Thanksgiving Pumpkin Pie in Procreate Using Gaussian Blur, Selections and Gouache Brushes | Delores Naskrent | Skillshare

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Thanksgiving Pumpkin Pie in Procreate Using Gaussian Blur, Selections and Gouache Brushes

teacher avatar Delores Naskrent, Creative Explorer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

8 Lessons (52m)
    • 1. Intro Pumpkin Pie in Procreate

      1:28
    • 2. Drawing the Basic Shapes

      11:22
    • 3. Whipped Cream and Adding Dimension

      10:21
    • 4. Creating a 3D Wedge

      10:21
    • 5. Adding the Platter

      6:06
    • 6. Tablecloth and Other Details

      6:13
    • 7. Finishing Touches

      3:40
    • 8. Closing Thoughts and Wrap Up Wrap Up

      2:29
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About This Class

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Creating a flat lay scene in Procreate is fun and easy with these techniques we will review in class today. We will create a pumpkin pie augmented with texture and dimension created with realistic shadows and highlights.

This new class, Thanksgiving Pumpkin Pie in Procreate, will show you some of my illustration methodology, and ways to use practical filters like Gaussian Blur to create beautiful dimension. In the class, I take you from start to finish in creating the pie, complete with a cut slice and the platter it sits on. And, I have techniques to help you create a complementary pattern for a tablecloth. We will use many methods to create this idyllic scene. There are many ways you can make it your own and I offer many suggestions along the way.

In this class I’ll walk you through:

  • my step-by-step method for building the illustration
  • tips for creating compositions
  • using Gaussian Blur to create natural shadows and light
  • my workflow for use of layers and other features like snapping for perfecting the illustration
  • creating and adjusting pattern brushes
  • using Gaussian blur to help complete our illustration very realistically
  • methods for keeping the art fully editable for later adjustments and recoloring 

If you’re an aspiring pattern designer with a good basic knowledge of Procreate, you’ll be able to go through all the steps. This class will benefit anyone who wishes to learn how to create a flat lay illustration from start to finish and methods to improve efficiency.

The key concepts I will include:

  • review of my brush alterations and adjustments
  • layering to improve efficiency
  • the use of clipping masks and alpha lock to work expertly and adeptly
  • a look at Procreate brushes, blending modes and filters, and their adjustments
  • approaches you can take in your creative work

Illustration work is a huge part of the design trade, so it is ideal for you to see how it is done by a professional illustrator. Learning new Procreate workflows is always desirable and you will see me go through the process step-by-step. I guarantee you will create something really appealing, and it’s so much beneficial to learn how to create dimension, especially in flat lays!

Intro to Thanksgiving Pumpkin Pie in Procreate

This video is the intro to Thanksgiving Pumpkin Pie Flat Lay in Procreate.

Lesson 1: Laying the Foundation with Basic Shapes

In this lesson, I will show you the objectives for class and explain the merits of the technique I use. I walk you through the beginning of planning.

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Lesson 2: Creating the Whipped Cream and Adding More Dimension

In this lesson, I will break down the complete process of creating the whipped cream garnishes. I show you custom brushes and methods to add dimension I have a fun technique with liquify that makes a dollop of whipped cream look realistic and dimension and very like a can of whipped cream is dispensed to create grooves in the dollop.

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Lesson 3: Creating a 3-Dimensional Wedge

In this lesson, I will explain how I created the wedge. I will show you some of the key techniques I use and explain every step of the way. By the end of the lesson, you will have created and isolated the wedge using a unique selection method. You will also learn how to add dimensionality even though this is a flat lay.

Lesson 4: Adding a Platter and Other Details

This is the lesson in which I teach you about creating dimension using Gaussian blur. I show you a bunch more adjustments for brushes as well as we work our way through this lesson.

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Lesson 5: Creating a Patterned Tablecloth

In this lesson, we start adding finishing touches to the final artwork. You will see me use several different techniques to add interest and detail. We will experiment with creating a quick pattern for the tablecloth. I show you the pattern brushes I have created, and I explain the settings. Throughout the process you learn much more about brushes.

Lesson 6: Finishing Touches

In this lesson we will explore techniques to add realistic lighting and we will work on the shadows to give it. that final punch of reality.

Lesson 7: Closing Thoughts and Wrap Up

We will conclude everything in this lesson. I show you a couple of quick mock-ups with the pattern and we end with a chat about next steps.

Concepts covered:

Concepts covered include but are not limited to Procreate pattern design, Procreate repeat Patterns with brushes, layering, transparency, filters like Gaussian blur and liquify, Procreate brush stamps, Procreate canvas settings, Procreate snapping and guides, selections, Procreate pattern brush creation, the Brush Studio in Procreate, adjusting Procreate brushes, sizing of documents and brushes, using the streamline setting in the brush studio, compositions with pattern brushes, adding texture, procreate brushes for adding interest, workflow best practices, painting best practice, Procreate composites, techniques with paints and blending, and much more.

You will get the bonus of…

  • 46 minutes of direction from an instructor who has been in graphic design business and education for over 40 years
  • knowledge of multiple ways to solve each design challenge
  • an outline with links to further research
  • a list of helpful online sites to further your education into surface pattern design

Meet Your Teacher

Teacher Profile Image

Delores Naskrent

Creative Explorer

Teacher


Hello, I'm Delores.  I'm excited to be here, teaching what I love! I was an art educator for 30 years, teaching graphic design, fine art, theatrical design and video production. My education took place at college and university, in Manitoba, Canada, and has been honed through decades of graphic design experience and my work as a professional artist, which I have done for over 40 years (eeek!). In the last 15 years I have been involved in art licensing with contracts from Russ, Artwall, Studio El, Patton, Trends, Metaverse, Evergreen and more.

