Soft portraits with Procreate | Cécile Yadro | Skillshare

Soft portraits with Procreate

Cécile Yadro, Digital & Traditional Artist

Soft portraits with Procreate

Cécile Yadro, Digital & Traditional Artist

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15 Lessons (1h 41m)
    • 1. Introduction

      1:07
    • 2. Your project

      2:02
    • 3. Selecting a photo

      3:38
    • 4. Setup the canvas

      6:45
    • 5. Drawing

      10:56
    • 6. Fixing line art

      5:16
    • 7. Filling shapes part 1

      12:06
    • 8. Filling shapes part 2

      8:34
    • 9. Fixing values

      4:34
    • 10. Color palette

      9:03
    • 11. Filling colors

      5:06
    • 12. Realistic colors

      8:25
    • 13. Coloring line art

      5:52
    • 14. Blurring edges

      10:58
    • 15. Playing with colors

      6:33
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348

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17

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About This Class

In this class, I will teach you how to make a soft portrait with Procreate.

What is a soft portrait? It's a portrait made with flat shapes, where we will smudge the edges to get a soft look.

This is a follow up to my class 'Flat illustrations 5 styles' where I was focusing on full body characters. Here we will focus on portraits, but it can be used fo any subject.

I have gathered for you more than 100 copyright free reference photos here, where you can pick one, or follow along with the one I use in class, or use a personal photo.

I'll show you how to simplify and trace the shapes over the photo

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Then we will find the values and fill the shapes

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Then we will discuss color palette, with different ways to find the colors you want

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We will then work on the line art to integrate it with the shapes

Finally we will smudge the edges, paying attention to lost and find lines

At the end you can play with the new features in Procreate 5 to have different effects. 

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You will find in the resource section:

- the reference photo by Denis Agati

- the tweaked brush I use

- the black and white palette

Meet Your Teacher

Teacher Profile Image

Cécile Yadro

Digital & Traditional Artist

Teacher

 

Bonjour and welcome to my Skillshare page !

I’m so happy you found me! I’m a French artist, both digital and traditional. I love drawing and painting portraits, landscapes, still life... art is an endless journey, I hope to help you with my beginners friendly classes.

You may want to subscribe to my newsletter: art tips, upcoming classes, polls and more!

If you are a gouache painter or willing to be, join us in our Facebook group 'Gouache Painters' for more fun!

I post a class per month, more or less:

- Procreate classes

- Gouache classes

- Sketchbook classes 

I would love to see you in class!

 

