you'll be able by the end of the class to have a portrait of either the dog that we're gonna be using us a sample in the class or a dog that you choose from unflashy dot com or online, or possibly even a picture that you take of your own or friends don. Or it doesn't even have to be a dog. I keep saying dog only because we're working on a dog, but it could be a a pet. It could be a parent, a cat, um, in iguana or a goat. I've done plenty of goats, and they're really for this class. I'm sure you'll have fun and maybe find talents that never you have 2. Class Project : Theo student project is to create a pet portrait using your own photo. Or you could use one from a new online or unspool ash. That's where I got the corgi picture that we use in class and then to upload it to class projects, and I can't wait to see what you do. 3. Perfect Pose: way go, we're gonna get prepared. This is the corgi that we're going to be using for our class, and I got him from unspool ash dot com. You could jump right over there and pick out this one or another one, or if you prefer and have a furry friend of your own, then consider some of the tips in this lesson. I've put together some tips about quality of the pose. It doesn't have to be perfect. It just needs to be good enough. Positioning of the animal and the lighting is the most critical thing because you want to be able to pick up the details, which will discuss later that are important to finishing this project. Notice in this picture shooting down at the dog that the dog has the light source to his face so that the details are picked up in his eyes. And if you want to get down at the level of the dog, which is helpful a lot of times with puppies, you pick up a lot more personality. Actually, I think, but just make sure that you have that light source in their face, so try different levels. Even with the dog I level or, if you prefer, get right down on the floor with that baby and shoot straight on. So whether you're outsider inside, lighting is the most important thing. This is a picture of friend did of her dog, and it was just too dark to get any details. So I took it into snap seeds. So edit if you have to, but you want to be able to capture those unique features. Another thing to consider is the angle of the shot. You can have a side profile where you have a side profile with the dog facing you, you could pose your pat on furniture and get some really interesting poses and capture a lot of their personality. I love this picture that's from from unspool. Ash, which you mainly want to do, is capture the facial traits and the personality of the dog. Some of the things that you're looking at, the eyes, the ears, fashion freckles and markings. So this is the dog that we're gonna be doing and what I considered when I drew him, I looked at his big ears and his eye color. I thought that was pretty interesting and his big nose. I loved his white chest and oh my gosh, when I saw his lips and his stash hiss, hiss, great mustache, It gave me an idea. It's hiss uniqueness, and that's what I think we need to really work on to capture in our portrait's. 4. Body: Okay, let's start off by doing a new canvas. I'm doing 10 by 10 square at 300 dp i because of the shape that I want to print but also the shape of the dog. Adjust that if you have a portrait or landscape shaped dog, if you're not doing this particular one and you want to make sure that it's the song that you're putting down the size that you're going to be printing on or larger than what you're going to be printing because you can't enlarge without it getting blurry. Okay, here's my canvas, and we're gonna go ahead and go into the little wrench above and do an insert photo, go to my photos. And I had already edited the size, so I knew that he would fit right on there. So go ahead and do that. It had a time and then pull it. You could just pull him straight in. I'm creating four layers because I know I'm going to have the original. I'm gonna have the body, and I'm gonna have the head in the ears. And what I want to do is pull down the ears and put it underneath the head and what I do on this this is really important. This is something I've learned create a separate palate just for this particular animal. And that way you can refer back to it when you make changes. It's just so much easier and faster to have everything set up ahead of time. I I particularly like the copper, so I made sure that I went in and sampled the copper, and then I intensified it to get that dark. You'll see how I use that later on. But what I'm doing now is doing the outlining using the monoline pen, and I normally don't use two different colors. But I know because I'm filling it that I want the black to blend right into that that left side, and you'll see why I'm doing it later. So I'm gonna be dropping copper into this two toned, which is unusual, um, outlining. And that's the body and another important thing. And this is the tip I've learned also when drawing