My work ranges through acrylic paint, ink, marker, collage, pastels, pencil crayon, watercolour, and digital illustration and provides many ready paths of self-expression. Once complete, I use this... See full profile

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Transcripts

1. Intro Pumpkin Pie in Procreate: Hi guys and welcome. My name is Dolores aspirins and I'm coming to you from sunny, Manitoba, Canada. So lately I've been seeing a lot of pumpkin pie. Have you this is that time of year and that's one of the foods that I consider to be a super comfort food. My mom always used to make pumpkin pie at this time of year. So I figured that that would be great inspiration for our project. I wanted to do something with a viewpoint like a bird's eye view point. So I thought, why not create a flat lay with a pumpkin pie? So kinda seems like a simple project at first. But you're going to find that you'll use a lot of different functions that you haven't used before. I'm going to surprise you by using a couple of my favorite filters. In unusual ways. Those two filters are the liquify filter and the Gaussian blurred. So we're going to use those in a way that I've probably never showed you before. We're going to produce a complete scene including plate or a platter and a tablecloth. Believe it or not, you can get this project done in under two hours, maybe even an hour. Also, if you have hit that follow button, you get informed of all of my classes as I released them and anything else that I send out. So are you ready to get into this class? Alright, let's get started. 2. Drawing the Basic Shapes: Hi guys, welcome to lesson 1 and less than one here we're going to draw the basic shapes that are going to create our pumpkin pie. Let's get started. So to get started on our pi here, we're going to start by drawing just the basic pie itself. And I've got palettes here that I'll share with you, but it's very easy to add. What if you want? I just hit the Add button here and I go knew from photos. And you can see here I've got a bunch of references that I've put in here for both painting and for the color. So I'm going to just click on that one. And you can see here that it's created a palette which is of course exactly like this one, so I will delete it, but that's how easy it was for me to create a palette. And I think I'm going to work with this palette for now, it's fine. So right now I've got it as my defaults. And so when I click back to my disk here, you'll see that that palette is the one that shows up here. So I'm clearing everything else. I'm gonna pull this out here so that I can have it on my screen for now. And you can switch to the palettes by just clicking that button there. I'm probably going to mainly be using those colors anyhow. And if I do need to, switch back is very easy. I can do it right here. I don't have to go back up here, so I think that'll be faster. So to draw the basic shape, I'm going to use my Posca paint marker. It's basically the same as a monoline brush. So if you don't want to load my set, you can find probably everything that you need, right in the basic procreate sets. So here I've got a bunch of these Georgia's drawing brushes, and I've got one I've called the whipped cream brush that I just created. And then a bunch of different textures and highlights. And then finally a pattern here at the bottom. And I'll show you that at the animal should. I'll show you how we use that, how I made it, and how we use it. So let's start by drawing the circle. So I've got the color selected and I want that Posca marker. So I'm going to draw my circle basically in the middle and that's not much of a circle. Put one finger down on the canvas at will help me create a bigger circle. And I can go into a, could have edited my shape there, but I think it looks just fine. So now we can actually just fill with that color as well. So I somehow lost my colors. So I'm just going to drag that in there. And I must say I had a second one or something, maybe something in white underneath. When I first started, MSE hit my canvas with something way doesn't matter. Anyways, I've got my circle here. We can center it. And I can put the snapping and magnetics on to just make sure I have it kind of centered. Not that it would matter because we're gonna be doing a lot of changes to it any ways that will eventually have it off-center. So now what I wanna do is add a little bit of texture to that. I'm going to add a layer and I'm going to make this a clipping mask. And then I'm going to go with a slightly darker color. So here I am going to just switch quickly to buy colored disk and I'm going to go just a teeny bit darker here. And the brush I'm going to use this time is the dry brush. And that's gonna give me lots of texture as you can see there. So I'm going to go as big as I can here. You can always go bigger. So that white line is going to give me trouble. But that's what cakes I'm going to be covering this with a crust. Well, why don't we just do this. I'll go to this layer and erase it here. Let's go back to this layer and we can continue painting with my textured brush so you can see how it's adding texture here. And I can also add some highlights with this. So I'm going to move to be a little bit lighter here. And I'm just going to have kind of a lighter area. Now. I'm going to orient the light as if it's coming from this direction. And it is actually because I have a lab here right now, the day is so dull that I need some extra light here. So all my lighting is going to come from this direction. So this should be lighter over here and this should be a little bit darker. So I'll sample that color and go maybe it had darker here. And we can also add a little bit of texture. So I've put my big dirty texturize are in there and we can just add a little bit of texture. So can you see that as I'm putting it on, I'm going to go lighter here. You can see those little pits. It's almost like spatter. So I think for now that's actually perfectly fine the way it is. So I'm not going to add anything more to this. And now we can work on our crust layer. So I'm going to add another layer here. And for the crust, I'm going to grab my dirty wash brush. This brush has texture built into it. So if we were looking at it really closely, you can see that I've got some texture built right in. We're going to use this to draw the crust. So basically, what you're doing is kind of a zigzag line all the way around. It can be quite variable because when you're actually doing this, it's hard to keep that crust absolutely consistent. Now you can see it's very transparent here, so I'm going to duplicate it and then I'm going to pinch those two together and we've got a pretty decent looking crossed. The only thing is it is just and one-dimensional. So we're gonna go through and add some texture to this one as well. So I think I'll do the same thing where I'll add a layer, make it a clipping mask. And let's go back to that Dr. Branch and CO2, lighter color. And you can tell me, you know, which colors were kinda crossed and which ones were the pie filling. So I'm going to go through and think I'll just kinda consistently added