See full profile

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Transcripts

1. Introduction: Hello, welcome to my new class. This class is about making self-portraits with procreate 5X. This is a technique that is really simple and perfect for beginners. So if you don't know how to draw, this is a perfect class for you. I will guide you through the process from selecting the photo. And I have gathered for you more than a 100 reference photo, how to trace a drawing and simplifying the shapes, how to select the correct values, how to work from these values to add color. So how to select a color palette that feeds you how to blur everything so you can have a very nice soft portraits. This class is meant for beginners, but if you are a more advanced user of procreate, I'm quite sure you can find some interesting themes inside. So I'm really happy to see you again. And I think it's time to go now. See you soon. 2. Your project: Your project will be to take a photo, whatever you like, and we will see you in the next video how to select good one. And from this for two, we will extract the drawing by tracing over the photo. And then we will find the correct values with a range of black and white gradients, so to speak. Then we will add colors and one color will replace one value. Then we will have the line are to merge into the different colors. And this is another time maybe you like the one with the line, 4x without the line, then we will smudge was very specific places to smudge. So we can have a soft portrait, so I call them. This is an example and then we will play with the different colors that we can have from this specific drawing or painting, whatever you call it. And besides, we will be doing in class. Here are some examples. So you can't see the possibilities with this specific technique. Whatever the photo you get at the beginning, you will have very soft portrait in the end, depending on how much you will smudge. Of course. This is another example with a range of Orangi, earthy tones. And you can also as well go was realistic colors and kind of mimic the reference photo. I could not resist painting her after watching the show. So here you are. What we are going to do. So please, once you have finished your project, don't forget to post it in the project and resource section so we can all see what you are doing with it. So let's jump in and let's go for the soft planting technique. 3. Selecting a photo: I want to give you some tips to sect. Good reference photo. I have gathered for you some copyright free portraits in a Pinterest board and you have the link in the resource section. This is only photos I found and selected on and splash and splashes, copyright free website. The only thing is you want to give credit to the photographer. So when you have a photo you like, you will tap on it, tap again and it will open the original photo in and splash. And here you've got the name of the photographer. So it's quite nice if you can tag him on Instagram, for example, if you post your art on Instagram. But anyway, you don't need to pay anything for using this follows. You can, of course, use your personal photo or some photo you found somewhere else, maybe Pinterest. But be aware that copyright can be really an issue. So really be careful with this and a good further, what is a good photo? So first thing is photo you like that speaks to you that really as something very special that you like. And once you have found the one you like, you have some technical issues. I would say like, we want to do something based on values. So it's interesting that we have some photos with good range US. And what I mean by this, for example, this one is a bit too dark and we don't have much light, so I'm afraid it will be quite messy. I'm a bit difficult to read this image. Same here. The face is kind of grayish tone vary in the shadow. And this might be a very good reference for two for another articulate, but not for this one. I would not advise you to use this one. I need really something with like here, a good range from very light to very dark, so we can have a good contrast. And contrast is what we're looking for and this particular technique. So you have more than a 100 photos here, and I'm quite sure you can find something that you like. And as we're going to trace, may be, it's an interesting way to use a kind of tricky for two, I mean the tricky angle or maybe hands in the middle and don't want to draw it. But as we are going to trace, maybe it's a good idea to use a difficult reference photo because we will simplify it and we will learn a lot during the process. So it's up to you to select whatever you want in this Pinterest board. I will be using the first one, which is a photo from Janice a gati. It's in black and white. This is not a problem because as we will be working with values, I will explain everything ends the next video. So I'll let you choose your photo or follow along with mine. And it's in the resource section so you can download it and work from it. 4. Setup the canvas: So let's say this is a photo I will be using. And I'm quite sure that I won't keep everything in the frame and want to reframe it. So let's go. Let's open procreate. And I want to make a canvas that is large enough to be printed, but not so large that I can have enough layers. Something about maybe 15 or 20 layers would be cool. So let's see that. Let's create a new layers. Inches. I don't know, maybe 15 by 20 makes some 15 layers. And you always want to be a 300 dpi because this is the minimum you need to print. I think 15 maybe. It's a bit too much. So I will may come. Yeah, 14 by 18, create. So here I am. I will insert the photo. And you can tap here on fit to screen. So it's, I'm getting as large, as tall as your Canvas and I want to enlarge it so I can reframe it. So for this, I will reduce the size of my canvas. Let's open this and see what I want to have in my painting. This is just a matter of taste if you likes this negative space here. So it can be interesting and more dimension. I don't like all the full body. I think it's too much. But really this is a matter of preference. And I will go this way. So I've left for you the complete image so you can crop it the way you want. And maybe there is not enough space