and coloring in filling in the body base . What you want to make sure is that you're doing the color the way it's going to end up being that you don't you don't rely on opacity to bring it down to the right color. In other words, if my head and my body are blending in too much because they're both whites, then at the get go when I draw it and fell it in, I make one of them the 100% opacity color change, which might be just slight. But that way, um, I have a nice base for all my other colors because the other colors are the ones, the markings that are overlaying the base that are going to be maybe changed in opacity or blend modes. And so I want a solid base. Okay, now that I've drawn in and filled all of the base, head, body and ears, I bring the opacity back up to 100% and that's where it's going to stay. And now I'm going to start doing my sketch. I haven't always done sketches. I kind of started doing this recently because I found that I wasted my time too much with, um, drawing just freehand and then making tons of changes. So I prefer now to just do a sketch and know where I'm headed. Um, I used a different color. Red or green are my preferred colors for most animals, and I just sketch him out and I kind of work out all of the bugs, and it's not gonna be perfect exactly what I'm gonna be doing. But at least I have an idea of the direction, especially of these, a little pointy markings and things like that that I can quickly do it. And this part right here is definitely going to be changed because getting the contouring on a for is kind of hard. It blends in, and so it relies on color and blend modes. But this at least gives me the basic. So go ahead and do a little sketch of what you think you might be doing. And don't worry if you have to redo it a little bit later, or even now, um, this just will take a lot of, um, the time out of an errors out of later on and inside the ear. I know I'm gonna be changing that, but it just gives me a great idea of how I'm where I'm headed. Okay. With my sketch done, I'm gonna go ahead and start. I think on the muscle, um, will bounce around a little bit. This is just my preferred way of doing it. Ah, lot of times I'll do the eyes first, but I think in this case is going to come later on. So I'm gonna have a layer for the muzzle, choose White and reduced the opacity on my sketch so I could barely see it. And then I'm gonna go ahead and use my monoline pen and or you could use your studio pin, but those air to good choices for any of the things that we do in this particular class. And I'm not gonna worry about the neck at this point or white interfering. Um, I went head in and quickly outlined the white, um, neck area and see how they blend together. Don't worry about that, because that's what I'm talking about is when we start layering the different markings on top, it will and blend modes and stuff. It will. There will be a differentiation. So let's go ahead and do the black markings and fill them in. And these are all going to be solid, is what I'm thinking anyway, except for probably the chest, because I want to differentiate between the neck for and the chest. But we'll get to that and you just have to have a light hand. Don't overthink it. Okay? And now I'm gonna go ahead and fill that in. The colors that I've been working with are just that Coppertone and a pure white in the pure black. And if I I always know that if I have those basic of the black and the white I could adjust colors and you'll see when I do the chest how I plan on doing that, um, with my blend modes and opacity. So we've got that nice and solid and let's go ahead and do the chest. It's good to turn off and and check it just to see how it looks. Okay, let's go back in to make sure we have our pen and let's do chest. And we're gonna be in white again and I'll probably end up. Yeah, I think I'll go ahead and reduce the opacity of the upper white part and in order to see that the connection so that I have ah, full circle for filling, not circle, but full area for filling. Yeah. Yeah, Just get rid of it. And that way I could make sure that I connect and that it doesn't fill the whole page. And I'm not worried too much at this point about, um, overlaps and things like that because I know the neck is going to be pure white and it's gonna cover camp fixing this. That's that's what I thought that black part at the bottom needed to be erased off because otherwise it would show later on that was an extension. So I need to fill it in. So it's just kind of grab a pin and and that copper color and go across that left side and across the bottom because it didn't quite make it to the edge. Sometimes if I wait till the end to do all that kind of stuff, I don't remember until I print it. Okay, I really like the reduced opacity of the chest. It differentiates from the neck hair, and I'm gonna go ahead and keep it that way, and I'm gonna turn off my sketch so that I can see better what's happening here and turn on my markings