Procreate to Paper: Digital Sketching Process for Traditional Artists | Ksenia Annis | Skillshare

Procreate to Paper: Digital Sketching Process for Traditional Artists

Ksenia Annis, Figurative artist

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12 Lessons (1h 48m)
    • 1. Class Intro

      1:34
    • 2. Concept Sketch

      7:39
    • 3. Working with Layers

      4:14
    • 4. Tonal Drawing

      5:02
    • 5. Using Reference

      8:45
    • 6. Color Sketch

      18:03
    • 7. Export your Sketches

      3:24
    • 8. Painting Demo

      16:11
    • 9. Class Project

      0:58
    • 10. Organize Your Sketches

      4:37
    • 11. Bonus Demonstration Video 1

      16:33
    • 12. Bonus Demonstration Video 2

      21:19

About This Class

Even if you work in traditional media like watercolor, oils or acrylics, developing the initial study for your artwork is much faster and easier if you are using a digital tool like Procreate app for iPad. Even though I will give you a detailed instruction on how to use Procreate, the app itself is not the main focus of this class. We will be learning how to plan your future painting without the hassle of printed photos, sketch books and tracing paper.

In this class I will explain step-by-step my digital sketching process from creating the initial concept to help me figure out the composition to further developing tonal relationships in the piece and then selecting colors and painting reference sketch in color. 

You can then watch me paint the artwork with acrylics on illustration board. At the end of the class I provide one more demonstration of the whole digital and physical process for a watercolor on paper landscape painting.

Class demonstrations are available in real-time painting speed on Tummy Rubb Studio's YouTube channel:
Cat Sniffing Flowers - https://youtu.be/NwN4ydzdCFc
Winter Fun - https://youtu.be/pSe9srKaDAQ