on top of this. So like can-do reduces a bits. I will fill this. I can imagine it. Yeah, I think competition is good. So let's place a layer on top of this one and reduce a bit your capacity of the photos. So you tap on the end and you will lower about 60%. And we'll get a color that is very visible. So I won't use black because it would mix with my photo below. So maybe something like red, bright red. Bit orangey though. Okay, let's grab the brush. So let's go to brushes. Inking on you will get the technical pattern. This is a native brush and you want to duplicate it. It's adding a number one at the end of the name of the brush. And you have this little wave, so to speak that's showing you that it's not an age, even brush. So tap on it. And I want to go to this one, the first one, I don't want to have pointy edge. So I will push this all the way up. So I have a straight line. You'll see no point edge. Very cool. The streamline, let's place it's about 70%. So it makes nice curves. Okay, so if you don't want to do this, you don't feel comfortable doing yet. No problem. I have attached there tweaked brush in the resource section. So I will rename it. Lets call this technical traits. Brush, Good. So this technicals train brush with my red on my layer on top and let's rename its line art. Why not? Okay, and now want to enlarge the image so you can't see what I do. I have to find out some shadows. And as you can see, if I lower the opacity, maybe it's a bit more difficult to see. And I want to tweak this photo. So I'm going to the turtle layer, click on the magic wand. And there is something called curve's a new Select Layer. And here I want to play, me enlarges. I want to push a bit and you see if I push, I give more light. If I go down, I removed the byte. And here I can place another point, another node, and see if I increase this one and lower this one, my shadows are more visible. See that she's almost getting your beard. So let's reduce this may be a bit. This is really something very subtle, but it will help me. So let's reduce a bit about 70 now. So I'm going to show, be sure to see the shapes. Alright, so the game now is to simplify, but to see the shadows as well, and to see the different shapes of the face. So just jumpin And you see that. 5. Drawing: Let's begin with the eyes because, oh sorry, my layer is hidden. So considering the scale, you don't want to go too much in details. But there is something very important here is you need to have your shapes closed. You see here, my shape is really closed. And this is something I know I do at the beginning. And as long as I'm drawing, just getting a bit more, I don't know how to save that lazy maybe. So begin with what is obvious to you and try to make shapes which is the same value. So this is why I'm using black and white photos so you're not disturbed by the colors. Okay. Maybe there is one here. Obvious shapes like this one. But I'm quite sure this and that have the same value. You see? This is helping us to integrate the hair in the face. Maybe this has the same value to very well. And as well. I made a difference shape, but I'm quite sure this two are almost the same value. Just preparing my shapes to be filled After we should looking. Yeah. So you see the level of details and we will fix on little spots here and there at the end. Let's make really big shapes. Since a bit too detailed to maybe what is important here is there are two levels of shadows on the nose. Maybe terrorism, shadow here. I know it, it seems trends at this stage, but just trust the process rate of pixels seeing here. You see, but I don't mind. I won't keep the match anyway. This is just to trace. For the Now's, it's better if it's a bit symmetry call terrorists is big shape here. And you see I'm not tracing the outer edge of the mouth because this is the same value as a scheme around. So I'm leaving it as it is. What defines face as this part. Here or the cheeks. You really need to find the correct shadow line. And it's always going up to the mouse, to the corners of the mouse. And when you are drawing, tried to avoid this kind of a harsh line overlapping. So I wanted to line here, just here, and here it's completely merging with the neck. You cannot see the bottom of the chin. So I guess I have to make a kind of shape like this. Seems to be a bit too out of the shape. Yeah. So obvious shapes firsts will go to the tricky one. After tracing. Obvious one. And you see this line needs to be completed in a shape. And I'm joining, the color was a rounded shape. What's important also is a kind of reflection we have in the neck right here. And this will help define the Chin. This will be very subtle. Okay, I think is not bad. So for the hair will make the outer edge. The longer you can make your line was just one brushstrokes and the less connections you'll get. So you have to simplify the hare ready because you don't want to draw the individuals trend and try to define the big masses. Just the big values. There is a light here and here. And the light is coming from both sides. I need to show this. And trying to get my existing lines. You see this really sharp point, want to extend it. And here as well I want to connect this. So it's bit fluid. Extending this line, deciding the hair will be here. No. You have to be really brave with your lines like this. And the overall shape of the body. I'm simplifying the forwards and the short because it's almost same value everywhere. What's interesting is this negative space. Don't want to miss this one and get some light. Just a bit. And the shirt met some folds like this. You see, I have not followed the line tomb trying to fix this. I want my base drawing to be really accurate or as accurate as possible. When you look closely, you can really see details. You maybe did not see the first time. Okay. I'm not sure I need to make all those little prints here. She will be good. So that's it for the tracing. So let's fix our little mistakes in here. 6. Fixing line art: So once we are here, we have two maybe correct some lines. Be sure that everything is closed. You see, I have some ugly stuff here. So I'm trying to connect this and get a clean line. And this is the kind of details you need to take time to fix. So really enlarged alot. I