Procreate Essentials: Paint a Blue Dart Frog | Maurizio De Angelis | Skillshare

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Procreate Essentials: Paint a Blue Dart Frog

teacher avatar Maurizio De Angelis, Scientific Illustrator and 3D Modeller

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

9 Lessons (1h 38m)
    • 1. Presentation

    • 2. Procreate Essentials

    • 3. Painting the Base

    • 4. Refining the Base

    • 5. Creating the Black Pattern

    • 6. Painting the Skin Texture

    • 7. Adding Final Details

    • 8. Making the Background

    • 9. Conclusion and Recap

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About This Class

In this course you will learn how to paint a Blue Dart Frog, which is a poisonous frog, so be very careful!

You’ll become confident in the full process of creating an illustration from scratch, using a variety of brushes and techniques.

The course is mainly designed for beginners and intermediate level students, that are looking to improve their painting skills and get familiar with Procreate.


Course structure:

  • We’ll start by understanding the basics of Procreate
  • Then, we'll block out the volumes and define the dark and light areas
  • We’ll add a series of additional details in order to create an intricate skin texture
  • Lastly, we’ll create an abstract background

If you already know how to draw, or maybe you just want to focus on the painting process, the drawing is available to download!

Resources available to download:

  1. Pencil Drawing
  2. Colour palette
  3. Toned Paper

By the end of the course you will have the knowledge to paint using a variety of brushes, and to take that next step on your career path.

The painter in you is about to be awakened! Let's get started!

Meet Your Teacher

Teacher Profile Image

Maurizio De Angelis

Scientific Illustrator and 3D Modeller


Maurizio De Angelis was born in Rome and grew up surrounded by some of Europe’s most celebrated art and architecture.

It is little wonder that he went on to study Fine Art, specialising in traditional painting, at the Accademia delle Belle Arti in Rome and in Florence.

Living in London (UK) since 2004, he works as a 3D modeller and scientific illustrator, creating digital contents for the media and publishing industries.

His work has appeared in films, TV commercials, books and journals for a wide range of clients. 

Alongside his career as an illustrator, Maurizio continues to paint, taking private commissions for portraits using oil paint on wooden panels.