and I'm gonna meet you back here in a minute. and we're gonna finish up those facial details because we need to get those cheeks done. So he has some contouring to his face. Meet back. 5. Facial Markings : okay. Immediately, I could see that I have a problem. My body is above the area that showing on the face. So I'm gonna go ahead and with my body layer up, I'm going to go ahead and just erase that extra part. The only reason I'm doing this is because I am afraid that once I start doing the facial markings, if I start reducing the opacity or using blend modes, I'm afraid it's going to show that, you know, Big Mark going across. That's the top of the body. Okay, let's go ahead and draw the cheek area and we'll use lighter copper color and then fill it and oh, I could see. Okay, that's the part. See where? It's kind of tanned around the nose. I should have erased that, too, but it's not 100% necessary to erase. I will, though, but it's gonna be behind the white solid so it wouldn't show anyway. Reducing the opacity has helped to see how far over I have to make this cheek okay on that bottom cheek part that I won't be filling, that actually is gonna end up being erased off, and I'm going to just go ahead and off camera, take and do a gray overlay, so it gives more depth. Oh, rats. I dropped it in the wrong area. I meant to do it in the little Chan area neck area, so we'll fix that in a second. Let's go ahead and fell in the background with blue so we could see better. And what I did was I made a layer and I pulled it down to just above the very bottom layer . And let's call it Phil background and I'm going to do it in blue. Now let's go ahead and sketch again. We want what we want to do is we want to do underneath his chan and make a definition there and then also in the temple area. Let's go ahead and get that drawn in. So we have a better idea of where the eye patches will go later on. Okay? And what I did was off camera when ahead and dropped in that gray on the neck and cheek overlay. So now we're gonna go ahead and pick up the black and draw in those temple markings and do a drop Phil And what? Go ahead and turn off the photo and the sketch layers so we could see what we have here. Okay, Now, I'm gonna go ahead and find tune it and clean up those edges that overlap. And I just do that by using my monoline brush and the racer. Just follow the lines of the cheek area of the tan cheek area, and I see that we have some areas that need to be touched up in different colored areas. So we'll be doing that, too. We could turn up our opacity so that we can do a color pick. And when we start dropping out things, you start seeing things, too. Like this, uh, tan line going down. We can erase that off, and it's not absolutely necessary, but I like to kind of keep things clean. I see some, uh, things that need to be done, so let's take care of them right now. - Okay ? That's a few of the minor things taking care of. And let's go ahead and turn on the photo and see how it balances out. I could see the cheek on the right hand side looks a little skimpy, so let's go ahead and fill that in make it a little little bit heftier. Let's go ahead and take care of the gray also. Well, dry it in following the lines of the tan. Okay, One last thing I noticed this right hand side looks a little puffy, so let's take off some of that. Trim it up. Okay. Now I'm going to go back through each layer and make sure that all of the cheeks and right cheeks like left cheeks and stuff are all the same opacity I could at this point and probably even could have earlier done emerge so that I don't have a right on the left. But, um, I didn't do that. So I just have to make sure that they're all matching and turned on and the ones that are 100% make sure they're 100%. It seems like this is a lot of erasing and filling in and time, but that's really what makes a good portrait. It's looking sweet, so let's go ahead and move on to the nose 6. Nose: before starting on the nose. Let's go ahead and clean up our layers. That means swiping and deleting the ones we don't want, like the sketch layer. And also a good idea is to group all the face features and say the body features it just tucked them away and gives you a much cleaner layer pallet. Since the nose is such a central part, what I like to do is just reduce all the opacity, ease around it so that I have a general idea of the scale. And if I do any changes to the news, um, I have those to help balance it out. Let's go ahead and pick a black and not a troop at black, but a kind of off black. And we're gonna be drawing with the monoline brash. I'm gonna be doing the bass part of the nose pretty much following the lines of what's already there. I like to make a little point at the bottom. They usually have it, but I don't see it there because of shadow and then go ahead and fell it. And then let's go ahead and bring down no pastie down to around 20%. So that we can see we're gonna work on right now, the shadow