Drawing and Painting with Procreate on the iPad Pro - Robot Character Design | Robert Marzullo | Skillshare

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Drawing and Painting with Procreate on the iPad Pro - Robot Character Design

teacher avatar Robert Marzullo, Online instructor of Figure Drawing and Comic Art

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

12 Lessons (1h 27m)
    • 1. Promo Video

    • 2. Getting Ready to Draw Our Robot Character

    • 3. Drawing Our Robot Character

    • 4. Tips on Inking in Procreate

    • 5. Inking Our Character Concept

    • 6. Using Reference Layers to Apply Color Fills

    • 7. Applying Shadows and Highlights Using Blending Modes

    • 8. Using the Freehand Selection Tool to Edit the Work

    • 9. Painting the Cape and Adding More Effects

    • 10. Adding More Texture and Depth to Our Character

    • 11. Adding Hard Edge Shadows

    • 12. Adding the Finishing Touches

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About This Class


In this class you will learn my process for drawing, inking, and painting a cartoon style robot character. I absolutely love creating with the iPad Pro using the app Procreate. It is portable and extremely effective! I will walk you through the sketching process, adding inks, and then digitally painting in the colors. You will learn how to use layers, blending modes, selections and all the other cool features that allow us to create this type of art!

I will be adding more classes on this subject so make sure to let me know if you have any questions that I can help answer for you!

Thanks for your support of the work and good luck with the class! ;)

Robert A. Marzullo

Ram Studios Comics


Meet Your Teacher

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Robert Marzullo

Online instructor of Figure Drawing and Comic Art


My name is Robert A. Marzullo and I started teaching comic art online about 10 years ago after starting my Youtube channel.  It allowed me to connect with aspiring artists all of the world.  I love making art videos and I work with both traditional and digital art methods.

I am also the author/illustrator of the book, "Learn to Draw Action Heroes" and the "Blackstone Eternal" comic book.

It is my goal to help you realize your potential with art and follow your passion!  I hope you enjoy these classes.

