Procreate Practice Illustrating Colored Pencil Bugs | DK Ryland | Skillshare

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Procreate Practice Illustrating Colored Pencil Bugs

teacher avatar DK Ryland, Illustrator, Surface Designer

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (1h 55m)
    • 1. Introduction

    • 2. Setting Up

    • 3. Importing Reference Photos

    • 4. Sketching the Ladybug

    • 5. Coloring the Ladybug

    • 6. Sketching the Pink Leaf Bug

    • 7. Coloring the Pink Leaf Bug

    • 8. Sketching the Flower Beetle

    • 9. Coloring the Flower Beetle

    • 10. Conclusion

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About This Class

In this class we will be illustrating beautiful bugs in the app, Procreate. This class is perfect for someone who has basic Procreate knowledge and wants practice with creating a colored pencil look while working in a digital medium. You will gain a better understanding of sketching from reference, using the 6B Pencil, and working in layers. 

You will need the iPad Pro or latest iPad, a stylus, app Procreate, and some basic understanding of the app. 

Meet Your Teacher

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DK Ryland

Illustrator, Surface Designer


Hi! I'm DK Ryland and I am an illustrator and surface pattern designer who specializes in stylized, charming, and quirky pieces inspired by nature and animals. I work with a wide range of techniques and programs to create fresh and vibrant illustrations and am constantly exploring new techniques. I love showing people what I learn along the way and am so glad you are here! 

Check out my Website to see more of what I do and I would love to be Instagram friends! 