and the nostrils. So let's go ahead and create two years, and I know the nostrils will be eventually put underneath the shadow. But let's go ahead right now. Pick up your black because we want it to be the darkest and just give a little curvy outline to it and fill it. And then let's move it down below the shadow and then for the shadow. Let's go with a little bit lighter, black or gray color using the studio pin because I think we're gonna end up trying to get some points in there. And it might be tight, so a medium grey and outline it. I'm bringing the size down to where it's more narrow so that I could get in there, and I'm not too worried about it right now because I could always make changes. But I want to get that on there so I could get my highlights and get the feeling of some death depth. With this shadow. It's really making the highlights underneath the nostrils. Show up. Do you see that? Okay. Minutes with the shadow pulled down as faras opacity. Let's create another layer and call it highlights. These aren't going to be the little spring Klay ones on top. It's gonna be the highlights that are around the nostrils. So I'm gonna choose a gray. It's gonna be lighter than the other grade that I used for, uh, shadow and then for the brush. I'm gonna keep it really down low, were in the studio brush right now. But first, let's go ahead and turn off those layers of the nose so that we can really see what we're doing. Okay, I'm gonna go ahead and start, and I'm going to Some of this is just gonna be lines. Other parts are gonna be filled in. So and I'm kind of having a hard time right now seeing where I need to fell in. So I'm gonna go ahead and reduce down the opacity of the original photo so that I could see this better for filling in and thats much better. And then just do a drop Phil. And on the ones that are just lines, I'm just gonna leave them that way and then just do a little sketchy. Remember that this is gonna be ah, highlight. So even though it's Gray right now, it's going to be a little bit lighter. Yeah, see the big difference when I bring up the capacity of the rest of the nose and in the shadow, of course, is going to stay more around 45 in the blend mode, multiply okay and then on the highlights. Let's go ahead and play around a little bit with the blend modes. Okay, I think the best ones so far, screen and luminosity. I'm liking the screen part. So let's go ahead and keep with that. And then let's bring the nostrils up and put him above the highlight and see how it goes. Yeah, that looks good. Yeah, with the nostrils above the highlight, it needs to be trimmed up a little bit. It's a little raggy, so let's use the erase and trim it up from the bottom. Okay, I could see what we're missing is we need that vertical line on from the center of the nose , down towards the lips. So let's go ahead and put that on the nostrils layer. We're going to use the studio pan and let's go with Black and just draw it down to the bottom. That might change a little bit later cause I usually do it with the different pan. I might change that. We'll see how it looks. But for now, let's create another layer and go on to the highlight Sprinkles on the nose. This is always fun. So we're choosing white and the stippling brush, which is appropriate brush. We're going to go ahead and just scatter them on top of the nose. You can change the size of the brush to get different effects, and then let's go underneath. I like it since we have highlights underneath the nostrils and then testing up the blend modes. Of course, I had to try all of them and I'm landing. I think on ad, I like how it gives both the gray and the white tones just blends in. Well, I think I'm gonna go ahead and add a few more of Sprinkles, so just gather those around and that looks good and pull it back and let's go ahead and turn off everything or turned back on everything and see how it looks. I like that, and next we're ready for the mouth. So meet me in the next lesson. 7. Mouth & Eyes : way, since we're working on the mouth and the eyes, this is gonna be quite long, so just hang in there. Let's go ahead and create different layers. Poor the mouth. I don't know what to call this main one, so let's just call it the mouth patch. It's the base and we'll go ahead and just rough it out with the studio pen and see how that goes and fill it in. And we're using an off black, not a pure black. We dropped that in and let's go ahead and bring down the opacity so we can see what we're doing. And actually, it's probably gonna be a light color like this, for sure. And then it's used pure black to fill in sort of the mouth area and necessary in a mount layer. And then let's go ahead and do the lips. We're gonna use white, and we're just gonna create an outside part. It's gonna be underneath, so when we drop it in it, the layer is underneath the mouth and it looks kind of like a clown Right now, I think we'll probably end up fixing that. Let's go ahead and do the