Wellcome Image Awards 2015


Sky Por... See full profile

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1. Presentation: in this course, we're going to learn how to paint this in pro. Create a blue dart frog. My name is Marissa Down Trees, and I'm a professional, scientific and medical illustrator based in London. These causes, mainly designed for beginners who want to improve day painting skills and understand how to shake colors in procreate in the first lesson, will go through the proper essentials from the most basic actions. Do everything you need to know about colors, layers and filters. Then we're going to paint the base of our fraud using a color palette. Gradually building up the volumes by increasing the level of deters will then create the black spots and made all the patterns and skin leaders that make this frocks so peculiar. Lastly, we're going to make a leaf and are a mystic background as we finalize our destruction. By the end of the course, you will be able to recreate these little stressed with confidence following the technique that I use the paint a news about to be awakened. So let's get started 2. Procreate Essentials: Okay, We're gonna start by launching procreate. We can create a new document pressing on the plant sign, and you can find some presets. Otherwise, you can create your own canvas and we can create an HD size, which is 1920 bite and 80 We click create. So that's the layers palette You can see there's a new layer and the background. You can change the colors off the background by selecting the background layer and then choose a color. But we're gonna keep it wide. For the time being, we can create new layers by pressing the Platte sign to delete layers, you can swipe left and press delete. So this is the brush library where you can choose from a big variety off brushes. So, for example, this is the hard airbrush. So if you let this brush in the paint, we can change the brush size buys lighting these up and down, and we can change the capacity off the brush using this lighter here. And obviously, if you reduced your passage, you have less amount off paint on the canvas. If you want to change color, you press on these and at the bottom off the color palettes. You have few options. So that's the classic view where you can choose a color that goes from light to dark and you can change the you using this lighter here. So, for example, we can choose this pop of color. Then there's another way off choosing a color. Using the disc again, You can choose a color going from light to dark, and then you can spin around. Then there's color harmony in the color harmony panel. You have different schemes. You can choose complementary, so you free increase the brightness. We have more vibrant colors so you can choose a color you paint. Then you choose the Compliment remake leaking on the other color and then paint as well. Then we can choose split complementary so you have three colors. Then this analogous, which just re denies when we have three colors that we know that they go really well together. So, for example, we can select this violet this pink, and this future that we can actually see. This callous set is actually harmonious. And then there's a value panel where you can decrease the separation or increase this arrest. You do the same for the brightness, and then you can slide through the huge. And lastly, there's a panel for the pallets. You can use the default once or import new pallets right so we can clear this layer. I'm going to choose. A color can be one of the dark violet, and I said, Let the heart and brush, which is the most basic brush. And I just paid a few strikes to undo you. Tap with two fingers on the iPad and to redo you topped with three fingers, so it's undo and redo. Now, if you want to duplicate delay, you swipe left and you press duplicate and delay is duplicated. Now you compress the move toe, which is the black our, and you can basically move what's inside that selected layer. Then, if you want to protect your layer, you can decide to lock it so you swipe left you press lock. So when you lock a layer and you try to paint a layer or raise or move or do anything on that layer, that wouldn't be possible because that layer is locked. Okay, we can delete these, then obviously you can choose from a big variety off brushes so you can choose the's in paint or change brush. And obviously every brush is called a specific effect like these. What plays? It's very specific. Then we have this munching library or the blending library. And again we have exactly the same brushes from the brush library. But if we pain with these brushes, we're going to blend. We conduce much colors together. So, for example, if I select wash, I'm going to smudge. The color is going to mix them, blend them. So, for example, you fight at one color here can be this kind of purple. Then I switch back to this munching. Talk to the blending tour. I can mix them together all more straightforward. If I select the soft brush and pain with this color, let me clear the lady and do it again. So we've got this color here. Then I can choose a different color like this violet. So I at this color that I switched to this matching tool, and I'm going to select soft brush. So we have soft brush for the painting and soft brush for the blending, and I'm going to blend in the middle where the two colors meat? Not always, but sometimes I duplicate that layer so the colors get more Paige. And then, if you want to merge the layers together, you can do these, you can pinch them and they merged together, right? So that's this matching tool. So this is the erasure again. It's the same library, but for raising. So if we have this airbrush selected, we can raise part of the painting. I can increase the brush size. I can make a line. Then if I hold down with the EPO pencil, the line gets straight. Then if I put the finger down the line with because strain and snap to the horizontal plane or to the vertical plane. So again I can make a simple line, wait until the line get straight and then putting the finger down it was Now. Then you have something like this. Now, if we get rid of thes, we can clear the layer. Okay, so let's have a look at something different now. If I paint anything on the canvass, I can create a new layer. Then I click on the family ill and I select clipping mask, so the clipping mask is a layout is created on top of an existing layer, and then you can see that these are Roy's pointing down, so that means that is linked, so is connected to this layer. So if you paint on this clipping