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1. Introduction: I'm Daniel Conley Ryland, an illustrator out of San you California. In today's course, we're gonna use the at procreate to make color pencil bugs and make them look as true to color pencils as possible. For this course, you're going to need an IPAD pro or an iPad that's compatible with the apple pencil, an apple pencil and the appropriate let's get started. 2. Setting Up: the first thing we're gonna do is fire appropriate and work When we're in appropriate, it should look something like this, but with your artwork and we're gonna add, I'm gonna go with an eight by eight. Um, inch canvas for individual, um, illustrations like this. I like a square canvas. Um, and then I'm gonna add three of those since we're going to do three pieces, Okay. And then before we get started, I'm gonna go ahead and name those. And so I'm going to click on Untitled artwork and my first piece is going to be a lady book , The classic What's? And the second piece is going to be a pink leaf bug. And my third piece is going to be an African flour beetle. You can do the same bugs is I do here, or you can choose your own If you do a quick google searcher Pinterest search of, um, beautiful beetles. All sorts of really colorful, really interesting bugs will show up so you can follow along with me or you can do your own or follow one, and then do some others. It's really up to you. But now that were set up. We're gonna start with our lady, but 3. Importing Reference Photos: now on a side note, I'm gonna go ahead and show you a couple ways that you can grab a photo for reference. So one of those ways is that I can just go into safari, use Google or pinchers toe whatever your favorite search engine is, and look up one of the books. So I type in ladybug image It is. Let me find a lot of different characters for ladybugs, but find a real ladybug on, and then I'm going Teoh, find something that's an overhead shot, and then I can zoom in on it, or I can just screenshot it, however, and then I'm gonna click, um, this button and then my power button and create a screenshot, and then that's gonna go ahead and go into my photos. Okay, Now, I can either do that for reference and then import it to procreate. So if we go into into our ladybug canvas here and I, um, there's two ways I can use my reference what? I can either scroll up from the bottom, open up safari, and then that reference photos gonna show up on the site here, it's gonna make my working area smaller, But It's nice because I have a search engine. If I need mawr reference photos, different angles, things like that, then I can just search as I go, and to get rid of that, I can just swipe it off. I can also make that well, um, I can also make that bigger and make my campus smaller. This is way too small, the work on. But if you need to see the photo bigger, you can always scroll back and forth. Uh, OK, so I'm going to get rid of that. I know. My other way I can do this is by hitting the wrench tool and add Insert a photo and you can see already have it in here. But they answered that Insert that photo and then I can have it on my camp canvas for reference, and I can toggle it on and off as I need it. Hey, this is nice because you can grab colors from it for your color palette. Um, if you want to use those specific colors and be very literal, um and then, as far as I know at this point, there's not really a way to crop in procreate, which seems like an oversight, so maybe I just don't know it, but I don't think there is as of now. And so I'm gonna hit this the selection tool, and then I'm just gonna put it off of the page where I want to crop it, and it's going to do it automatically for me. So it's just kind of a work around here, and I'm just gonna get where I want it so that it doesn't take up too much space in my campus, but also make it bigger and smaller and all that. Okay, let's get started. 4. Sketching the Ladybug: Now that I'm ready to start my piece, the first thing I'm going to do is go into the layers tab and I'm gonna add a new layer and name that sketch. Okay. Make sure that I have a dark color close to black or black. Um, And then for this 1st 1 I'm gonna go ahead and sketched by tracing. This is obviously the easiest way to do it. If you have a really, um nice reference. I'm gonna flip this over. There we go. Um, that's nice. And symmetrical, then this is obviously the easiest way to do it. Uh, if you don't, then you'll have to do it freehand. Or if you'd rather do it for you, and you can do that as well, and we'll go over that in the next with the next bug. So I'm gonna lower the opacity of this picture so I can see my sketch, and I'm gonna go somewhere below 50%. It doesn't really matter. And then I'm gonna go into my sketch layer. Now I'm gonna go select a brush, and I'm gonna use my 63 pencil. I'm gonna be using my six b pencil the entire time. It's really nice. It's in its under sketching. So with this colored pencil look technique, I only use one brush the entire time. And I also used that same brunch in my eraser so I can set that now as well, so we can go to sketching and have 60 pencil. Okay, um, let's go ahead and sketch. So I'm just gonna follow B outline of my bug. Doesn't have to be perfect. We're even very good. And once I have the general outline done, I'm gonna go ahead and also outline all the details, including this line going down its body. Okay, um, now, because is your piece you can take artistic liberties. And so since this ladybug doesn't have a lot of, um, spots, I'm gonna add a couple more now from this overhead shot. You also can't really see the ladybugs legs. So I'm also gonna take some liberties there and you can get really detailed with this if you want. That's not really my style. So I'm gonna keep it really simple. And all Beatles legs kind of do a similar thing. They have a similar shape, so I'm gonna go for these top legs out. It's maybe a little too big out, huh? And out. Okay. And then this middle leg out, down, down and out. And then somewhere for this bottom, like here, out, down and out. And you could do the same thing over on this side. Or if you want him to be perfectly the same, you're gonna grab your selection tool. Select those legs and, um, grab them, swipe down three fingers, copy and paste them. I'm also going Teoh. Now I'm going to flip them horizontally and move them over to the other side. Now this. But he's not perfectly symmetrical, so it's gonna be a little bit off. I'm gonna line up one of them, and then I can select the ones that I want to move again and move them in again. Um, now what you're gonna want to do as well is merge those legs into the sketch layer. So when I copy and pasted it, it makes a new layer, and I'm gonna emerge this together. So my sketches all in one layer. So now if I, uh, Tuggle off my photo, I should have my starting sketch 5. Coloring the Ladybug: All right, now we're ready to add color. So I'm going to turn my photo on again, and I'm gonna turn the opacity all the way up so that I have full vivid color to choose from. I'm gonna select, um, that that photo put it back in the corner so that it's not overwhelming my my picture, but so that I have it available to choose color from, Um, the next thing I'm gonna do is go to my sketch, and I'm gonna resize that sketch just a little bit bigger. So it takes up the whole page. Now, the only thing you're gonna want to resize up or be okay with three sizing up is your sketch. Because, um, it's not gonna be in final art. So if it loses quality, it's not a big deal. But everything else you want to draw to full size or bigger so that you don't lose quality . Okay, um, she make a couple adjustments here that I'm seeing. Um Okay, so I'm gonna grab a kind of a mid tone red. Maybe not the darkest red move that is, um, but not the lightest red in this ladybug shell. So we're going to start with the biggest part of the ladybug and underneath all the other colors, which is read. So I'm gonna add another layer. Um, I might name some of these and maybe not all of them, but some of them are pretty easy and bigger, bolder layers that we can kind of keep track. So we're start with body. I've got my, um, my 60 pencil and I am going to go ahead and trace Goa's biggest possible on this. I'm gonna go ahead and trace around my sketch of, um of the Beatles ladybugs. I guess it's an