Transcripts

1. Class Intro: Hello. I'm Sanya Anise. Welcome to my glass procreate. The paper digital sketching process for traditional artists, even if you work in traditional media like watercolors, oils or acrylics like I do develop in the initial study for artwork is much faster and easier if you're using the digital tools like the procreate app for iPad, even though I will give you detailed instructions on how to use procreate with the APP itself is not the main focus of this class. We will be learning how to plan your future painting without the hassle of printed photos, sketchbooks and tracing paper. In this class, I will explain step by step my digital sketching process from creating the initial concept to help us figure out the composition for further developing tonal relationships in the Apiece, and then selecting our colors and painting reference gauge in color. You can then watch me pain the artwork with acrylics Administration board. At the end of the class, I provide one more demonstration off the whole digital and physical process for a watercolor on paper landscape painting. Let's get started 2. Concept Sketch: welcome to the class when I just get a new idea and decide to create the painting with water. Colleague wash acrylics oil. We can leave the jump in and start painting, hoping for the best or get more predictable and sometimes better results. We can do some preliminary work, which consists of the following with get out our idea to figure out the composition way. Add some telling to the sketched on the san tonal relationships, the darkest and the lightest areas with electoral color scheme and pick individual colors that we're going to use. And then we're paying the artwork. In this class, I will show you how I do all the preliminary work on my iPad using the appropriate act, and then you can watch me fame. The artwork process not on the reduces paper usage and saves the trees, but also gives me more flexibility as an artist or control and saves me time. If you don't have appropriate, you can purchase this app through the APP store. On your way, you will need to have an iPad air or later model if you've never used procreate. Don't worry. This software is very user friendly. Just practice after its video and you'll have a solid knowledge off procreate basics. By the end of this class, Let's open, procreate and take a look. First screen we see is the gallery. You yours, of course, will look a little different. You will not have all the sketches that I have here in the upper right wonder. We have a plus sign. We're going to click on that and on the bottom, we're going to select create custom size and here we're going to set up our new canvas. Kember size is not exactly critical because procreate now has crop and resize function. But we need to start somewhere and I'm going to select inches and I'm going Teoh put in my final artwork size and I want to see how many layers I'm going to get with that size. So I'm going to put 18 by 24 I want to keep the resolution and 300 DPR so I can work on smaller details and I see that maximum later is that I can have is nine, which is not bad. It's probably enough for me, but I would like to have a little more flexibility in the number of layers. So let's see what happens if I change the size, toe, half size. It makes a big difference. Now I can have 51 layers, which is plain to you, and I'm going to play prayed, and your numbers will be slightly different because it will depend on the capabilities of your either. We're now in our main workspace, and we see our canvas. It's very easy to zoom and rotate it to make it more convenient for us to work. You're just used two fingers, and now let's take a look at the upper right corner with all the main tools are located. The first of those five buttons is the brush library, and you have different sections here that you can select from. And then you can select your tool, and the second button is this much tool if you need to smooth out the texture. The third button is the erasure, which has all the same brushes as the brush library, and the fourth button is layers. There is a separate video talking about layers because they're extremely important. They give us a lot of flexibility when we work and procreate and the food button is colors you will see here on the bottom. I have classic view highlighted. That's what I used to select my colors. There's also another option biscuit, where you have hue and saturation separate. If you prefer that you can use those, I'm going to switch back to classic view and drag the selector all the way to the bottom to pick black. And I'm going to go back to my brush library for second. And since what? Sketching. I'm going to select sketching, and I'm gonna pick my favorite tool, which is soft pastel, and I now have it set on black. But before is that sketching? Let's take a look real quick on the slider on the left hand side, the top slider. Adjust the sides of the two. As you can see, the middle button is the color picker who will be using it later, and the bottom is the brush capacities. So if you want to, just that and the two arrows on the bottom are undo and redo. But you can also use your gestures if you tap two fingers that's under, and if you tap three fingers, it's Redux and let's click on the French to which is located on the upper left. Next to the word gallery, you will see this little button, it says. Actions on the drop down main ume and do me a favor and click on preferences. Here you will see that you can switch between light and black interface. I usually work in black, but because I'm recording this video, I switched over to light. You can choose whichever one you prefer. Also, if you're a lefty, you can switch to right hand interface. So this slider, with the full size adjustments and the color picker will be on the other side if that's more convenient for you. And I also have brush course or turned on because I want to see the size of my brush when I drop. If you don't like that, you can turn it off and let's also click on the video and make sure that time lapse recording is turned on, and I'll share later why we need this. So just make sure it's blue and turned on and let's go back to our canvas and we're all set up and let's start drawing. And as I'm working on my skates jump. Switching between my brush and eraser and on purpose made my cat a little smaller than it should be. Doesn't feel the page correctly because I want to show you how easy it is the fix compositional mistakes like that on the iPad as opposed to a piece of paper. We're going to click on these arrow button on the upper left. This is the transform tool is you see, I can very easily using my two fingers, resize my sketch and even rotated if I need to and make adjustments to make the composition work. And if you take a look at the bottom of the screen while them transform, Tool is activated, you will see all different options that it has. Just click through those and try different combinations. I'm not going to go into all the details. You can try it by yourself. Just remember each time to tap two fingers on the screen toe. Undo, procreate, saves everything you do, and the only way to discard changes is to undo them. 3. Working with Layers: Not that I have this very quick concept sketch. I want to develop it further, verify my proportions and had some tone. Will then use the sketches a study for my painting because I developed my sketch. Each new step will go on a separate layer. Working on separate layers is very important, and one of the big advantages of working digitally versus working on paper layers give you flexibility and editing your work. They keep your artwork safe from unwanted changes and, in general, streamlined the workflow. As we'll see in a minute. The layers are controlled right here on the right. Let's click on the button and take a look. When we start a new file and procreate, the APP creates to default players for us, background layer is not inevitable. It's basically your paper. If you click on it, you can change its color player. One is the one I drew my concept sketch on to create a new layer for my tonal study. I'm going to click on the plus button right here in the corner, and here's and you layer. This layer is highlighted in blue, which means it's the active leader, the one I'll be drawing on, and it has a check mark next to it, which means it's visible. Let's stay organized can rename this later Tono for Donald Sketch. So let's click on the layer and select rename in all Rename My Layer one and call it concept, and I want to make another one. The new layer is always created on top off the current layer, and I'm going to rename it Color. So click on the name