mask layer, the paint would be visible Onley in relation to the layer below. So if I un cle the mask, you can see the actual layer, and when I clip it back, it gets inside the layer below. And this is quite useful because if I now switch to the blending toe, ICANN's much. I can blend this color without thinking about the perimeter, so the color is not going to bleed outside. So have some practice with this, because we're going to use this technique quite a lot about the course. I can merge the layer, and the clipping must layer together. Another thing that we can do is creating a mask, so now you can see a white layer on top of our layer, and it's linked to it. A mass gives the possibility. Do hide and show a part of the layer. So when you paint with black, you hide and then you can switch the white and you can reveal the layer. If I know, switch to the soft brush and I adjust the brush size, switching to black. Also, him paint at the bottom off this Grady int, and then I can get something like these. But the most important thing is not I'm not erasing so I can change my mind. So it's not a destructive way off working. And then once again, when you happy with the result, you can merge the layers together. So let's have a look at something different now. If you have three layers, we can create three colors one to and free you against white, right, And you have a multiple selection so you can select multiple layers by swiping right, and you can see the delay is change color. So when you have a multiple selection, you can decide to move the layers together or you can group them, and when he is grouped, you can rename it. And then when you open the group, you can reassemble delays inside so you can move them around so you can select one holding down and then you move the layer. Then, if you want to flatten them out you can pinch them together, including the group, or you can click on the family and select flatten. At this point, if you select the black arrow, you have a few options there. We're not gonna use these options while the course, but basically you can flip the lays horizontally vertically. You can rotate the layers so you can transport them in different ways. Now we have a series of adjustments. In this course. We're going to use caution, Blair and Hue saturation of brightness. So if I select Goshen black, I can swipe to the right and increase the level of blurriness. Otherwise, there's another effect is called liquefy, Even if we are not going to use. The liquefy effect in this court is quite useful for some quick amendments. There are few options for the stool, but if I use it, I normally use the move option to slightly fix stuff here and there. Now, talking about the caution again. If I create a mask and then I'm going to mask some areas off my painting, then select Goshen Blair, and then I can blurt my artwork. But then, if I select the mask, I can also blood the mask and this is quite usefully, we're going to go through these throughout the course. Another very important adjustment is husa direction and brightness. We can change the color of a layer by cycling through the huge spectrum using this lighter , or we can decrease the separation or increase it. And we can do the same for the brightness. All you can slightly shift the colors using the color balance, but we're not gonna use these in the course now talking about thinking we want to create a custom calligraphy script they were going to use throughout the course festival. We want to create a custom library. So you shift down the brush library, you press on the plus sign, and then you can rename your library, for example, my brushes. Now, if you select the calligraphy library, we can select script would get inside the brush studio. The first thing you want to do is to reset the default brush settings. Then you can test your brush on the drawing path. You can increase the streamlined value if you want, and it would be easy to make smoother lines. But essentially the only thing that we want to do is to go down to properties and change the maximum size to be about 5 to 6%. So if I switch to black, we have something like this. You can see that this strike tape is offer the beginning and at the end. So if I go back to the brush studio and I reset the settings, we will get something, ladies. So we wanna reduce the maximum size. So were we paying with this brush? The thickness off the stroke won't be more than 5% so it's going to be a fine line. Now, when you happy with the settings, you can swipe left, you can duplicate the brush and you can move the brush inside the new library. Now you get inside the brush studio again, a Yugo at the bottom off the least, and you select about this brush if you share your eye. But you can sign there and by the most important thing is to create new resent point. So you basically saved the brush. So when you reset, this brush is going to go back to these settings there, you saving now and we're going to use this brush by a lot. So if you, for example, changed the settings, the streamline fitness, tilt, any options in the brush studio, you can go back to about this brush, and then you can reset the brush to your custom default settings. Right now, we can clear this layer. I just want to show you a couple of additional things so I can create two colors. Then if I would just let a color on the screen, I can holding down. And I can simple this color who work in select days and then change color. So now the very last thing is to duplicate one artwork and copy one layer from one document one other. And to do these, we want to click on gallery. We can obviously rename the artwork, for example, my artwork. If I swipe left, we get share to pick A and leads. If I duplicate these are work and then I quickly change the color. Now I want to copy this layer into the original artwork, and we can do this in two ways. The 1st 1 is to select the layer, move the layer all the layers in the middle of the composition without releasing. Click on gallery selecting other document. Open up the layers palette and then dropped the layer inside the layers palette. And this is very useful when you have to copy more than one layer, and we're going to use this method during the course. Otherwise, there's a classic way three fingers down and you have cut coffee copying pace. You can simply copy this layer, select the previous artwork three fingers down and then paste. And I think I covered the essential for this course. We're going to go through all the steps during the individual lessons, so you're going to get quite familiar with all