exoskeleton. I think, uh, doesn't matter A guest. Um and so I'm gonna take my time on this to make sure that, um, it looks good, cause this is my base layer. Uh, and so it might. It might take a while. Now, you can fill in the color if you want. I prefer when I do color pencils that I just fill it in by hand. It does take a little while, but I'll show you kind of the the difference. So I have this outline done. And if I drop color in my thresholds low, it might stay in there. I want try that again. So if I drop this in and I lower my threshold, there we go. So I dropped it in, and then I lowered my threshold. So it did stay within that within the shell. But then there's all these, like, weird lines and stuff, and so I just like to color it in my hand and I'll speed through this part. But you're just coloring it all red. And it's if there's a couple, if their spots that have some, um, variation and they're a little bit see through, that's cool. That's gonna That's gonna look nice, But this is gonna be kind of your most solid layer because it's gonna be your bottom layer . Now that I've the base color down for the body of the bug, I'm gonna go ahead and start cheating. So I'm gonna grab a darker color that I confined in this picture of the bug's body. You go a darker red, and I'm gonna start with the shadow side of the shell. Now, the shadow on our photo, um, is more up top here, and then the highlights down here, I'm going to switch that up because I don't really like that layout, and that's OK. So the first thing I'm gonna do now is go to the body layer and turnout flock. And with that darker color selected, I'm gonna create a shadow on this side of the show, and I'm gonna create the highlight on this side of the shell. Now what you'll notice is when I was filling in that base layer, I was keeping my strokes going up and down, up and down, up and down, up and down. I wasn't going across and then here and then all over the place. So I'm gonna do the same thing when I shade in shadows and highlights as well. So I don't have this side be the side with the shadow. Now what you'll notice is, Well, hopefully you can see it is that when I'm using my apple pencil, I'm using the side of it to get that shaded look as opposed to straight up and down, where I'm making a hard line right. The harder you press that harder, that's gonna be the lighter you press, the lighter that's going to meet. Okay, um, and then you can always build up color. So that's light and impressing light again. But it's making it darker so I can take my time to build that cholera, okay. And then my strokes are going up and down. Like I said before, we're gonna keep that that same stroke, and then I'm just gonna fill this color pretty much throughout the entire shell to get that kind of grainy char cally pencil e look throughout the entire, um, ladybugs body. And then this side is obviously gonna be darker, especially right around the edges, and then kind of build the color out as I go Continue that all the way through on the bottom Here, there's gonna be some shadow. Um, along the top of the show, there's gonna be a little bit darker of a shadow. Now let's say I made a streak there. That lips that's too dark. I can just grab my original color and shade over it until I get it Teoh to a tone that I like. Okay, um, I'm gonna go back to that other color by just holding down the color button, and it'll get me to the last clear that I used. Now let's say I'm trying to press lightly, and it's still pressing a little bit too hard there. Then I can also lower my a passage E something I like. And that same amount of pressure is gonna make a lighter line. Once we have that all the way through, I'm gonna build this up the shadow just a little bit more. And then I might even grab a darker color here for the very edge. Okay, Okay, so we'll start with that. Now, I'm gonna go in and grab that highlight color or white ish color, and I'm gonna put the highlight in right about here. So the idea is that the light source is gonna hit right about here, and so it's coming from here. So the dark side's gonna be here, right? Um and then I'm gonna create a decent size shadow kind of curve it because the show is curved. I'm sorry. A curved highlight against that channel, and this middle part is gonna be a little bit darker and then work it out. And once again, same thing. If you want those edges to be lighter and be more natural the way they fade, you can learn the opacity and then do that. Or you can grab that reddish color and then kind of mix it in until they mangle with each other more naturally, you're going to still have that kind of chalky greeny feel because this is color pencil. So work with that until you get something that you like. The beauty of this is that, um I can't really mess it up because you can always go in and adjust anything that you don't really like. Okay, so let's start there. Um, the next thing we're going to Dio is go to, uh, make any layer and create our black dots. So it's have any layer, and we're going to start creating some of the details. So let's put in black dots. No black dogs. Okay, that said it. That Okay, um, and then we can just keep moving off of this picture for our color palette. So I'm going to grab the darkest black color that I confined. It's obviously not gonna be a pure black, but we're gonna find something pretty dark. We're gonna lower the opacity of our body layer so that we can see where those dots lie, and then we'll make sure that we're in are black dot layer when we start to draw. So I'm going Teoh trace over my dots. Quiet season, - right ? And I'm going to just add in that last stop because they think it looks, uh, better to have another one there it looks a little blank. T. So, um, now, when we turn the body's capacity back up, you'll obviously no, this is the highlight. No longer looks very natural because the black dots are on top of that layer. So what we're gonna do now is turn on the Alfa lock for the black dots, and then we'll grab that highlight color again. I actually grab it from this photo because we're gonna grab that color, and then we're gonna run that over our black dots. So we have our blacktop dot layer selected, and then we're just gonna run that highlight and try to make it that color. Um, we're gonna try to make that as seamless as possible, running from our highlight on the body into the doctor and then the same thing here. If that's unnatural looking, I can then reincorporate that black color, Okay? Came back to her weight a little bit time here from here. I'm just adding a little bit to these dots over here for just a little bit more visual interest. This one down here is not gonna have it cause it's really in that shadow side. But, um looks a little bit more natural when there's it's a little bit of light. Now we're gonna go ahead and start on those blackheads so we're gonna use I was on the right color. We're going to use that same black color, create a new layer, and I'll name that head one because there's I mean, I do not know the anatomy of a later ladybug, but it looks like there's two different heads, this one in this one. It's probably not what it's actually called. So I'm gonna make sure I'm in that first head layer. And I am going Teoh, draw that first head, um, colored in basically the same way that I did the body, all the strokes going the same way. - Okay , now that we have our head drawn, I'm gonna add a new layer, and I am going to draw head number two. So let's label that head to and I'm gonna actually Well, yeah. I'm gonna actually move this under that first head. Okay, so this we're just creating the base layers here before we add the shading in the details. Okay, so now that we have those filled in and they're just pretty much solid black, we can go in and add those highlights again. So we'll grab that same highlight color from the body and all going to head number one. I don't think I need to put awful lock on on this one, but we'll see. Okay, so we're just putting the nice will highlight in here Kind of the same way we did with the body a little bit darker in one spot and then fading out from there. Now, I'm also gonna want just a little bit going. That's way to show. Just kind of the curvature of its head on. That's good for now. We can always rework this a little bit when we're getting to a final at its and then we'll go to head number two. Can I do the same