3D Art Made Easy: Drawing & Painting with Procreate 5 | Stéphane Bourez | Skillshare

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3D Art Made Easy: Drawing & Painting with Procreate 5

teacher avatar Stéphane Bourez, 3D Artist & Motion Designer

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

    • 1.



    • 2.

      3D Basics


    • 3.

      Using 3D vs. 2D


    • 4.

      Roughness and Metallic


    • 5.

      Painting Your Base Layer


    • 6.

      Using the Curvature Map


    • 7.

      Creating Pattern Brushes


    • 8.

      Creating Pattern Stamps


    • 9.

      Coloring Your Patterns


    • 10.

      Painting Details


    • 11.

      Adding Final Texture


    • 12.

      Creating Variations


    • 13.

      Adjusting the Lighting


    • 14.

      Exporting 3D Images


    • 15.

      Final Thoughts


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About This Class

Bring the love and craft of figurine painting into the digital world with Procreate’s 3D features!

Explore this groundbreaking new toolset with digital artist and Procreate expert, Stéphane Bourez. Together, you’ll explore the latest version of Procreate and learn how to apply familiar tools and techniques to 3D canvases. Throughout this hour-long class, you'll work step by step to transform a blank 3D object into a shareable masterpiece, and gain command of a whole new suite of tools. 

With easy-to-follow lessons, you’ll learn how to:

  • Import 3D files and play with the 3D controls
  • Harness the power of sub-layers to adjust metallic and roughness 
  • Add easy-to-edit color and variation to the base layer
  • Paint quickly and create amazing effects with the gradient map
  • Make your own pattern brushes and stamps to quickly add unique designs
  • Explore the creative possibilities of the 3D transform tool

Plus, download and follow along with Stéphane’s 3D dragon model, designed exclusively for this class. 

Whether you’re looking to add dimension to your illustrations, expand your client offerings, or simply take your creativity to new places, this class makes 3D art accessible to anyone with an iPad. Procreate makes it easy to be playful with your canvas and achieve surprising results. Welcome to the next dimension of creativity!

You don’t need to know much about 3D to keep up. If you have an iPad, the latest version of Procreate (or at least 5.2), an Apple pencil or stylus, and a basic familiarity with drawing in Procreate you’re ready to follow along. 