mustache and we're doing out on a separate layer. We're doing it with Ah, little bit again, off color, black, the same color that we used for the mouth patch. And we can control those with capacity. And let's go ahead and kind of trim this up. It kind of was hanging over the edge. So we raced some of this off and go into each of these different layers and just kind of fine Tune them. You can always use your color picker still off a little bit on the right hand side, so let's see. Just have to kind of work around it. It's once you start blending everything in it. It's not that big of a deal. Yeah, that looks a lot better. And then getting kind of making the curves a little rounder and then back into the brush. I'm gonna fix that right hand side, kind of beef it up. It looks like it's curved to match. There we go. That's much better. - Now I'm going to try the different blend modes. Let's try, multiply on the lips and some of the other multiplies a really good blend mode. Teoh mess around with first, especially when you're working with dark colors. And then let's move them. Let's move them out up and the mouth patch. Make sure it's below everything. Get everything in order, okay? And mouth, I'm going to give a little bit better shape. So with my studio pen, redraw some edges to it, that looks a lot better, more natural. Then I'm gonna change the opacity on the mess mustache. I want the mustache to be probably the most important thing on the face, so because that's his personality. So I'm gonna play around a little bit with the opacity, and I see also some things that I need to take care of this faras where I need to erase or fill in. So I'm making sure that I'm at 100% capacity so I could do my color picker real quick and take care of that. That looks good. But of course, you know I have to bring all the capacities back down. This is this is why this takes so much time because you're really playing with a lot of blend modes, and I could see the top of his nose needs some attention to in that little shadow area. So we'll get to that. Okay, Since we're at the end of drawing all the pieces of the mouth, let's go ahead and group them and a whole separate area. Because next we're going to be working on the eyes. And I want to make sure that I don't draw on any wrong layers and that when I finally merge everything down, it's it's gonna be very easy. Okay, Layer 34 already. Eye patch. That's gonna be behind the I the for, and we're gonna use an off black a little bit darker. Then it well, it's the color that we did for the base of the nose. So let's go ahead and use our studio pan and let's just draw it in and create some action to it so we could just give some little points. My recommendation is to keep this simple, because the eye has a lot of detail to it. - Hall done. So let's go ahead and bring the opacity down to around 80% and create another layer, and we're gonna call that eye socket that will be using pure black. Let's go ahead and create another layer in in used white in the studio pin and I'm gonna turn my iPad around. So I have a good angle so I could make a curve using the assist by holding down after I draw it. I don't lift my pencil and it makes the curve for me using the eraser. I'm gonna remove little bits of it, and then I'm going to go back into my pan and just add some little scribbles to make it look more natural. Since there's so many different parts to the I am gonna go ahead and call it I under underneath or something under highlight. And that way I could distinguish it if I have toe change the blend mode. So I'm gonna go ahead and create another layer and this is gonna call be called Left die. I'll be using the darker of the copper colors and also studio pen. So go ahead and watch. I'll be holding making a circle and holding it down so it becomes a perfect circle, and then for the right eye, I'll do the same thing. But I'm gonna create an ellipse. - With that done, I'm gonna go ahead and create another layer, and it's gonna be for the darker Brown part. I suppose that's really the iris part of the eye. And that's gonna be an odd shape. This is unusual. Usually it's just round circle, but I kind of like this odd shape. And so I'm gonna go with it and fill it in and do them on two separate layers the left and the right iris reducing the opacity so that I could do the pupil next on two different layers. So we're gonna be using Black and the Studio Pentagon and just make a perfect circle. And you could do that by drawing it and holding down. Here we go and then hold down and it makes a circle, and at that same time you could make it bigger or larger. Songs don't lift it, and then we'll do the same thing here that will do any lips shape. Well, we're in the home run Layer 43 let's go. Kept head and call this. I catch you. I think it's supposed to be Catch I, anyway. It's the light that hits in the eye and will use the studio pin and white, and what I found is, well, I'm doing the shape that's on here. but