thing? Just will highlight here. Okay. And then now we can go in and lower the opacity, Uh, both of those layers. So that we can add the details on top of those, which are I'm assuming these guys air it's eyes down here. I'm not quite sure on that. So, um well, just add a new layer and call it eyes since I don't know bug anatomy. Okay, so I'm gonna grab that kind of greenish color. It's really pretty color. Nature has the best colors. So same thing here. We're gonna make sure we're in that eyes layer, and then we're going Teoh, um, trace those spots that we already sketched out. Now I'm gonna lower that opacity just a little bit more, cause I can't see very well on both of these. We might as well. Yeah. So now I can actually see what I'm drawing. So he's good thing. What's wrong? Layer lower the size of my pen to so I can get a little bit more detailed right here on the on the outline. A little bit more accurate. I mean, and we're gonna fill that in. Okay, now, the shading on this, we're gonna add highlight to one side and a shadow toe. One side as well, which is gonna make this look less like it's on top of the bug and actually a part of the book. So we'll go ahead and grab a lighter color for that highlight. Let's turn on Al Flock and just kind of shade this side right here and have it kind of fade into the middle. Now I'm gonna grab that original original color that I had, and then I'm gonna grab something a little bit darker. Maybe not that one, shtarker. And then the same thing over here kind of shade the outside. Yeah. Okay, so then I'm gonna go ahead and do the same thing on this side, all speed through this one, and then do the same highlight in China. Now, we can turn up the capacity of head number one to see how that looks. Um, and how that's blending in. And then we can go ahead and use that same green color if we can find it, um, to fill in the eyes. I Manal flock. Okay, turn off. Al flock. Okay. Color in the ice. He's still a little off center to me, so I'm gonna go ahead and move them, just okay? And then I'm gonna do the same thing. I'm gonna turn on all flock and add Ah, highlight here. And a shadow here. I like to this side on darker you are a shadow. Well, im edges here, okay? And then we can turn up the capacity of head number two, and I'm gonna erase sliding. That's a little bit weird. Okay, on. Now we're ready. Teoh, draw the antenna and the legs, so I'm gonna grab that deep black color again. I like to keep the antennas and the legs somewhat simple. Its name this want to say legs? Um, and then But you can. I mean, if you look at a ladybugs legs there, there. They're really cool on their pretty interesting eso. You could get real crazy with it, or you can keep it simple. Uh, it's up to you, but I'm gonna keep them simple. So I'm gonna lower the a pass ity my sketch now, and I'm gonna make sure I'm on my legs layer and about my black color, and I'm gonna go ahead and travelers likes the one thing I am going to do. Detail wise, it's just make the middle leg. It's a little bit bigger than the rest. And I'm not super careful me sketch part with this, but I took a little extra time when I'm doing the finished one. Now, if you for the life of you, I can't draw a straight line. Inappropriate. There's a trip to do that. I like when there's a little bit wave to the line. But if you really want straightened perfect than if you just hold down, then you now can create a line are perfectly straight line, so is useful. - Okay , so now we can turn the sketch layer off because we don't need it anymore. And our buddy's starting Teoh kind of come to life a little bit, which is awesome. So, um, one of the details were missing, but I should have had done during the I one is these little spots up here, So I'm gonna make that that same green color. Maybe just a little bit of that lighter green, if you can grab it, okay. And I'm gonna go back to my eyes layer, turn off Alfa locks. I can draw. Actually, you know what? Let's go to our body and let's put it directly on the show because it's gonna go. Yeah, it's gonna go underneath the head automatically, and it's gonna go underneath this start automatically into me. That looks a little bit more realistic. And then we're gonna frayed out on this side like that. Yeah. Okay. Sorry about that. Sometimes you just have to experiment as you go and see what works best. And that's okay, too. Uh, let's grab white ish color. And that's my move that in. Okay. And then let's grab like we did before. Um, I mean, a darker green. So let's start with that be screen again. And they make it a little bit darker and that right underneath where they would be kind of a bit of a shadow. I didn't have to be overly dramatic with should be there. I don't know if you can even see this in the video. Okay, Cool. All right. You've got almost all the details. I like to make this come out a little bit more. There we go. Okay. So we have all the details now, um, we know we don't I'm sorry. We need the black line going down the middle of the ladybugs body, so let's make a new layer. Let's name it black line. Okay, Let's grab our dirt deep, dark black color and let's turn the capacity of our body down And let's turn our sketch layer back on so that we can see that line that we created before it's just gonna curve ever so slightly. Okay, And then if you notice I mean, it's not a very defined black, uh, lying here. But if this ladybug and you can see other pictures, too, if this ladybug were to open up its wings, there would be black underneath here. So we might even kind of fade that line almost like it's about toe open its wings. Extend that just a little. You don't have to do this part at this detail. You can, um, Now let's turn that body layer back up, and then once again, it looks like the line is just sitting on top of the shelf. So we want to make that look like it's part of the shell and that it kind of, um, Indians in a little bit like the wings would actually open up. So we're gonna grab that, um, dark shadow color, and we're gonna make sure we're on our body layer, and we're just going Teoh create a we can turn out for a walk off on this. Um, we're gonna create the shadow right where that indentation is next to the line. Okay? Yeah, Good. And then we can kind of be this into that lighter red as well blended a little bit. It's not a hard line. And then where did the same thing on the other side? - What that's going to do is just make this look just a little bit more realistic. And then now, um, I'm gonna turn on Alfa Walk again here on the body. And since we have all of our details, I'm gonna turn off this picture. Teachers, it's not a distraction. Now, now that we have all over details, we kind of just take a step back and we look at it. Train schedule, ear off to There we go. No distractions on we Look at it. We go. OK, What doesn't look quite right? What does it need? What should they add? And so, um, like, this angle right here is kind of bothering me. So I'm gonna go ahead and raise aside and just make it a little bit more curved because because the other side is curved, and I think it'll match better and not, um, be so blaring if I can kind of smooth it out a little bit. See how that works? Yeah, that's better. And then, um, yeah, any little things that you see go ahead and add in Right now, I feel like this highlight has a hard stop over here. So I'm gonna learn the opacity and kind of just fade it in a little bit more. So it's not this just really hard stop. But it's a feathered, um, kind of stopped with that highlight. Okay. Anywhere where the highlights don't match up with shadows or, you know, whatever. This is the time to kind of get in there and fix anything. Now, sometimes when you're drying and procreate, you're gonna draw straight lines on accident. Happens all the time and one way that you can notice this. This is, um how like in this layer, my head is way up here. And then there's something going on down here. If it was just, um, the head, the head would take up pretty much the whole space. So I've got a straight line somewhere, and I'm not gonna be able to find it. It's gonna be really difficult. I can turn off everything else and try to find it. Or I can click on that layer, press the selection tool, and then just select anything below what I don't want. And it will grab it. It's great. I can't even see it. It's probably tiny attainable that swipe three fingers and cut it. So now if I go back to my layer, it's going to take up the whole space again. So I don't have any straight lines. Now, um, outside of that head, just a random tip for you. Uh, okay, let me go back to that body, and I'm just gonna go through and clean up. Um, any spaces where? I just think it needs a little bit of work. Uh, you do the same. And then, um, I can't wait to see your finished ladybugs in the project gallery. 