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1. Promo Video: Welcome back, everyone. Rob Marcelo here from ramp studio comics and this my class on drawing and painting with procreate on the iPad pro in this class will be walking you through step by step on how to draw ink and color this character that you see before you Well, first, start with the very loose sketch and I'll talk to you about how to refine that and how to use layers, soft erase and redraw methods to get the concept the way that we want and ready for the next stage, which will be the inks. Then we're gonna get this ready. Take it over to inks, and I'm gonna talk to you about how to control the brushes and how to utilize some of the effects and features within this very powerful app to get the line work that you're after. So a lot of people have expressed to me that they have a tough time getting nice clean lines. There's a few techniques that you can use the aid in that process and make it much easier to accomplish. And it's actually quite fun. And once you get used to it, it's not tough at all. So I really want to share that process with you and get you to where you able to create the lines you're after. We'll also be talking about the streamline feature and how to adjust the pressure curve so that you get the best out of the brush is that you're using. Then once we've got all the ANC's away that we want will start dropping in the flag colors Now, procreate also has this very neat thing called reference layers. So I'm gonna show you how to use that because, quite honestly, it saves a bunch of time. It's an amazing feature. Probably the best I've found for any kind of coloring. It makes it just really quick, really effective. So in the next few lessons will start applying these effects. And it's everything from the shadows, textures, the highlights we're gonna use blending modes. We're gonna use selections. Teoh just apply effects in certain areas. So even though this is a pretty animated and cartoon style, it should give you everything that you need to create more complex artwork. You're also welcome to complete a project file where you can draw this character or draw your own variation using these techniques, and obviously we'd all love to see it. So share it with the class and we'll give you our feedback. So thanks very much for stopping by. I hope you enjoy these lessons. More on the way. We'll soon keep drawn. Keep Adam von and bye for now. 2. Getting Ready to Draw Our Robot Character: Okay, So don't want to show you how to create this little character, and we're gonna first start by sketching the character. I'm unmarried over the drawing process. The main thing to be ready for is as we start to create this really getting your pencil toe work the way that you want, I'm gonna be using the technical pencil right here. It's slightly modified and I'll share that with you. But I do want to just run you through a couple quick things. Just stay on the same page of the way that I typically will draw out the artwork. So this is obviously the finished product. But if you go in and start with a new layer and utilize this technical pencil, you really just want to get the feeling that's most natural. Now. Procreate is one of the best APS for sketching. In my opinion, it's got a very natural feel, very responsive. Ah, it feels and looks the way drawing should just so you're aware of the settings in this and again I'll share this with you so you don't have to worry too much. But if you just want to modify the existing one that you have. I'll cycle through these settings s so that you can adjust it yourself so you can obviously pause the video on each part of that and grab whatever setting. The other thing to be aware of is your pressure curve. So let's see. That's gonna be under, uh, pressure curve right here. So you want to play around with this a little bit? You know, generally I'll have it right about here. Ah, the main thing is that you're getting the thick to thin ratio that you want for your for your drawing, that you're getting a feel on a look that with a lot of pressure on, I wouldn't bear down to awfully hard on your screen, obviously. But with a fair amount of pressure, you're getting a thicker line and that its tapering off and giving you a nice thin line with very light pressure to no pressure, just the way to the pencil. You're getting something like that. That's really what it boils down to past that whenever I'm sketching and you'll obviously see the process here in a bit. Whenever I'm sketching, I'm repeating a process off, drawing something in place kind of finding my marks and then using a softer race and the softer race will be just, ah, soft brush. And you see, this hasn't been modified, so that's the one that comes with procreate. But it's got the very soft edge to it, and I'll use that at various settings, very various capacities to softer race that down. Now. You can also create the layer opacity here by doing a two finger tap and dropping the opacity by swiping left to right on the screen or left to take the opacity down right to increase it. But I actually prefer to softer race. It feels the most like and kneaded eraser, and it fills the most natural to the way that I like to drop. So that's all. I just want to give you another brief, um, explanation to the drawing process. I also all do things like a three finger swipe and cut from the canvas. What it does. It doesn't delete the layer, but it deletes everything on the layer. So it's really just kind of a quick way to a race, everything on that layer. So I'm just gonna share little tips with you as we progress to the artwork. So with that, let's move on and start to draw our character 3. Drawing Our Robot Character: all right, so now we're going to sketch out our little robot dude. And basically we want to first get in the basic shapes of the character, so think they're permanent shapes. And obviously this is a animated and cartoon style. So it's very primitive and easy to accomplish with, you know, cylinders, few curved lines thinking very spherical in most of the shapes, and you'll notice I select things am and over the proportions quite a bit, especially early on. I try to get all the proportions fleshed out and adjusted round early in the development of the character, I thought, easier to think of it that way. So if you can get the base structure in place, the proportions, the alignment of something, uh, you know, make sure to flip the canvas. I have seen me do that quite often. It's is a gear icon, and then canvas and flip horizontal and the beauty of that. It will help you spot flaws in the work and just things that you just normally don't see. When you get into sketching something about immediately flipping, the work helps you to spot things that ah, you're I was kind of used to, as you were going through the drawing process so lightly sketching and getting the ideas and and then we're finding him. So if you notice a lot of this is very rough and I tend to keep it as rough as possible. And then as I softer race and start to redraw each time I do that, I commit a little bit mawr to the lines that I'm looking for. So it's just one of those things where if you just allow yourself to see through the rough sketch lines, you congenitally find the best ideas, but of you, quickly or too early on, commit to a concept. Then you might not really allow yourself the time that's needed to explore different ideas . So I always call it, keeping the rough sketch rough really for as long as possible. Basically, you'll know the time because you'll just kind of feel like you have a good idea and you put that down on the page. If you're not feeling that, then you, you know, just leave. Leave it rough. Keep exploring ideas. Keep experimenting until you really have that kind of moment of epiphany where, like you know what I think what would look really cool is if I did. You know, whatever said thing it is. But you always tend to feel that way when you're inspired and when you're kind of explored a few different options. I don't think that you very rarely do you get that when you just go with the first option. I guess in that case, it's not even options. Just your first, your first sketch, but giving yourself choices on the pages just very important. Ah, and then what? I think what's neat about that as well is the more that you tend to do that with your work , the more you tend to allow yourself kind of this easy going feel of. I'm just gonna draw until some ideas pop up. You don't go in and go, okay, Got to create this perfect drawing because I think that's what hinders a lot of artists like we we, you know, hold ourselves to accountable. But if you let kind of let go and let the process occur, then you tend to get more creative. You tend to get more fluidity in your work, and it just just feels right. So at this point, I'm softer racing again, and then now I'm pretty much almost Anqing. In fact, I probably could have just went to the thinking stage of this part. But a lot of times, what I'll dio is if I really want to know that the idea is exactly the way I want it, I'll drop one last time with more line weight and again, more conviction and more decision making, maybe some minute changes. But I'm pretty much settled upon the ideas that I want. That's why I really could have just jumped inking. But I tend to find that if I do refine the work a za much as possible before the inks, then it makes my thinking Ah, lot smoother like I don't have to worry too much about where to put the lines, because I really nailed that down in the sketch. Eso There's a There's a lot to be said for putting down a good amount of clarity before you get to your inks, especially if you find yourself struggling to get clean line making with your inks. Then you're probably gonna want to tighten up your pencils as much as possible so that you really don't even have to focus on much with the inking except smooth line making, which, with this particular set up, can be a little bit more difficult than traditional inking. I don't think it's too hard. In fact, I'm I'm enjoying it more and more as I learned about this device and this set up and using procreate. But ah, but I have heard people that struggle with this. So keep in mind one of ways you can alleviate that. We're going to talk about that more in the next lesson about how to get clean lines and some techniques for that as well. But one of the ways that you could do that is just tighten up your pencils. Ah, and last year, one of those artists that really likes to, uh, Inc over top of some pretty rough artwork so that you can have a certain creativeness in your thinks they're not. By all means, you're going to do that. But again, for my pursuit in the way that I tend to create, it helps me to tighten up the pencils. And then again, I don't have to think nearly is hard about where I'm gonna put down my lines. In fact, by 10 to get to the inking, I can think mawr just about okay. We don't want to add some heavier line weights from thicker lines to really make this have more of an animated feel and pop off the page more s obviously rotating the canvas a lot to draw my lines and get in Some of those, um, smoother, you know, passes the line work. Ah, and I will say that for me, like pulling in a downward pull towards myself, like is always the best line that I make. So when you see me rotating like this, that's really what I'm doing. I'm rotating the screen so