don't want to have lines coming outside of the shape. And here it's really petrified, closed this way. And this is the default I have. I always have my beginning of lines of that are a bit harsh. And here you see, I'd rather have a line coming from here. Like don't press too hard. Like this, you see it's more fluid. So it can take some time depending on UC. This is not closed, so i will have trouble if I let it this way. This is really cool as well as here. Trying to fix or angles and details and overlapping aligns. Oops. Some times when you place your palm on the Canvas, it will take the white of the paper and the color groups. Okay, so let me do this. I'll speed up the process. So you see here it's better if I make a crease crass. Having one here and another one crossing. So it makes better connection between there saves ultimately to perfectionist either because anyway, it will be changed with the color or the shape around it. Most important thing is to make sure that every shape is closed. This is really crucial. It is really the kind of details. If you don't do it now, you'll be bothered later. So just believe me, it's better to do it now. I learned a bit too large. Maybe. We'll do it. Ok. Let say this is good for me. And let's move to the next stage, which is a filling the shapes. 7. Filling shapes part 1: So let's feel the shapes. I really my reference photo. So swipe up twice. The app was photo camera roll. And let's play this on the left because I'm right handed and reverse if you're left-handed. And I provided you Paulette was black and white. This is optional. You can make your own palette. Of course, there are seven levels from complete black to white. I have five levels of gray. Saint, seven levels is really the maximum you can handle. Maybe you will use less. I don't know. I'm sure wij is really for highlights. I will begin by the darkest one. So for this, I will place a layer below my line art and I will rename it dark seven. Because to seize the darkest one. And my line art, you will tap on it. And you will tap on reference. What does it do? It's just that all my line art is now the reference for my layers below to be filled. This is really magical. So I get my pure block. What is Black really? And this reference photo, I would say the eyes, nostrils, maybe the inside of the mouth. And maybe I could add an, a very dark part here. So let's go back here and make a new layer, or maybe I connected here. Let's see that if it's working or not. Ok, so go back to my dark seven kept the pure black. And now what I have decided, I will tap on the little circle here and move it until where I wanted to be filled. 2s, this is where it's important to have close your shapes and it's not closed somewhere. So why it's not closed? You go back to your line art, you get the red again and you try to fix. Whereas the opening, Well you don't try, you do it. And don't forget to go back to your dark layer. And maybe some of you have problems fitting the shape because when I feel ashamed, Look at the top, I hold it. You have a threshold here. If I lower it, go left, left, left. And I can really have different. Levels of feeling. And my feeling can maybe sometimes be so low. Said I don't feel everything in my shape. You see I'm not going to the point. So if you have this trouble, please move your threshold at the top. And I see here it's open. No matter how hard I tried to fix it, there is always the shape that is open. Nevermind. I set the inside of the mouse and I have to move up mice wrestled about 65%. If you go to for close to 100, you will feel everything. So you have to play with this. So this is pure black. And well, let's, let's move on and we will see later. And below this one, I will rename its dark. Six. Get the next one. And now it's a bit less dark, but still very dark. C will remain. So this one, it's very subtle, but later we will see the difference. Don't worry. I would say this part as well. So I know at the beginning it looks very strange because you feel like you have the red line. And you know, I see here, I could use a bit more line to go back to my art. And this dark part will help me really define my jaw line. And this one will define the shape of the face. Okay. Hi the photo. Go back to dogs is and you have the history here of your colors. So this is just the color I used before. So you can either tap here or go back here or press long and you get the color just before the one you, you, you are using currently. So I said maybe that would be interesting to have this dark one to define the shape. And a good tip to see the values is to look at the reference for two and to squint. And when you squint, you really have everything popping out. I would say this also might be this one or is it a bit lighter? I'm I'm try lighter. So now that I see that, how do you feel about writing directly here? Not sure I like it. Well, what I write and dark, but you can just place a number that will do the job as well. And I said this one, maybe this. And this one is here. S1 is here. So the more you build your layers, and the more you will switch between the different ones. Because you see here I see the little corners are really darker. So I go back to my number six. Count. Just be right in the middle because if you are on the line, you will make grey outline. So two fingers and remove it. And once you have made a decision about the values, it's easier for you because you see here I'm wondering if this part of the shadow of the mouth as the same as this one or this one. You see, is it five or is it six? So I'm looking at the reference photo screens. And I see that this is exactly the same value. So when you're lost, you just hide and see which one is good. What do we have next? Maybe this no, it's lighter. So you know that if you don't want to use your pencil to write down, you'll use your finger to rename and you'll have the keyboard, the usual one. I think it's really easier. And using the Panzer for this. So let's get this one here. Here. Finger terms, good. Use my pencil. Sorry. D2 is really very light. And this is going inside the eyes because it's never White. And I'm constantly switching between the layers. And as I said, if you're lost, you just hide the one urinate and you can grab the color right