of the process explained here. 3. Painting the Base: So in the document, you can find that turned blue paper, the color palette, and then three layers related to the drawing, the leaf, the pattern, and then the frog. In the lesson, you will see a different sort of drawing, but it doesn't make any difference. If you like this kind of background papers, you can download a collection of five from my website for free. So if you go to my website which is married Sudan, you can see my medical illustrations. Who my shop where you can buy some prints if you like, or even participate in a project called, I'm telling you where I send handmade postcard around the world based on customer request. So check it out if you like. But to download the town paper, you need to go to online teaching courses than free download. And you can then now allowing this pile background papers. And you can also see some examples here, right? Having set all of that, we can start painting are Frog. If we click on this brush icon, we have access to the brush library. You can see that we have many brushes here, like water spray paint in King. But for this painting demonstration, we're going to start by using the quash brush, which is inside the painting library. So I'm going to select these midtown blew. The nice thing about this brush that even if you use it, a 100% capacity, so full capacity, you can still see what's going on behind. So that means there is not a 100% opaque. In fact, I can still see the texture coming from the paper behind. First of all, I want to define the darker parts of this frog. So I'm going to put down this color first, and I'm going to define the area under the eyes, under the cine than lag and then the belly. Now I'm going to select this brighter color and I'm going to pay in the belly first. You can see that the way a paint is very light, I don't press too much on the iPad. And if I do that, I'm able to build up the shades that I want. And I really like this method as a mean for control of the amount of cameras that I use. Now I'm painting around the eyes. Again, as you can see this very light painting sometimes I can press a little bit. But generally speaking, this is quite transparent, is like if it was a watercolor in a way. So I keep on painting with this. Now I can switch back to the previous color, which is a darker blue. And this is because I failed that near the posterior lag, the small tension. I want to make it dark near the insertion of the leg. Now I can switch again and I can feel the remaining parts. I can probably make you price the pace of the belly. Now I'm going to make the foreleg darker. As you can see in the reference pictures here, the legs of this kind of Fraga, dark compared to the party. Then we have some tiny spots on the legs. And then this very fascinating pattern that runs over the back of the frog. You can clearly see there's a big difference in time between the leg and the body. For the posterior lag. Put down this very dark blue. The goal of this initial phase is to create a base color when volumes are correct. So it's like blocking out the front body parts as best as we can, ensuring they are correct in shape. You fight for the time being. I'm not looking at the nice scheme texture or the reflections or any other superficial details by I'm only interested in creating the right volume and identify the path form in the frog. I'm now going to pay in the area around the eye that Leo said cold next to the eye is actually the air. And the scientific term for that is tympanum. I'm going to better define the front leg and approach the digits. So the fingers, some frogs, Epcot, that's sort of membrane connecting fingers together. When that happens, the feet are called webbed feet if there's no membrane at all and wept. So blue dark froms have got on webbed feet because they don't have a membrane between digits, between fingers. I'm not sure if that useful to know about 10. Now I'm selecting once again the previous brighter color. As you can see, I'm kind of filling the empty spaces, making delay and field because you found we were able to see the pay protection before. But now anymore as we are building up in terms of quantity of colors and now approaching the posterior lag and a bit of a technical term probably here is called the hind leg. This frog in particular has gone really long digits. The second lag. And this is because I want to start creating some volume. And I'm now going to be in the dark, so it's good to use a doc. Now I'm going to approach the lag behind the body. We can see and extend this color along the side of the party. Now, I want to select a brighter color, and I want to kind of blend these colors together. Now it's time for the upper part of the eye. Going to fill up this area using this price or Kata. Going around the air. As you can see, I'm not rushing through the process or they want to do that actually is true that I could press harder on the screen and get more Calla flowing in. But this is not something I want because as I mentioned before, my ways to build up the tones slightly and not saying by any means that this is the only way or the right way is just the way I paint. So if you want to follow along, you realize they're having a small impact on the artwork gives you more control over the shading process. Now I'm painting with these blue light color, the throne digits, also adding some lights as towns along the, I'm now defining the badly and approaching the air, probably changing colors. So we have a transition between the dark part, which is near the arm that goes onto the trunk, which is the body of the frog. And I'm also painting in with this dark color and I want to kind of break the uniformity of the lighter blue. So I'm adding some noise, some disturbance. And this is very important as in nature, nothing's really polished. In fact, later on we'll see how many teases will be added to the skin surface. A variety of details, their work all together harmoniously. By, again, for the time being, we still working out the base. Now I can switch to a lighter blue. And with this new color, I'm going to reinforce the lighter parts of the frog. So basically we use about three or four kilohertz so far, and we're already able to see the frog and he makes sense where we see so the volume are kind of correct. The shading is not that accurate, but the volumes are there. So that's the most important thing for the time being. I'm going to add some highlights on the legs. Now I can duplicate this layer and then merge them together. How do another time? I'll