all around for now. And already that really gives it some pop, doesn't it? Now I want to also do some of these dips and valleys in here so that we have a bit of cheating going on. So I think the easiest way is to add a new layer. And we can take probably even the Posca pen or the pen pressure brush that I have here. And we'll go darker. We're going to be reducing the opacity on it after. So don't panic and we're going to square it switched to that brush. Seems like it to press really hard right now for some reason. So I'm going through and I know this looks awful. Just bear with me. You see how wherever there is kind of a pinch there. I'm going to consider those to be my valleys. So I'm going through and putting a big dark line in there. And this looks really awful rate and how, but it's going to look good, I promise. So at this point we'll go into, we can actually go to my gosh and blur. And you can see here that as I slide to adjust it, I'm creating soft, soft, soft edges on that overlay. So I would say, hey, go to I don't know, around 15 percent. You don't want it too soft, but you don't want it too hard. So I'm going to go about 15 percent and that's worked out perfect for that. So I'm going to make this a clipping mask as well. And you can see now our PowerShell is really starting to look like it's got some dimension. I want to also add some highlights. So I'm going to go away. This is working normally. If you click on that and this is open, it won't let you, but I guess it is now, sometimes I'm wondering if some of these changes might be from the update because we just have that five-point to updates or five-point? Yep, I point to update. So that could be yet. Which color should we take? Let's take this really bright one here and we'll go back up the right pen, add a new layer. And this time I'm going to go into sort of pointed areas. So the areas that came out. So really exactly in between the other lines that I had there. Now, you know what, for the last three or four on this side here I'm going to go to a pure white because this is the side where my light source is coming from, so it's just a little bit brighter. We're going to go back to the Gaussian blur and blur that up. Real nice. We're going to do a clipping mask again. And in this case, I'm going to reduce my capacity because I don't want this to look shiny light. It's metallic. So we're really just having a little bit of that highlight kinda showing on that side. Now in my opinion, it still looks really flat because it has no cheating and you'd have shading on the inside here. So what I'm gonna do is grab all of these layers so I can combine it with the whole cross now is in one piece and I'm going to duplicate it. I'm going to go to the bottom one and hit Select. And then I'm going to switch to black and go and fill the layer. So you can see underneath here and you can, already, you can see a little bit of the dimension has come out here. And I'm sure you guessed what we're gonna do next. And that's going to be to blur that again. But I want the blurring to stay within the circle. So I'm going to first go to this and I'm going to hit Select. And then I'll go to the blur. And let's just increase. And you can see now, because I did that original selection that I'm not getting anything blurring on the outside is just blurring on the inside. And I think that looks great. I really think that's really added a lot of dimension here. So now we can de-select. And for deflecting, you just have to hit that just so you know, it took me a couple of weeks of working on this program when I first started out using it to figure out that you can cancel anything by pressing the button that selected it in the first place. So now I just want to blend this a little bit better. So let's experiment here. Probably something like multiply is going to be good. Now this one, I don't mind soft light and you can see that it makes the shade for the shadow orange. So that might be kind of a nice one actually. I think that's my favorite, so I think I'm going to stick to that soft light. And I liked that. It has given us that real sense of depth. Now I personally think that we also need to add a little bit of shading to this crust on the inside. So I'm going to make a clipping mask here for that crust. And then I'm going to go in and grab my blender. Dull wash. You tell I sometimes have trouble figuring out names. So I'm going to select a darker color here. And I'm going to just kind of softly stumble some shadow here on this side. And then maybe a little bit on this side here. Now this could probably have been done with the Gaussian blur at an overlay. And it kind of like having some of that control so that it's not super consistent. So I'm going to use the dry brush a little bit and just sort of really adds some dark spots here. And you can see I'm kind of mainly sticking to the valleys, but I'm also trying to get overall along that edge there too. And remember that this is on its separate layer. So if you wanted to, you could definitely still go in with the caution blur and blur it up a little bit. I'm going to blur it a little bit, maybe seven or 8%. Once you've blurred, you can go back and add more texture there. Now one of the other things that might be kinda fun here it was maybe a little bit of white sprinkles about could be like a sugar on across because that's what I do with my pilot and about you. But I like having a little bit of extra sugar there so it could work on this layer if we want, or we can just add a new layer and also make it a clipping mask. And I added my spotty texture here, and that's way too big. So I'm going to go smaller. I set my opacity at a 100 percent and the texture is still going to be big on this because I haven't yet changed it. So this is what will dictate the size of the dots in this brush. It's the grain. The shape is just a simple shape, but the grain itself is what has the size of the norm. I think the opacity would be better a little bit down. So I'm going to go 50 percent there. And I've added, I think, tons of texture here, and I think we're ready to move on to the next step. So let's do that in the next lesson. 