that I can draw in the most effective way for the way that I create. Obviously, that goes without saying, but that's really one of the bro. Powerful things about working with the iPad pro and procreate is not only can you just tilt the iPad, you could tilt the screen is a lot of flexibility in the way that you create eso that's about it. And just tightening up the pencils here finished the little logo here, using the layers to my advantage, and now we'll go ahead and move to the next lesson and start thinking this character. So let's press on 4. Tips on Inking in Procreate: Okay, so now we're going to start inking this character, and I just want to show you the process before we time lapse the next portion since it'll be redundant after you see the initial step by step. So basically what I do after the pencils heir to a level of finish where I'm pretty comfortable with, um, I'll add a new layer over top. I'll pick something into Ah, mid blue, brighter blue. Uh, anything in a blue gray. Really. I'm trying to emulate a bit of blue line effect that I'm used to from illustrating comics. So I tapped this goto lighten and screen mode, and now anything beneath that flood layer of blue will turn to that blue color. So then I go back in and I had a new layer, and I could obviously just colorize the pencils. Teoh, I just find this to be just Azizi and I can change it really quickly. Just seems to be the way that works best for me. So now with this new layer over top, go back to black and then I'll switch to one of my Anqing pens and I've got a variety here and whatever I switched to to use. I'll make sure to share with you, but essentially, it's bulls down to pretty much the studio pen, this Ram comic anchor, and I'll just show you how I use these. So having the benefit of working with layers makes inking a lot easier to accomplish. But you still want to get the overall feel of the brush the way that you want. So what I look for is, ah, nice, thick to thin variation I like to do, especially with a comic style or cartoon style. I like to have a thicker area to the bend right here. So what I find to be best when doing this is to actually overshoot the line, not worry so much like, if I try to do this line here, I'm not saying I can't get it with a certain amount of accuracy, but I tend to Once I get moving, I tend to do better withdrawing past the the parts that I'm trying to hit so a little bit in front of each area. And then once I do that, I'll set my eraser to a similar type of thinking brush. If not the very same one and I'll just go back a bit too large. They're all skill that down, and I'll just go back and erase sat back like that, so it probably looks a little bit painstaking at the moment. But as you start to get in the zone and pick up speed, it's really quickly. It's really quick, and then another thing you could do is add layers as you go. You will see me do this quite often as well. And you just kind of do a quick stroke with the brush like this. And you know, as long as it doesn't start to adversely taper past this line, you can just go back real quick within a race and raised back to that line and just continue your approach. So a lot of times I'll work kind of like this, and you really don't need to add a layer every time. But just keep in mind that when areas air a little bit more complex for you to maybe ah, work through, you can just add that layer to help you in that process and get the job done with a little bit more ease. The main thing is with line work that I've found is that you want to make a nice variation from thick that then and you want heavier lines on the outside to kind of contrast your thinner lines on the inside. That, combined with, you know, just a good amount of picked a thin to the line so they don't look so plain. So if you do everything with the same line weight around the character, I contend to be a little bit boring. So just like that, and get some rather clean lines and you see the zoom up there pretty tight because there's a good amount of resolution to the canvas eso in turn to get some good line work with that . Now the other thing you want to be aware of when creating your lines, if you're not getting nice, smooth lines and you know you want to practice quite a bit off to the side humanely want. Like I said before the thick that then ratio. So to be able to get a very thin line to a very heavy line, or at least a somewhat heavy line, I once a very heavy line, double or triple to the thinnest part. Maybe whatever your really your style dictates and whatever you're most comfortable with. But you gotta have a certain amount of control when applying this line as well. Because if you can't for the life you get a smooth line. It's gonna be pretty tough to get your artwork toe look the way that you want. So there's a few things that aid in that process, one of which, like I'm gonna mention over and over again, is really adjusting the pressure curve you got to think of the pressure curve is being a little bit different for drawing, inking to painting. In my opinion, I'm sure some people can just manage with one pressure curve and kind of be, ah, good with with all three of those modes of creation. But I think other people would benefit from really experimenting in there. The other thing is to click on the brush itself and play around with the streamline, so streamline is generally going to help you get a smoother overall line. But the the differences and the thing that I have to watch out for I drawn ink pretty fast . So for me, streamlined will sometimes get in the way and I have to use different brushes to aid in the way that I work because there's certain lines I like to create with a quick pass. And if you notice, even though I'm going right across here, if I do that too fast, help pulls in. So I have to go across this nice and slow. Now, the benefit of this is you can now focus a little bit more on the line weight and the pressure that you're using to get the thick that then and because you're going slower, you should have a little bit more controlled brushstroke if you feel yourself having to bear down too much to get the thicker lines that you want. Then again, you're gonna probably want to go in here and play around with this pressure curve and see if you can get it to where you don't have to apply nearly as much pressure. But you know, it's jumping a little bit, so it's still not where I needed to be. I'm gonna move that around, I'm gonna play with it and just see if I can get something a little bit more conducive with the way that I'm working and you know it. It takes a lot of trial and error, but I generally find that if the pressure curves right about here and then if I turned the streamlined down a bit more. But this generally works well for the way that I create and again using these layers to kind of aid me in this process and then also really adjusting the speed at which I create and even my hand position. So you're gonna want to rotate the screen based on what's most comfortable for you. But I would say that the speed in which you pull on the screen has a pretty significant difference as well. And then, obviously the one that nobody likes to hear. But it's pretty much the The primary one is just practice, you know, given enough time, you'll make any of these things work for you, but it's not just gonna happen right away. In fact, I've been inking on this Ah, set up for a year and 1/2 now, and I still don't have it perfected by any stretch of the imagination. But it's ah, it's definitely getting more and more effective in the way that I work and I'm definitely happy to be using this set up. Portability is just fantastic. So so again, like, great here instead of trying to pull that line wing saying, get a better one just by a quick poll. So again, you got a really experiment. So I was gonna say I'd add a layer and just draw through it like that. Ah, but I've noticed that, you know, that's about right as well. So that's about it. So now what we're gonna do is time lapses. You're going to see me repeat the steps that I just explained to you, and we're gonna get this character inked up and ready for color, so let's do it. 5. Inking Our Character Concept: now we're gonna go ahead and in car characters. So again, we're gonna flood fill a layover top, convert that to a light mode and everything beneath that will be the blue that we want and with the new layer over top will start to ink. So again, I'm gonna kind of reiterate some things that basically also shooting for here is a nice variation from thick that then I don't always per se know exactly where. I want the thick lines where I want the thin lines. But I checked that visually. So as I draw this in, I'm just being observant of whether or not I think it adds to the work. Or it maybe doesn't. So, uh, it's not really an exact science, I think not for me anyways, although I know that I tend to make thicker lines either on the shadow side or the side that has more curvature. And if it's something straight like the legs there, then I just tend to go kind of thick that then and make sure that there's variations but even notice that the legs themselves I do have both to pick the things going in the same direction from the upper thigh to the knee. If you could call it that with our cartoon character. But but past that, not much else. Now, when I do the knee plates here, I do a thing where the way I look at it anyways is that I cut back into certain areas and that tends to give me another level of control to the angles I get in those connection points. So I'm not only just thinking about the way that I'm gonna draw the line, I start to think about the way that I'm gonna cut back with the eraser and kind of make another effect. Now. The other thing is that looking in retrospect, you can always look at your work objectively afterwards and go, OK, what could I have done better? I think that's always a very helpful thing to Dio. I definitely do it with pretty much every aspect of my illustration. With this, I would say that I probably should have went on the heavier side of the line. Wait, So it's really easy to kind of just get into the process, start thinking the entire thing and then kind of towards the end, maybe go on, shouldn't want heavier on the wines. Ah, and you'll see. By the end of it, I end up going over it again and beefing up some of the line weight, which is pretty easy to do with layers, obviously. But the other thing is, if you feel that you're still a little bit unsure about certain areas like that, just take the time to think one area of it, say the face. And actually I would really recommend It's the face of the head of the character because we identify with the head and base of our characters, the most special with cartoon characters. But really any character. It's just the way that we're used to identifying with people. So you know, just that little bit of psychology that goes into art, basically. But But, you know, take the time to really just illustrate that one area and, you know, play around with line, wait there and then you'll have kind of a guide for the way that you want to do the rest of the character eso again, just drawing through areas using layers to benefit me so that I can really draw past a certain area race it back. I just find that I don't know that it's any faster with thinking a character like this, but it definitely takes a little bit of the frustration out of the process and makes