do that because I wanted to be sure that the painting lay is filled with color. It's a 100% opaque. I can also switch for the first time to the blending tool, which is the finger icon next to the brush tool and select the brush to be compressed. Highlight this brush because his copy of grain and the smoothing is not that regular. By if you like another branch, you are free to choose one from the library as there are plenty of them. So with this brush with this blending tool, I'm going to merge. I'm going to blend all the brush strokes together. And the goal here is to achieve a nice shading. And just applying a tiny pressure in order to mix these colors together. I'm blending the catalogs and now blending the front leg and the brush strokes there. If you watched my other courses, you see that I normally paint here just because I don't want to focus on one spot only for too long. For me wags jumping from the eye to the leg and vice versa, for example, has, if I do so, I'm sure I dedicate an equal amount of time on each part. Now blending the posterior part of the frog, blending the lag. You can see that this margin to be so you don't want to press too. She wanted to be. So we have a kind of harmonious blending, harmonious shading. So again, this is just a base. And on top of this we create so many details that we barely see these, but this is a fundamental step. We can now quickly blend the front leg. And we actually approaching the end of this process. And this is the iPhone four. This base layer that can be enough where we want to do now is to hide our painting, create a new layer, and then select a new brush, which is the calligraphy script. We can then select a midterm blue. And then we're going to make the perimeter following the tooling. We just want to make the thermostat without doing any details inside. And then I'm going to follow the perimeter. Then we can fill the shape by dropping this color. Then the very last thing before the end of this lesson is to move this layer underneath our painting layer. We select the painting layer. We click on the icon and select clipping mask. So as we see before, everything outside the silhouette will be cut out. In the next lesson, we're going to refine this base by painting additional details and blend them again. 4. Refining the Base: again this new lesson. We're going to refine what we've done previously. So we're going to select one off the sketching brushes. So for this demonstration, I'm going to use the peppermint brush. What I want to do is the first thing is to create a new layer and then create a clipping mask and with the dark color hung going to define the frog. So the aim off this process and this lesson is to increase the level of details. So I'm using a smaller brushes you can see. And when this new brush I'm going to redefine all the darker areas. And then when I switched to a brighter color, I'm going to define ELISA areas. I'm going to clean up the margins. The perimeter, sir, Off the full leg. What I want to do now is to unlock the drawing layer. So I swiped left and select unlock. Then I moved to drawing layer on top of everything. And this is because I want to steal, see the drawing and follow it. In fact, I want to raise some bits hair and then clean up the painting around the digits. I want toe unclipped the drawing and Then again, I can't keep on painting. Now I'm defining the digits or the fingers up to the same for the Osteria leg. Now on cleaning up this finger here. So, as you can see, this process is very important. Now I want to make a clear separation between the parts forming the leg. Now again, groom back to the teacher aides and clean up to say really? So now it's time for the leg in the back. Now I'm going to define the main body off the frog. I'm defining the anatomy FBI like if you was the eyebrows, obviously they don't have any had not going to be enforced to shading that his on the body again. I would go back to the leg because I feel this must be darker, which is quite in the shade. In a way, I want to reinforce the darker tones around this area now doing the finger on the back. If he was like a farm, No, I can define what's going on under the eye. I want to define the badly a little bit and join the back of the frog. Now I can switch to a brighter color and with this new color, I'm going to add some lights. I'm starting from the eyes which are the most obvious parts. And then I can move on to, you know, the forehead. And then are this color on the trunk moving down towards the valley at some light on the posterior leg and also more, evidently on the other Pastilles via leg. Now I'm painting the lower side off the I and defined also the air and then again jumping here. And there is a good technique for me. So don't get too obsessed about one spot on Lee, but I can jump from one bit one other, so I'm sure that the quality raises overall, - right . I can now switch to a darker color and defined a low stress and a bit more. Now the mouth and the noise and you can see this frog has got quiets. Very cool, prominent eyes. And we want to recreate this roundness even if they are behind the eyelids from painting the inside edition. So you can see that the roundness starts that and then make the outer perimeter stronger so you can see these taking shape slowly. Right now it's time for blending and as we did before, with which to the blending tour, We're not gonna change brush. So is the to be compressed brush. And as we did before, we're going to blend all of these new brush strokes. So we are not interacting with layers below because we are blending only the brush strikes that are on this new layer blending the foreleg. Then I moved to the rear lech or the hind leg. Basically, hind means behind. - Right now I'm approaching the badly. I'm going to blend all of this brush strokes. It's important to consider that I'm not applying any pressure, to be honest, So the interaction with the painting is really, really little. Now I'm blending the back of the throb. These kind of frogs got quite prominent bones just around there, so they're very visible in terms of anatomy. So it is good to maintain the same shape now, blending the I the lower part of T I near the mouth and denies, So you can also see that I'm not blending outside because this'll a ER is clipping mask. That's a very powerful option. It's also for a shop called that and then blending the remaining brushstrokes refining once again around the eye. Now you want to do is to duplicate this layer, click on the end letter and access to the blending modes. You have many