Meet Your Teacher

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Stéphane Bourez

3D Artist & Motion Designer

Level: Intermediate

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1. Introduction: 3D is pretty much everywhere today; in the movies, in the video games, in advertising. This is a great class to start with 3D because Procreate makes it so very simple. [MUSIC] Hi. I'm Stephane Bourez. I'm a 3D artists and a motion graphic designer. In today's class, we're going to look at how we can paint on a 3D module using Procreate 5.2. There are two main aspects of my work. One is manual, where I'm sculpting or modeling, drawing or painting. There is another end of that spectrum where I'm using algorithms to create tools that in turn will create media. These are completely opposite worlds and I really love to make them clash together. We're going to start with a blank 3D objects, and by the end it will be fully painted and ready to render. First, we are going to have a look at the main differences between a 2D Procreate file and the 3D Procreate file. Then we are going to have looked at materials. Finally, we will see how we can use lot of creative ways to have surprising results. This class is designed for people who know a little bit of Procreate, but you don't need to know much about 3D to follow along. By the end of this class, I hope that you'll have discovered a lot of ways to be playful with your canvas. All right, let's dive right in. 2. 3D Basics: Thanks for joining. We're going to first talk a bit about 3D. What is 3D in the first place? 3D is the representation of an object in a 3-dimensional space. If we look at this skateboard here, I can rotate around it. This object has been created using all sorts of data so that we have all the details and we can look at it on all the angles. 3D is a very vast world. You can create scenes with thousands or millions of objects when you think about films or video games, you have entire world to built in 3D. In Procreate, 3D is very much simplified. We're not talking about an entire world like in a video game or in a movie. We are going to mostly use a single object in Procreate. You do not sculpt, you do not create 3D objects. You only paint on them. We're going to look at how that works because there are a few technical details that you need to know so that the rest of the course will be quite fluid. What we're going to do in Procreate today, think of it as we're going to paint a figurine. Maybe you've played Dungeon Dragon or Warhammer 40k. You had these little plastic or lead figurines. Some artists are painting those figurines with an incredible amount of detail, all sorts of nice colors and they put the dust in and all these scratches. This is exactly what we are going to do in Procreate here. The only thing you need to follow along is an iPad and an Apple pencil and of course, Procreate 5.2. I've prepared for you this little dragon here and here it is in its finished version. We are going to paint on this guy. You'll find this dragon in the resource section of this class. I invite you to download it. You can download this finished version because we are going to have a close look at it. You can also download the blank version. This is the one we're going to focus on. I'm going to paint every single step here. Once you have downloaded them, you want to upload them on your iPad. Once that's done, inside of Procreate, we're going to touch on Import here. You go to your folder or wherever you have uploaded your Procreate files and you touch on Dragon_Blank.procreate. It's importing it. Now we have our blank dragon. That's the one on which we're going to paint. [MUSIC] 3. Using 3D vs. 2D: We're going to talk now about a few 3D basics, first, we're going to look at how we can navigate around our 3D object. Basically, inside of Procreate, when you use only one finger to drag, you're going to spin your object around. Now, you see that you have an arbitrary point of rotation around which we are going to orbit, and this point is being defined by the use of a two-finger touch. If I use two fingers, and I drag or zoom, now, Procreate is going to look at where is the point in the middle of my two fingers, and this is going to be the new orbiting point. Here, Here in the center of the object, but if I zoom in on its face here, and its nose, see see that when I rotate around, this is where the orbit is. Let's now have a look at the main differences between a classic Procreate file, and a 3D Procreate file. First, when we go into preferences here in the actions, we have a new icon called 3D here, and the first item is the one we're going to look at, it's called show 2D texture, and we're going to enable this. Here, what's going on here? We see our dragon might look like a carpet, like this cartoon bears it's like on the floor. Basically, this is the version of the 3D object completely unwrapped, this is very important to understand this. When we paint on the 3D object, basically, we paint on a texture that is wrapped around it, this is the unwrapped texture that is around this object. I'm going to show you something pretty cool that I have prepared for you here. This is not a Procreate feature this is something that I've exported for you, I'm going to show you the 3D Mesh here. This is the actual polygons that I've painted into the texture here, and if we look again, we will do the actions, we go into 3D, and go into, Show 2D texture, I'm going to see here, this is how the mesh is being unwrapped. We can see the two eyes, we can see here, the nose there, we can see the mouth here, this is the underneath of the wing, this is the top of the wing, this is all its spine, and the tail. When we are going to be painting on this object, we're going to be painting on that 2D texture. We're going to talk about these 2D space quite a bit because it will allow us to do quite a few functions that are going to be a very useful down the road [MUSIC]. 4. Roughness and Metallic: Now another thing that is new in the 3D files, if we look at our layers up close, if you open one, any of them, let's take, for example, the base color here. You can see that on the layers you have the same little 3D box icon there. I'm going to tap on this guy and we see that it opens three sub-layers. One is for color, one is for roughness, one is for metallic. In order to show you what the sub-layers color, roughness, and metallic do, we're going to open a blank dragon and we're going to start painting on it. Finally. We're going to start a new layer, I'm going to press the plus here. I'm going to rename that real quick, base color. There we go. We're going to take a standard brush. Let's go to airbrushing, let's take medium brush, for example. We're going to take a nice and very vivid color, I'll go with bright red here. When I'm painting on this object, you can see I'm painting some red paint directly on its face here. What did he do? Automatically, the color, the roughness, and the metallic sub-layers have been filled. We can see that the color has been filled with red, so obviously the data or the pixels in there are in RGB. It's all color in there. Now, roughness and metallic are more like data layer. They are only black and white. In roughness, the darker it would be, the glossier the material is going to be. In metallic, if it's completely black, it's non-metallic and if it's completely white is going to be very metallic. Why is that? Well, in order to understand this, we're going to have a look at the brushes. When we look at the brushes, if we take our medium brush. In the 