3. Whipped Cream and Adding Dimension: Hi guys, welcome to lesson 2. In this lesson we're going to be creating the whip cream that we'll use to accent are pi. Let's get started. All right, For our next step here, I think what we wanna do is do some whipped cream. I've got a couple of different ideas for you, so you can choose which one you would prefer. I've created a couple of brushes, and one of them is called the whipped cream brush. Just because I can think of a better name. And if you look at the brush itself, this is one of the shapes from the source library. So it's the low flower shape down here, somewhere right here. And I thought I'd give that one a shot because it can give me a stroke that has sort of highlighted and darker areas as you can see here. So I thought that this might be a good one to try for the whip cream that would go around the edge of thoughts the way you chose to do it. Now to tidy up my file a little bit here, I think I'm going to make a couple of groups. So this one we'll call, oops, I didn't mean to. This one. We'll call pi. And then we'll put all of these together in a group and we'll call this thrust. And I was going to add a little bit more sugar. So I'm gonna go back to that UPI mass there and choose my big dirty texturize her. And I'm just going to add some smaller, sort of pure white dots. So the big ones are great. They're like those big chunks of sugar that you get. And then these are just sort of sprinkling, maybe more like an icing sugar will add a new one. Claps both of these groups and then add a new one. And let's try that brush will go around the edge on that new layer and just see, oops, and see how that looks. So that doesn't look too terribly bad. I think I could probably make some adjustments to it. Like I'm wondering if maybe spacing it a bit more might make that inside bit a little bit lighter, and that kind of works. Maybe a little bit too big. Let's go a little bit smaller here. And I'm kind of following along with the shape a little bit. And you can decide to put that with cream there or you can leave a bit of a space. And then with this, I would also do some shading and highlights. So I would add a clipping mask. Actually, before we do that, let's duplicate this one and select. I'm going to choose kind of a gray color. Now if my palette here, there isn't exactly what I want. I want something that looks a little bit more blue gray color. So I'm just pulling this over to the side a little bit and I'm going to fill the layer with that. That should have been the one on the bottom. And now you can see a little bit more shadowing, which is probably giving it more dimension, which I like. So we'll also on that top layer. So we'll put this as a clipping mask. We'll take a sturdy wash. We can change the opacity up. It's either here or afterwards. And we can add a little bit of shading, so this is a bit dark. You can see that it would probably be too dark. And again, I'm trying to put the light coming from this side, so most of the shadows will be on this side, but we can also add some within the whipped cream as well. In these areas, because we'd have Gibson valleys just like we did with the crust. So here I'm going into the valleys and then either reduce the opacity or change the blending mode. So that can work. We could definitely put some highlights as well. So we can add, make this a clipping mask, get a pure white and to the highlight areas. So at this point is not clipping. Set that to clip and it's probably not going to add too much because it's white on white. But I do have another trick up my sleeve. So what we'll do here is check different blending modes to see if there's anything here that works and nothing makes it look any brighter. But I do have a couple of highlighting brushes here. So I'm going to try this highlighter at full opacity. And the highlights it's adding are so subtle that I don't think it's going to make too much of a difference. Now you could also, of course, group all of these, rename it. I'm going to call this whipped cream circle because we're also gonna do a different type of whipped cream. So with this being all in one group, we can now play around with enlarging it to see if it works any better, enlarge. And it's not really what I'm looking for. So I'm going to turn that layer off and we're going to do a new layer. And with this one, we're going to do just a little mound of whipped cream. One of those pictures that we had would work great. So I'm going to go to my canvas here and I'm going to go to reference. I'm going to import an image. And let's import this one here. So I'm going to move that out of the way. So we've got it as a reference here and I'm going to enlarge a little bit. And I'm going to use that. Same whipped cream brush and I'm gonna make kind of a mound of whipped cream. And the way that keeps happening, I have noticed a couple of glitches since I started using five-point too. And a lot of times what they are are things like this where you normally just pick out your brush and then all sudden it's flipping back to your other brush. Not quite sure what to make of that. So I'm hoping it's not me. So I've made my little shape here. You can definitely experiment with the different brushes. So that's my whip cream brush. And if I don't press too hard, then I kind of get some of those little highlighting bits in there. So I think I'm going to do something like this where I'm doing almost like a little circle instead of doing complete shape. So just little sort of honest lecture scumbling. So you're doing just little round shapes. It's got a nice kind of a texture on the outside. And then I'm gonna do is a new layer. And I'm going to add, I'm going to use a dirty quash, a new layer, and I'm going to add some shading. Now we could use that same one that we did before, if a 100 new layer. So we're going to be able to you a little bit of blurring and whatnot. So we're going to take that brush, going to go fairly small, and then let's just draw some more of those shadows in there. So if you look at this really closely, what you've got is lines going in towards the center and then you'll have a set of line coming in from the side and landing kind of on the side of whatever that was. That first kind of a ridge and then basically that same idea. So you're kind of spinning around all the time. Now that could be a little tricky to accomplish if you wanted to. What you could do is just straight lines. So let's just try something like this. Make sure it's a clipping mask. But now let's go into liquefy and tried to twirl, not sure what size I'm going to have to do it, but now it doesn't that work? Amazingly. I think that looks great. Even if it's not exactly like that, I think it worked just fine and it was a lot easier. So now let's try doing the blending modes and see if any of these blending modes probably not because it's white underneath, it probably aren't going to make too much of a difference. I'll use that light and then I'm going to just reduce the opacity down a little bit. And then one of the things you can do is take that layer, I'm going to duplicate it. I'm going to take the one underneath and I'm going to go down to Gaussian Blur and just blurred a little bit too so that we get that service, softer shading underneath and then the deeper shading on top. So what I'm trying to do is I guess that three-dimensional field with the highlights. And when you look at it, the white is not pure white on that. So let's go into this and put an alpha lock on it. We're still on that dirty quash brush. So let's try adding sort of that. It's almost like a warm gray. So more likely, in fact, we can sample that from here so we can see that color has popped up in there. Let's try adding a little bit of that kind of shading and especially on this side, right, because that's where our natural shadow would fall. And while I'm at it, I'm going to make a layer, move it underneath, so it's not a clipping mask. I'm going to select this layer, so I'm going to throw the Alpha Lock off on it. I'm going to hit Select. Then I'm gonna go back down to this layer and let's fill it with a really dark brown. And that's also giving us