here. Maybe it's not dark enough. I will go on level four. Level for this one. The most difficult part is really to begin. Once you have began, he will help you with different layers. I see the corner of their eye. It seems really small details, but it's really interesting to have it. Okay. Let's see if the lips yeah, six code here. 8. Filling shapes part 2: And once you have made a decision about the values, it's easier for you because you see here I'm wondering if this part of the shadow of the mouth is the same as this one or this one? You see, is it five or is it six? So I'm looking at the reference photo screens. And I see that this is exactly the same value. So when you're lost, you just hide and see which one is good. What do we have next? Maybe this. Now it's lighter. So you know that if you don't want to use your pencil to write down, you'll use your finger to rename and you'll have the keyboard, the usual one. I think it's really easier and using the pencil for this. So let's get this one here. Here. Finger. Yeah. Sounds good. Use my pencil. Sorry. D2 is really very light. And this is going inside the eyes because it's never white. And I'm constantly switching between the layers. And as I said, if you're lost, you just hide the one urinate and you can grab the color right here. Maybe it's dark now, I will go on level four. Level for this one. The most difficult part is really to begin. Once you have began, he will help you with different layers. Um, I see a corner of the eye. It seems really small details, but it's really interesting to have it. Okay. Let's see if an ellipse says code here. Are you bothered by the red line? So let's get the lightest one, which will be here. And here. Maybe I can add some highlights on top of this. So what I can do is get back my layer here and this one, right? Right is go back to number two. But you'll see it's below my layers, so I have a problem. So what I can do is invert this should do the trick because I'm placing it on top. Not sure about this one. Maybe it's number six. So I'm a bit confused now because it has changed. Oil changes, grey colors. Change the grayscale to something more interesting. Let's place the neck. Not sure if this is dark enough. So undo this. I will go on level four, which I have barely used by the way. So Levels three will be for the small highlight in their neck or interesting. Yeah, it's beginning to be cool. And maybe it's number six. So it will be better if I get a pure black tourist here. And if I get the shirt in the Number six, okay? And for the small highlights here, let's try this with four. C. If it is not two. Contrasting. Maybe here I will go with five I think I made to the line. And this is dark. And this is a small lights. And I sink is its number four. Okay. So I think I have it. What's missing as lightest one and rename it dark one. Place it. At the end. We know that this is not pure white actually, because I want to be able to use it to tweak a bit the rest of it. I would like to have it here. Please sit on top. And maybe this can be lighter, whereas this one. Okay. So here we are, we are filled everything. Let's move to the next step. 9. Fixing values: So let's change the colors now because we have our values, it seems maybe we need to fix some things, I think is one, which is four, should be five actually for the neck. Because if I squint, neck is really merging with the hair and that's one needs to be a bit darker. So I'm trying to vary my levels. And as I have lowered the value of this one, my reflection here is a bit too light, and it's a number three. So I'll have to make it four. And for his here had better. Okay. Let's say it's correct way. And I have my layers are here. I don't need much photo anymore so I can delete it because if you remember count as information layers, I have 19 layers maximum. So I need to be very careful with the layers amusing. Line args. I need to go to all fellow OK, and we'll get them medium gray. And I will fill layer CO two. This is one way to make it. And you have really interesting drawing. And you'll see as I've used the same color here, the line is disappearing. And maybe you don't like it, so you can change the color to get layer where the line more visible. I think black would be too much. So you can just save this one. Interesting. And I will play with the colors, so I will keep it as a reference. It has no colors, but I need to get the same values for the things. Okay? So two ways to do it. If you want to keep your grayscale, and I will advise you to do so. You can go here, select and duplicate it. So you keep your master reference. You can work on another one. So it's cool. You're free to do whatever we want. And what I want to do is make alpha on every layer. Grades. I want to play with colors and alpha, this is the front part of it's really, maybe this is too dark. I'm really bothered by this black piece. So I will erase it. Gets a gray below. I think it's better. If you're not sure you just undo redo. I don't know. It's a bit too large, may be just a V-shape like this, just to figure out the color. Now. Okay, let's keep it. It helps to define the neck anyway. 10. Color palette: So color scenes, and you can go crazy with colors. You can really decide whatever you want. So let me give you some piece of advice. If you want find a color palette. You can go to Pinterest. You can type color palettes. And maybe you love a color or maybe you love blue or red or whatever. Or you just crawl around using all this is a beautiful colors. Maybe this one is cool as well. I don't know. You will need six or seven colors. So you've got six here for example, and here you have only five. So maybe it's better if you get something was already a six or seven colors. Mss is 246. And squint at the palliate when you look at it. And you can see that those two are very dark in. Maybe it can get some value with this. Okay, so download the image back to procreate and import the photo. The one here to screen, maybe it's a bit too much, but let's place it on top. And something interesting is you can select the Lasso Tool and you can get a rectangle. And I would just get some colors and swipe down three fingers and cut and paste. Right? So now I can let this Quasar, no, my problem is to get