6. Sketching the Pink Leaf Bug: all right, now that you have your ladybug done or your first bug done whatever you chose to dio go ahead and navigate yourself back to your gallery. And then I'm gonna go ahead and open up my pink leaf bug canvas, and I'm gonna add my reference photo by clicking on the wrench. Add into the photo and click on the screenshot that ever taken to go ahead and crop that by navigating the picture whips outside of the canvas, okay? And put it up in the corner. Now the reason I chose this bug is because, like, the ladybug has its black dots right on top of its body. Or it's it's exo skeleton. And then this one has spots or markings as well, but it's got the, uh, white or cream ish color and then the brownish color on top. So it just poses a little bit different of a a technique for that so or an extra layer. Basically, the other reason I chose it is because I couldn't find a very good reference photo. Now that's not normally a good reason to pick a subject matter, but what it does is makes it so that we have to sketch this out. We can't just trace over over the picture. So no talk a little bit about, um, technique to do that here. So I'm gonna set it up in the orientation that I want, but it's obviously off to the side and not a good reference photo, actually. Trace. So, um, the first thing I'm gonna do is click on this ranch and go Teoh canvas, and I'm gonna turn on my drawing guide, and you can adjust this drawing guide if you want the squares to be bigger or smaller by clicking on edit drawing guide, and then grid size is going Teoh, move them bigger or smaller or wherever you want them. You can also adjust thickness and capacity if they're too dark and they bother you or, if you like, a certain color, you can change the color of the drawing guide. Okay, Um, mostly The most important thing is is the size of the boxes, depending on what you're doing. So I'm gonna go ahead and grab a black color, and then add a layer and name that my sketch layer. Okay. And, um, I'm just gonna used these boxes to give me a good idea on, um, how to sketch this bug out. Basically. So I'm gonna say, um, that this body is about 33 boxes long, and this can be term incapacity backup. Um, you can draw this small and then make it bigger, cause it's only a sketch and say this is about the wit. So what we're trying to do with this drawing guy is making a symmetrical is possible. And so there's that rounded part of its shell. And so I'm gonna put a dot right in the middle, um, of my of a box of my, uh, lines. There we go. And then I'm gonna come around and connect and then did the same thing here. And what's really nice about this drawing guide is that one You know, that you're directly in the middle that were meeting in the middle, and then you can kind of see, um, is mine line on this side Kind of cutting this box in half? Yes. Is this one? Yes, on. And then you can look at where those intersection points are to make it a symmetrical as possible while still keeping it freehand. So this kind of curves here, so we can kind of, uh, Taylor away from that's straight line anchor and meat. Okay, You can races. You go if that. But if those types of things bother you, or you can just keep going and make it a rough sketch, Okay, so that's, uh, pretty good for shell here. And then, um, draw a line down the middle here as well. Um, and then, um markings. And what's nice about joining this line down the middle is that we can just make sure that that line continues down the middle of each of these boxes or close to it. Okay. And then our markings here, this was called the way up to the top of the shell. So we're gonna try to follow that and let's see, that's about right. And then we'll have the brown marking in the middle, and then this white meets the middle and goes almost to the edge here. Okay. And that brown marking on top. This looks like it should be a little bit bigger. Let's do that. And your ace, any marks that are going to confuse us, okay. And then we can either do the same thing on the other side. Or we can use our selection tool. Select what we just sketched in the middle, Swiped three fingers down, copy it and paste it. We can flip horizontal here and move it to the side. And since we know are drawing is symmetrical because we're using drying guy. We know it's gonna fit. That's one way to do it. And then I'm gonna, um, merged those layers. So my sketches all on layer. Okay, so now, um, I'm gonna move on to the head, and I'm going Teoh have this shall come in in this shall come in and kind of try to start them and finish them in the same part of these boxes. Right? This space here should look the same as this space, so I can edit from there, and then this is kind of curved in this is kind of curved in, okay. And then on top of that is gonna be it's a little head. And that bug head is gonna fit pretty much exactly in that box, which is fantastic when things like that happen and I can draw, but the eyes okay. And then these long kind of street ish antennas. And then I'm just gonna do, um, those kind of typical beetle legs. So, uh uh uh oh, that, um And then And the kind of in the middle of its body out, down, out and then towards the bottom of its body. Out. Down. Oh, okay. And then I'm gonna select those legs and copy and paste them as well. Those horizontal moving to the other side. And I have a symmetrical bug sketch emerge those. I'm gonna turn off my photo reference, turn off my drawing guide so it doesn't confuse me. Grab my sketch, and then I'm just gonna fill the page with it. It's a little bit longer quote, and there we go. We have our sketch of our pink leaf beetle. 7. Coloring the Pink Leaf Bug: Now that we have our sketch ready, we can start tad color. So the first thing I'm going to do is turn on our layer that has the picture on it again so that I have those colors to choose from. So we have this, I don't know, Pepto Bismol pink. And that is our mean color. So we're gonna add a new layer and name that, uh, body, and then we can start to draw, so we're gonna approaches the same way as we did the lady. But where we are outlining Tracy on coloring in this body, so same as we did with the ladybug. When we goto start coloring in, we're going to keep all of these strokes going in this similar direction. I'll speed up through this. - Now that we have the body colored, we're gonna start shading. So I'm gonna just go ahead and darken that original color so that I can add, uh, shading. I'm gonna turn Alfa lock on the body, and then I'm gonna do the same thing that I did on the ladybug. Oops, um, by building up that shading along the edge and then I'm just gonna run it when they passed me down just a little bit. And I'm gonna run it all the way through the body of the bug. Just so we get that nice color pencil texture and what you'll notice is I'm going up and down. Yes, but I'm also creating a little bit of a, um, Bo, I guess. Or a little bit of narc, uh, going out this way and a little bit of an art going out this way so that I can kind of signify that this shell is rounded. Okay, so let's work on darkening this up a little bit more appeal to in the capacity back up. Didn't work on that. Okay? And then just a little bit of dark around the entire body, And then we're gonna grab just a little bit darker still and be a little bit more dramatic on the very edge is over here. Try to blend it in to this shadowing. Oops. Okay, so that's a good start. Now, with our initial shading, we can move on to our body details, so I'm gonna add a new layer. Um, I can name it body details or spots or something like that. Um, and Then I'm gonna grab that kind of cream ish reddish color, lower the opacity of the pink body, and then I'm going to color in the white spot first, you'll see. I mean, this isn't the best picture, but the white kind. It isn't a hard line. It kind of fades into the pink, um, and has a rougher edge. So we're gonna when we do this, we're going to