options here, and basically you choose the one you like most or you believe is more appropriate. So in my case, I believe is overlay. Then I merged these two layers and again emerged these other two layers. So basically, we are now back to to Lay is only the base and other details. And again, you can continue blending these illustration as long as you like to be honest. So in my case, I think I want to keep blending a little bit or the details along the party. Now I want to blend around and knows a little bit, but I can see some brush strokes do the same around the eyes and the here, so that could be enough. In a way, it's quite satisfying. Blending is a process that I really enjoy doing, but honestly, that could be enough for the base. So in the next lesson we're going to paint the black spots. And also the captivating tech shot is characterizing this beautiful frog 5. Creating the Black Pattern: Okay, Now we're going to make some black spots, so we want to create a new layer. Select our calligraphy is quick brush. We select the darkest blue, it's almost black. And then we create the clipping mask for this layer. So we are sure that we're not going to paint outside the frog. As you can see in the reference pictures, they are big variety or spots. They're quite your regular in shape. So we want to kind of recreate these sort of tex shot. So we start by making the outline first. So as you can see, they're not just irregular circles, but also irregular Orval elliptical shapes. So the goal here is to find a nice balance within this irregular setting. And this is basically every pattern in nature, one of those irregular elements that form a balance system. So if we take a look at this little frog, we can see that the spot school larger on the back and smaller towards the legs, any less number, So we want to make does pots correctly. You also want to keep the same space more or less between the spots. Now I'm approaching the posterior leg so we have smaller dots here, like improbably do the upper part. I can paint. That means straight away because you can see is good two different shaped the size of the shapes. I'm approaching the nose so you can see them creating a bit of pattern because I'm using the clipping mask. I'm not painting outside a cigarette coloring the smallest parts, I don't know, making the sports on the front leg, also defining the fingertips. I'm feeling thes spots with black color, and then are these remaining dots. Now you can feel the spots manually. Oh, you can drop the color and release so that we feel the area. So what I'm doing here is to drag and drop the colors, and probably then fix manually. If they are some pixels, they haven't been failed, almost done, going to paint this manually. And now I want to art this moral adults there are towards the ballet so you can see that they increasingly gets mullah so you can see there's a clear difference in size between the dots There are on the family compared to the ones they are on the back. And if you are after realism, these more leaders are very important, so we can see that our frog is taking shape and makes more sense now with these black spots sums more black spots on the leg and then also on the head, and then some last very few spots. And I think this is fine. Now I want to unclip this layer, select the eraser tool with the heart airbrush selected. So we have a solid brushstroke, and then I'm going to erase what's outside. So this is the man who way, which is, can be a little bit long, you know, time consuming another ways to select the frog base, click on the icon and select select. Then do invert. And then, if I re select the black spots layer, I can simply a raise. So obviously, having the selection inverted the inside of the frog is not going to be affected. That's a much faster way. Okay, now we have done with their raising. You can clear the selection by simply pressing the selection Aiken. And now, with this layer selected, I want to click on the adjustment layer and select caution Blair very similar to for a shop Goshen Blur applied there blurriness, Of course. Hey, you guys lie left and right to change the amount of caution blood. So in this case, I really want a sexual effect. So very, very small amount. I just want the margins off the circles a little. Be softer. Not too much, really. Now I can create a new layer on top off the black spots and clip. He must this layer and going to select the second darkest blue switch to a charcoal to be compressed brush. Then I slightly paint over the black spots, so because the layer is clipping mask on lee, the spots would be affected. You might be not that visible on screen, but I'm actually painting with dispute are color. I just want to out some blue shades. Now I can go a little bit brighter up just increased the brightness, so it might be more evident. And that's it. I mean, that's fine. Now you can hide and show delayer so you can see the difference. And once again, you can choose a different blend mode. And I think that for this kind of blue screen is the best, right, and this is done in the next lesson. We're going toe out some skin details and do the I 6. Painting the Skin Texture: Okay, in this lesson, we're going to art some superficial diesels. So festival we want to create a new layer, then switch to the appropriate pencil this time, and then we're going to select one of the bride's her blue. And with this color selected, we're going to circle the black sports. As you can see, I'm not making the entire perimeter, but I leave some parts undone. And if you do these, your drawing would be more dynamic, would be less static. So I'm going to do these for every spots again. You don't want to follow the type we miss out, and also you want to apply a slight pressure so you can see that this line is not consistent. So I'm going to keep doing these. Andi. All the spots are done. There is no much to talk over this process. To be honest, it's quite repetitive. I'm going to speed up this part slightly, so it's going to be easy to watch. Now I want to define the reflections that are on the digits, and again I'm going to define their spots that are on the hind legs and then just a tiny big on the posterior leg as well. Now we're going to select, and even brighter blue is going to be deferred. Brightest color we have in our palate. I can create a new layer, and now I want to paint something that is happening between the spaces from one spot to another and in this case are going to pay in some quick and short brush strikes that is similar to a ripple effect. So it's kind of feeling