this in a range of value. Very interesting way to do it. So just duplicate this. Place it down. And this one you will go to magic wand hue saturation brightness layer. You will place down the saturation to 0. So you have the value of the color. This is very interesting and very convenient. And maybe it would be good if I placed my colors. Okay, so let's merge down. Select as a rectangle. Say this one is really the darkest. Uk with me. I say this one is a second. Ok. This one between the both side. Don't know really. I think this one, but I will have to tweak it a bit too. Dark unit, maybe. So this is very handy when you want to work with values. And this is a good way to understand colors. Crate. So I have this, I can reduce it and have it here. I think those two are a bit too close in value as well as those two. So let's maybe a torque is T one. Okay. So challenge your brush. Good air brush. Good hard airbrushed or is it yep. Here. And I won't black, dark gray. And I want to hide all my drawing below because it will begin to disturb my eyes. So what I can do with select everything, group it and hide it. Or I can have a layer on top, remove the reference from here. And now I will get a plain white. So double-tap around here, you'd get a plain white. This is not really white, I would say. Yeah, right? Okay, so I only Y2 work from. So this is what I want to have. This is what I have as a reference photo. And but this one will be good here. So I like very dark blue from here. So let's darken Ed's really, sorry. This is almost black, but not completely very dark and value anyway. This one is good here. I think maybe this green one needs to be lowered. So get green and you have the circle, maybe it's difficult for you on the circle, so you can go here and the value. And you don't want to touch the first one, which is you, so to speak, the color of it. And this is S like saturation, though. If you move this you will have a paler, was less color inside. And this one is the brightness. So might be a bit more, brightness, would be cool and let's place it next to it. I think it's better. So I place it on top of it to be sure on loadings are on one side is a bit too dark as well. So I selected go here, increase a bit the brightness. Maybe can go here on classic. Swipe on your left. I think it's better. A bit lighter. This one is way 2D or 3D. So I get this and swipe left. Maybe up a beach as well. Yeah. Much better. And just run really way too bright to dark. Because it's really the lightest one. Yeah. And now you can look if you like those colors, I think this blue is maybe a bit strange in here. Well, if I go a bit more here, it's subtle, but really I think it's better. K, so I have my palate now. So I can delete this one. To bike. 11. Filling colors: So basically, it's very fun. You go to dark seven and make sure we have the checkerboard on the background of everything, meaning that you have all fell OK. There is on and what does it do is just because you will fill only what is already painted, only the pixels that are present. So I go to dark seven, I select my color and I tap on fill layer. So it's episode arc that you don't see anything. That's okay. So go to six and make the same. And now it's beginning to be visible to this for every color. And sometimes your palate looks fine. But once it and don't, don't, don't forget, this is number one. Once you mix everything together, you will look at it and say, oh my gosh, this is ugly. It's quite fun to do. Right? So what I see as really the orange is a bit too hard. So let's hide this one. And now oranges, cool, but I'm not sure of it. So I am on the layer of the orange and I will go to the magic wand, hue saturation, brightness and get the full layer. And here I will be moving the slider and get a color that is maybe a bit more earthy or a bit brighter relates matter of taste. I can maybe lower bit to saturation and lower bit brightness. Okay, and same for this one. This one, this one needs to be tweaked a bit as well. So I'm lowering a bit to set the brightness and saturation. So it gets a Hersey toner. Because maybe the palate was fun, but I'd be on the portrait is not that turn. Skin tone is a bit strange. Bit lighter. Okay. And let's place a background. So below everything and make sure your line arch is not our reference anymore because I want to feel everything. And let's try with this one. So you can't go wrong if you're using one of the insight colors. Or you can play again with the EU slider and make sure you stay in the range or not. You see, this is causes color. And I see I forgot this part. So really you can play for hours, was the color of the background. It's a matter of taste if you want to keep in the range, if you wanna go crazy, if you wanna go neon, I don't know. And once you have your background, but say this one, I will go back to this one, this collar here because I'm still not really happy with it. I think that kind of range is cool. Okay, so let's say you're happy with this one. Maybe this is a bit too light. So let's remove it. Yeah, it's better. And forget to squint all the time. And this can be another way to do it. So export this image, Save Image Amalia to just have different levels of drawing and styles. 12. Realistic colors: I want to show you the same technique, but let's say you want to be more realistic was your colors. And this is my reference photos. This is annual tillage joy in the show queens gambit on Netflix. So I have made exactly the same. At the beginning. I have traced my shapes and I have all my seven layers was my different values, right? So if I show you this, number seven is mainly the background and the eyes. I think it's quite cool, but I want to separate my layers of values between the face and the hair. The sweeter, the background. So for example, seven, what N7, it background. Okay, so it can be one layer for the two parts of the background. And also it's very dark shadows in the hair. So I think maybe a dark black will be cool. And also it's inside of the eyes. So maybe if I live this in one single layer, it should be very cool. And number six, number six is the cast shadow of the hair, which is here. So it is very dark. And also it, eyelashes can be the same color. And also the shadow of the hair. And