select rename type and then your name. There are many other things you can do with layers they are in. This drop down menu will be looking at them as we continue working on our sketch here. I'll just mention that to delete a later, push it to the left and so that delete. And also here we have the option to duplicate a layer, and the third button here is lock, which will make the layer inevitable if that's what you need to do a few quick pointers while working with layers, duplicating layers is a great habit to have. If you're developing an idea that way, you will have all your options saved and then you can go through them and so that the one you want to develop further keep in mind that undue offence layers. So if you created a layer and started drawing and then click on do one time too many, the new layer will disappear. I usually do one extra chin before I start drawing to make sure I'm on the correct layer. I also want to mention in this video that some artists of this they drive sketch on one later and then created you later in the same file andro something else and so on. The problem with this practices that in the gallery of you you will only see the last layer you draw on, so you will not see all of your ideas unless you open the file. And unless you have photographic memory, which I don't, you'll forget what you Drew. And your brilliant idea could be buried under all those layers, so recommend creating in your file for his sketch. It doesn't take long, and then you'll see all your sketches lined up in the gallery view, merge down and combined down a two of the options that appear in the layer. Many, um, and even though it emerged my layers combine, in my opinion, is always a better option if it's possible if you have enough memory on your iPad, because obviously once you emerge something, unless you undo all your subsequent actions, there is no way to make changes anymore. While if you combine layers like I'm showing you here creating a group, you can apply certain changes, certain actions to the group in general, which simplifies your work. But at the same time, it preserves the flexibility in editing what you're working on, so merge if you have to, but combine is always better. 4. Tonal Drawing: not that we have. Our later said that that's work on the tonal drawing to determine light, dark and Middletown values in our artwork. If you'd like to learn more about tunnel drawing, please take a look at my own line class you can draw from life. I'm going to use my concept sketches a guide. I'm going to lower surpassed city, so it's no so distracting, but I can still see it. I'm going to click on this letter M next to the later name and capacities here on top of the slider and by the way below their passages lighter would have various later blending mode. So Letter M indicates that normal blending mode is applied. And don't confuse layer passage. The was tool opacity, which we adjust on this lighter. It's a different adjustment. I can also protect my concept sketch from accidental changes by making it reference layer here and the drop down menu. You can select reference layer. In this case, it's not really critical, but it might be helpful before you start drawing. I'm going to check one more time to make sure I'm on the right later and let's start drawing. And as a draw. I'm switching between brush tool A race since much, too, and if you want to, quickly said the eraser tool on the same brush is your drawing toe present. Hold the eraser button while the brush tool is active and you will see the little confirmation message pop up. On top of that, the racer Tulis said. Toe current brush tool. This is important because Eraser tool is not just for removing wrong lines. It helps you to refine your edges as you draw, so ages will look differently depending on which brush till the eraser is set on. And I'm going to adjust the angle of my sketch surges more comfortable for me to drop by, pinching and turning it with my two fingers, and I'm going to start drawing and just the same as with regular drawing, um, squinting slightly when I'm looking at my reference photo that allows me to see less detail , but more in terms of light and dark. When I look at my subject and as I mentioned, I'm switching between the brush tool and the much tool, which allows me to smooth out the texture way. Does that work? I sometimes turn off the later with the concept sketch to see what my final result with just the tunnel sketch is going to look like. Because when I draw, it's my chance to study the subject a little better. So I am not just copying on top of the concept sketch and making adjustments and decisions on design and composition of the final piece, even at this stage, and we done shares my tonal drawing. 5. Using Reference: thin this video, we will talk about several different ways to use reference while working on your skates and procreate. If we just need to look something up real quick, the very convenient split screen option that Apple recently provided us with will be the way to go. Let's say I want to draw some hippos and I want to remind myself what they look like. So I'm going to open my browser and Google hippos and I'm going back to procreate. I need to just pull up crow and I can drag it up here and drop it on the right hand side. And now I can flip through this photos and then I can draw my hippos. Another way to use reference would be to insert your reference photo into the drawing itself. I'm going to click on the range button, appear on the left as usual when we want to add, something will click on the plus button. First menu item insert file will take you to various locations like Dropbox, iCloud, adobe Creative Cloud, whatever you have connected on your iPad. The second item insert photo will bring up the photos you have on your iPad here is my reference for it. I'm going to select it, and now it's inserted in my sketch and procreate automatically switches to move, transform toe the arrow button, appear so that we can properly scale and position our photo. Alternatively, you can start with a photo from gallery View. Click on Import if you want. Toe import from Dropbox Creative Cloud were Google Drive. Oh, click on the photo. If you want to go to your photo albums and select the reference photo now you have a new file and you can continue working from here. This method is good if you like to trace photos, but a word of caution Photos often have distortions, so don't mindlessly copy them. I'm not a big fan of this method, because when you start drawing on top of the photo, you cover it up with your lines and fills and it becomes hard to see. I'm going to show you another method, which I use most often. The third method is the one I use most when I'm working from a reference file, and it's not going to be a part of my artwork. I'm going to increase my canvas size and then place the reference photo next to my escape. I need to click on the ranch action button, big canvas and click crop and resize. Make sure the little chain button is deactivated because we don't want to constrain the proportions. Let's double the wits and make it 18 inches and let's get it done appear on the upper right now. We'll click on the range button again when we want to add, something will click on the plus button selected photo, which will bring up my photo albums. And here's my reference photo. I'm going to select it now. It's inserted under my sketch, and I can just scale in position with my move transform tool. And by the way, now you can see why I don't usually start with the photo like I showed you in method to reference for. That might not be exactly the size of my paper, which can lead to the composition being slightly off a couple of things to remember one insurgent photos and to procreate. The finally insert will go on to your current layer, the one highlighted in blue. If you want to move it to a different layer and I do, because it ended up on my drawing. Layer swipes three fingers down copy cut paste menu Will pop ups like cut and paste and how the photo is on its own layer. You can see right here we can rename it Let's say reference. And as I mentioned before, you can click on this layer in making reference layer because I don't want to accidentally draw on top of my reference photo. Also, remember that if you scaled your photo so that it's larger than your canvas in your get out of move transformed to their button, your photo will be trimmed. Unlike for Russia, appropriate trims everything outside your canvas. Once we have our A photo in the file, we can turn on guidelines that will help us to work with our reference. We will go to the rage button and in canvas section we will turn on drawing guide. Now 80 drawing