the spaces. And as you can see, these gives the surface a sense off dynamism. It is also looking good. It's pleasant to see. So has it. We did before when we wanted to place the dots. Here. You have to make an estimation and are the right number off strokes so you don't want to overdo. Do you want to feel these empty spaces in a balanced way? And you can also see that I'm probably applying less pressure compared to the circles? No, I'm approaching the eyes and then I go back down to the trunk and then the posterior leg. Hear those details would be more visible because the base is darker, so I would probably want to apply even less pressure now do the same for the front leg? No, against which to his life, the darker color. And then keep detailing the surface. I probably want to switch to its lively, brighter color. Nice, bright as before. And then are these superficial details using another color here will are even more dynamism and they list Russian would be reached her. Indeed, us. So I want to continue funding these strikes. Quite subtle details that you can see them slowly describe being all the parts off the frog . What I want to do now is to do these, but on the black spots, just a few lines. Not too much, no. I'm going to select the black color because I want to define the leg. I don't want to reinforce some elements. Now do the back of the frog. I just want to make it cleaner a little bit, defined the shapes even more. Then I'll do the job. The front leg. And we approached him digits, and I keep defining the base off this boat. Now the belly. And now it's time for the area around the eye. I just want to what? Some do this under small dots here. Now I can toggle visibility on and off off the layers. I can duplicate the white Strokes and then again, with the gumption field, I can make this layer soft. Now I say, let the base color layer and that I create a new layer. This time I'm going to use D soft airbrush. I select the fourth Bridis blue. With this new brush, I'm going to paint underneath or the skin details. I'm going to make some parts off the frog. Brighter now it's wished with darker color, and I do the same for the darker parts of the frog. I don't want to overdo. I just want to reinforce some shading that again I can select the price of color, have made private part, especially the digit that bit translucent. Now I can switch the blend mode, just going to cycle through them and see which one I like most, and it's probably linear light. I want to also reduced your capacity a little bit, and I can do the same for the darker part, which I believe multiply is the correct blend, and I reduced your capacity as well. Now I can create a new lay ends, which to the flicks brush, which is under the spray paint library. So you create something like this. Then I can change cholera and on these sort off, blew onto the legs, going dark as well. Just a tiny be off picture. Now, once again, I can cycle through the blend modes. Nothing screen works in this case, and I just want to reduce your capacity. Now I can select the fourth brightest blue I can create. New layer I couldn't do are some additions. Pray pains. Once I hand can reduce your capacity and find a nice balance between the elements. Now I can create a layer at the bottom off, the latest stuck because I want to pay d I. So I switched to the appropriate pencil and with the darkest color going to paying the base 40 I do these quite flat, based first. Now I can create a new layer, and I choose is likely lies that color. It's probably difficult to see it on the screen, but I just want to make the upper part off the iron balls lively, brighter in color, just a tiny bit. I can actually smudge it a little bit with the blending tool. Now I was like the brightest color we have in our palate, which is always white than we paying the I reflections. So we start with the strongest reflection identifies which to a darker color I can pay in the reflection which is at the base of the eyeball, also smudging some colors here. Now again, I select the white color and I'm going to reinforce their reflections. And once again, I can't march these out a little bit. Now I want to create a new layer on top of everything else because I want to pay in the margins off the eyelids, now do the upper island and also defining the corners off the I. And this is it. In the next lesson, we're going to finalize these illustration ending the final details. 7. Adding Final Details: right in this lesson. We're going to art some final details. We can play a little bit with this brush, which is the light brush under the luminous library. It's a bit of a sigh. If I brush, it's quite cool. And with this brush selected, we want to paying just the highlights off the frog. We start by pressing just a tiny be to get a fiend stroke and then we press more to get a why the stroke just to the lag and it obey. I don't want to overdo with this brush, just a tiny bit. Be off the I and the eyelid. Then I can switch color and then I odd this dark town towards the back of the frog. Now I can saiful through the planning mouths and probably all the way is the correct blend . I can also apply some gosh in black and soften these strokes. Otherwise, there would be too visible and it wouldn't work that well. Right now we go back to the library with swipe left and we duplicate thes artwork. And on the duplicated artwork we want to merge the painting layers. So where you want to do is to pinch the layers and basically manage them. So now the front is one day only. We want to create a new layer. Now we can actually delete the drawing layer as we don't need it anymore. And this time we can select the peppermint brush under this catching library and with the darker color, we're going to make the perimeter off the frog. We just want to rein force the edges for this process. You can use any pencils there you like. I'm using the peppermint brush, but you can use the appropriate pencil or the Dow weren't or the HB pencil. It doesn't make a huge difference to be honest. So I'm going to speed up this process a little bit. So it gets easier to watch and now approaching the final part, which is the I and I simply want to soften the edge off the I at the last detail is adding some definition along the eyelids and basically this is done. Our frog is not completed in the next lesson. We're going to finalize the illustration by putting a background 8. Making the Background: The first thing that I want to do is to duplicate the color palette. So I swiped left and do duplicate. I can move the palate a little bit