it feel just easier. And mawr kind of a free flowing effect, which I'm really a big part of. It's not always speed, because if you think about speed in the idea that I've got to move faster so I can get this done, it'll oftentimes hurt you. I think worked in some pretty extreme production aspects of artwork. So what happens is consistent speed is better than race really fast and get it done. Type of speed is the way I look at it. So if you do certain things that alleviate stress as you're working and keep you in the zone and kind of in a happy state, I guess as you're creating, you're going to get more done regardless, even though you're not moving as fast. So just be aware that it takes time to really develop that and to kind of look at it that way, I think. But it does seem to help with my workflow because if I start to do things that are more frustrating. Even if it's getting them faster, it's gonna negatively impact the end result. So here you can see him going back through in the Manning. More line. Wait mainly to the exterior. So again, but generally with the cartoon style are I don't know if you can ever say generally because there's so many variations in style. But you can usually say that the thicker line we'd on the outside and the thinner line we'd on the inside will give you a pretty nice result, and it just helps to kind of propel that character off the page. And then, obviously you've got other options. When you get to the colorization process, you can colorize the line work, which I don't do a lot of. But it was a lot of art styles for its ah, really prevalent. Obviously eso. It gives you a lot of options to, you know, making the line wait nice and beefy to where you got room in there to do a lot of cool effects. At this point, I'm really just adding little bits of ah, heavier line weight with the new layer, and I'm also zooming in and out we're not. You could see that as much. I think you can notice that a bit on the playback because that allows me to check the line weight from a distance and really see if that's you know how heavy I want those lines to be . I also don't want to add too much line weight where it all blends together, and mainly in those areas where it tapers from thick that then. So if I just trace around it with a big, fat, heavy line, then it takes away all those nights creative points where it's thick meeting thin from Take that then so on and so forth, so that will wrap up the inking process. We're now going to move on to color, so let's move forward. 6. Using Reference Layers to Apply Color Fills: All right, So now we've got our line work ready to go, and I want to show you a pretty neat thing about the coloring process. So once you've got all your inks can emerges together, you can tap that and go to merge down. And we've got all this except for this Ah, you know, emblem or whatever in the line in the background. That's fine. We're going to keep that separate. The main thing is that I have the robot character all, uh, solidified on one layer. So now what's really neat about procreate is the ability to create what's called a reference layer. So I'm actually gonna duplicate this all swipe two left and then duplicate take the visibility off. One I just liked always create backups s so that I can work a little bit easier and I go back. If I am making mistakes here, what's generally there's so many ways to correct the work anyways, right that big of a deal. But I err on the side of safety. Um, her precaution. I should say so. S so basically, now that we have a sink slayer, weaken, do two things, really, we could take some base color. I want to kind of give him this slate blue or kind of grayish blue mid tone just to start coloring. And I could just click, pull and drag that right into the area, and it's gonna grab and go to the closest part of the edge of that line work, and you could see it as a really great job. It doesn't leave any artifacts or like Gap. You know, that's probably provided that I started with a good enough size canvas and that I created some pretty clean line work. But you can take it a step further, which is nice. That's that's a really quick way right there. But you can also just add a new layer tap on it. Let's see. Actually, I think we gotta click this one first tap on it. Make this a reference layer. You'll see it says reference right there. Now go to the new layer, and I don't think we even need to do anything. It's gonna immediately take whatever we do in this layer and reference that layer below. Let's try it out. Yeah, just like that. So if you notice it, it's on its own floating layer. It did the same thing for the full bleed effect. But we've got now this extra option to really categorise and separate our work to be, you know, and I like to put everything based on colors, so basically flat ing eso. You know, we'll get more into that as we call other characters. But but basically now I could drag each one of these areas and really expedite the process of coloring this end on. If I hit a bad area, I was just kind of go here just clicking a dragon. Keep in mind I'm not letting off the screen as I do this. Click hold, drop, click, hold, drop. I see it's kind of bleeding a little bit over that line work. I don't know if you can notice it, but it ate up some of that small line that was in the knee. That's just because it's over top. So if we click here, hold, drag it beneath. You see? Now we've got our full line work. Ah, this is also a great to do because say, you do get an area where you can't drop in this well and keep in mind you can drop in pretty well because you can Zuma closer with a two finger pinch. I'm also doing a two finger move across the screen, so placing two fingers on the screen and moving across. But I can also do that to Ah, zoom in and out like we talked about what the gestures seeing Drop those in pretty effectively. But once I get to an area, it's a bit smaller. I'll show you one of the other neat things about using this in conjunction with Thea. The Brush Tour the pencil. Well, they get to this part in these knuckle pieces air harder to get or something they're really not. But I'm just gonna use these as an example, so I'll get all the bigger areas. This is just a really quick, fluid process like this, And then I might have some tricky areas. I can take my ink brush, and I can just fill that in. Since it's behind the line, work doesn't hurt anything. I could do any little touch ups or adjustments, so use that in conjunction with the Dragon drop method. We'll just kind of finish this real quick. Then we'll get some of that area's going. I want to get over here. Yeah, this is Ah, every artist is dream right here to be able to color this quickly and effectively. Uh, pretty amazed when I figured this out about this particular app. So you don't have to create selections or anything Now, obviously, if you're really good at drawn in your selections, you could probably move equally as fast eyes this. But then, I don't know. This is gonna really speed up those large Phil areas and even segments. As long as there's enough spacing in between your segmentation. Ah, then this is still gonna be probably quickest method. Just fill the central quick. All this could get filled in. Yeah, it's pretty hard to beat this. Ah, this tool here. Okay, so there's all the blue part of the robot. Now we can click on this top button for re name and just call this Ah, maybe like blue grey or something. Lack of a better term. And let's add another layer plus icon to the top, right? And let's give his cape kind of ah, mid tone maroon, reddish, maroon again. I cannot try to air on the side or to the middle of a mid tone just to start with. And then I can, you know, I can obviously go from there wherever I need to, but it always seem to do a little bit better if I start with a mid tone and start to paint in some of my darks in my lights. Oh, man, I did miss his neck. There's we'll get that here in a second. I said miss it. There, you get a little closer, like them drinking job, and we're almost there. Okay. Oh, in between the fingers and a little piece right here. I'm always missing pieces when it color seems to be my recurring issue when coloring. Okay, so let's get that next piece. Now. Now are we jumped off our color and we didn't bother saving. Keep in mind, you can also go into the, uh, via pallets here. And by clicking on this, you can save these and create pallets with plus sign things like that. But I'm not gonna worry too much about that once I get my base colors down. I just used the existing palette on the canvas, But be aware that you can create these a lot of these are ones that are presets. Eso delve into there and see some options as well. But basically what I like to do is after I get some base color, I can go to those blue grey. I can just click and hold on top of the color. It's gonna re select it for me. So my palate essentially is just the the one I create after I get my based colors. If it's a more advanced painting that I might use the palette options a little bit more. But I generally create my pal. It's right on the canvas, so that gives us our based colorization and shows you how to utilize the reference layers to make that a lot easier in your process. Eso with that, let's start applying some effects to this and move on to the next lesson. 7. Applying Shadows and Highlights Using Blending Modes: So now what we're gonna do is utilize the live transparency features. So if you take any one of these layers will start with the blue gray and you put two fingers on and sweep to the right. You're going to see a grid pattern in the background. That means that you've taken all the color data from that layer and you've locked it. This is one of my favorite features in any program or app, in this case, mainly because you can take a darker color. In this case, I'll grab a ah kind of a darker version of this blue and keep in mind if you did want to use the pallets, you just go back to the pallets and you could just tap there with that color and, you know, create your color swatches right there. But again, I don't feel it's really that necessary. On this particular kind of illustration. You can also create another layer. Let's go and get rid of this one to want to conserve our layers as we go. Delete that. So I swipe to the left there. I can actually get rid of these 1st 3 on this one to swipe the left had the lead. I'll just conserve some layer options there and I can add a new one. And on top of this layer, I could just take the tool or whatever brush here and just draw some of that color. You could hold each one of these. This is a bit redundant, really. But I'm just showing you another way. That's kind of popular to create a pallet on you. Just leave that on a floating layer. Turn it off. So anyways, to go back to the light transparency layer, we've got the darker color. Actually got to reassign that. Let's go back to the palate and sample from this just like that. And now when I go to drawn this, I can't go out of the confinements of that like transparency so very powerful and very effective for doing your paintwork. What I like to do is is first get in some base shadows. You can kind of do it a lot of different ways, really. But I usually start with a soft airbrush. Just get in some Ah, get this brush size to about here. Just getting some base. Ah, shadowing just kind of to find the light source. Start with brushing in a soft shadow to the side