guide below is activated and we can adjust our guides here on the bottom, and I usually adjusted so that one line goes through the center of the drawing horizontally and vertically, and then I will have maybe four squares. I don't want to have to meet him. I'm going to click done here on the upper right. And if I need more reference lines, I can always create a separate player and just draw them. Let's do that right now. I'm going to set my collar on red and I'm going to draw a line and the beauty of procreate is dead. If I draw a line and hold the pencil in one spot for a little bit, the line will straighten itself. And here you will see how I'm taking the position off her ears and I'm going through just my reference a little bit. 23 more. And I'm going to correct my sketch a little bit, too. And since we started talking about lines, let me digress for a second and talk about creating geometric shapes and procreate. If I drive, Sarko and I hold my pencil in place after a little bit Appropriate will say here on top, the lips created, and if I let go, you see the button appears here aided shape. So if I click that I can either leave it, work and turn it into a circle and then procreate will straighten it to be perfect circle. It's pretty cool, and I have those great points that are blue and I can edit it or I can switch over to move , transform, tool the air a button and added the size and irritation and location. If I draw something resembling a rectangle, I'm doing it kind of crooked on purpose. And I hold my pencil pro creates us quadrilateral created. And then I can click h a button again, and I have several options here. I can leave it the way this and just edited with the Blue Grips. I can switch it over to a square. I can switch it to Rick Tingle, and I can leave it as a party line. But you see, I still have all the editing options preserved, and let's try triangle the same. I hold my pencil in place. I click edit shape in Procreate gives me three options triangle quarter literal and pull the line, and I can edit it. And so that's how easy it is to create geometric shapes and procreate in your reference doesn't have to be for the reference you can import the paper sketch that you scanned for, took a photo off I have an example right here. I started this illustration on paper, and now I can bring it in to procreate and keep working on it. For if you prefer to just, you know, doodle your ideas in your sketchbook. Then you can scan those pages and break them and to procreate and develop them further. And I also wanted to show you an example of using reference as your inspiration, but not literally the subject of the artwork. So I have here photo off the model. But I wanted the final artwork to be more abstract. So instead of using tons of tracing paper, I used procreate and I treated. This photo is an inspiration for line and movement off the body. I lowered the passivity of the photo and I sketched on top of it. And then I developed a little further in color. And then I painted my artwork with acrylics on canvas. And here's the painting that I got as a result of this process. 6. Color Sketch: Now that the preliminary work is done, we can work in our color sketch. I'm going to turn off my guides layer, and I'm going to create a few more players for my colors. I like to break up. The colors catch into three layers. I usually create a separate layer for the background I'm gonna name BG. Then I won't need something form middle ground in. I need something for highlights. This division is not very strict. It just so I have little more flexibility in the process having your background on separately or actually simplifies the drawing process. And you will see in a minute why that is Now we'll select all three of those layers by pushing them to the right. And you see, I have this option pop up in the upper right. It says group, I'm going to click that and I have a new group created, which I will rename the same way I renamed laters, and call it a color sketch just to help me to stay organized. And you will see that creating a group still gives me the flexibility off having separate layers for my work. But I can rearrange them and turn them on and off all together as a group. So it's just easier to work with multiple layers when they're grouped in some logical way. And now I can actually return off my concept sketch. So it's not in my way and on the tonal skitch that layer. I'm going to turn that pass it down so I'm going to click on the little in next to the later name and you see a passages lighter. I'm gonna turn it about 30 35% and I'm going to go back and make my mid ground later with the current layer again. Now, let's great our callup out. I'm going to click on my colors button in the upper right, and I'm going to select the bottom option that says pallets betrayed something. You can procreate. We always use the plus end, and new palette gets created. It's automatically said on default, but if I click on its name, I can rename it. I'm going to name mind. This folks kept and creating a palette does not strictly necessary to paint the colors cage , but it always helps us as an artist receive them on the color wheel like you will when a click right here on my classic palette view on the bottom. It helps us to see them all together and make sure they were with each other. Your default, Pala Pala appears here on the bottom, and all I need to do is click on it and the calls. Watches get added to the palate, and to pick the color from your reference photo, you press and hold your finger, and you position that color picker wherever you want the color to be from. And that color gets elected on the color wheel, and another option would be to use the middle button between those sliders on the left. But using gestures is obviously somewhat faster can help going it in colors. I try to group them together more or less cat colors all together in the background, polluters and the blanket issues. Signal E and I need something for the flowers. Put them on the side here, and seeing the colors on the color wheel actually helps me to see not just there, Hugh, but also their situation, because when I look at the photo, it's just too much information. But looking at each color separately housemate to analyze it. And I say that the darkest colors off the cat a very saturated, kind of muddy tone. I usually don't like to use earth colors in my paintings, so I'm gonna edit them slightly and make them more purple. So here we go. And to delete the color swatch that I don't need a just press my pencil and hold it for a second and little menu pops up. That gives me the option to delete that color or to set it is current and then to move them around, just need to press and drag them. Now all color palette is ready. We can start painting. I'm going to start by just feeling some shapes with base color. I'm going to use hard airbrush for that. It gives us a solid tone, unlike a lot of other tools that I'm not textured but also more transparent in Is this also checked that I'm on the correct layer and once I started painting, I usually have to just tool size a little bit, some sitting in the shape of the cat, and then I'm gonna do that blanket should sit knowns, and I'm gonna do some leave shapes to just have our design figured out, and we can lay down some color for the table. And again, I'm still working on the middle ground later. And let's paint some general tone for the flowers. And I don't quite like the fact that all the pinks are up on top and in the center. The cat's ears and the flowers kind of form this pink triangle, So I want to balance it on the bottom. So I think I'm gonna paint a few kind of like fallen paddles on the table. So my color sketch also helps me to make this decisions to improve my composition and design off the painting. And I don't have to worry about it at the stage. When I already started working with Real paid now I want put down some tone for the window . I'm gonna switch to my BG later, the background and the player is behind my middle ground layer. So don't have toe war about painting around the shapes that already painted. I can just very quickly put that color down, and it's very easy for me to change it or to add some details. It if I need it, and I don't even have to worry for overlap. The reference photo. It's very easy to clean up its So act our eraser and just trim it a little bit. And I want to show the texture on the windowpanes. I'm gonna picks likely darker color first, and I'm going to pick a different brush share in Industrial Brushes section. We have something called rested Decay, which sounds awful, but it gives you a really nice texture, and I need a lighter color as well. So