keep We're not gonna colored in like that, right? We're gonna She ate it to the edge of our sketch and then towards the middle. We're just gonna build up the color so that it's a little bit darker in the middle, Not where the edges are, Okay. And we're going to do this for all four of our white spots on the show. - Okay . We ever initial slots down, we're gonna add a new layer and, well, say body detail to we're brown body detail or whatever you wanna label it, we'll grab kind of a mid tone brown in here, and then let's lower the capacity of our white spots so we can see your sketches for brown spots. And we're gonna Philomene pretty much the same way the site of our pencil shading so that the edges look nice. And, um, Chuck Lee your loose, and then we can build up the color in the middle, so it's a little bit more solid in the middle, - okay ? And we can add a little bit of that, um, deeper, chocolatey brown. And there I met him, actually grabbing even darker one. There we go. And it looks like there's just these little lines. It almost looks like wood grain. It's really putting me. And so we're just gonna add those in? It doesn't have to be exactly, uh, like the picture. And some of them can be harder lines, and some of them can be softer lines. But we're just gonna kinda put some of that in there. Okay, Now, let's turn our capacity backup on everything. Okay, so we're certainly get somewhere here. Now let's let's go to the body and let's do this first head. So, um, head number one and we're grabbing that pink color from the body and tracing and filling in just like we did before with the body. Now I'm gonna draw this apart over the top, even though it's not done that way in my sketch. But what I see here is that there's an overlap where this part of the body is kind of over the shelf. So I'm gonna go ahead and and do that here, and then I'm gonna color it in with shirts going up and down just like before. If it's hard to see in here, you can always lower the capacity of the body here. Okay, so now we're gonna turn out the lock on, and it looks like we have a stray mark somewhere right there. No, there were. So I'm gonna turn Alfa lock on. And Shane same way I did before Turker on this side and then run. It kind of threw the entire piece of the head down here, too. Grab a little bit darker of a color. Get really dark over in this corner. Okay, that's a good start. Now I'm gonna move on to this next head. Grab that color and you name it good to Okay, So I'm gonna do the same thing. Trace this head. I love this bug eyes. They're so cool. So buggy. Okay. I'm not as worried about the strikes. There was not a lot of this part actually shoes through. So I think I'm actually going to put this one underneath this head there. And then let's go ahead and make the eyes. It's, ah, dark color. Almost like a black Make a new layer. Its name it eyes. And it's trace our bug eyes So you can do this kind of from memory. Um, or you could lower the capacity of that head so that you can see what you're doing. Um, these are obviously not perfect eyes, but that's OK. It's got character. The bigger the better. Okay. And then let's grab that kind of grayish bluish color and just kinda lightly she didn't. Okay, we could even grab, um, darker blue so that there's even more visual interest there. Okay, so that's a good start. Um, now, the next thing that we can dio is start kind of adding highlights. So that way we start to see this come toe life a little bit, so I'm gonna go ahead and grab. Um well, we can grab this highlight color. It's almost a pure white. Uh, and I'm gonna put the highlights on this part of the show are on the right side of the shell since my shadows air on the left side of the shells. So I'm just gonna take note here and take some liberties with how and where I add these These highlight marks. But you can definitely see them come through on the brown part of the show. Um, and you can definitely see them come through, um, in all these little spot, so we're just going to try to replicate that the best we can. So, um, the darker highlight, the really pure highlight, um tends to be right around this blue area, kind of in a curbed tape manner. So we're gonna kind of, um, make the inside really solid of this highlight and then feather it out from there and then do the same thing here. Insides real solid. And once we have the shape we like, then we can kind of feather it out from there. Okay. And then what's on one down here, Father, That on a little bit. And then I'm gonna run. What am I putting this on? Top of on the eyes. Okay, so I forgot to make a new layer. So what I'm gonna dio is I'm gonna select all of those highlights. It could work on the eyes because they are separate. It's not that big a deal, but I'm gonna select those. I'm gonna swipe three fingers, and I am going Teoh, Um, copy it, and then I'm gonna paste it. Um, so now I have it in bowl spots. I can now erase it from that original layer that I don't want it on. Okay, so now it's on a new layer. Okay? No, I'm Let's call this highlights. Okay? Now, I'm gonna run those highlights, um, through other parts of the shell as well. Just a little bit later, throughout on this side kind of blend in that lighter color so that it looks a little bit more natural. We can also put some highlight in here and could even put a little highlight. You should put it over here. Pull the highlight in the eyes to girl. What's hitting its eyes. And I think that's a good start. Okay, um, now, let's, uh no, we've got preliminary highlights down where we want them. Let's move on to a couple more details. So this line down the middle of its body is I would say, actually, that it's kind of that brownish color and the next to it? Yeah, next to it is that, um kind of later, uh, colors that, um I guess like a light brown. Um, So I'm gonna lower the opacity of the body so that I can see my sketch where it iss and see that line. And I'm gonna make a new layer and call it blank, and then I'm gonna run that All right, down along my sketch, my pencil. A little bit smaller, so I can kind of control the details a little bit better. 10. So we'll start with that, um, and then I think on the actual body, let's turn the opacity back up on that. Mm. I don't like that because it's very crooked. So let's try that again. Um, so are we on line, layer? Okay, let's run that down again, actually, like this a little bit smaller, and because I'm not able to draw that really straight, I'm gonna hold it down and create a straight line. Hopefully, it doesn't look too rigid. We will see. Okay. We'll see how that looks when we turn the body back on. Okay? that is better. And I'm going to just move it over so that it's in the right spot. Okay, good. Now let's grab that. Go out. Looks green. Let's grab it from over here. Here we go. Um, and I'm gonna go to the body layer, and I'm gonna keep my my pencil pretty small hair. And I'm just gonna shade that color. I could actually probably shade it right down the middle so that it splits. Um, both sides of the line. Thank. And that's gonna go all the way down the middle of the body here. And if our alpha Lakis still on good it is, Then we can run it along the side of the body bumps along the side of the body as well. You can see it goes all the way along, man bottom the show so we can do that all the way to the bottom here. Um, because Alfa walk is on. And if there's certain lines you don't like whoops, um, you can go in and shade with, um, the colors of the body, even it out. Okay. Okay. Cool. So, um, I don't like how hard this line looks, so I do want Teoh, um, kind of shade it into, um, the body a little bit better into this, this lighter color. So I'm gonna go to my line, um, layer, and I'm gonna grab that later. Brown color. I'm just going Teoh she onto my line here until I like how it blends now. I could also just go in and delete some of that line. There's a couple ways toe kind of approach this. So actually, I'll do it on the side. So I grabbed my eraser and lower the size a little bit. Kind of get rid of some of it until it looks right. Okay, so there we go. So now we have the line detail. Um, we still need the legs and the antennas, and these ones are that brown color is Well, I'm actually gonna match it. I'm gonna grab that dark brown that we used in the shell. Gonna lower the sketch just a little bit. I can see what I'm doing, and then