of the character like this. And you can also be a little bit messy in the beginning just because you're gonna go back and paint back and forth with dark to light. So don't hold yourself to accountable to early on. Just get get the process going. Don't worry yourself sick by trying to get everything just right. A lot of times you're gonna add in texture and texture kind of la Juve rain things that about it, I feel like Anyways, I think I'm gonna change the color of its headpiece. They're just so it's not all this blue. In fact, I'll do that, too, that in the eyebrows, you see just with that soft brushing get in there and just kind of start round out the form just a little bit. Nothing too dramatic. Yet I try to be a little bit subtle as I work into stuff like this and just slowly build up to it. The reason being is I feel like if I do that, I can see it unfold a little bit better and makes them better judgment calls. But if I get in there too heavily and just go to town on it, I might ah, commit to something a little bit too quickly and lose a little bit of the process of developing the idea. Seem trying to get a little bit of drop shadow on the legs there on the underneath of this squared off part of the knee pads or whatever things there drop shadow from that. It's just some basic concepts here. Obviously, it's, Ah, cartoon style character, so I can keep things pretty simplistic. Adds to the ah, effect, obviously. But on the side of the arm, I could if you throw a shadow on the shoulder almost like the body is, Ah, the body and or cape could be casting the shadow. Something like that and segmentation. You can always just throw in a slight drop shadow just like this basil on the Yes, this would be a pelvis, but you know that little basil right there is gonna get a drop shadow. So it's It's pretty basic stuff, you know, just primitive shapes and little bits of shadow and rounded nous Teoh make it appear more dimensional, and you can actually do pretty fair amount just with a soft brush. But you just have to compensate by skill on the brush down. So it has the effect of some hearted shadows and turn areas because essentially, you're going to get the best overall paintwork when you have a nice combination of hard edge and soft ed shadows. That's why if you see something that's done with an airbrush, but they didn't really tighten up areas, it's just kind of soft brush everywhere. It has an overly kind of cloud, like feel like a fluffy, unfinished feel. Eso That's what you gotta think about. You can pull it off with an airbrush or airbrush type look like we have here so far. But as long as you remember to tighten up the some of the edges and just by condensing down the brush, you can get some refined details like that. A little shows here, so on and so forth. Okay, so now we've added in some soft shadows. Let's go ahead and and in a little bit of light source and a little bit of texture. So to do that, we're gonna pick another brush and let's go with Let's see it painting something that's got a little bit of, ah kind of texture already kind of built into the brush. And again, I'll make sure you've got access to whatever brush have decided to use here. I think I'm going to go with this one here. It's got a little bit of texture. Now we're gonna beef up the light source now, So we're gonna sample the brighter color, pick something a bit brighter or much brighter, noticeably brighter. Something like that. Again, we could drop it right there. So we've got another pallet right there is. You don't have to go to the one all the way to the right you don't want. And we can also add that to our layer here. It's real quick. We've got everything on that one layer for, and we can just click that rename it calling color palette. I believe that's how you spell it. Okay, so now go back to our brush and put in a little bit of light, source and texture. So this could be fun, because you're basically just trying to get the idea and the characteristics that this character, ah, may have some roughed up metal areas and metals obviously, even at a tattered condition, has generally some speculate gritty to it. So you're tryingto get a little bit of that in there. So that's a fair amount of character. And it could be a be really fun to work with. Texture like this Syrian come up with now. One thing I will say is if you notice I'm painting this all on the existing layer, and maybe I should simplify this a bit more. So let's go and do this. Let's go back. So I'm doing to finger taps on the screen to go back and just want to make sure that I don't, uh, do things that maybe you're a little bit more advanced for anybody is just starting out. So let's say that we want to add this texture, but we're not completely confident with the way this texture might look. So let's go ahead and take this layer here that we've got. Remember, it's separated on that blue grey. Let's click it once with Click Select. Let's add a new layer of the top right plus icon and let's click here and rename it Call it texture. Okay, so what we've done is we've isolated this area. It's floating over top of the blue grey layer, and you see that background pattern shows that the area inside this area is the only thing I can effectively paint on. So now, as I start to brush this texture and a couple things happen one I'm able to paint a little bit more freely, like with a lot less. I worry because I know that I could just easily erase this back, which in turn is gonna lend to you being generally more creative, more experimental, because you know that well, I'm not painting on that layer. I don't have to worry too much. No, obviously, it didn't take us that long to get to where right here. So it's not that big of a deal anyways. But if you're like me, taking every bit of anxiety out of your work is a good idea. So you can just, ah, create freely happily So we'll skillets brush down and just paint in. So even areas like this where brush it and maybe it's a little bit too prominent. It's OK because I still have every ability to softer races bag. Uh, no. If it was on the blue there. I could still do it, but I would have to paint back with the initial blue color or something like that. Now, the other thing that this affords us, the ability to dio is play with blending modes. And that's really the true power of this. So, you see, I'm even gonna add a little bit of edge lighting right here. We'll probably make this Ah, a bit brighter, like a white or something by the time I'm done because I wanted to. I want there to be contrast here. I don't want to all look like the same colorization or same effect throughout. But Aiken, bring out a nice little light source over here. So before I get too much into this, let's play with the blending mode. So I'll bring this over the two finger pinch click on here so that n is. I'm gonna click that, and now you get these blending modes on these air. Fantastic. There's just lots and lots of options here to really tweak the artwork. So let's goto lighten. Let's go to add you see how it starts to make it look more speculator. Let's go ahead and click that again and lets it actually went to color Dodge. And I think is a little bit better. Screens a little bit. Light light doesn't do as much or lighten let's go toe ad. That's what I was looking for. So again, now we have the ability to take that colorization that we're adding converted and modify it even more with blending modes. And we also have the ability to softer race or race back. So let's take the airbrush, and we could even use the texture brush to race back. But I'll just use the software brush for now and say, I feel like I went too far with it. I could blend that back, and I can really control the way that this ah effect is placed into the character. So lots of reasons why working in this method with building up layers over top and using selections can help you to get exactly what you're looking for. Eso that'll wrap up this lesson now let's move on to the next 8. Using the Freehand Selection Tool to Edit the Work: So now what I'd like to show you is how we can use the selection tool to modify the work as we go. So we've obviously got things separated on different layers. We've got our base layer of the blue grey here with lacked transparency, and we know that we can define selections and work up from there. But say, for instance, you want to change. Ah, certain colorization too. Ah, component of the work. So in this case, what I want to do is I want to change this kind of center headpiece. Almost looks like a bit of a Mohawk. So I'm just gonna draw around this. And the neat thing about this selection tool is that you can click anywhere you want. You can lift up off the canvas and, you know, move the camera around with the two finger pinch Any which way that you want to get comfortable, and then you can pick back up and you can actually draw at the same time. So this becomes very versatile. It's one of the best of not the best selection till I've ever used in any programmer app. Because you can stop move the camera around again get comfortable cause like, I don't know if you're like me, but we'll have ways that we draw or illustrate better. In my case, whenever I want the most control with my line making, it's a downward pull, so it helps me to be able to shift this around and then utilize my best method for drawing . So then just click that first little starting point and he finished the selection so you can see that just that area has been isolated and we could do a couple things here. We could do a three finger swipe down on the canvas, and we could do a cup paste, which is actually what I prefer to do. You can also modify it just as it sits right here. If you feel more comfortable working that way and you want to minimize your use of layers, I like two separate things, So I'm gonna do a cup paste. It's gonna cut it and drop it right back in a place. Now, keep in mind you don't want to accidentally touch the screen because you do something like that. So I'll do a two finger tap for an undue on. Then I'll just basically click that little arrow that's highlighted in blue at the top left . So that will release the selection just like that. So I can go back to moving around and do what I need to. I can also go over here. Click Here. You see, It just named it inserted Image. Rename it. I'm just gonna call this. Ah, let's call it Dark Gray. I'm not gonna name it. No, it's Mr. He's in different spellings of the word great. Here. You could be spelled both ways. Right. Okay, so but what I want to do is go back to the first Blue Grey before I make these edits that I'm gonna show you. And I also want to change his eyebrows would give him a bit more character and definition as well. So same thing I can choose to just click in this area and amusing the line. Work is my way to ah segment the color and that worried too much about, you know, the edging obviously, And over here start again and again. I could draw this or just use the point and click method And there we go. So we've isolated the eyebrows. Three finger swipe down, cut and paste. You'll see him pulling and go back. Release the selection with that little arrow icon. And now what I want to do has merges together. So I'm just gonna hit merge down Now I want to show you something here. Noticed that it got rid of my typing, which it's not that big of a deal. But I just want you to be aware that sometimes I'm doing a two finger tap twice on the