I'm just gonna press my finger on the reference photo where I want to get the color from and the color picker piers and I have this almost white color, and let's put down some of that as well. And now I can work on some details. I'm gonna pick a different brush again, something with more paper shape and little less opaque than airbrush. Let's see what we have here. Maybe I'll do in artistic brushes, opaque rest, rogue wash. Think that will be good And of course, I accidentally started painting on my background layers and you can see it because it's under the middle ground layer that miss which over the middle ground. And I'm gonna put down a few light sections here on the table and that should I'm going to go back to the background layer now and draw the window frame. No. And some pressures are good for detail work, and some brushes are better for just feeling in shapes. I'm going to go back to my airbrush union and maybe medium in a brush, this time to have a little softer ages. And I'm gonna do the background behind the flowers and the leaves and let's work on the cat . Give it some shape. I'm going to go back to my artistic section and opaque breastroke wash. And when I just started using procreate, I thought the brushes and it going to be exactly what you would expect in real life. But very quickly, I realized there's a just names, you know, and it's Sometimes it's hard to tell what the brush is going to look like when actually start painting with it. So all you can do is try every brush and select the ones you like that work for your style and for your purposes, and then just try to remember them and use them again in Europe artwork so that basically there is no rule which brush. You should use its up to use an artist too. Pick what works for you and people who work and procreate a lot. They start to modify the brushes that procreate provides or they create their own, which is not very hard to do so. The possibilities to customize your tools are endless. But I never really concentrated on that because this is just preliminary work for me. I paint with riel paints and brushes. So what procreate provides is quite sufficient for my purposes. And I want to do some darker sections on the blanket. And actually, this color is going to be good for the shadow portions off the stems on the plans. If I lighten the main town off the blanket and the leaves, that can actually do some lighter portions off the leaves, this gonna work very well you say are drawing. You're starting to take shape. I think this plant on the window in your delirium adapts behind it. And now let's switch to our highlights layer and work on some lighter portions on the cat. The reason I have that separately, or it's very easy to overdo that stuff, and I always like to have it separate, if possible. So if I need Teoh, delete things or change their shade of color, I can do that very easily without ruining off the work that I already did. Everything that goes underneath those highlights will stay in place. If I make adjustments, I'm going to paint those lighter being patches on the way. I'm going to grab this dark red and add a few details to the flowers, and I just love how you can see her nose through the flower petal and then procreate. It's really easy to show this, because the flower paddle is literally on top of her nose, their own separate layers, just a few finishing touches. Now I'm looking at my sketches. A whole I'm adjusting the highlights. I think it needs a little more off those picking colors directly from reference at this stage, and I'm just trying to balance everything and make it look good. All together and color sketches done. We're ready to move on to the next stage. Now we're going to do there important step. We're going to duplicate our colors Cage group. And now in this new group, I'm going to catch the name again and select, flattened. And now everything is on one layer and I'm going to go to my filters, appear on the left, and I'm going to select Hugh Situation and Brightness and the sliders on the bottom guy. I'm going to turn saturation all the way to the left, so saturation is turned all the way down. And first thing we see, let me pull out my initial tunnels. Kage E C. Now that the cat and the whole foreground used to be a lot darker than originally thought when I looked at the reference photo and tried to do the tonal drawing. And another thing we're going to see, we are going to turn down saturation on the reference photo as well. So let's do that way down. And now you see that my coast catch is actually pretty accurate, which, of course, it would be, since I took the colors for the most part from the reference photo. So by preparing a color sketch, I didn't just analyze the colors, which is very useful in itself. But I also have a much clearer understanding off all the tonal relationship in my painting , which will be very helpful to me when I start working with riel. Paint and brushes if you like to premix color before you start working. I know oil painters sometimes like to do that. Have the palate rated. You can prepare a little cheat sheet for yourself from the side of your color sketch and isolate all the colors that you're going to use. So I'm going to make my cameras a little larger. I'm going to the range button and select crop and resize and make a white field here on the side way. And then I'm going to move my reference photo to the side just a bit by selecting the move transformed tool and making sure that I'm on the right layer and then maybe I'll pick my background later where you can create a new one doesn't really matter, and then I'm gonna go into my colors and to my palettes and my painting palette that I create. Is it on top here? I'm gonna picket color, and I think I'm going to use the airbrush just going to make little blobs of color here on the side, so they're isolated and they're easier for me to see and match with real paint. And I'm gonna do my greens as well the round table color. I don't think I need all the greys that can figure that out. But I think flower colors will be useful to have separately from them on the bottom here. And I think I'll do a couple more just this very light green that I got directly from the reference photo and maybe this very dark green. And here is my color palette isolated from the painting. 7. Export your Sketches: No. I think it will be a good idea to export our final sketch out off procreate so we can print it or put it in some cloud storage so it will be accessible from other devices. Or maybe you want to look at it on a bigger screen on your computer. It's very easy to do. We're going toe touch the range button up here on the left and select share. And here you see all the formats that procreate as available. You can keep it as appropriate file if you want to maybe send it to somebody who uses procreate as well. There is sort of shock format which will actually preserve your layers, which is really cool. There s pdf JPEG, PNG and tiff in some new formats that procreate recently added include some animated files , which are always fun to do. If you have the patience to do the prep work, I'm going to select J Pen. But first, let me remind you, if you want to crop out your reference photo, all its say save separately this cage in the reference photo, you can go to canvas first and select the first option crop and re size, and here you can either crop whatever you need or you can even expand your canvas like I'm going to do. I'm going to make it twice as large, and I'll show you in the second why I want to do this. I'm going to click done, and now I'm going. Teoh goto my layers and I want to take my concept sketch in my initial Tom sketch and dragged them out of business. Select the move transformed toe, and I'm going to drag them appear so I could see all my work that I've done on this sketch going to sell a tonal and put it up here. One change the past back 200% and this way you see all the steps that I went through to prepare of to paint my subject with rail brushes and paint. And keep in mind if you want to keep the reference squares the reference grid on one of the sketches, it's not going to export, so you will need to create a separate player and actually draw that grid on one of your sketches. So when you export, you will see the great, and that will help you to transfer the drawing on the larger format. So this is done and I'm going to click the range button on and go to share and export. The J Peg message appears export successful and we're ready to paint. Oh! 8. Painting Demo: not that all the preliminary work is done. I'm going to paint my cat with acrylics on illustration board. I have all my reference sketches handed, and I'm going