I'm gonna add a new layer. Um, actually, I'm gonna add that layer way down here under the body and name at likes. Now, as you can see, there's a lot of detail in these, but I'm gonna keep it super simple. Obviously, you can approach it however you want up that line. Oops. And let's say I want this to be a little bit more pointed. I can erase and give it the sheep that I want. Teoh, that looks better and out how? - Okay . And I'm going to select these legs, and I'm gonna copy and paste him flipping move on and make my life easier. I'm gonna combine those two so that the legs are on the same layer, and then I'm gonna go ahead and turn off my sketch and I'm gonna turn off my, um, photo. And I'm gonna overall look at my bug and see what it is that I need to adjust and make butter. And then this is the time to go in and make any just adjustments that need to be made. Something that's blaring to me right now is that this, um, head needs a little bit more depth whips around the sides. So I'm gonna go in there and I'm just gonna shade right along here, so that gives it a little bit more curve a little bit more debt. Um, all throughout the head. Okay, I don't like the shape here, so I'm gonna go in and trim it down around it out a little bit more. Um, some of the's details in here, the's white spots. I'm gonna grab that white color, uh, darken it to a grey turn on Alfa Lock. And I'm just gonna give it a little bit of shading around here so that this side of the spot is a lot of bad darker. Give it a little bit more death, and I could do the same thing here, too. And underneath Bugs Head, that's him that seem shading. That seems shadow, uh, needs to be made in Pinkas. Well, because it's under this head here on and then that looks a little bit more realistic past. And then this going to Okay, so go through. Look at any adjustments that need to be made to your bug and, um, headed away 8. Sketching the Flower Beetle: Now that you have your 1st 2 bugs done, we're gonna open up our third canvas, Which for me is the African fire beetle. Um, you can choose to do this beetle, or you can choose to do a different bug. It's up to you. I'm gonna add in sort of photo. And here's my third and final. But now the reason I chose the African flour beetle and what I'm doing right now is cropping this down this photo down. Um, but the reason I chose the African former Beatle is because it's, um it doesn't have spots or anything like that. It's got these really pretty blended colors, and they're really bright and pretty, and it's just it's still a beetle like the other two. But, um, its color pattern and the way that it's colors blended together is a little bit different. So, um, I'm gonna grab that and Korean it the way that I want, uh, at a new layer name that my sketch layer, Um and then I'm gonna lower the opacity of my picture. I'm gonna sketch directly on top of this, uh, for the sake of ease. So with the dark color, I'm just gonna go ahead and trace around it. Now it is a little bit off orientation wise, um, so you can always simplify shapes or kind of even out places that are just a little bit off , and I'm gonna make sure to trace all the details inside as well. Oops. We're just gonna keep these shapes really nice and simple. Is there some weird eyes, huh? And antennas? So weird and cool. Okay, so we're gonna turn off. We can up the opacity and turn off our photo layer, and then I'm gonna do what we've been doing on the other ones where I'm just gonna add in some simple legs. So no. Out. Maybe a little too long. Out. Out, Um, up a little bit. Down, up, down. And then I can either druthers again. Four. Select him. Group sees copy, paste them, flip them, and then put them over on this side. I might not be perfect because we're not perfectly symmetrical. Um, right now on this body, but it's actually pretty close so we can go through and just clean this up. I hope we have toe merge these layers. So we keep this sketch later on the same layer. And then I'm just gonna go ahead and clean this up a little bit, and then our sketches ready? Okay, we're ready. We can resize it so it takes up a beer space in the canvas hand. Let's color it. 9. Coloring the Flower Beetle: Okay, we are ready to color. I just saw one thing in here that the heads a little bit off center. So I'm gonna go ahead and select it and move it before we, um, start coloring. So it's so nice about digital is that you can make adjustments, and it's kind of hard to mess it up. So I'm gonna turn on my bug from one my book picture, and I can't even crop it that way. There we go. I'm gonna crop it even more so it doesn't get in my way. There we go. Very nice. Um, and so I can select colors. So I'm going to start with a mid tone kind of a few share magenta, um, and start with a body layer, and we're gonna perch this this starting point the same way that we did everything else. Now you might think, Do I need to do this? Um, this portion of the body and this and this and this all separate. You could do it that way. I'm going to do it all, is one, and then show you how toe create depth with those lines so that it looks like, um, there is that indentation in your final work? So we're gonna just trace the entire bug body here and and the same as we did before. We're gonna color it in with sharp swinging up and down, um, and all speed through this process, and I'll meet you once we have the body all filled out. Now what? I have the body, uh, completely colored in. I'm gonna do a little bit of shading. Um, the way that I didn't before. So uhm I'm going Teoh, turn on Al Flock and same thing that we did where we've got that shadow on one side and we kind of build it up. But on this one, because there is a lot of detail with blending inside of the body. I'm going to do a little bit less as far as how much shading I do throughout the body. So this is gonna be a little bit less, um, dramatic. And I'm just going to stop there to start so really, really nice and basic. Just, um, that initial blend here because we have a lot of different colors to add, and then we can go back in and make adjustments as we go. So to know exactly where these color should go. I need these lines as kind of a guide. And so I'm gonna turn down my body opacity so I can see those lines and create a new layer and name that lines. Um, those signs air pretty much black. Yeah. So we're gonna grab. Yep. Um, that deep, almost black color, and then we're gonna trace. That's got a little green tent. That's cool. Um, and then we're gonna trees those lines. Now, if you don't want this green tent, um, to the color, you can't find a good color that you like in the drawing. Just picked black or, um, something you want. So you don't have to stay true to the exact colors in a photo. Those colors could be a little bit off anyway, based on lighting or environment. See, you can Kanneh make adjustments is you go for sure. Okay, So those were my initial lines. Okay, um and then what that's going to do is be really nice guide for me as to where my shadings gonna go. So I'm gonna go back to my body layer. I'm gonna turn my opacity back on make sure I have it selected, and I'm going to start with this really pretty light blue color. And I'm just going Teoh, um, lay it in where I see it. So it's gonna go, um, wider out here and then all the way down towards, uh, the bottom here and then up on top. So I'm just gonna kind of start laying it in in places that I see it. That's really pretty color. And you'll notice that when it's blending, um, with the, uh, pink, it looks really, really nice. It looks really cool. So, um, and the more that I lay on top of it, the more solid that's gonna get. So I might wanna be able to see my picture as I go. Oops. I get a good idea as to where one away that in. Okay, a little bit goes up in here, and then we go away along the top of this top line all the way through. Okay. Lay it in somewhere to the other side over here, Okay? And I'm just gonna do a little bit of, um, blending here so it doesn't look like this, Like, hard line. Looks like it's really blending into the body here. Okay, um, now I see this, um, deeper blue color that I see in the middle here and then around the edges. And I'm gonna work that in, um, as well. Don't be too worried about if it looks like a hard line, because we can also go back and blend that pink, um, back in. And then remember, when you're, um, blending this