3D version of a Procreate file in the brush setup here, we have here yet again, a real cube icon. This is new, this is specific to the 3D Procreate files. In this, we have two sub properties, which is metallic and which is roughness. What we are looking at right now is the amount here, the amount of metallic is at zero, so it's called nonmetallic. The amount of roughness is at 50. If you remember, the roughness was mid gray. What does it mean is that when we are painting, we're painting with a paint that is basically not too glossy and not too matte. Let's erase this color there. I'm going to use three fingers and shake around the screen. This time, we're going to go back to our brush, and we're going to put our amount of roughness, let's say about 15 or 20. Now we should see a little bit more of shininess here, you see that on its face here. We can see that our material now is completely shiny. If we look on the sub layer here, we can see that the roughness here is now a dark gray. Let's have a look at this red, and let's turn it into a metallic red. Still in our brush in the material section, in the metallic section, this time we're going to put the metallic amount to the maximum. You can see here already, it looks like we are painting chrome, I remove the metallic now we're painting white. We can have a nice preview here already anyway. If I take red, this is nonmetallic red, but glossy, let's put some metallic all the way up. Now we can see we have almost like a Christmas ball. Let's have a look at how it behaves on the dragon. With three fingers, I'm going to shake across the screen. I'm selecting our base color layer, and I'm going to paint directly on it. Now we have our red metallic dragon paint. This is important for us to understand the anatomy of these layers, because we're going to use that quite a bit. You see, I was painting with the base color selected. But you can also, if you tap on it on the cube ones, you can, if you want, only the paint on a selected sub-layer. You can call them sub-layer, we can call them different channels. What happens if I erase everything but only on the color. Now I completely cleared the color sub channel. All the red is gone, but the information about this area being completely metallic has stayed. Now we have this chrome dragon. Now, if we select metallic, I'm going to use my three fingers and shake them to clear the area. Now all the metallic information is gone, and now we only have the roughness information there. We can double-check that. You can see that this is empty, this is empty, and we still have that slightly darker roughness which makes this area a little bit shinier. We've had a close look at the layers and their sub channels, we now know what roughness and metallic are, in our next lesson, we are going to paint the base color layer of our dragon. [MUSIC] 5. Painting Your Base Layer: Now we're finally ready to paint our dragon. We are going to start with the base layer. So I've come back to the blank dragon here. You can see we have just all those three mysterious layer and we're going to start to unravel their mystery very soon. I've created a new layer called base color, which is right now completely empty. So we have no color, no roughness, and no metallic. What we want is to fill this entire layer with a dark blue color. We have three ways to do so. Let's pick one of the airbrush. We're going to pick the soft brush there and we'll start to paint it. I'm going just to look at the behavior of the paint and how it projects onto the model. We can have a massive brush to project all the paint on the layer here. We think, okay, that's it but in fact, no, it isn't. You see, like in real life, all the paint has been projected on the mesh. But the different parts that were not exposed have not been painted. We could go ahead and paint everywhere and check, we need to do the inside of the mouth, check underneath and check. But that feels a little bit silly. This is like, surely there is a better way to do this and yeah there is, you can go and click on the layer and press on clear. Now we are again on a completely empty layer. Have a quick look here. I have picked my dark blue color and if I click on a base color here, we have somewhere here, something that is filled layer here. That's it. What it did is entirely fill the entire layer with this blue color. He only filled this kind of island. If we look at actions, we go into the 3D tab here. We say sure to detector. Let's have a look at that. We see that he has filled the entire silhouette of our carpet dragon. Now something to note, let's go back into 3D. When we pick the layer from the top and we say fill layer. If we look at the sub-layers here, it's only two colors of the colors of channel. That's perfectly fine, we are going to do the roughness of the skin on a separate layer altogether. Now here is a third way of doing an entire fill layer of the color. We're going to clear all this. I personally like to do it via these kind of layers. You can also go into the sub-layers, click on the cube, select color, tap on this, and here fill layer. It does also the same thing. So many ways you can choose one of these ways to fill your entire mesh. Now we're going to add a little bit of a cool roughness to that. And here we're going to use a new layer. I'm going to rename that. For this, we're going to select a nice brush. I've created quite a few brushes here. I've created some with different types of skin textures and we are going to be able to look at them in detail later on. Let's take this one just to have a quick look. We're going to go into our skin roughness. Of course, here we're going to select the roughness channel. I think a good way we can start is to first select an entire black color and fill our layer entirely with black. Now it's entirely super shiny. If I take my nicely gray here again, 20 or 30 should do. I'm going to start painting with that textured brush. I can do it either by painting on this mesh and it's manually here. It's a bit hard to see there, it starting to see a bit better now, we can see that we start to have these nice detail in the reflections. It's got these nice little and even textures. I can paint that way. You will be thinking, well, we could very well just go into the 2D texture and paint on the roughness here. Unfortunately, when we are on the subchannel here, in the 2D mode of the texture space, procreate doesn't show you the kind of different subchannel, it will only show you the color subchannel. So let's go back to 3D view there and let's continue to add our little roughness texture with the hybrid lower. I'm going to continue to add that. Now here I'm completely done with this roughness layer. You can see that we have some nice variations here and there on the skin. It's very settled so you can see them a little bit around here. When you have some brighter, lighter color, it will show up quite nicely. [MUSIC] 6. Using the Curvature Map: This dark blue is very blend and uniform, and it's time for us to start to add a little bit of variations and a bit of detail here. We have several ways to do that. One that is full of love for painting and crafts. If you were painting those figurines, you would spend ages and ages painting in all the details. What we're going to do now is to select our base color here. Going to the same layer and go make sure we are on the color channel. Now we're going to start to paint our color on these ridges. You could use a textured brush like that. You can spend ages and ages painting this scene. It's very relaxing. It's actually