there, I want this to be different than this color. And for now it's on the same layer. So what I want you to do is separate it. Okay? So make sure you're on the layer you want to work from. Go to the Select tool. And here you will tap on automatic. And this is the one I want to take off this layer and make a new layer with it. I think maybe this too. So once you have selected, you will tap on the arrow and swipe down three fingers. Oops. Make sure this is three fingers outside of the shape. And you will cut and paste. So this, I will rename it here. Six because this is Level six of my value, but this is the hair, this is not the face. Okay, it's time to change after anyway. So five, same thing you see, I have this shadows. This one this one is a darker tone of the sweater, so I'm sure I have to take you off. So same thing. Select, swipe down, cut and paste, and rename this, which will be sweater. Five. Rights. Also here. This is in the skin and this is in the hair through Let's Move out hair. What is it? I have this. And if you make a mistake, you can still do with two fingers and rename this hair five. Right? So let me do this and I'll be back. It's now. And this is the hair actually I carried off from the background. And you have all the values coming until the phase. And what I want to show you is how to select the correct color. So for the calorie, you have two ways to do this. Either, well, I would say three ways. Either you will place your reference photo on the left here, and you will just try to mimic the correct color. So go from something. I don't know, maybe try by yourself and beware because when you have a little circle here of color, it looks fine. But once you sit in a large part, it really can be very strange. And don't forget that calories are related to each other. So maybe it looks strange now, but it really depends on what I put outside of it. So this is one way to do it. So you have to do this for each and every color. And this is very interesting to do this way because you will learn a lot about color. Another way to do it is you tap on pallets and you tap on plus new from photo and you select your photo you want, and here you are. And it's making you palette related to the original photo. But I always find that this is not even close to reality because if I look at the reference where two here, I don't have this grayish greenish, whatever you call it, sweater. I don't find it here. It's all black and white. And I don't find the very light tone in the skin. And this one is the lightest one. Really. It's a bit too dark for me. So third way to do it. You will place the reference which on top of everything. So it's not hidden behind the layers. And I will just select the correct one. And if you think that solver, it's not because this will be a bit too dark. So here is the color I picked. And you can go to classic and you will have to swipe left a bit. It's difficult to tell you how much. And then I can go back here and fill my layer. And I think this is a much closer color to the reference. Anyway, we show you somewhere else so I can decide which color I want. For example, let's say I want HER five. So this is one. And I'm going to the photo. And then we'll pick up at the place where it is. Don't forget to move a bit up and left and fill layer. And this should be better. Anyway, if you don't like it, you can still tweak it a bit like this. Or decreases the saturation, increase the brightness or wherever you can go forever. And the rest of it, you will just pick every color, fill every layer. And after that, we will work on the line art, but this will be in our next video. 13. Coloring line art: So line art, let's say you don't want to keep your line art. And I'm going on the line art layer. Make sure you are still on alpha log. And we'll get my brushes. Okay, just lower it a bit. Let's say I want to integrate the colors of the shape with the color of the line art. And for this, I will select the color I want and place my color on the line. You see that? So this is really cool. And sometimes you have the choice to use either the darker or the light. Let's get the lighter just because it's easier for me. So you have to do this once you're happy with your colors and you won't change them. Ok, so I'll do this and I'll be back. So here is an example. Those two shapes have the same color and if I am using be exact color and the shape my line was disappear. So I'm keeping the line was just a slightly darker color. So I'm sure my line is still visible because I need anyway to have a difference between the hair and the neck. So this is the exact moment where you need to make decision. And this is the same year for their reflection shape. If you are using the color of the shape for the line, you will enlarge their shape. But if I'm using the color other surroundings, I will decrease the size of the shapes. So this is exactly the moment where you need to make decision. Same here too. I want to reduce my shadow or to increase it. Good question. And you have the answer, I don't. So it really depends. Sometimes I increase, sometimes I decrease. And sometimes I choose which cholera amusing. Just because this is a cholera I have on my brush and I'm a bit lazy and I don't want to change. That's okay. And don't forget your line Rs is still here. It's just set. It has the same Colorado shape around it. Because if you remove it, you will have a white edge between the shapes, which is another style. Very much this line. Maybe I could change this color because it's exactly the same. So place a five on top. This color. And don't forget to places as reference again. And don't forget to remove alpha. Ok. No, not fitting. Okay, so let it be. Let's go back to my line arts and I will show you the final result. So half-filled everything with the correct color. I have left some lines here and there just to define the hair. And this is another side. Create, save the image. And let's work on another one. 14. Blurring edges: And let's work on another one. Place everything can group this and duplicate the group. Just because I want to keep my save if I want to make change. And inside here, that's merge everything. Okay, so I have a single layer with everything together. And now we will blur, smudge the edges. And