color up into the top of the shell that you want there to be kind of these rounded, um, lines here so that you can tell that the shell is surrounded. I'm not let those go all the way at the top here, okay? And in the middle here. And then we're gonna kinda you know, I think this is more of Ah, purple deep purple color. Yeah, let's do that. And then let's, um, draw these lines through here and we can come in making look, however we want, right, Okay. And then so to kind of make this blending look a little more natural. I've grabbed my pink based color and just kind of work it through here so that that blending just kinda flows a little bit better. Okay, now, this room very top here. We have a really bright green color. Pretty, um and so we're gonna lay that in. The beauty of all of this is that no matter what you dio, you can re blend if you mess it up. So, um, don't be worried to go, uh, overboard, and they'll be worried too. Yeah, make mistakes. Just play around until you get the blend that you that you like and you might not notice, You know, color like this when you first look at it. Um, notice it later, and then you can play around as you go. And then I'm just gonna dark middle here a little bit. Okay? Um, and I think I want a little bit more of this color in here. Um, Wolf. So that's a good start on on those colors. Um, be Yeah, I like that. So sorry. Just thinking about it. So the next thing that I want to do here is just add a little bit more shading. So, um, on this edge right here looks a little bit unnatural and, like, it's not curving. Looks flat. So we're gonna go ahead and add that um, sheeting to this edge to okay, And then we can do that all around the entire show. Entire body. Okay, Okay, so that's a good start. Now, the next thing I want to do is create line depth. So with that same color that I had, I'm gonna, um, shade right next to you, the line going down the pink part of the bug's body. Okay. And what that's going to do is as create depth and, um, along this line and make it look like it's essentially three dimensional. So then we're gonna do the same thing with each of these colors, grab a darker blue and shade it where there's blue, and then we're gonna grab this, um, greenish color. Are your boys talking to the same thing here? And so wherever, um, whatever color is next to this black line, we're going to grab a darker shade of it, and then we're gonna use that as as kind of a shadow along the line. And we're doing all of this on the body layer. This blue color have a deeper shade of it, do the same thing. I'm gonna grab this bright green, grab her sheen of it do the same thing. And now I'm easy amount. He looks at that like that line is sunken in. And then it has, um, more death. Okay, so now that we have that, um, let's go ahead and start, um, adding a highlight. So it's crab highlight color or white, uh, add a layer here, call it highlights, and we're gonna add a highlight. Make sure you got it selected. I do good. Right. Whips right here on top of this curve. We're gonna add a highlight all the way down the side of this curve. Gonna add, um ah. Highlight. Um, the top here. And make sure that the middle is a little bit darker or more, um solid and then kind of feather it out from there. Now, the reason that I'm doing this highlight on top of her on its own layer is that I can go in . And if I wanted Teoh, race it or adjust it without affecting any of the other colors. Since we've blended so much with the other colors, we'd like to be able to, um, I just the highlight on its own. So, for example, I would like for this to be a little bit more feathered here, So I'm just gonna go in in a race a little bit and adjust the outside a little bit. And it's nice, because I can't I'm not gonna affect the other coach when it's on another layer. Okay, so that's a good start. Um, on the highlight action. I mean, add one more right along. Um, this curvature as well. Okay, here we go. Okay. And lower the capacity of my racer. And just I don't like how harsh this is, so I'm just gonna lighten it up a little bit, okay? Okay. Good. Um, now, let's draw hit. So our head is very interesting looking. Um, but let's grab a color that we like in there. I think I'll go with this kind of bluish color, uh, at a new layer call it had. And then I can just draw this weird, boxy head on clarity. I'm gonna go ahead and put that head underneath the body. Here we go. And, um, we're gonna add a little bit of shading to it. So al flock on its Grab it, Dr Color. And let's shade along the bottom here or along the side here and then along the bottom where the show overlaps. Okay. And then just a little one around the outside, Just kind of blend it and Okay, um, from there, there's some other colors in here, too. We've got that pink color future color, See if you can find it and wait and write the mouth there. And then we also have a little bit of that teal color so we can lay that into more just kind of laying it. And where we see it in messing around, it doesn't have to be dead on. It doesn't have to be perfect. Um, and then we're gonna lay in, um, highlight. Here is Well, so let's go to our highlight layer to do that. Let's grab that color. And then we're just gonna put that highlight on the side here and then down in here. Okay, Cause okay, so now we can go to the eyes and the, um, cautions look like antlers, uh, and put in the finishing touches. So with the eyes, they really bug out to the sides. I'm gonna kind of put them a little bit more on top. Um, so let me grab from a black color here, and I'm just gonna put up right about here. That about here and let's see, there's definitely a highlight in there. Let's see if we can put like, yeah, like this greenish color the same way we kind of shaded it in here. Yeah, And then let's grab that highlight color on bond. We'll highlight, okay? And then let's make our final layer under the body in the head and let's call that legs. But that's legs and, um, antenna. And it has pretty black legs here. So scrap, that kind of blackish color. Let's lower the opacity of our sketch so we can see we're during doing and what the sketch looks like. Um, so here, once again, it's legs are probably much more complex than this, but I'm gonna keep this part really nice and simple, and I could copy and paste these on the other side, but I'm going Teoh, draw them on both sides because I know that the body of this trying is not perfectly symmetrical. So I'm just gonna go ahead and drive. Oops. Okay. I'm gonna move my picture out of the way so I can see what I'm doing. - So , um, now that we have a color late in and it's close to how we want it, we can go in and do the final details. Now, you can always add, um, highlights to the legs as well Where light would hit or maybe even like to be antennas. It's a fine man. Yeah, this layer. I could add a little highlight in here, which is gonna make these pop a little bit more. Um, and those are all style preferences, right? Like, totally do that. Okay, um, but now is a good time to go through and make any adjustments. Um, yeah, that you might want to make. So, to me, I'd like a little bit more of this really pretty color in the body, kind of fading into the shading here, So I got in a little bit. I just want to get a little bit more of that color. It's just such a pretty color. Um, and this is a good time to kind of just look away from your reference, because it doesn't have to be exact or perfect. It can be exactly what you want it to be. So I'm not sure if my reference has that much blew up there, um, but I want that much blood there something I just, um I didn't And I'm gonna try to make that, uh, shading a little bit, but, um, a little bit more seamless and yeah, oops. So go through and find any details that maybe you missed. Or maybe you want Teoh make look a little bit better. And then, um and then you might be done with all your bugs. So I'm gonna grab this deep color, and I'm just gonna lightly weigh it and just get a little bit more texture throughout the bug's body. Yeah, a little bit more streak egx So that everything just comma blends a little bit better. A swell. Okay. All right, There we go. 10. Conclusion: When you're done with all three bugs, you can go in to your gallery, select each of them, and you can stack them and rename that and name that stack. So I'm gonna name that bugs so that I keep myself really organized.