a form of meditation, and then you can go in there and paint all those details. But surely there is a smarter way to do that so a way that is a little faster. This is what we are going to have a look. It's a cool little trick. This is when we are going to reveal what is this curvature map. When I display it, it's all gray, pretty boring. But it actually has some nice properties. This is a texture that represents all the convex areas in light gray and all the flat areas in a neutral gray and all the concave areas, like those little valleys in a darker grays. So like the roughness and the metallic channels, this is if you like, a data map and we can use that to do some very powerful thing. Let's have a look at how we can use it to fill our base layer and it's going to make an easy job of it. I'm going to duplicate it because we're going to use that curvature map again later. I'm going to hide the original. For now we're going to keep that name. It's fine. We'll rename it later. This is the very cool trick in the latest versions of Procreate we have a new effect here that is called Gradient Map. What gradient map does, I select it. See here we are on the Gradient Map called Ocean that I have created. It's going to take all the dark values and it's going to map them to these black here. All the medium values is going to map them to these blue here and all the white values and bright values is going to map them to this final color here, which is white. If I was to go basically on the right is your brighter colors and on the left is the darker colors. If I am to compress these gradient here, you're going to see, you're going to have more and more of these white picking in. We can see that what was light gray is now fully white and if I compress that way, we're going to see that everything that was a slightly darker gray is now completely blue. To make my point even clearer, I'm going to change that color. Let's go to a flashy pink. You see, you can really go crazy with that and you can create some amazing effects while that's pretty ugly, but it's just for you to get the point I was trying to make here. Now we want to have our dark gradients here. We want to have almost no white, a little bit of blue here. I want to darken this here. We're going to darken that blue here, I'm going to match. Now you see all the details that I wanted to paint manually they are appearing themselves there. Once we're done here, just tap on this little magic one icon here, and there we go. We have our color base layer all done. That was that quick. Let's rename that because this is now our new base corner. I'm going to rename this like that and it can get rid of these blend one a bit and we can put that underneath the roughness. Since it is now a fully painted layer, we can go on these color channel. We can adjust this to our heart's content. Hue saturation brightness, which maybe it's a little bit too saturated for my taste, I'll putting down a little bit. Now we can play a little bit with the darkness and the brightness. Everything feels a little bit darker at the moment. But we want that because we want that kind of design where we have a bright contrast. Obviously you've seen the final version of this dragon and there's a lot of it that was inspired, which is the aquatic animals like the ocher, maybe some salamanders all these very contrasted patterns. The fact that it's dark, is probably going to work well for us. Cool, I think we're good with our base layer. Now we have an interesting bit of roughness here. We've got some nice little details in the color and we are ready to go and to crack on with the patterns. If you're following along, don't hesitate to share your progress on the Project Gallery. Maybe if you've used a completely different colors for your base layer, we'll be very curious to see what are you up to. Now in our next lesson, we're going to focus on the patterns. [MUSIC] 7. Creating Pattern Brushes: Now we are going to design those patterns. Let's have a look at the finalized dragon here to see a little bit more of what we are going to do. A good way to tackle a complex task is to start from the bigger parts, then to refine the medium parts, and then to finally end up with the details. If we have a close look here, one of the biggest part is that mostly a bit like an orca or a manta ray, our creature has a very light underneath its belly and underneath it's wing. We're going to start with that. We're going to block in a big white shape that is going to cover all these parts underneath that beast. Let's go back to our dragon here. In order to do that, we can again use the various techniques that we have seen earlier. But first, we are going to create a new layer, which we are going to rename. I'm going through the patterns, I'm going to start to block in those shapes. Now these shapes we know are going to be a mask. It doesn't really matter what color they are in, I'm going to use this white color. I don't want it to bleach the screen completely, so I've placed it at 80 percent of brightness here, so that it's a bit easier on the eye. We can start with a hard brush here. I'm going to go to airbrushing and we can start with this hard brush there. We know that we have these shapes that goes underneath its face like that. It goes a little bit underneath and towards its belly. Very quickly we see that this airbrush here, it's nice, but I think this brush can work a little bit harder for us. I'm going to cancel that. I'm going to show you a really cool brush that I have made earlier on the creature, and I have made a pattern brush here. I'm going to try to use that now. When I create that, you can see we have this nice cool thing going on here. Almost creating this camouflage thing, we can try to see it in larger. I'm so happy with this brush. It's a little bit flickery but it creates such an interesting details. Basically, this is one of the little secret trade things. I'll never tell you how I've made that brush. Now I'm joking, of course I'm going to tell you how I have made that brush, it's actually really easy. We start from the airbrush here. Let's duplicate the soft brush. I'm going to duplicate that, and so there's soft brush 1 here. We're going to go in this. We're going to start and we're going to look at the shape here. We can see it's a very soft shape and this is what we want. What we want here in the stroke path, we want to have a lot of jitter in the position so we're creating this thing. For the purpose of this, let's preview the size, much smaller here. Let's clean iPad. You see that this is a little flicker that we were seeing. At the moment, it looks a bit like nothing. But we're going to go to the grain here. Inside the grain, we're going to change the blending mode and we're going to go all the way to a hard mix here. Then in this hard mix, we're going to start to play a little bit, with the contrast and brightness. We see that at the moment it's using this blending mode, but only on each little dab of that brush. This is something that is very important to understand when we talk about this grain feature here. I'm going to clean that pad there. It's because we are in that moving parameter here. If we slide that to texturize, suddenly our grain is going to take the entirety of all our little points and to blend them together. I'm going to show that again. This is when it's using pair dots and here it's using the entirety of them. Because they were so soft and using a lot of contrast, we end up having these nice wavy patterns, which is very cool for us to create those organic pattern