screen to go bag. Ah, yes. So there, there it is. Let's just kind of experiment here and bring it up to the top. And now emerge this down because it doesn't matter which one gets merged into the other, cause they're not touching or anything like that. I wouldn't matter. Even in that regard, if we want emerged emerged but will merge it down now notice it Kept the name, you know, So that say that little bit of time typing. I'd just like to be aware of things like that, and I want you to be aware of it. So eso obviously, if we go back, we analyze that one more time. So the one that's named to the bottom will keep the name. So that's all you have to remember. The one that gets merged down will eliminate its own name and take the name of the one on the bottom. Simple. Is that OK? So now we've got those separated and now we can edit that. Anyway, we like we can either do a two finger swipe to the right and we can lock transparent pixels , Which probably a good idea anyways. But we can also get into, you know, this would be the method we've used. If we just want a sample, a darker kind of grayish black, and then get in here and start painting over top. You know what is obviously pretty easy to dio i X Even the the highlighted layer over top still affected the eyebrow there on. I don't know that I really want that solves I have to do there is grab this hold for a second and it'll highlight. And the dragon above there you see now it's not affected by the the highlight layer. So you just, you know, be aware of the way that your layers are stacked on the way they affect one another the other way that we could have affected justice here and now that separated out on its own layer is to go over to our adjustments and go to something like color balance or hue, saturation brightness. And just play with these sliders. And you can get all sorts of need effects that weaken dark in that you can lighten it. You can add a certain color. Generally, it's gonna be more impactful if there's already an existing color and saturation to it. So you can really mess around and play around with this as well and get just the right effect. Just select the selection total release and accept it. And if you don't like it, just couple finger taps back and say it wasn't much change there anyways. But I just wanted to be aware. That's another way that you can really kind of get the most out of this. And as you start to play around with the artwork, you know, again experiment. You're going to find all sorts of neat ways to, ah, you know, adjust your work and and really get the best out of it. So with that, let's ah, let's go and move on to the next lesson. We're gonna actually go back, and I want that to be read. We'll go to the next lesson we're now going to talk about, and I'm gonna show you how to paint the cape. So with that, let's move forward. 9. Painting the Cape and Adding More Effects: All right, so now we're gonna paint the cape. What I would like to do, though, before we do that is actually add a little bit of background color. So a lot of times it's helpful to do this. And I probably should have did it more early on because it helps to contrast and give you a better perspective on the other colors as they're being put down. So let's rename this. Let's just call it back, Grown color like them. And let's just take a bit of kind of an aqua green somewhere in there, I think remember, we can always ah de saturate recall arise things as we go. I'm gonna take a soft brush so kind of a big, soft airbrush scale that up. I'm just clicking and dragging to make that brush larger, and it gives you kind of a visual guide based on the current campus size. So, uh, you can pretty much assume that that space is taking up is about the size of the brush. So I'm gonna make that pretty large and once again to pass that I have to guess a little bit. But what I want to do has just put a little bit of background color, so it gives it a bit more atmosphere. And again, it helps to, uh, give us a better representation of the other colors as we paint. It was just something like that. Answer tomorrow to hear I'll take the selection tool. Remember that you can just click to get a straight line. Use your undo if you don't get it right. I wanted to sit right behind that line. Actually, I'm just gonna pull. We do that again. I'm just gonna pull right off the canvas here, basically boxing it in. But then my my goal here is to just paint, um, pick more of a blue gray, Let's decides or more de saturated on. I don't think I really need this to be on another layer, so I'm just gonna paint on the same layer, but use the selection to apply this effect. Let her give us our ground plane something like that and release the selection by tapping on the air icon. Okay, so I just give us a little bit more of the background work with. So now what? The cape. I'm going to do a two finger swipe to the right. I'm gonna like transparent pixels And let's zoom up into here with a two finger pinch and let's get in here and paint a little bit more So what I want to probably start with on this makes going to start with the paintbrush, the round brush and I'm gonna pick a a little bit darker tone, My shadow, some like this. So sometimes I like to start off with ah, brushing in the paint and trying to define some of the harder ed shadows. So everything that I do on a style like this is generally going to break down into hard and soft head shadows, you know? And then the way that I apply and will be basically cash shadows, drop shadows, uh, you know, just generally things to round out the forms. So what's have defined the light source? I just started to kind of imagine the way these shadows might look as they go around these forms. So, for instance, even this shadow have no made it a bit too wide. I think it's just really a representation of this fold, creating a cast or drop shadow onto the rest of the material I'll just repeat that process and the beauty of that lack transparency that were using. We don't have to worry about painting onto the other parts of the the character. And then over here, I want to get a little bit of this shadow, and I'm perceiving that this fold is coming up in around so you might even get a little bit of shading on this side of the fold. So, you know, this is just me kind of guessing. Based on what I know about shading, I wouldn't say it's always correct, but that's where you gotta let, uh, your visual. I kind of help you as well. So hopefully you know, as you get better things start to stick out and go Well, it doesn't look right. I think I can do better. Or maybe I need to study from some reference one of the tricks that I use for folds and things like this and drapery cause you're always trying to get better at this, I think is I'll throw, you know, either study a curtain in the room, something like that living room, whatever, or I'll just throw a blanket or shirt. Different materials, really over a chair or on the ground. You know, just study it that way. We'll even sometimes probab lighting just that I can really kind of understand different things about it. So as I'm brushing this in this, this paintbrushes kind of nice because it does almost a little bit of blending. But remember, I can go into the smudge tool here. I use something like this Acrylic. It's got a little bit of texture there. Ah, and I could just get in here with this. I'll scale that up larger. You see, it's really just a bunch of little Stumpel's there, and I could get in there, blend that back if I need Teoh so I can pretty much emulate. We are soft airbrush feel, but I think that the helpfulness of blending the pain and getting that effect is that you feel a little bit more control in your you're learning about the process a little bit more . If you just get in the habit of brushing everything in with a soft brush, it kind of takes a little bit of the learning curve out of it or something. I can't really explain that, I guess, but I always feel that get the most out of it. If I do a little bit of blending as I go, I'm pretty much controlling the pain a little bit more. And maybe learning a little bit more in that process is the way I feel about it. So we can try to get some of his drop shadow, some of the There's always gonna be a little shadow in the fold. And obviously this is a pretty animated style, so you don't necessarily have to take it as far as I am. I just like to try to combine a little bit of realistic feel to the animated look. Sometimes I think it's kind of a neat kind of cross pollination of the effects, just a little bit to shadow there. Now. I could just say he's got this massive head here, right? This is all gonna be in shadow, which would make a lot of sense. So let's do some of that. But I also like the look of tracing out the shapes for more animated, almost associated kind of feeling. Okay, so there's some of our base shadows Now. We're also gonna get this nice, heavy shadow from him onto the back of Cape around of this inner part of the Cape. So let's dark in this tone up a bit more. Remember that if you want to save these, you can just tap on that little, uh, entitled palette There, you can rename it right there. So let's go ahead and draw the sin. And then if you don't feel comfortable adding the shape and you want that extra level of at it So So let me let me show you kind of ah scenario. So you've drawn this in and you don't get the looker shape that you want and you're having a tough time because you want to push this back like it sees it and maybe add to it, but then noticed that you get a little bit of an artifact and you can select from the existing color. But that still doesn't quite get rid of that artifact. Right? So this is where kind of going into that you can think ahead and say, Well, let me just make sure I don't make any mistakes and let me get it just the way I want emerge it down. So let's create a selection So we tap on this, create our selection at a layer, we'll leave it to normal for now. But remember, we got our blending modes to help us if you want. So you got to go to the brush. And so now what happens especially for work at full capacity, I'm gonna turn this all the way up. I'll show you why here now, I could just worry about just the shape itself. If you notice if I go through this and I paint over, it doesn't leave in the artifacts because I'm working at full capacity and amount of floating layer. So this is ah, kind of Ah, I think the most helpful way to build in an effective your again not entirely sure if it's going to look the way that you're expecting it to look so I can get in here, Just worry about the shape itself, really experiment with that. So Okay, how far with this shadow from him come down and again, I'm purposely trying to work at full capacity on I gotta perceive where the arm shadow would be Maybe a little bit closer to the fold of the Cape. We might even get one part of it higher. And then the part where it hits the the other recess might be a little bit different because it's obviously gonna change shape as it goes over that fold. Maybe the thumb shadows back here. Whatever you know, you just decide on how detailed you really want this to be. Uh, doesn't have to be that correct, obviously. But it's up to you in your own imagination, I guess. So let's do that and what we're here. Let's add some more cash shadows a little bit more depth some of these recessed areas. So I tried to also take advantage of all the layers I can