that dimension that we want of the shadow being cast. So there we could also go to a Gaussian blur. Blurred a little bit. There we go. And I think that has turned out quite well actually. So I'm gonna go back to my squash and I'm going to go above that layer, make it a clipping mask. And then I'm also going to use that previous sort of a gray color that we had chosen. Oh bit smaller and then just add more shadow on this side and we're going to blur this. But what I'm trying to do is these deeper shadows in here. So now caution Blur again. And I guess you have to select here before. I don't remember ever having to do that, but there we go. Now if you don't like that really soft edge on your whip cream, you could also go in and erase. And I'm going to erase with that dirty wash and go nice and small. But you can create kind of a harder edge on your whip cream and religious doing it on this leading edge here, because I figured you would see it more sharply there. I like that. And anywhere you think you can add additional shading, you go ahead and do that. So there's spots like that. And we're looking at it really close up at when we look at it further away, it definitely gives you that same vibe as that good. So that's our little whipped cream fought. And I think I like that better than the big ring of whipped cream. So yeah, now we're ready to do a couple of other things to enhance our layout. So let's do that in the next lesson. 4. Creating a 3D Wedge: Hi guys, welcome to lesson 3. In this lesson, I want to create that 3D wedge. So we're going to pull out a piece and we're going to do a bunch of stuff to make it look really dimensional. Let's get started. Hey, so my next step here is to create a wedge. So I've got a nice reference photo that I brought in just like I did the other one. And I've got my Pi flattened all onto one layer. Now if you want to be safe about it, duplicate your document first. But I was pretty confident and I did it. So here it is. I'm going to now draw a wedge. You could use the selection tool, but you'd have to use a free hand selection. And I know it could just be a little bit tricky and I think it's for me and probably you a lot easier to just use your pan. Make a new layer. Let's get a dark color. Black is fine, and let's draw the wedge. And I'm doing this so that I can use the power of Procreate to straighten the line for me. So that's my first line. And then I'm going to go to the tip there and I'm gonna draw my second line. And this is how you can decide how big your wedge should be. So I'm thinking about that big. If you don't like the exact position at this point, you can definitely selected, move it, enlarge it. Anything that you need. If you wanted to, you distorted so you could grab the handle separately and position it. And I think I'm happy with that and I'm just going to quickly close it off. It doesn't matter about that line. All you're using this for is for selecting. So now we're going to get the automatic selection. And we want to select the inside part for couple of reasons. One is that we'll get that point in there really good. And the other is that it's just easy. You don't have to do the inversion. And now we've got this selection. We can shut that layer off. And here we can go to the pile layer and then just move that wedge out of the way. So I'm going to move it far enough that I can do that dimension on both the pie slice and the pie itself. We can now get rid of that layer there. And let's add a layer underneath the pies. So that's for this part here. And I'm going to use the dirty quash again because I know that one has a lot of texture and I really liked that. And you can see here that it's a tiny bit lighter than what the top looks like in my opinion. So I'm going to sample the lightest color here and maybe even go a little tiny bit lighter. And because I'm underneath that one side of it will be cut nice and straight just because of the line of the edge of the pie there. I'm going to make my brush a little bit smaller. And I'm just simply pulling a line on this side. And you can of course use that same method to make that nice and straight. And you'll see that works just great, doesn't it? And we can use the eraser. And I think I've got that on my same brush, yes, the dirty quash and I'm just going to erase out what I don't want there. And actually I think I'm going to erase just the very tip of that pie because I don't think it would ever be that perfect. And then here, actually, because of the perspective of it, I think I'm going to move in even closer in because we don't want to put dimension on the outside of the pie here because we'd have to do it everywhere. So I'm going to move it somewhat like this and I'll just erase that. And I'm kinda tapering it a little bit over here at the sand. I'm still going to do the crust. And let's go back to the Pi and just round that out a little bit more. And that's something that you might want to consider along the edge of the pie here is to do a little bit of texture or something to make it look a little bit less a symmetrical. So now I'm going to go to a really light color, one of the colors that once in my py shell there, and I'm going to go underneath this one. So here draw another layer and then we're going to go and view aligned in the same way. We can go quite a bit narrower because we're really just wanting the suggestion of the depth on that side. And I think that works out great. And I think what would happen if you're cutting this pie, that you would definitely have this corner kind of softening up a little bit. So one of the things you could do is get an eraser and use one of the texturize was like me with the dr. Bradwell, you could even go down into something like the charcoal SAT because I have the charcoals before and grab something like buying charcoal. And let's just see and see how that erases so nicely there. So you could use that on the edges here in there. So we could go onto the pie itself and show a little bit smaller and just do a little bit of erasing to texturize the edge. I've done this before with watercolor paintings and stop when you want the edges to not look. So for lack of a better word vectors. So now I want to put a little bit of a highlight. I think along the top edge here. In this case I'm going to go on top of the pie outer layer. I'm going to go back to my dirty squash. And this is one of the things I really like about this new release of. Procreate is that you can go to your recent brushes here and see all the ones that you've used and just grab the one that you want. You don't have to try and find it. And if you did want to try and find it, you could just swipe left and hit Find and it would take you to the original set that that's from. So I'm going to go smaller here, and I'm going to just kinda pull a highlight and then use procreates power to do that. And then just make sure that it's right at the edge there. So you see how we're slowly building up this kind of dimensional miss. Now, we've got all of that and I think we could use it to put the dimension on this side. So why don't we group that stuff. So that would be his two layers. And then we would