shape that we can find in nature. There you have it. A nice little brush for you to use. Let's check, we're on patterns. We are only interested into the color channel so we can go there immediately and we can paint these underneath elements, you see, and that's quite nice. We can refine it a little bit. Let's go add a little bit in spacing, a bit more jittering. Let's have a look how it works now. That's pretty cool. Anyway, you can refine those to your heart's content. We're going to just basically, we're not precious here. This is why we start with the big shapes first. We are not after the detail, it's fine. We can go really rough here. We can really just block in. At the moment here, you going to see I'm going to paint underneath the wings. But if you remember, we can go to the actions here, we can go to our 3D tab there. I'm going to show the 2D textures. We starting to see where we have painted here. Let's hide this. We know that this is the underneath of the wing. This is the side. This is the top of the wing here, and this is the belly there. We can make a quick job of filling up and it's fine if we go outside this shape. I can show you this mesh here. Because this zone here is not assigned to any part of the 3D mesh. We can go really quickly on top of everything here. That's perfectly fine. Another cool quick tip here, when you go to actions and you're going go to canvas, we can use a reference. When we are in 3D file, the reference here gives you a new option. You can have a reference that shows a 3D object. Paint in a a little bit here, bam, it's appearing there. See? That is pretty cool. Then switching between 2D and 3D, I'm going to continue to refine this base shape and we're going to find ourselves on the other side once that is done. [MUSIC] 8. Creating Pattern Stamps: We have our base for the pattern shape. It's covering mostly the underneath of the creature as we wanted it to be. Now we're going to refine these shapes and we're going to try to add all these cool shape a bit like that. We could do that with our new cool brush. That would be fine. It we'd be actually fun to work with. But in that way, we would be painting and designing the same time. I think that if we can find a way to just do only designing and not designing and rendering or not designing and painting. It's always a little bit better. What we're going to do now is going to give us a greater position to find out about a new Procreate tool, which is the 3D transform tool. Basically in this free transform tool, what we're going to do is we're going to copy and paste almost like stickers or stamps on top of this 3D mesh. First we're going to have a look how the free transform tool works. In this file here I've prepared quite a few little textures and I'm going to show you. This guy. This is a little bit of a texture pattern that I've created earlier. I'm going to select that layer, tap on it and copy it. Let's see what happens when we're going to paste it on a 3D object. We're going to place ourselves just on top of this pattern here. I'm going to drag three fingers down and I place myself maybe on the head here, just quite close. I'm going to paste. We're going to see that actually on the mesh and zoom here. We have a little layer here. Here I'm dragging with one finger. We have this shape. If I pinch on that shape, I'm going to scale it down or I can pinch and rotate. You see this is the shape that we had before. We have that little strange little contour line, is useful in some cases, but I find it personally a little bit annoying in term of visibility. We can go from automatic to advanced. Let's look first in automatic we see that it's constantly following the shape of our 3D model. We cannot go anywhere else outside of that shape. If we start to go in advanced, we have a completely new Gizmo tool here that helps us to transform and rotate. Now, let's look at this out circle here. If I drag this circle here, obviously we are uniformly scaling up and down. Something that's really well done, if I start to a rotative motion on that circle and with its very cool rotation shapes. If I drag on that little disk in the middle here, I'm dragging that shape across on surface. Of course, those two squares you would have guessed, one is to stretch one way and the other is to stretch the other way. Pretty much everything is explanatory. Let's have a look at the options that we have. Flip, a vertical and horizontal and we can rotate 45 degrees. Then we have something new here, we have projection. This is something that we don't have in a 2D space. If we look at our little pattern here, we see that if we look underneath, we see that it's not going all the way through. We tap on projection, we tap bidirectional and there you have it. Now it's going all the way through. Bi-directional basically it means that it's going to stick towards all the way down, but it's also going to do the same underneath in both directions. But in our case we probably don't need bi- directional to be on. I'm going to go ahead and turn it off. That's going to give us a nice opportunity to look at this other projection option that we have here, which is the projection depth. What is this? Let's have a look. I'm going to drive this guy over here there. We see that our tool is trying to project those pixels into the 3D shape there. It's creating a bit of a gradient. That gradient is basically based on how deep we want the sticker to go and project itself onto the mesh. This is represented with a bounding box. You see as soon as I'm going to drive that projection depth parameter, you can see our little pattern here going more or less on the leg in the depth. This can be very useful. Actually, we are going to turn on bi-directional. It's going to be very vividly visible. If I push to depth all the way through, it's starting to have some really cool accidents. There are of things that we couldn't have predicted. This is what I meant earlier. If you can use tools that are made to do design and not just purely spending time on rendering. Here we have all the time to do any experiment. We are placing just a sticker here and we have immediate feedback. We can try all crazy stuff. See, there we go. We're starting to have this patterns mixing with our previous work on the belly. We started to see some really cool stuff. Now, what does this little ball do? This, if we remember the bounding box, this is basically the angle at which we are going to project the content of our sticker onto the mesh. Like here I'm almost 90 degree there. If I go into the projection tool, this is when it's becoming useful, you can do all these kind of crazy thing. Here I'm going to push it to the max. Now at the moment, if I drag that little disk here, it's still following automatically the shape. But what if I wanted to have it dissociated from that 3D model? Well, if we tap once on that little disk, we have this option called detach. Well, you guessed it, is going to detach our tool from the surface. Now we've got this diamond shape. Now we can freely fly around in our 3D space. Which means that when we drive that little guy is literally as if we are armed with a video projector and projecting some paint onto our model. You can see how playful that can be, and because my depth here is to the max, actually is very, almost to the max, very deep. When I'm projecting around, I'm actually projecting paint across the entire mesh. This is basically welcoming any happy accidents. We are going to paste this pattern here or across the top of the back and should say of our Dragon. The idea is