so I might get in here and say, Well, what's had in these little shadows to the Inter folds here while we're here and do as much as I can on this one layer. I'm just trying to push a little bit more depth on. Then also, we can take this. It's actually take a soft brush to the side, the airbrush Oops, let's do a little bit of this on the side here. Really try to round out parts of escape and then you also want to shade from the bottom up A lot of times, all right? Especially if you're trying to make something look a bit larger, more imposing. We're not really trying to go for that here, but generally it's just better than, say, shading from just left to right. You also want to think about you know, some of that shadow being dark around the bottom versus the top with light source is gonna be we're gonna shared from the bottom up. And then also, since already here, and we know we got blending modes, we want to kind of play with ease and for dark. And we've got multiply got linear color burn. So I just cycled through these and really experiment learn about them as ago. Might try to contrast with overlay. You know, just just cycle through my I find that to be the best way to really figure out what you can get out of these. So I think I'm gonna go with dark and and multiply. But then I'm also going to bump back the layer opacity, experiment with that as well, and then toggle it on and off. So I check. I check it with the visibility warm here. So now what I want to do before emerges down, actually want to see what else I could do with the highlights of the keep looks very lackluster and just not that, you know, dimensional. Yet it's starting to get there. But since we've already got this selection generated, let's add a new layer and let's go ahead and select the highlight color, and I think something along a reddish yellow. So I want to add some red. But then I also want this to have almost a little bit of, you know, almost like it's the sunlight or something. But I just want another color to kind of brighten it up. So it's trying reddish yellow. That would be more on orange, But let's try the brighter red first and start there. Let's do it with a soft brush first, see what that gives us. Yeah, it's a little better. It just kind of livens it up. So I was gonna brush in a little bit of this here and there, and I think what's neat about this is when you work off these layers, you're a lot more prone to experimentation, and you just know that you can I get what you're looking for and then merge them down? That's Ah, that's kind of a neat thing about layers and really layers are you know, they're done in traditional pain as well. They're just not, As you know, you've got to kind of commit in certain aspects of the artwork We're here. You've got a lot more options to experiment, and I think it's important to kind of be aware that anyways, like like with the traditional work, there's a certain amount of it that is basically more. It makes you think about it a little bit differently because there's a certain sense that it could be a mistake or it could be lost. We're because you have the ability to keep editing and digital. You gotta be careful to not let that AH affect the way that you create negatively, so it's very powerful. But it can also be a bit of a double edged sword. I think so. Let's take this and so that looks. I definitely think it's in addition to the work. I still feel that it needs that extra little bit of brightness, so I'm going to add a little bit of yellow golden yellows. Try that and maybe even a little bit of light source off to one side like this again. I'm really just trying to round it out and get a little bit more out of it on Then we can also think about this as painting in the work, giving a little bit more associating effect, and you can lightly paint this in and then, you know, blend back the edges. So, for instance, you contest an area like this. It's much. Take the smudge brush and blended around and see if, ah, you know, sometimes you can get some really nice effects with painting it in than softer, racing it on that layer or blending just parts of the edge. You don't have to blend the entire thing. You can just blend one edge, one side and again really experiment with that. But I think that's starting to look a bit more lively. And obviously we still have the option to go back and maybe play with our blending modes and a lighten so weaken like add or color dodge. Kind of like yeah, like either one of those, Really. But let me see if I liked it more. Without that, we're back to normal jump players tonight. I think I like color Dodge. We'll leave it there. We've got the option to go back if we want on. And then once we're set with whatever we decide to go with, we just take these and pension together. So the trick is you have to put your finger on the top layer and then your thumb on the bottom layer and anything in between. If you pinch those together, though, condensed down. But you also have to remember that if there just blending modes, they're going to give you an adverse effect like this. It has to have that bottom layer that is a solid for those blending modes to react properly with. So just be aware that if your pension them together into getting somewhere defect, you probably don't have that lower most layer that has a solid feel to it. And remember that you can still do it layer by layer, but you're gonna have to start with one right over top of the base flood fill layer merged that down and work your way up. So this is a quicker way we just pinch him and you're kind of done so eso that I complete this lesson. We're now going to move on to the next, so let's press forward. 10. Adding More Texture and Depth to Our Character: Now I want to show you how to add some more texture to the robots metal. So let's go in and zoom in here to finger pan Travis Lee and get that right where we want. Let's go to the Blue Grey, just the base color. So no, we've got this texture floating over time and we could probably had a little bit more to that at first. So let's go back to that. And we've already got a blending mode on there, so this is set to add. Let's pick that later color. Remember that you can zoom in real close here, hold your finger over top, and it will select that color and that'll give us what we need. We also want to go back to the brush that we're using, which I believe was the, uh, Nico role, and I'm pretty sure that came with the program. But I'll make sure, like I've said previously, that all brushes are available. Eso we want to just get in a little bit of texture whenever texture, and I think that it's it's important to change the size of the brush. Some brushes, depending on whatever you're using, are gonna rag differently and provide different textures. Different sizes. Notice here that I just painted outside of that area. So I don't have the confinements set up, which should be obvious because of the selections. Not there. Go back to the initial layer. Click once hit, select second from the top. Go back to the texture and I will be able to paint Justin that confinement. You always gotta remember to select the brush to. So after it creates that selection, it gives you the selection tool, which is not what I was looking for. So I'm just gonna brush in these little bits of texture and I kind of well, just paint back and forth to get what I'm looking for. And a lot of times I will add in texture and then go back with a different brush and they're highlighted to bring it out certain elements of it out, whatever I tend to see in there. So what I want to do is get a little bit more of the the effect that some of this has raised and, you know, kind of indented and things like that. Just a bit more of that grit and texture to the character consulate scale in the brush up and down painting and little light sources and trying to think about the material being a bit grungy but also a bit speculator in areas. A little bit of highlight there on that ridge here on the side here. Remember, since it is on that floating layer, we can take this smudge brush. We can kind of rough up the edge here and there as we go. So I think that what tends to make things look a little bit more realistic if it's just not so perfectly aligned and illustrated on every edge like so forensics right here might take this much brunch smudge, brush down and then rough up the edge right here. So as it almost like as it's going into the character, it's not a perfect clean edge. I'm always kind of moving the pain around experimenting with that, but it's gonna depend on what style you're really after. If you like realism, if you like, you know, quick, cartoony style. You may get in very, very fast, and just throwing these effects and get out just depends on what you're looking for. I also like to use the light source to really basil things out. So I might say that the lights catching on this side of I make it a little bit more intense just in the middle there and have it dissipate as it rounds away like that. So I can generally show the intensity of the light source, and you can also find how thick that material is. So the picker you make this and you're basically illustrating that this material is is thicker than ah, and it was before. So I kind of like that a bit thinner was to fair tap to get back something bad. I just wanted to be subtle. We almost skin say there's gonna be a little bit of reflective light over here, but we might want that to be a bit more subtle by comparison so we can drop down the opacity of the brush. You scale it up so that we can basically just lightly hit that side. So I'm putting very light pressure as I apply this effect. Just cause again, I'm want to air on the side of subtlety so that we don't get this effect that everything's kind of the same. All the way around the character that tends to flatten it out. We could also say, Well, maybe this is gonna be a little bit different color. Maybe it picks up a little bit of the backgrounds. We could grab more that kind of aqua Lucy, how that looks, you know, sometimes it won't add the affect your looking for based on the blending mode, but it doesn't need to be very impactful it just again. I kind of like the effect that just one side is different than the other. It's not too Ah, too much of, ah traced kind of effect. Yeah, I think that still gets a little bit of that article color in there. And if we don't like it, we can always paying it back out. So it's not a big deal. Okay, so now let's Ah, let's get in here into the details a bit more and let's try to pump this up. So what I want to dio is actually add another layer over top. We still got our selection working for us and I want to pick a bit of brighter, even brighter light source, and I could probably use the same brush, but I'm gonna scale it down. And what I want to do is get in here and just pick out parts of us that might be a little bit more raised. That's what I'm after. So Oh, I got a bump up my capacity again. So with this and actually want want the brush to be a bit smaller and I might just go with more of the painterly round. So what I'm trying to do here is actually utilize the texture that's already been put into place, but then just grab little details of it. And sometimes I'll just do this with a pencil tool. Uh, there's no right or wrong way to do this, but I just find that it it gives a little bit more character to the work. If I add a little bit more detail like this