use that group and duplicate it, put the dimension on this one. But before we do, let's add a little texture to them, at least as big area here. So I'm going to hit Add a new layer, make it a clipping mask. And I'm going to go to my big dirty texture riser and go to one of the darker colors here and just add a little bit of texture so you can see that. And you could also do a little bit of a brighter one here in there. And now that's done. We can take this whole group and duplicate it and then reposition. So I'm going to get approximately to the angle that I want and then commit by hitting that arrow. And then now I get the handles on the box and kind of better position. So I think I'm going to have a little bit of a little bit more showing on this side than I do on this side here. And it's almost perfect the way it is. Then we can go into this one here and erase a little bit more off. And now what I wanna do is kind of match so that, that bottom cross there comes right up to the edge. So I'll go to my colors. And I think this was the color that I had grabbed for that. And let's take the dirty wash again. And this is the group. So let's open up that group and this is the crust. So this is what I wanted to do. I want to bring this back a bit so I can either move, just move it over or I can erase it over. And then I'm just going to embark on this layer here, go a little bit darker. And I think I could actually do this with a clipping mask. I'm going to add a layer, make it into a clipping mask, and then I'm just going to darken a little bit because it didn't have that drawn all the way there. I'm going to go back to that layer, back to that color, and just fill that in a little bit. And then I can go back to this, which is the flipped mask. And of course there I can add some more texture. So I'm gonna go to the big dirty texture riser and go a little bit lighter for some highlights and then a little bit darker to add a little bit of a texture. So that has turned out rate, I think one thing we don't have a long here is the highlight. And one of these layers, I believe, I guess it's this one here. Looks like it's got a little bit of extra dirt there and I think we can use that to our advantage. I'm just gonna leave it there. I'm going to add another layer on top of everything. Go to that lighter color that I was using. Either those I think would do and see the size of my brush. I think I've been have to actually bring this up here, make this into a clipping mask. That's not supposed to be there, but it actually turned to look bads of employee recent, but it almost could stay there. And let's just draw that highlight. So I'm testing the line because I had the wrong brush. That's probably how I got that dirt on there. I'm going to make it a little bit bigger and we'll start right at that point and pull it way over here and create that highlight. So that's looking good. I think we've got what looks like a really realistic texturize and fully usable pi here. Now of course, when you're cutting pi, you're going to have crumbs. So let's just add some extra crumbs here. We're going to group all of this. So we've got this, this, this, all of this can now be grouped. Make sure I have everything I need here. Because if you don't take it all, sometimes the clipping mask can get a little bit messed up, so I'm going to group it, but that's my whole pie. I can bring my whip cream on top and then now I would definitely go around and duplicate it. So you just simply swipe to the left duplicate and then you would go and position them wherever you want. And you can turn them a little bit there to make them look a little bit different. Or you could distort them. If you have them flattened, which we did, then you can easily go in and warpage just to make each of them a little bit different. Or you could use Liquify. So we can go into liquify, maybe use the push and you can change just the overall shape of it. Not that critical, but that's something you can do. And then now on this extra layer that we have on top, Let's add a few sprinkles. So we're going to use that big texture riser. We'll go a little bit bigger and just add a little bit here in they're basically just in the background. And there's so many different brushes you could use for this. You can go back to that charcoal brush or you could add a spatter brush. One of the airbrush spatter brushes would work rate. But now we've added a lot of detail. This is starting to look really realistic. And I think our next step would be to draw some kind of a plate or platter. So let's do that in the next lesson. 5. Adding the Platter : Hi guys, welcome to lesson 4. I think now we're ready to start adding either a dish or a platter. Let's get started. All right, Next step, let's make a nice platter for this pi. I'm gonna kinda use the colors that are there. And remember that I had created a palette with those colors. So I've made that when my default palette now, and we can just grab any one of these colors to use. I'm going to use my ellipse to draw a nice big circle. And as long as it's bigger than the pie, I guess, that would work. And let's go to this new layer that I've put here and we're going to fill it and we're going to move that below everything. So it's way too dark. And of course we need some dimension here. So what I'm gonna do is actually duplicate this circle a couple times. My powder is not going to look like that. I think I'm going to just make some kind of a dish, but I'm going to duplicate the circle twice is bottom one, I think I'm going to lighten. So let's go to one of these lighter shades and we'll drop that in there. I can hide those two so you can see. And then this one here, I actually think that's maybe still a bit too dark, so local, little bit lighter. Let's go to this one here and drop that in. You can also does use your opacity to reduce it if you want. The problem without being as if we do anything on the table, it would show through. So I think can maybe ago a wee bit lighter. Now you probably heard my furnace kicking in there for a second. We have had a big snowstorm last two days, so we have a lot of cool air everywhere. Okay, so next circle, we're going to turn that one on. We're going to make it smaller, oops, wrong one. And we're going to accomplish some real dimension here just by doing some shading. So what we're gonna do is use the Gaussian blur again, you can see it's one of my favorite things to do business. And I'm just softening that to make it look like there's a bit of depth there. So this is a really great exercise in learning how to do depth and dimension is not. Let's take our third one here now and we'll make it even smaller. And I think that one I'm going to fill lightly again. And let's see, you will get smaller, I think. And Gaussian blur again. And you see how that in-between layer has really given us a ton of depth. So that's how you would sort of regulate the amount of depth there would be how dark that actually goals so that the darker you go is the deeper that dish will look. I'm going to go no, maybe about 60 percent. Now the other thing we can do to make this look really dimensional is to add some highlights. So