that we want to have this animal pattern, not necessarily like a tiger or zebra, but something like a salamander maybe. Again, here at this stage, we don't want to be too precious if we have a little glitches and stuff, this is something that we are going to do in refining. Let's place them. As we're going to place them, we're going to see that there are a couple of things to know. I'm to reduce the size a little bit. I know that I want to really build a connection here. I'm just going to tap on that little arrow at the top there and this is going to commit the design to my layer. As soon as I do that, I lose this transform. You want to make sure that you're happy with where it is now. As soon as you commit to your transform tool, it will place your selection of layers, not on the top layer here, but it will select your color layer. This is something to know, at least in this version 5.2.4 of Procreate. If you want to go and paste again another pattern, I'm doing three fingers down and paste again. You see everything has just disappeared. Basically what it did, it just took the entire content of what we had already, squeezed it down and placed again the contents of our copy here. I'm going to undo this. What you want to do after you've committed to your transform tool is to select your layer, not the sub layer but your layer. Then when you're going to do paste from there, you see we're going to have another instance of our copy here, which is basically on a new layer just above. Again, what we're going to do is to go into Advanced Mode, change the projection from bi-directional. I'm going to use the protection depth to extend it by quite a bit. Then we're going to reduce that and you can recognize our cool little pattern again. We're going to start to place it in a cool fashion here. I'm going to place a third one here. I'm going to let you place your own patterns. By the way, you can create triangular patterns, rectangular patterns, zebra patterns, dotted patterns, little hearts, you name it. You create your own L designs. Chill a minute and I'll show you once I've done all my little patterns on this model. 9. Coloring Your Patterns: We have played with these three Transform tools and we have pasted quite a few of these little patterns, we've looked at them, we've tried to see what would be the right scale, we've placed them everywhere, maybe from the tail to the top of the neck. Once I have placed them all, I've started to just basically connect them together and I've used the UPF brushwork and UPF eraser to clean this guy altogether. I've also added quite a little bit of details here on the face. What we have here is just a completely solid color and we're going to basically use the same process without little curvature map trick to remap the colors that we've used for the basic layer. We're going to use the same trick to color all of these white into a nice, interesting much lighter blue but a blue that has all the details here. I'm going to show you again that curvature map. This is this guy. We're going to duplicate this guy. We're going to rename it and we're going to call it Patterns Color. I'm going to hide the curvature again and drag this guy all the way on top of Patterns. From now I'm just going to basically tap on this and I'm going to press on clipping mask. What clipping mask does when it's enabled, that layer is basically looking at the transparency directly underneath it. Let's move on. If you remember what we used just after that, we went to the effects and went to Gradient Map. I'd remembered where we started, which was the dark-blue, it's quite similar. We had this ocean setup here. If you were to invest your entire thing, you just have to slide. For example, this dark color I'm going to slide it all the way here, the mid dark I'll put there and the white all the way here and now we've basically invest their mapping of colors. I think this is going to be quite cool for us to have all these little interstices, all this little gap in a brighter color for our design. That's it. I think this is going to conclude pretty much our lessons on patterns. We've learned quite a lot of cool tricks and you can see how you could reuse that in many other conditions. Now, all we have to do is basically in our next lesson, we're going to just paint those details for the close here. We're going to have a layer for the eyes and a layer for the mouth and that's going to be done quite quickly. See you in the next lesson. [MUSIC] 10. Painting Details: We are almost done with our dragon. We just need to paint his claws, his teeth, and his eyes, so let's get started. We're going to start with claws immediately. As usual, we start with a new layer, and we're going to put that directly above the skin roughness because the claws, the teeth, and the eyes will have their own roughness, and we're going to get to that in a minute. We'll create a new layer. We're going to rename that and we're going to call it Claws. Here we go. Then you can choose the brush of your liking. For me, I'm going to go pretty classic with a medium brush from the Airbrushing section, and then I'm going to go plain black for this because we already have quite enough detail on the skin there. We are not going to push it, I mean, I'm not going to do that with a little picture in the nails that this dragon is not that fashionable. Let's go ahead. You see this is where it should be important when I'm zooming and pitching. I make sure that I'm pinching on each toe that I'm going to turn around because this is, remember, where you're placing your orbit. With such a model it's going to be incredibly useful to be able to rotate around the very spot that you want to paint. Let's change the size of the brush here and just try it there. I'm going to actually going up brush here just a second. Go to material, oh, we did well. Look, metallic is completely for young. Where we put that back down and the roughness, we going to put that quite down. We want it to be pretty shiny and the good old 25 will be fine, done and we're good to go. See I only have between 1-2 % to play with, to adjust the scale of the brush to my model and that's not really ideal. If you really struggle what you can do, is good to brush detail, go to the properties, and here you can just turn down your maximum brush size to 100% or even less. That's going to give you a little bit more breathing room in this scale here, it's going to be a bit more manageable, just you could dip there. This is pretty much going to be more of the same. [MUSIC] I'm going to see you on the other side in a second. We are back so all those claws are nice and painted, the one from the wings and the one from the legs as well. I bet you have chosen some pretty interesting colors yourself. Let's move on to the eyes and see what we can do there. Again, using the pinch to place your orbit point is super important here. We're going to be using our Zoom quite a bit here. Just as before, we're going to create a new layer, which obviously we're going to call Eyes, and we're still on our medium brush, that's fine. We go-to materials. Let's check if it's nice and shiny. We might make it a little bit shinier even, because this is the eyes, they are going to be quite shiny, done. I'm going to paint them all black, nice and shiny. Let me create a little bit of a makeup, a little bit of mascara for a dude. We will refine find a bit later. Using the same brush, I'm going to pick a vibrant color, this yellow. If you're familiar with Procreate, we're going to use something that's called Quick Shape so I'm going to