to refer to them as I work, and I like to recycle my paper administration board. So the painting that I had there before I covered up with some neutral gray acrylic, which actually helps and gives me a nice neutral background to work on out finding the cat , my main subject. And I'm looking at my referenced grid on my tonal skitch to get the position of the cat and proportions, right? I did not transfer the grade until the illustration board because I have a little more experience. I can kind of mentally see where the center lines are, and if you prefer, you can transfer the grid with pencil and a ruler onto your painting and abusing you light mix off offer with some white. I don't like using dark products for the initial drawing because acrylics a pretty transparent and their collars, might be extremely hard to cover up later. Another option would be to your charcoal, but I just prefer to draw with the brush and some paint instead of hard materials, and I'm gonna lay down the overall tone off the camp. I'm looking at my colors cage that they created and procreate. I'm correcting the reference photo color, which is more great to more purple, which is my artistic preference, - and I'm mentally down some overall tone for the flowers, the lightest thing. And again I'm referencing my color sketch. The mix, the right color and every level acrylics find them very easy to work with. I love the consistency, how easy it is to make corrections, and how is it is toe layer them kind of use them as oil paint. I don't really use mediums. I do sometimes add a little bit of Joe medium just to slow down the drying time. But I pretty much used them straight out of the tubes, and they worked is fine. No, I'm moving on to darker tones. You can see that my painting starts to resemble more and more my initial tonal sketch. I'm laying down the foundation for all the colors and textures that I will be aiding at the later stages, - and I'm just going to throw a few highlights here and There are those picks on the cat and that sunshine on the table, and it will give him a pretty good idea about the light to dark range in my painting. And I'm working on my greens and you can see that I'm not using the color. That's in the reference photo, which is more saturated green. I'm sticking with my color sketch. I made all those artistic decisions already. I'm going to use more or live tone for the full age because it will go better with overall colors. Came off my painting, and I'm also working in about the same order I was working on the iPad and procreate Ideal a middle Don't first, and then I do darks and then apply. Highlights last, - and the blanket under the cat is going to have the same greens ties the painting nicely together, so I'm using approximately the same mixture of colors is you can see I'm even going back Canadian, some off the same color highlights that I have on the blanket that paid in them to the plant by the window. - Okay , now I'm going to work on the window. Unfortunately, unlike procreate in real life, we don't have layers, so we'll have to work around the cat. And also, unlike procreate, I don't have a brush presets. So it's up to me to control the moisture and paint consistency on the brush. And in this case I'm using a little bit dry brush because I want to have a little bit of texture on that window that's covered with some frosty designs behind the cat. - And after I mixed in a little bit more white, I'm gonna do highlights on the window frame, and my highlights on the plant and the blanket are starting to dry and acrylics darken as they dry. So I feel I need to bring now those highlights a little more, so I'm gonna lighten them with my current mixture. And now, overall work on the painting is done. I'm going to move on to some details. Picked up a smaller brush I made in some brighter pinks and some darker pinks toe indicate the shadows on the pedals, and it can forget to paint my fallen paddles on the table. They got covered up by my people tone a little bit, but I'm going to bring them out again. I think that create nice balance on the painting and also the leaves, and the stamps can use a few more details with a fine brush. Enough of the fun part. I'm going to work on the details on the cat to make it mostly dimensional. I'm going to darken all her wrinkles, and I'm going to work on her face with a fine brush. And also I can see that I need to bring in some more highlights and give them a little more definition. Some going to be working on this for a few minutes. Painting this part of cat like that is not that easy. She doesn't have for, but she has all those wrinkles and spots on her. So I have a little bit of trouble getting her face and her expression just right. And that's the main focus of my paintings so covered up what I did. I'm going to rework the whole thing one more time to get the I in the right spot and to have the grumpy expression on her mouth so it will take a few layers off pain to get that all right and extra correctly and you can see in the video. I have to lean in closer to see what I'm doing, because I have a little bit of a Glater going from what paint. But it really want to get into. All those details on her face feels That's my main focus of my painting. Maybe shed of areas need a little darkening to bring out the plant on the window sill a little more. But just add a few small brush strokes here and there, And I also did a small adjustment. After I turned the camera off, I took my spines and applied a little bit off warm orange texture all over the cat. And let's see what it looks like in the final result. 9. Class Project: with class Project prepared Collis Kage from your favorite preference and mental drive with your favorite materials. Export this cage and take a photo over the physical artwork. Post them both in the class Project section. I'm looking forward to seeing your please liver if you it helps other students to find this class. Let's connect on social media, a regularly post new art and projects on Facebook, instagram, Twitter and Pinterest. And don't forget to subscribe to turn Europe Studios YouTube channel. They see free demos and tutorials on watercolour, acrylics, mixed media and wide variety of other subjects. Thank you, and let's move on to the next video. 10. Organize Your Sketches: another useful thing. I wanted to show you real quick. It's right here in the gallery of you. You will see all the sketches that you have that you have already created. And the more you work and procreate, the more you will have. And the harder it will be to find what you need when you need to look something up, maybe searching for new ideas, deciding what to paint on a certain day. So what I would recommend is right here. I have all my sketches relating to this cat painting. So what I'm going to do is click Select on the upper right, And that way I can select them all. And then I'm going to click staff the first item on the right in procreate kind of piles of altogether and the little group. I'm gonna close this. And if I open the first of all, I can rename this staff. If I click on the name, I can type in a new name, I'm gonna call it, um, cat sniffing flowers and click done. And if I open this bag, I will see all my sketches lined up here on the separate screen, which is very convenient. I can see all my development sketches. And maybe if I have several color options, I will also see them all lined up here. And that gives me nice overview. And I can decide with which one. I will proceed for the actual painting and similar to how we work with layers. If you If you push a sketch to the left, you will see several options to share it, to duplicate or to delete it. And also here on the operative who click select. And so, like certain sketches, we can apply the same actions, but those several sketches at the same time. And if something got in a stag by mistake, what we do is which is, um, grab it and would drag it up here where the arrow is and we just drop it, and that schedule will be visible on the main screen and inside the step. If you want to rearrange your sketches, it's also very convenient. I'll show you on this example that created all the sketches for in Tilburg, But some of them I drew a little in advance and then when I was ready to pose them, I move them around to have them in order of the days. So I hope you stay organized and use tax. I think stacks are very useful, and they're kind of like a digital sketchbook that you can flip through and see all your work and all your ideas before you start painting something. If you remember at the beginning of this glass, I asked you to make sure and have the time lapse recording turned on in options. So if we click on the range button and go to video and the top option is time lapse replay . So now, after we have done all this work on our sketch, we can either watch our time lapse video. We will see everything that we did in this file. Oh, we can select the option on the bottom. Export time lapse video and procreate has to suggestions. You can either export full length or just 30 seconds, which is usually good length for posting on social media. I usually export the full length filed because I can always chop it up and edited. Or maybe you will even want to oppose the whole thing on YouTube. If you didn't miss up anywhere and again procreate gives you an option to either save to your iPad or to whatever remote storage and APS you have connected to appropriate. And here's another portion of the family apps video that I exported from this file. In any case, whatever you decide to do, it's a good tool to process your work and see your creative process and make some decisions . Maybe you would want to do something different next time, or maybe you will discover something useful and you would want to remember it and do the same thing in your next artwork that you will create. 