let's take a fairly soft brush, and that one is quite soft. Might be too soft. Let's go back to the dirty wash. I'm trying to limit the amount of brushes that I'm using here so that it'll be easier for you and you are working on this project. So what we want now is some highlight along this edge, and we'll probably put a little bit on the outside edge too. So let's just draw a nice big circle. Hold down your finger to make a circle. You can definitely go here and edit to make it a perfect circle. And here if I got that position, did that on that layer, which I mean it doesn't look bad, we can leave it there. But let's do another one here where we have it on its own separate layer. So I'm roughly trying to get it to the same. Actually, let's go a little bit bigger. I'll go to a slightly bigger brush and I'm gonna go to white this time. And let's draw a circle and I am so rough, but that's okay then to both the position we want, double-check that it's a circle. We can resize it if we need to. Now, you can see by the distance here that none of my circles are perfectly aligned. So maybe that's something we could do now is to take and put snapping on so that we can positioned them all. Let's start with this bottom largest size here. And you can see it's lining up. We could temporarily hide the pie to make it easier. And then let's put our pipe icon. Because what I wanna do now is use the information that I've got from this pilot. Tell me where I need to do some erasing. So I'm going to take I'll go back to my own set here because I don't want that charcoal eraser. I want to have my dirty wash Again. I'll go fairly large and there wouldn't be any highlight there because the Pi would be hiding it completely. And likely there'd be a little bit over here. See, I'm kind of erasing away to leave some bits of highlight, but kind of inconsistently if that makes sense. And then we can also reduce the opacity down. And you can see how that's just given us a little bit of dimension on that. And we can definitely move it around. Turn your snapping and stuff off so that you can position it where you want it. And I think that works great with that little light blue line that we had underneath. So I'm going to erase a little bit more of this away. But I like how that's given it a bit of pop. You can even add an additional layer and then go with a 100 percent white and add a couple of bits of sparkle. So a little bit brighter, which of course you can then still blend down a little bit with your opacity slider. So we've created a nice dish. I think it needs to have a shadow. Let's grab this bottom one, duplicate it, go to that bottom one, fill it with one of your darker colors. It's in behind there. You can't really see it, but it's fair. And now we can go to the Gaussian Blur again, adjust it, and move it to really make it look like that plate is sitting on a table. So we're almost there, folks. The only thing we need to do now is maybe add some interests to that tablecloth and go back and reposition our whipped cream so we can duplicate the whip cream moving all around. I could do that off camera to save a bit of time. And then our last step is going to be to make some kind of an interesting tablecloth. All right, I'll see you in the next lesson. 6. Tablecloth and Other Details: Hi guys, welcome to lesson five. In this lesson we're going to create that tablecloth. So we're going to do a quick pattern to get that started. Cake. So we're going to do some final highlighting and shadows here before we start making our tablecloth. So I've added a layer above the bladder. You can see I've put all the layers pertaining to the platter in one, for that one complete group. Just above the platter, but below everything else here, a little the pie and everything. I'm going to add a bit of shading to the pie itself. So I've chosen my squash blend, the dulled, and I'm just going to give a little bit of shadow in here. Now this one works almost like a watercolor, so it's very thin, like thinned out. And, uh, kinda like that. It gives this sort of modeled sort of a detail here. If you don't like that, if you would prefer that your shading was really smooth, of course you can go to your Gaussian blur and blur a little bit. But I think that that deepen shadow definitely adds to it there. So that's it. About 10 percent. Maybe I'll go a little bit less, but we'll leave it at that. You can always go in and make it darker later on, once you've assessed how everything looks, now as far as adding texture to the background or a pattern, you can really go anywhere with that. If you've got some patterns are ready. I do have patterns somewhere, pattern brushes here. I could definitely take any of these and just painted texture down. So I would go below the platter, add a layer, and then I could just paint really any texture on there, any color could undo that, go to a different color or different pattern. That could be our pattern, but I want to add something a little bit special, so I want to make something completely different. I'm going to go the very top of my stack here. I'm going to add a layer and I'm going to fill it with kind of light blue here. So let's take one of the latest colors there and think I'm even going to go later. I'm filling the whole layer because when I'm going to be doing is creating a pattern brush. So I need to have a solid square. So I'm going to add a layer above that. And then I'm gonna go to my tapered pen pressure brush, which is right at the top here. And I'm going to go to one of the darker blues. Maybe even that dark, we can always lighten it after. And I'm going to draw some swirls that are going to end up being, it's just going to be kind of a Victorian pattern that we'll add in the background. So let's start by doing a big swirl. And this tapered pen pressure brush works great because as you can see, the harder I press, the thicker my line, and then the software is the thinner it is. So you can add lots of great swirly bits and very, very easily. So that's basically what I'm doing. You can do one that just has a whole bunch of swirls off of it or you can do different ones that swirl off and possibly join. I find that if I keep the amount of spirals, I do the same. It kind of makes the overall pattern look better. So that's kinda what I've done there. Then if you spiral off in the opposite direction, it makes a nice effects. So you can do that. You can add a bunch of just individual ones to have some fun with it, do whatever, whatever you feel like. Now we've got this on its own layer, so that's going to make it a lot easier for the next step. Now that pen pressure brush is great for doing dots of different sizes. If you don't press too hard, you get a small dot. If you press nice and hard, you get a big dots. So you can do that as well. Just add a little bit of extra detail in there. So now what we'll do is we'll add a white layer in between because the brush is going to be just this part here. So we need a white background for the brush right now. Pinch these two together, swipe down and copy, and then let's go into our brushes here. I've got one to add it at the bottom already. I'm going to