draw circle motion. I'm going to keep the pencil down and it just created an ellipse. You see at the top here to the edit, create it. Now if I tap my finger, my thumb here on the screen is going to transform this ellipse into a circle. That's pretty cool for us because we can have a pretty dead-perfect circle immediately there we're going to do the same on the other side. Ellipse here, a little bit flat. We're going to go back to black here, give you a little bit of flair. A tiny bit of [inaudible] as if it was actually 3D. It's going to give it almost like a fake shadow here. I promise that would refine the makeup here. You can spend edges, I'm just brushing through here. But you get the idea. This is almost too much. I think, for now, this will do. We are going to be on a roll here and we're going to move on to the mouth. New layer, we stay clean, we rename it Mouth, there we go. Now for the mouth, we're going to do something a little bit different. We're going to go back to the good old 2D view because I don't want to go in there and show you if I wanted to paint it all black, I don't want to go in there and paint and "Oh, no we didn't paint behind the teeth, " and go in there. That going to be a little bit tedious. What we're going to do. Let's erase this. We're going to use the 2D shooter detectors. You see now we have the nice little dragon carpet. We have here, the inside of the mouth and this is the tongue. We see that the eyes are already painted. They're here. If you wanted to have them. There steal still things here, all the teeth nicely laid down, so we can just pick them. Nice and clean. What we could do is just basically paint these old black. That's perfectly fine for us. Let's have a look at what we've done here and switch back to 3D mode here. Now we have the inside of the mouth, nice and all black like that, it's pretty cool. Obviously we have avoided all the teeth and tongue because we painted only on the inside of the mouth, eye land in the two detections. Let's look at the sub channels. You see we don't have a roughness. We don't have metalic. We're going to go into the roughness here. I'm going to show you something as well. We mentioned it earlier, if we go back to the 2D texture, if we paint on a sub layer here, I'm going to take a darker color to make it shiny. We're going to see that we won't have any feedback here. Basically, I'm working a little blind here, but normally if we go back into the 3D view, it should be [inaudible] and shiny. Let's go and now work on that tongue here. For this, I think we can easily work directly on the 3D mesh. We're going to take our dark blue here. We're going to use one of the creative brush that we've created that has a rough texture. Maybe I'm going to use this one here [MUSIC] We have the tongue down. Let's finish with the teeth really quick. We're going to go back into 3D and 2D textures. There over here, we're going to take a nice little bright color. We can to make sure we are in the color channel. Let's take our airbrushing medium brush. It might look a little bit ugly, but that's at least it's called the benefits to be very efficient. Lets stay in 3D, I'm going to take this one here. I'm going to make it very small and black and I'm going to paint the teeth here. [MUSIC] Here we are with the mouth, and fully done. Again, you can spend as long as you want doing all the details, but for the sake of this class, I think you get the gist here [MUSIC] 11. Adding Final Texture: We are almost done with our dragon. We're going to have a few brushes. We're going to add a couple of layers of details, a little cracks on the skin. Maybe a little pigmentation of the skin, something that will give it a little bit of flair. To do that, we're going to use the power of the procreate brushes. I've used this great brushing gene to create all cool brushes. Let me show you them. I've created a new layer called details here. I'm going to go into the subchannels. I'm going to set the color. I'm going to have a quick look at those brushes. We've seen those funky patterns earlier, they're saved as well. What do we have here? Skin details. These are going to add a little bit of pigmentation. It's going to pick a blue color here. I'm going to show you. There adding this little blotches. Again here I'm using a lot of the spread option in the brush. I'm going very heavy handed. But if you take one of these blue here, and if you go really subtle, this is where you go back to this love of painting details on these figurines. I'm going to continue just painting a little bit. I'm going to remove this little pigments,. Something that I like to do, we have our little skin details one here. One of the technique I'm going to do is to paint a lot of details in and then do what we call in French the [FOREIGN], the removal. I'm going to press and hold for a long time on the eraser. Now the eraser has the same brush that I was using for placing my paint. Using the same brush, I can change the size a little bit. By using a detailed brush, we're basically creating those very nice, chaotic little details here, which would have been very tedious to paint by hand. Let's have a look at another one here. I've prepared some new veins here as well, I'm going to show you. It creates all these little veins here. We can change the size. That could be useful. I'm going to undo that to another brush. We're going to use here another set of veins, which is a bit more interesting. The reason it's more interesting it's something that invites you to investigate is this brush here? Look at that we have two brush. At anytime in the brush studio, you can take two different brushes and smash them together and choose what mode you're going to use to combine them together. This is extremely powerful. I've not seen any other brushing gene that can use to existing brushes and that combine them together to have extremely interesting results. This is what I've used here to create those little veins there. I'm going to go ahead and paint some of the details. For example, I'm going to use value thin brush there with a brighter color. I'm going to place it here on the dark areas. It's going to create almost like a node leather sofa. You have an old Chesterfield Sofa or cracked from the '60s or '70s and it looks a little bit like that. We want our dragon to have a little bit of a history to tell. I'm going to place a lot of little details everywhere. I'm going to spend a little bit of time there. I invite you to do the same. I'm going to see you in a minute and we're going to see these details finished. [MUSIC] 12. Creating Variations: We have painted all our details in with our fancy brushes, let's have a quick look. See, we have all these nice little cracks there on the neck. We have this nice little pigmentations and discolorations in the skin as well. You can recognize the brushes we were mentioning earlier. We have these little dots, they're all these little imperfections. That really can help a lot your models and your creations to feel a little bit more alive. This is us done with these details, we are going to see now why we have created all these layers. We could have painted and collapsed all our layers as we were going, maybe the file would have looked a little bit simpler. Keeping your work nicely separated like that can make it attractable. Because we can go back to each and every step and modify them. One of the most spectacular way to do so is to basically change color. Imagine if you were doing that for a video game or a movie and your director or our director looks at your files, okay, cool. I