11. Bonus Demonstration Video 1: in this video, I will demonstrate the whole process of working on the new painting, starting with the digital sketching. I'm going toe open, procreate, and I'm going to import my reference photo into a new file. So from gala review, I'm going to select, import and find my photo. And here it is. I'm going to paint this winter scene, and I didn't start with Satan of the canvas size because I checked the size of this photo. And the lengths to high proportion is about 1 to 1.5, which is the same as my watercolor papers. So I can just start with a photo in Composition will be fine. Next thing I need to do is increase the canvas height and make it twice as high. So I have room toe work on the concepts cage. I'm going to create a new layer for my sketch and I want make sure I have self pastel selected in sketching sections of my brushes, and I have a black set is my color, and I'm going to really quickly sketch out the main subject off this landscape. Some buildings with a church in the medal in some people enjoying slating in the city. So now moving transform tool will help may adjust my composition of my subject where I needed to be, and there are quite a few people on that hill. So for my sketch, I'm going to select the ones I want and position them where I want them. Obviously, they didn't pose for the photo, but for the painting, it's up to me. Is the artist arrange them nicely, So composition makes sense. Anything, the concept sketches radiant. We can move on to our tonal skitch. I'm going to create a new layer and call atonal, and I'm going to continue working on my black and whites cage. If I squint by looking at my reference photo, I see that those trees and bushes in the background are one of the darkest objects and painting some going to apply something dark tone there, also on the some elements of the church, the roof and the steeple. There, some darks in those high rise buildings in those trees that are closer to me, a lighter than the ones in the back. So I'm going to use my eraser and take some tone out, and I'm gonna move to the middle ground. There is a little bit of tone there in the middle of the heel. And then, of course, this now is very textured and casts quite a bit of shadows closer to us. I just need to soften it a little bit with my eraser. When I paint, I will have to figure out how I'm going to show all this texture. And of course, all the figures on the whites now are going to be very dark and contrast ing. And I'm gonna position them where I want them to be. Not necessarily following the reference photo in every single one of them. But this to in the foreground of should have looked pretty good. So I'm gonna draw them and a few more Here, there one. We're here in the middle and some on the left side in some small ones in the distance. And I think that's a now people, let's chop the background a little more indicated those trees are actually transparent on the top. They have no leaves, anything that said for the tonal sketch. We can move on to color for my color study. I will create three additional layers, and I'm going to group them by pushing them to the right to select all of them. And then I'm going to say that group on upper right in Al Renee, my grip color. So I don't get confused, and I will rename each later so I can remember the day of for the background for midtown and for highlights. But before I start painting, I'm going to pick some colors from my reference and save them and then your palate. So on the bottom, right? I'm going to select pallets on, and I'm going to create new by clicking on the plus sign on. I'm going to start picking colors and and saving them on the ballot and roughly trying to keep the docks together and the lights together. And the idea of this painting color wise, is the contrast between white snow and dark figures with a few bright spots. Those snow tubes that they're sliding on a very bright they're red and yellow and the kind of turquoise color, and some of the people have very bright clothing. So ah, one to keep this contrast, and to achieve that, I need to analyze the colors how bright and how dark I need to go to achieve this contrast . My call a sketch will also help me Teoh position those bright colors because I want them balance all throughout my drawing and know Just be concentrated and let's say one spot. And even though we think off snow is white, actually, when I start became its colors, I see that it has a lot of greys blues and purples. And let's not forget this guy. Get some of those Kabul blues appear, and I think it's quite enough. And let's start painting. I selected what? Acrylic in the artistic section of the brush library. Gonna pick one of these colors and start working on this guy. This'll precious, quite transparent, and it leaves some picture on my canvas, but it's no big deal. I'm going toe, apply several colors, and then I'm just going to blend them with this much, too. And I'm aiding a gray shadow to the snow, whether it's a dip in the hell and there is a natural shadow still using the same brush what acrylic and is a mission in the class, it's really important to care. Still, the brushes that procreate offers so you can find the ones that you like and that you're comfortable working with. I'm going to paint this in real life with colors. But acrylic brushes usually work for me when I don't call a sketch inappropriate, - and I'm adding a bit more dark tone to those trees in the background and a bit mixed up with my layers. Let me fix that. I'm going to select the sky in the trees and swiping three fingers down, and so that cut and paste am now end up spot, not interfering with my thinking here. Yeah, and I'm going to switch to my middle ground layer and I'm going to work on the church that's visible between the trees in the distance. I'm not drying too many details. It just want a general impression of the color. And I'm going to sketch in those high rise apartment buildings in the distance and had a few dark details real quick. Already, Havel, the coolest selected it just need to throw them on my cameras. And as I mentioned, the trees that are closer to us, a lighter than the background behind them, color that have saved. I'm going to use indicate those, and there will be some shadows. Um, often times, which lets layer think I need a few clouds in the sky. It's a little to monochromatic. It's usually decision I make independent of the reference photo. Okay, now we can work on the foreground on the human papers. I need to distribute those colors that has saved. I think I'm going to change the mop a little bit, not following the reference. Exactly. Um, people tend to wear a lot of black and winter, and I really want a painting to the colorful, especially in the foreground. So I think I'm going to adjust those dark tone towards more Brown's purples greens, and I'm gonna throw in. So being so oranges and reds here and there, those no tires really make this painting. They bring in a lot of color and fitting monochromatic winter landscape, something to make them as bright as possible. - Okay , thank you. Get their deal. It's speeded up and move forward. Okay. Now I'm going to duplicate my whole Kollias group by pushing it to the left and selecting defecate. And on the copy that I have, I'm going to merge older later. So the whole color sketches all on one layer, every named it color skin. And I'm going to click on the adjustments on the magic wand and select your situation and brightness, and I'm going to turn the situation all the