normally it's just a dot. But if I always put like a curve just kind of like 1/2 moon or something like that, it gives curvature to the I. I could see now that I have everything together, that that that highlight underneath the eye. The curve needs a little bit more beefing up. So let's go into the studio pan with the white and just kind of add some little ticks to it to give it some heft. Okay, this is in the home stretch, so let's go ahead and do the finish off the ears. So I'm using white, and I just went into a layer above the main part of the ear, and I'm going to just rough in something and fill it in. And the reason I'm using white is because what we can do is again do the blend mode and come up with something that looks a little bit more blended in and natural for the inside more pink area. Let's go ahead and create another layer and go with a peachy color and draw that in and again. We'll be using the blend mode on this. It's not that important that the shape be perfect. We could add to it. - Okay , with that done, I think what I'm gonna do is with the great cheeks. Change those toe white so I could use more. Just blending mode. This is a little bit gray and dreary. Okay, I put an Alfa lock on the great cheek, and I'm gonna go to select and Phil, and then I'll go ahead and touch that one part in the left side, up with white, and then adjust my opacity. Okay, Down to about 25. 30. That looks pretty good. A looking at the body. It looks as though on the right hand side, I need to match up that dark for area. So I went into the body layer and the mono pin in black, and I'm just gonna fill it in. And I'm not too worried about anything as faras inside matching up with the neck white because it's opaque, the white is opaque and it will cover it. But I want to make sure that the outside part trims, trims to the shape, doesn't make it puffy again and that it goes down far enough. I'm gonna be putting a handkerchief around his neck, so part of that will even be covered. Also backing out, I noticed that some of my layers need to be brought back to the capacity that I intended them to be. So I'm gonna fix all those the I, Iris, all those. And this will be my last time of doing this. So I'm gonna go through each one carefully and make sure that everything is matched before I merge everything down. Create a group for the I layers. When I look at the mouth, I see sort of a clown mouth. It's too rounded in the white areas. So let me go ahead and go into the pen and just figure out a way to make it less Clowney. I think maybe add some points to the edge or something. Just a little shape to it. Okay. You probably figured out I kind of anal about different things, So I'm gonna go back into the nose part, create a separate layer so I can control it separately, use black and use my read brush and do that line. And then I'm also going to go back to that shadow layer above the nose and do some erasing so that it creates a little bit more texture 8. Wiskers & More: okay, What we're gonna do is we're gonna go ahead and create a layer above everything else on. We're gonna call this whiskers, and I'm gonna make two sets of whiskers. They're going to be whiskers and toughs, actually. And the reason I do that is pretty important, because what happens is if you have, um, say black, little Tufts or brown little toughs or even just white toughs. And then you have whiskers that air those colors or various colors, and you want to do the blending modes, it's gonna interact with the layer below it. So my plan is to put some toughs up here around the ears. Just a few, and I want those two blend nicely in the blending mode with this copper color and possibly the blue background or whatever the color background ends up being. Whereas when I do my whiskers here, I'm planning on doing some. Let me show you what the I'll be doing some here, too, so they're gonna be black. But then I'm gonna have white ones here. So I want some different layers because I'm not really sure how which blending modes I'm gonna be using and how they're going to interact and see all have some wispy ones up here, not quite as many and possibly some over here. So therefore, that's the reason why I want thes different layers. So let's call this one Tufts and toughs is the ear ones. And then let's do another whisker just in case so I don't forget to separate those. Um, I just remembered that I like to do little spots, and I like to also change the opacity on them separately too. So let's go ahead and call that spots. And those are the little spots that go on the face underneath the whiskers and e changed my whiskers to be okay for black and W for white, and then I'm gonna create one. Let's go ahead and do one more thing will duplicate this one white whiskers, and actually, we're gonna be doing them black, and I'll show you they're gonna be going right on top of the nose. So that's go whiskers knows. Okay. And I'm gonna go ahead and turn this on and kind of show you what I'm talking