down and then I can change the color with you and saturation and I slide towards the green tones. I can create a new layer, and this time I'm going to choose appropriate pencil. I pick a meat tone green, and I can sketch a leaf like a classic Poland leave. I can actually move it a little bit. Now I can switch to a charcoal brush, which is the to be compressed, and I can simply paint the leave now against which to a dark and green and paying some casts a shadow. So I'm going to make it darker at the base of the frog noggins, which again reinforced his cast shadows. It's basically everything in there is very dark. No, I'm going to switch to a brighter color and paint in these illuminated areas. I can now switch to the peppermint brush and you did perimeter with the darker color, something very similar to would have done previously for the perimeter off the frog. Gonna make thes line here and now switching to a brighter Cal. I want to create some details along the surface off this leave. So as you can see, it's a different approach to painting. I made the frog using a painting technique, and I'm doing the leave using another technique. Now I can pick one of the green directly from the illustration because I want to paint and in between town and connect the darkest and the brightest part of the live. I do the same for this area here and then. No, we aren't some superficial details. I just want to create some texture, and it's now time for blending this brush strokes. So I switched Teoh Deep lending tool, and I'm going to paint over these demons. I blend all of the's genius here, and then I also paint over the shadows. I want to make them softer. Now I can duplicate this layer that we can change the color off the leaf if you want. You don't have to follow this step. This is just an option. In this case, I want to make the leaves in a different shade of green. Then I can also choose from one of the blending modes. And in my case, I believe luminosity is the one that works particularly well so I can merge these two layers together career a new layer and clipping mask. I can now switch to the flicks brush. So let the darkest color and then paint over believe, adding these sort of texture. I'm going to reduce your passages. It be too evident around 30%. Then again, I create a new layer and create the clipping mask. I switch this time to the brightest color. I can also reduce your capacity off the brush and I'm going to our new color again. I create a new layer. I want to clean up the perimeter off the lift. - Now I can merge all the leaves layers together. And if I switch to the arrays a two with a solid brush, I can clean up the leaf along the perimeter. Now I can switch back to the peppermint brush and define the leave. Now I can create an additional layer and with the brightest color we have, I just want to art some highlights. No, I'm going to blend them. Now I can select the empty layer that I created previously. Or you can create a new layer at the base of the frog and for painting the background, I'm going to use the to be compressed brush languages reach to a pale purple color and I'm gonna put down some drops trucks without thinking too much, you know, kind of randomly. I just want to create some spots here and there, going to change color, being more saturated. This time I'm going to choose a bright blue and God be run them. You in there are paying just behind the frog A little bit lucky for was an aura. And once again I switch Carla and choose a dark blue. And again, I just want to put down some spots. He end there. Now I can duplicate this layer another time and emerged them together. So now it's time for blending. I can simply blend thes brush strikes to get something quite uniform. Then I'm going to enforce some areas. This is a bill, but upstroke background. But obviously you can paint whatever you like. You can create some vegetation. You can create a pond or the sky. I mean, that's, you know, up to you really, or we can play a little be with their color variation. So, for example, I can shift towards the Green Times and then I want to keep blending. - Now I can switch to Dear Raisa to using a solid airbrush and they explaining the property essential lesson at the beginning. Off the course, you can paint and hold, so lines get straight. And then, if you talk with two fingers, days nap. So you 100% sure there's going to be a straight line and I can do Do you support the top? I just want to fix these. I didn't do it again. So now I'm going to select the layers. So I select the 1st 1 and then I swipe right to select the other one's eyes. Wish to the move toe, which is the Ara, and I just want to frame the illustration at sent off the composition. No, I select the background layer. I create a new layer and create a clipping mask. I can now switch to the flicks brush, which is under spray paint, and I can select one of the green from the leave campaign. With this color. Now, I can apply some caution blood Not too much just to soften a little bit. And I believe this is done. You can obviously continue on the interactions, Indeed, since But for this demonstration, I think this is enough. So in the next life lesson, we're going to recap for with down. 9. Conclusion and Recap: Okay, here we are at the end of the schools. So let's have a look at what we learned. We stopped her from the drawing that provided this part of the course resources. And we created the color base where we are applying the initial volumes and defined the dark and night parts off the frog. So I'm very important. Step following the same principle where you refined the base by ending around of final details. So we increase the description using a smaller brush, and we went to define the volumes even more. Then we are the black pattern on the back of the frog, making sure to differentiate the size and frequency off the spots on the belly and the legs . We then painted all the skin texture that characterized his little animal, and we also painted the eye and its reflections. Lastly, we added upon leave and a ferry background and this is it. I hope you enjoy the course and found it useful if you like the way I teach you may also find interesting to watch. Learn 15 easy painting techniques in appropriate what I go through 15 color painting techniques and pain like an all muster with follow shop inappropriate when I share the secrets off, making a nor master painting Having said that, please feel free to be in touch. If you need any help, make sure you show you artwork in the student project section, but for the time being, goodbye.