way. The also, I get a monochromatic sketch. Here it is, and I immediately see that I went way too dark on the foreground and all those shadows on this now. So I need to keep in mind not to go too heavy handed here, so it doesn't look like rocks, but looks like snow in sunlight. Now I can export my sketches. I can first crop out the reference photo I don't needed. I haven't separately in my files, so I'm going toe click on the range buttons like Canada's crop in resize and just crop out my sketch and save the J peg portion of it. And then I'm gonna go back to my layers and turn off the black and white version off the Coast Kage, which now is going to serve as my tonal drawing. And I'm also going to export my colors cage. So I know where all those colors are going, especially for people that I changed quite a bit compared to the reference for them 12. Bonus Demonstration Video 2: now that I have my composition, tonal values and color figured out, I'm going to paint this scene with watercolor on paper, since it's a pretty large and complex composition, I projected my digital sketch into a piece of watercolor paper and marked slightly the general outline. And then I added all the details by hand by just referring to my drawing. And another thing I did. I applied masked all the white areas that I see on my colors cage. I'll let the mask dry, and now I'm ready to pay a spray. My paper. Before I started with a fine mist off Clearwater and I picked up the excess off water with a roll of paper towels. Now that my paper is likely, damn, I can apply my washes for this guy in the snow. And as you see, I'm using a bridge is situated. Wash for this guy, and I'm picking up some of it with my brush and that will create the clouds. And for the snow. I'm using the light of wash and I'm varying color between purples, ultra marine blue and public. - And while my papers still with, I'm going to keep on some shadows on snow, so I get some dimensional impression, and then you shall wash his regular going to let it drive. Now that the wash is dry, I'm going to take off all the masking that I applied using special silicone tool that came with the bottle of my mask it. Now I'm going to work on the background and all the buildings and trees from waiting those areas one small section at a time and then using a small fresh to apply the darker details . And that's kind of slow, tedious work. So I sped up video quite a bit, so we don't spend so much time watching. I want my brush strokes to be pretty soft because all those elements are in the distance. I don't want them to have a name hard edges, and I'm also using a bit of splattering for the trees to indicate their naked branches. Whether if you remain in dry leaves in those three trees that are closer to us, turned out a bit too dark. So I'm gonna fix that with a little bit of white. I'm going toe light in some areas between the branches because it goes on wet paper. It gives me nice effect, kind of like snow covered branches. And I'm also going to lighten the trunks because they're lighter against the darker background, and I made them just a little too dark and again the paint is still wet. When I applied by to it, it blends together, and I get a nice, soft effect that I'm going for, and I'm going to work on the church as well. There is no secret to it. You just have to paint all the details with your small brush, my paper, the stages them. But it's not wet because I want the pain to stay in place more or less. And if I need to, I can soften my rest strokes with a brush with clean water or just by lightly spraying it from my spray bottle. - I'm gonna work from the buildings on the right hand side. I want to show some details, but not too many. I went the paper again, so I don't getting sharp ages. And while meeting geometric subjects are structure, it's very important to that happen. Look that you're painting from a distance to make sure your geometries actually forever, because when way get carried away. It's very easy to get some lines, CrossFit. But everything needs to be vertical and horizontal and go into perspective. And now that my first washes down, I can dark in some areas those bushes in the back of one of the darkest areas on my painting. So I'm going to add a little more pigment in some spots, and he put some shadows as well. - That whole darker scene is behind a white fans, which was covered with masking when I started painting. But now the masking is off. Some careful to preserve my whites. But defense is going to have some detail as well that I'm going to apply with light awash. No, it's them to work on the human figures in the middle ground and foreground of my painting. I'm applying some bright colors to snow tires. I'm doing the mullet once because I want them properly distributed in my painting, according to my initial idea that I developed during digital sketch in stage, so I'm going to throw them all in there. Then I'm going to draw the human figures, and when I'm working on this paper is dry. That allows me to have some hard ages. And if I don't need a hard edge, I can always use a brush with some clean water and some from the ages that need to be soft . And the important thing that the stage is to keep those figures pretty abstract. Well, looking at this whole composition from far away, each individual figure is not the main focus of this painting. So they all need to have the same level of detail. And also they all need to have the appropriate tonal value, the work with each other, and also to work with the overall composition of the pain. And that's why I will be referring to my tunnels cage quite a bit. What? I'm working on this because I don't want some light and bright colors here, but they need to be situated enough so they will not be too light and disappear into the background. Okay, - Figure will have a little cast shadow. Important thing here is to give them all in the same direction. So the painting looks realistic. - You get now that all the figures Aaron, I see that I need to deepen some shadows in the background here. That's what I'm going to Dio and I also see that the foreground needs to be looked textured because it's close to us. The older shadows will be more pronounced. That will be Darfur. So I'm gonna do some splattering because I don't want a new systematic brushstrokes, some protecting the rest of my painting with a sheet of paper. And I'm gonna splatter somewhat pain using a big brush with plain till water and paint on it. Another. All the elements of the painting Robert Place. I need to decide if it's finished or not. That's the big question. Every artist has the face. So what I'm going to do, I'm going to take a photo off 18 with my cell phone camera, and I'm going to upload the painting to procreate the same way uploaded in my initial photo reference. And seeing it on the smaller screen kind of distances me from the painting and helps me to evaluate the result. So here is this. I'm going to profit, and I'm also going to click on my magic wand, appear on the upper left toe, open the adjustments menu, and I'm going to select curves, and I'm gonna pull the top of the curve to the left, just a bit to increase the exposure. I could have done it in my photos up on my cell phone, but I'm already in procreate. Soldiers do it here, and I think what this painting needs is a little more texture, a little more white. Several brushes that can use that have nice texture in spray pains. There is a threshold flicks. I'm gonna try this and also in elements. There is unabridged, full driven snow. So I'm going to try both of those in different brush sizes. And I'm doing this on a couple separate layers that I created because I don't want to mess up the painting itself. And I want to have the ability to turn those layers on and off and see the effect if I have more texture, unless texture, how it's gonna look like have the flexibility that layers allow me, and I think quite a bit of this additional white texture looks pretty good. Here is the final result that I got in procreate. Now I just need to replicate it in real life. I made a mixture water with some white paint that came with my watercolor set, and I'm using a toothbrush to spray it on paper. And I'm protecting some areas of my painting that I don't want to spray with the sheet of paper. And now that I've been away from my painting for a little bit, I can see that some snow areas are a bit too dark. So I'm going toe, pick up some more of this white paint and highlight and self in some things with the brushes. Well, and I can also make a few small corrections to my figures, who is some white paint as well. And I think I'm done. I'm going to sign my work and let's look at the final result.