and I'll zoom back to check the work, make sure you know it's actually doing what I'm looking for. So what I'm thinking about is almost like when you see ah, metal that's real tattered up and beat up. You get a little bit of this kind of ah, you know, high high and low areas in the work So that's what I'm trying to emulate here. And I may even have to do this with, um adding a bit more shadow as well. Two parts of it. So I'm just gonna pick apart little bits of this detail and just try to texture rise. I think I do want the capacity lower now it's it's it's on that floating layer. I can blend parts of it back, smudge it around, see what I get, and then always check the work from a distance. So it's starting to get there. It's giving me just a little bit more variation than what I had originally, and I think I need to paint more texture all through the smooth areas. So it's almost like there's just too much going on over here, but not enough throughout the character, so it blended off too quickly was kind of repeat this effect, and you can really do this just with a syriza brushes. You don't have to paint it inner. I'm almost us drawing in the effect, but again, it's kind of that control thing and learning about the process. Sometimes this works other times just grabbing just the right brush. We'll get you there like, really quickly. So she as it pertains to textures. But sometimes I just like to experiment, drawing my own textures and council, zooming in and out and checking my work as I go. Okay. And like I said before, I also want to see a bit more texture throughout the character. So I feel like the other parts are a bit too smooth. So we have to do is go back to our original texture here, and we're going to pick that that original blue. I guess I'll just kind of hold over top of here something like that and make that brush larger and actually don't want it to be a light source. So what I'm gonna dio is go into probably add one over the grey blue or blue grey, I should say, and I'm gonna set this to multiply and pick a little bit darker. So hopefully what I get here is a nice transition from the highlights that I'm adding to some of the darker texture throughout. It should allow me to round out the form, get a bit more of a realistic feel, I told him after you see, I can even paint that up into the highlight area, see how that affects it. Remember, I can always software a setback because we got our floating layer there. If you feel like the effect is is kind of applying rather quickly, you can play with the opacity in again. Remember to experiment with the brush size as well, and I like to just kind of randomly brushed the sand changed the brush size as I'm going again, trying to mix up the kind of texture pattern that I might get. One thing that I really like about procreate is the brushes rotate and move around, so you get a bit of randomize feel from the same brush anyways. But if you combine that with changing the brush size, you can really mix it up, get a lot of death into your paintwork. And just like that, we're starting to get a little bit more of an effect going, and we'll keep painting back and forth and refined this as we go, so that would conclude this lesson. Let's go and move on to the next 11. Adding Hard Edge Shadows: Now I want to show you how to add in another type of shading, which I consider associating. So we've got kind of this texture going, and we could take that as far as we want to, obviously. But another type of shading that, like to add is Well, let me just go in, show us. So basically, if you take the blue grey, I'm going to select this area, create a selection with one tap and tap select, and we'll add a new layer over top. And I'm going to take the paintbrush. And I wanna make it completely solid and say I want this rounded shadow that goes right through here. I was just kind of draw that in. You see, it won't go outside of that selection there. You also get a little bit of shadow on the neck there because it's gonna create a drop shadow there as well. And I could do this in sections which I think is probably the easiest way I'm gonna show you a couple of ways here. Eso Now, with that being on its own layer, I can take the Lear opacity Aiken to finger tap on the layer and I could start to pull across the screen and drop the opacity, so get it to something right about there and again. You could play with blending modes and see about the effect. A zit pertains to that as well. And then I also general, will take like a softer race. So a big, soft airbrush and I'll just lighten up one side versus the other so that it's not to consistently across the shape of the face. Eso That's just another style of shading that I like to add. And then I'll just go through and do that a couple times now, and I will probably utilize a different layer each time. Now the other way is to kind of say, You happen to do it with a layer first. Eso adul air. We'll draw through this or paint through this. I should say we could even actually even created selection this time so we'll draw a selection like this. We go through this entire area like this, complete the selection we'll paint the scent is a solid two. Starting out kind of fill that in. Remember, you can do the dragon dropped about that as well. Release the selection and let's go ahead and first to figure tap on the layer, pushed back the opacity. And the only difference here is you have to be a little bit more aware of where it may place that you didn't want it. So I do this piece by piece and on a segmented character like this. It's pretty easy to dio, but you just have to make sure that you're not creating artifacts and your paintwork that you don't necessarily want to see there. Eso It's pretty easy to fix you just soft to race it back. Or you can create a selection off the main blue grey. So this is basically like the reverse process of what we just did. And then if you see the icon, it looks like two arrows angled pointing at one another, you tap that it's gonna invert your selection. So now if you go back to your shaded layer, this is right here with the inverted selection. You can basically do a three finger swipe and just hit cut, and it's gonna eliminate any of the outside affected areas. So if you pull that off to the side, you could see that it made sure to just isolate where that blue grey waas so there's obviously a couple different ways to get to the end result. But I just find that by adding each area and a new layer that you can get there pretty easily. Eso Let's do that again. Let's add one more layer I am somewhere else. I'd like this effect to be on the legs a little bit as well a little bit more so I'm just going to generate a selection. Go back to that layer, which was later 14. And I generally don't name these right away just because it's going to get, um, merge down anyways. So just kind of, especially if im working rather quickly, I'll just ah, through these effects and get him the way I need him to look and merge them down a little bit of drop shadow here and again, you could see that it has a little bit of that lighting effect there, so you got to be aware of what layers are in what order as it pertains to the blending modes as well to finger tap on that, push it back something to about right there. Police the selection and so on and so forth. So that's just another style of shading I like to add. And, um, you know, you gotta think to to conservative layers. If it's not an area that's gonna conflict, you can utilize existing layers. So maybe I do a selection down here just to kind of quick selection to the foot here. I've already got that opacity set. You know, maybe I didn't hear you. Let's just use a soft brush. It's been better. And so just, you know, kind of being conservative in the way that use the layers so I can get each plane change of the foot here rather quickly. Just a just that. That's kind of how I work. I just keep nipping and tucking and keep adding to it until I get to where I wanted to be. A little trap shut on there. Okay, so now we're going to do is take this and I'm probably gonna time lapse the next part, cause this is going to start getting redundant. I'm just going to utilize all the techniques that I've shown you here, and I'm gonna tighten up this work. So with that, let's move on 12. Adding the Finishing Touches: All right, so now we're just gonna tighten up the work. And, you know, all the heavy lifting has been done. All the effects have been utilized. Really? It's kind of the same process now and just, you know, maybe scaling down the brush and picking out details, refining the work and punching up things like contrasts, you know, by, you know, again brushing in highlights on the lighten layer, the blending mode with the set to add. And then, you know, with one set to multiply, just brushing in some darkened effects and keep in mind to. You don't have to keep those of separate layers. You can actually merge them down and keep adding a new layer with the new blending mode s. So if you're looking to conservative layers, you don't really have to keep Botham separated. But I tend to do it as I'm still adding in effects to both areas. Just, you know, just one of my work flows or whatever, but there's obviously a lot of different ways to accomplish that. Some people stay way away from blending modes altogether and just get really good at spotting the colors they want. Obviously, if you're working. Traditionally, you're not using things like bling mold. You're just picking the right colors, so there's there's definitely ways to do it without those wild you'll see here, I'm using a larger brush again, just trying to find more texture. Eso just painting it in and then sometimes blending things back with the emblem. I used a floating layer over top and then lock Transparency just seemed to be an easier way to, you know, just focus on that one area and paint throughout that. So lots of different neat tools within this app to really get your paintwork done and very effective, very user friendly, very intuitive. It's one of the things I like most about it. The interface. Everything is kind of not in your way. It's very easy to read and stay focused on the artwork and ah yeah, it just seems like a really great way to create. So doing the eyes and obviously using a little bit of blending modes for that kind of punch up the light source there make it look like it's glowing. And for the electricity effect, that's really just a soft brush that I'm drawing that in with. I could have used one of the luminous brushes, which will probably talk about more in the future here. But I just really was able to get that with a soft brush and just a bit of ah, almost white, like a light, blue ish kind of white. So that's really about it on this one. Just some final touches. Keep in mind to when you're doing this type of artwork, it's very important to take your breaks. Get up, walk around, come back with fresh eyes. You'll spot flaws that way. It'll also keep you from getting stressed and keep you from making bad decisions in your art style. Eso just remember to always do that. You know you don't want to stare the tablet of the artwork too long. You need that rest in between to really get the best out of the work. Flipped the work, you know, Take your time. Relax. Ah, you get your bearings straight, then come back and you'll create more effectively. So that will bring this lesson to a close. I thank you for watching