to smudge. Let me show you the image again. And this image, some lines are very hard and some lines are very soft. This is very interesting to keep this. So for example, this line is really well-defined, very hard, but this line is really blurry. You see you, the hair is really merging in the shirt and as well around here, ever seen as a bit blurry, bits really integrating into each other. So it's important that we keep this. Unusually, the eyes are very well-defined. So we'll go to the smudge tool and you will go to the airbrushing on. You have new brushes in the last update, procreate 5X, and I will get the medium blend. This one is really nice. The capacity is about 70 percents and the size is really low, Something about four or five percents. And make sure you are on the correct layer and remove the alpha. Ok, very important. And let's begin by blurring this edge and you see what it does. So you will brush following the line. So don't brush this way. You see just this way. So all the colors are emerging. And when you see a line that is a bit more hard, you can either lower the opacity of the brushing and you get a softer brushing. Or let's go back to 70. Or you lower the size. So you're just blurring a little bit of it. And you see I can push the colors through each other. Suan pushing. The darkest one and the lightest ones. Though the way you are pushing your brush is really important as well. And as its hair, I can push it. Just to mimic this trends will keep the focus on the face. So let's lower this about, about 50. Maybe it's a bit too blurry now. And I have kept my line on purpose, so when I blur it, it's still visible but not that much. So let's push the Yellow inside. So I'm playing with my capacity just to have some variations. And don't forget to get the big picture. And as you are getting closer to the face, lower the best city. So you don't get too blurry. Just to soften the lines. It really gives another dimension. I think through everything. It tightens everything together. As always, it's just a matter of taste. What you like. And this is important that you remove the alpha or you won't be able to blur the edges because I'm pushing some pixels outside where I see I forgot. Alright, so that a color. So let's plays back AlphaGo, OK. And let's change this f2. And this edge will keep it very hard. Because it's important that the focus is on the face. Blurb bit the shadows. And we said don't too much on the outer edge here. Because it's supposed to be hard. Really this v is bothering me. I don't like it. So one blur it, bits. Push the blue inside of it. Just removing it soon and bother you anymore. That's a good way to get rid of the problem. Okay? This needs to be subtend. The light hand, really. This is really good in last in the face. And this edge to push from the inside of the shape. If needed, you can turn your canvas. If you push this way, you will integrate the white. Rarely focus on the reference for to look where you have lost edges. Like here under the eye. But this one is very defined so I don't touch it as well as the iris. Obviously. This one needs to be lost here as well. Okay? This one is certainly last. And you can really shape it by pushing the light one inside. Corroborates. What about this? So let's go back. So light hand, really important here. You don't want to lose everything near. I think she's good. Again, maybe reshape a bit. The nose. Same for the eyebrows. They're not very defined here. A bit lost. Yeah, I think she is very cool. And be a bit too dark here. So I'm just pushing some blue in it because it looks strange to mean season others ties. So you can save this one. 15. Playing with colors: And we can play a lot from now because Pb it's better or to replicate it. So I have this one and it's a single layer except for the backgrounds who Let's place this background here and merge it. And duplicate. I will work on this one. I will go on hue saturation, brightness and I can move everything because I have tightened my values. Everything is correct. And maybe I think, oh, I don't like this color range anymore. So here you are. It can go and it will still work because everything has the correct value. So I'm just changing for you, not the value of everything. I don't know if that makes sense. But really you can go very dramatic. I like this color scheme. It's really interesting. So I really just want to have a nice time. I'd like to move everything here. And oh, I love this one. Let's make this one and duplicate again and play again. I found a color around here. Since the same. I'm not fond of green. But anyway, you can still move the saturation, lower it and look, everything is just cooling down and it's easier to have fun with it. Great. Let's make this one duplicated. Again. M, I'm another one. You see this is very hard. Can go neon, which carry they go crazy. Right? Let's try this one. So I have three different colors. And either you keep it this way or you can have fun and play with graduate map. Once you can get it gives kind of a filter above everything. But as your values are correct, you can really, cannot be wrong. This one is really nice to see that lovely colors. Some duplicate this one. And I want to play again with this one was What I like is Glitch. Diverge. Maybe glitch on just depends. So what do I have? Let's get. Soft, medium brush, quite large and use diverge and you can just have it on the edge of it. Just to add a bit more fun to it. Maybe. But too much on the face. Now she's cool. And you can add more things like half tone. This is giving like a printed paper effect. And blue luminous plume is burning the edge. Cutting it lasts, but maybe lower bit size of it. So she has a different luke. Yeah. I heard. So let's work on this. May 1 be a bit more gradient map. Anyway, gradient map is working with values. So whatever you are, you are using at first, you will get the same effect in the end. And you can as well use gradient map. With your brush. You see. Note that I like it that much anyway. And another one, chromatic aberration is quite nice. It's just slightly moving the different layers of colors. See that. And Bluray to bit. Chubby. So endless possibilities. I let you play with it. Please show me what you have done by posting your art.