about. Here's the whisker knows ones, little ones. So whiskers, nose, and let's go ahead and go with Black because we can always change the opacity if it's too dark. Okay, let's go in and pick our brush. Here we go and my dog favorites. And it's this brush straggle that I really like for doing hair and whiskers. It's by idle letters. I got it through. Creative market dot com. It's the anchor set 12 brushes up. Put a link to it in my notes. Okay, with the brush, let's make little flicks a little heavier in this area. You don't want to go underneath, though. The little nose part right here could use thes sort of as a guide. Let's go ahead and turn that off so that okay, when you turn it off, you could see that's kind of too much of a line. So you wanna take this and move it down? So it's just barely showing. I just want a hint of it. It's at around 45. There we go. 45 may change that later, and then let's go ahead and do spots will have to turn this back on, and it's kind of bring it up. Okay, the spots will be in black also, and four spots. I like to use studio pen. It gives a nice point. And also, um, it varies. You can vary the size with the pressure and also the lightness darkness. See, that's all on the same setting. Those looked actually actually pretty good. We're just gonna put a few, and we're gonna I don't know if you could see the whiskers, they're gonna be coming out of this area. I think I'm going to be using black. So let's go ahead and put my just I like that one. Yes, they're okay. That's good. And then what? We're going to dio? Because we always will take these down for sure. You don't want him showing up too much? Drop that out. Just like that. We just need a few. Okay, let's go ahead and jump over to the white whiskers on the lips so we can get an idea White , pure white. And I'm gonna go back to that straggle brush and see how that works out. I think it's gonna work out great. And to turn this guy on. Okay, I want to show you this. You see how they're going like this and they're coming from the nose part hanging over the lip, the mouth part, and then they're coming from the bottom part a little bit like that. So that's what we want to recreate, to take it down quite a bit in order to see what you're doing. Okay, white whiskers. And here we go could very the length just by the flick. And then also, you can vary the how thick they are by your pressure. We could always any that's in this black area. We can go back and sort of erase. - Okay , it looks a little bit extreme right now, but it won't when we use the blending mode. Let's go ahead and take care of these ones right here that are in his mouth. And we want to take this down quite low. It's the eraser. We don't wanna mess up the bottoms, the tips of the ones coming from above. Since it's white, we're gonna go in tow, lighten. Let's try this. Some of these one, in particular, looks great. Kind of like the luminosity. I think when I do whiskers because the luminosity picks up the back color background color of what would normally be is for and because the whiskers or So then it kind of makes him looks normal. Natural. Okay. I like to cute. Cute. Okay, let's put some black whiskers on his face. Black and we're again with our struggle. Take it up to 2% just to try it. Oh, let's first turn this on. Let's try this one. Oh, my gosh. Things were great. And I'm just kind of flicking it like that at a few in here, - okay ? And then what we're gonna dio is see what happens if we just drop it down a little bit, Say 90 around 90 just on normal, just to get it to kind of blend in. And then let's go ahead and turn it off, okay? And then let me see. I think we'll go ahead and use the black whisker layer in order to do these over here, you'll see what I'm talking about. Both here, Here. Andi, think there's something kind of over in here somewhere in there we could win. Okay, so they were black and toughs, and we just want to do this. It's just subtle some dogs. I will go ahead and put whiskers that are fatter and more prominent, but this dog we want his mustache to stand out. You'll see why in class, too. Oh, I think this is adorable. Okay, now what we're gonna do is we're gonna do the toughs, so let's get on the tough layer and we're gonna do black, maybe even a brown and a white. - Let's go with luminosity. What it does with the luminosity. It keeps the brown. Yes, as opposed to see here. We're on normal. If I go with luminosity like that could go trying different ones. So luminosity I like. I like that. It could be a little bit too high. So let's take it down to 75. Oh, cute, cute, cute. That added tons of personality. And let's see, let's go ahead and turn this on and see if we have other areas. I'm thinking over here because I see some hairs. Um, let's go ahead and do that on the black. Since we're on normal, get back on black were in our straggled brush because real typical of dogs to have a little hair sticking out in different places. That might be too