duplicate that one, but you could just start with a new brush. I'm going to go in and go into the shape and make sure that it's blank. And then the grain is going to be your patterns. So that's the one I did before, but I'm going to paste in this new one. So you have to hit Import and hit paste. My new one is pasted in here. I'm going to hit Done and you have to hit them twice, and then your new pattern will be here. So right now I've got it set nice and large. That's one of the reasons I wanted to duplicate it so that I wouldn't have to go in and do bunches settings. But if you do after you, it's in the properties here that makes your brush bigger and that's in the grain here that makes your pattern bigger or smaller. Okay, so now we're going to hit Done. I can say lost that blue background somehow, but that's okay. Let's go down to the bottom here. There's nothing on this layer. I can just hide this layer here. There's nothing on this layer, so let's fill it with, I don't know, maybe weight is not going to be contrasting enough with the plates. So maybe let's fill it with this instead and the obesity color, and that looks a little dark to me, so I'm going to go a bit lighter. And then let's paint on our pattern into a slightly different colors. We're going to go a little bit darker. And now that we've got a pattern on our table cloth, so that was super easy. Even if you have to make the pattern yourself, you can go in here and adjust the green and redo it. If you'd prefer to have a bigger grain. I think there are a couple of fun patterns that you can get here, right in the Procreate brushes, or would that be? I can't remember if there's patterns, textures. Yeah. There's a Victorian pattern in here that you could use if you wanted to. So I'll take mine off of there. If you put the built-in pattern from procreate here. And that's basically the same idea as what I had, was maybe a little bit more elaborate, but have some fun with it. Do a pattern that's different. I'd love to see what you do and make sure that you post you're completely finished pi, I think that it's turned out quite well. It makes me just crave pumpkin pie right now. So I think I'll just add a couple of finishing touches and then I will consider this done. So I'll meet you in the next lesson for those finishing touches. 7. Finishing Touches: Hi guys, welcome to lesson 6. So I just wanted to show you some of the finishing touches to make this absolutely perfect. Let's get started. Okay, so a couple of things I thought of adding that would really enhance our scene here was some lighting. So what I've done with this layer here is very simple. It's done with under the wide air brushes. So I just took the soft planned and created a few minds across the page. It's hard to see it here. I know what, let me turn on the background and then you'll be able to see it better. But you can see I've got a couple of streaks of white and then I've got kind of a darker. You could use a black. I use the brown and basically just added a new layer. I've got my airbrush, went to the white and then I just pulled some lines right across the page. So basically like that and maybe another one over here. You don't have to press really hard like you don't need to have it super solid like I do here. But what I did, and I found it just easier ways to do it with a soft airbrush and then to use the Gaussian blurred, to use a really dark brown, the Gaussian Blur to even blurred a bit more. We're going to be using a blending mode that will make us look like light. So let's just get that caution blur. This isn't going to likely turn out exactly like I had the other one, but that's okay. By holding down on that visibility icon there, I was able to turn all of the other layers back on. That's a great trick. It took me a long time before I learned that one. And I think that the blending mode would be good in a linear light. So you can experiment with this as well. So you can see, I mean, that's way too intense, but that does give light and shadow. Then you can just adjust your opacity to get it to what you want. So with the one that I had done and kind of like it better, I had done sort of more subtle, kind of a more subtle, but I wanted you to see it so that you'd get the full effect. And, you know, like I said, you can reduce the opacity, which makes a big difference. So there was that that I wanted to do. And then the other thing I thought we needed a little bit more shadow here around the outside. That other one that I've put on there which is a little bit too soft. So in order to accomplish that, I went to the Pi layer itself and I selected, then added another layer below. So that's an empty layer at the moment. And then fill that layer with a dark color. Now, I think I will go to a dark, kind of a blue and just go to Fill here. Now you can't really see it because it is behind a pie, but that's okay because what we're gonna do here again is to add the Gaussian blur to have it spread and give us that shadow. Now it's giving it to us very evenly all around. So what I wanna do is pull it so that it's on this side. So again, this is your judgment that you're going to use here as far as how far to blur that. And I'm okay with that. And I think what I would do is multiply blending mode. And then I can even reduce it down a little bit more to get the control. And I can see here that I've got transparency in my pie layer. So that's why the shadow is coming through there. So here I would just also use the soft airbrush and just go in on that layer and erase out anything that's not the way I want it. So right here as well, I think. So between that and the lighting now, I think I can really consider this done. So that's it for today's class folks. And I will see you in the wrap-up. 8. Closing Thoughts and Wrap Up Wrap Up: I hope you enjoyed this project. I found it really fun to do. I like working in a different angle or at a different angle that I'm used to. It's just something that really opens your mind. So think about other projects that you could do and some of the concepts that you learned today could be applied to different kinds of pies. And maybe even pies with a lattice top or something where you really have to think about how the shadowing would work. So I think that with what you've learned today, you should be able to do that. I can't wait to see your projects. I'm hoping that somebody will do something really challenging like that and just blow my mind when you're sharing your projects. I just love it because I think that I get that feeling of satisfaction that I've actually done a good job of teaching it. 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And if you ever have questions, make sure you post them here or you can e-mail me directly at the loris 1960 at me.com. And that's the loris not deal with VLR. Yes. It's easy to make that mistake. I've I've seen my name's belt in so many different ways. Now I just want to take a moment to give thanks that you are following me and that you've been in my classes. I'm truly humbled. I appreciate it so much and I hope to see you in all of my classes. So I guess that's fine for now and I will see you next time.