like the overall art direction, but we've moved on from the blue in all our shots, we want it to be a fiery guy. Is more all about volcanoes, you see where I'm going. We're going to make this guy pretty much vivid reds. Because we have these layers all nicely separated, it's going to be actually very quick. Let's have a look. I'm selecting this base layer here, and the only thing I need to do to use hue saturation and brightness, we're going to shift the hue here, and you can see our dark values they are shifting towards this nice brown leather, and if I go all the way back here, we have this nice pinkish, reddish, looks almost like it's transparent. We can add a little bit more saturation here to make it even more mean, more red. Let's go back. Something a bit more orangey, cool. We tap on the want, and then we just have to pick our pattern's color layer, I just do the same. Hue saturation brightness, change the hue, we're going to go towards a nice red, orange here, we can see that our details are still on the blue values, we're going to sort that just after this. We're bringing on that saturation. Let me go towards the reds here. You see where we're going. We stationary, we can change the brightness, add a bit more saturation, and go towards something a bit red as well. Let's come into this. We can now do the same without details here, so we select them, and again, hue saturation brightness, change that hue so that it matches our guy. There we go. There we have it. You have a completely different version here. Very quick to do that. You can imagine that you could also use the gradient remap function as well because you already have your gradients here. Let's do it on one of these layers. I'm going to just show you really quickly gradient remap. Because you already have all of those on, you can just change and go and use all of these. We're not going to go into much detail here, but you see how it will work just the same and you can spend loads of time fiddling around with all these pallets and colors. Basically, you could duplicate your files and have half a dozen laid out on a wall treated to shoot your art actor or to the director of your movie. [MUSIC] 13. Adjusting the Lighting: Before you export your images, maybe you want to tweak the lighting a little bit, maybe make it more dramatic, or choose the different color for different lights. We're going to have a quick look at how this is done. We're going to go in Action again in 3D. We're going to do Edit Lighting and Environment. This is where you can edit the lighting and the environment. What is the environment? The environment is driven here and we have different types of environments. These environments are simulating an entire source of light. Here we have the Studio environment. It's a nice and even lighting, pretty much on the gray side. If we click on the "Environment section" here we have the exposure that we can shift on and off. We have an auditorium which is nice and dramatically or pink. City, the nightlife, portside, industrial, sunrise, beach mountain, daytime. Have a look, have a play. Try to feel a little bit with the exposure. Basically the brightness of this. We're going to stick to mountain for now. We're going to keep it purposefully a little bit on the dark side because we are going to have a look at those three cubes. Those three cubes are lights and we can drive them by a single tap on them. I'm going to tap on this guy here. We have very familiar sliders here. We can change its intensity, so we see we are really brightening up inside here. Then we can add some saturation there and we can change the color of the light. If I put it in blue is going to be very moody. We could do a behalf of sunset or sunrise if we go into the golden hour here, obviously you can tap on one light. We can also duplicate it or delete it. Basically this is also another light here. We're going to do the same, we can add some saturation. Here we're going to put that on the blue thing. You can also tap up there here to add another one by a simple drag of the finger, you can reposition them. If we want to move it on the depth here we go on the top view and we can do that here. It's quite intuitive. I invite you to try this. [MUSIC] 14. Exporting 3D Images: Welcome back. How do you export an image that you could print on the wall? Well, let's have a quick look. It's very simple. It's very much like what you already know in Procreate. Again, you go into actions and then you tap on "Share". You're going to have a few new options there. Underneath Procreate, you have USDZ and OBJ. These are 3D files. These two 3D files are going to be useful for you if you want to reuse your mesh in another 3D software. Talking about reusing that in another software, at the very bottom here, you can share the textures. What this will do is that you are going to pick a location where to export all your textures, and it's going to export a color texture, a roughness texture, and a metallic texture. This about covers the 3D options for the export. Now, what if I just want to export a snapshots or render of this view here, or I can go ahead and use some of the usual file formats here, JPEG, PNG, and TIFF. If you don't want to have a background, if you want to have a transparent environment, you can go into the action, you go to 3D, and you go to your edit and lighting environment, and you tap into "Environment" and you basically switch it off, which puts you on a transparent background. Done. Which means that now if you export a PNG, it's going to be on a transparent background and you can do some composite [inaudible] in Procreate with another background image if you want to do so. You can explore different dragons of different colors to create a nice mood board for your art director or you're director to review. We have a final option, which is pretty cool. I'll go back to actions, share, and look at what we have here, animated GIF, animated PNG, animated MP4 or HEVC. Basically we can export the animation. This is if you want to send a file for your client or director to review as well, but they just want to see a turntable, which is, in fact, a 360. I'm pressing on MP4 here. You can see what's happening here. We have our little guy animated. We can change the duration of the animation, which basically is going to make it go slower. We can change the distance of the zoom that's going to make it closer to the camera or further away. The Ease here, you see it's slowing down at the end of the spin. We can remove that altogether, so it's just a continuous spin. Here you have the choice to show or not your environment as well. A nice little shortcut for us here. You have different types of exports, 1080p, 4K or Square. There you have it. This is all the different [MUSIC] kind of export you can do with your model once you have completed. Please do explore them. I can't wait to see what you guys have been up to. [MUSIC] 15. Final Thoughts: Congratulations. We've arrived at the end of this class. I hope you've enjoyed it and you've learned quite a lot of neat little tweaks, and remember, this is not the way of doing things. This is a little pipeline that I like to use. There is no right or wrong way of doing anything. Just use these insights and knowledge to create your own workflow. Remember, this is the first iteration of 3D inside of Procreate, there is going to be a lot of improvement to all of these tools. Let me know what you think and don't hesitate to share what you guys have done. Again, I can't wait to see what you've been up to. See you very soon. Bye.