much right there. So let's turn that off and take a peek. I like over here. That might be a little bit too much, and I think that's too much. So let's it's just back out that way. Sometimes it's easier. And then to clear some of those there. Here we go. Perfect. Can you see that over here, her mouth and our little wild hares coming out and our toughs? And I think that we're done. What I usually do at this point is I look at it and I I could see something already. I want a little bit Pinker tone in the ears, just for fun. There we go, close to it. That looks better. Dio is Go back to that ear. Worst, my ears Hear you. Here we go, the the copper part of the year, and I'm going to do a an Alfa lock. And what an Alfa lock does is if I were to let's crank the size up on that bobble brush. Actually, I'm not going to use the bobble brush going to use the smooth like better. That's in that same Siri's See, I could go like that, and it only it only colors on that shows up on that, like the sun's coming from this side Okay, now we're gonna work on the kerchief around his neck. And what I did was I just took yellow because that's the color I'm going to be doing and used my studio pen and went underneath, made a layer underneath the neck white layer and above the black marking. And I just put it where it peaked out and felt it in. And then I'm going to refine it in a minute. So just continue watching and you could see what I do, and I'll stop it. When I get to the point of doing the pattern with an Alfa lock and a clipping mask, I'm able to do the pattern with that. It it going on to the dog. Green sketch lines help guide my pattern. - Okay , I'm gonna take off the clipping mask and the awful lock on those two layers. Then I'm going to go into the layer that has the pattern, and I'm going to use select the little s at the top and select out the left portion of each of those parts of the car chief that has a shadow that I had drawn the little curve for it when I did the sketch green, and that's going to enable me to cotton paste them. It puts it on a separate layer. And then I can control just that area so I could change the blending mode and make it a little bit darker and a little bit lighter. It just gives a depth. You don't have to do this and then merge down those two layers into the third, which is the sketch crew chief. Okay, we're done. So at this time, what I do is I clean up my layers and make sure that all of my layers air in the proper position. I What I do is I move the whiskers above everything because they're the most delicate. And right now, what I'm gonna be doing is changing the opacity of the mustache because that's gonna be important in the next part to this class. And so I wanted to be very prominent, so I just darkened it. Once I got everything all cleaned up a Sfar, as's the layers go. I took it back into gallery and I did a select and duplicate. So this whole canvases, duplicated with all the layers pre merged and then that's my fail safe. And then what I'm doing is starting to collapse everything. So everything's being merged down carefully, and I'm watching it like right now, I'm watching it real carefully to make sure that it doesn't change. And if it changes, I just do my two fingers to redo and I pull that particular thing. Usually it will be something that's in a a blend mode, maybe add or something like that that just changes and gets kind of wonky color when you merge down. So I was like, What I do is I pull that particular layer and put it on top and hold that until the end, and then I'll merge it at the very end, and it usually looks fine. And so what I'm doing now is I'm urging the face down, and then I'll be going to the body and merging stuff down and them putting the face on top of the body, the head on top of the body, and that's that's a good way to do it. It's very important that you keep the dog all merged, separate from the background. You want the background to not merge with the dog because it gives you more flexibility to alter the background. You could change the color of the background. You can also use the dogs separately if you have another project. And also I might mention that our my next class part two of this class, will be making this dog more personal or your pet more personal. And we need that background to be separate from the dog. Okay, everything's merge down, find the last part are those little wisps that were by the ear because it was done in that luminosity. The brown was skewing, but it went down fine because I saved it to the end. And now we have the dog separate from the background. So I'll be seeing you in the next class when will make this portrait totally unique and personal? 9. Thanks & Next Level: thank you for joining me in this class. Part one of Pet Portrait. It's I hope you had fun and that you'll be able to create many, many more. Portrait. It's in the future. If you'd like to take it up one extra notch, join me for part two. It's coming soon. Thank you.