Transcripts
1. What We Will Learn in Class: Hello. I'm Jennifer Nichols. I'm an Artist, a Teacher, and a Fabric Designer. I've been using Procreate
for years and I absolutely love teaching with it and sharing
everything I know. My favorite things
to do in Procreate are seamless repeat
patterns for fabric, Procreate brush making, and drawing picture
book-like illustrations, with a less digital book. If you know me, you
know I love gnomes and I'm finally making
a class about them. While I will be showing a full illustration
in this class, the point of this class
is actually to help you discover your favorite
way to draw gnomes. In order to do that, we're going to dive into
the anatomy of a gnome. This will help you discover
the awesome path that will lead you down to the world
of fellow gnome lovers. Once we examine all the parts, you can follow along
with me as I do a complete sketch
from start to finish, doing a little extra
talking as I think out loud so you can hear my process. As a little bonus, we'll do a complete illustration
at the end. This will help a
lot of people who are still a little bit new in Procreate and want to learn a little bit more
about how to handle layers, learn about clipping masks, and Alpha Lock, and also canvas textures. As always, I've provided everything you need to
complete this lesson, two free palettes
and 25 free brushes, 23 of which were made
just for this class, including some really awesome
knit and flannel brushes. I will be using Procreate
for this class, but you can follow
along with most of this class with a paper
and pencil if you like. All skill levels are welcome.
I'll see you in class.
2. Downloads & Important Brush Information: I'm going to briefly go over
the class project steps with you because this can be confusing to a lot of people, but I don't want to
be too repetitive. But if you tap on class project, you can upload an image here. It needs to be smaller
than eight megabytes, and that is just for
the cover image. It's going to crop
to a rectangle. If you use a JPEG, you will have an option at the bottom to choose
a different size. You can choose a
smaller size here. Then that's a good way to choose an appropriate size
for the limits here. This Image button down
here is to add images to your main project
and you can add as many as you want
and you can come back and add more later. You can only make one
project per class though. You have to add all your images there and then tap "Publish". Hopefully, that helps. For the resources, I have a Procreate brush
set, two swatches. They are winter-themed swatches. I'm recording this at
the very end of fall. You can definitely
make gnomes that have non-winter looks to
them, of course. Then this is a JPEG for showing the different
steps that we will be talking about in
class as a bit of a reference image for
you to hold onto. To get a JPEG, you can just tap it. You have to be in Safari, no I should say, you
have to be in a browser. Most browsers work, some don't. Firefox seems to have issues. For Safari, you need to
be in landscape mode and then you just tap and tap "Download" and it will
download right to there. For the swatches, you
do the same thing, Download and it download. It keeps going to
my Spoonflower. Then for the other swatch, you can just keep going. Then the brush is set. I don't know why
it keeps popping over to a different tab. All of those have loaded here. They say zip, but I don't think any of them are actually zipped. Then you can tap them and
you'll come into your files. You can go to Downloads, you can go to Recents. If you go to Recents, you'll see them all here at the top. What I like to do is split
screen with Procreate. Then if you just
go into one here, I'll just go into this
little thing here you can tap the brush set
will import it right in, the swatches will
import right in. This thing is actually
just an image so you can tap on it and tap
"Save Image" if you want to in your camera roll. [LAUGHTER] That's the
word I'm looking for. I'm going to make
10 by 10 Canvas. If you tap the "Plus" sign, you can go two inches and width, 10, height, 10, 300 DPI. Create. Depending on your iPad, you might want to make
it bigger or smaller. You have a few layers,
maybe 20 layers. For the brushes, I made a couple of different
sketch brushes, different than what
I'm used to giving. A really big chalky brush
for some nice texture. Also goes small. Some felt brushes, which you can use to make a really cool felt
look by building up different colors to
different types of felt. The knit brushes
work hand in hand. If you pick one of
the knit brushes for some fabric on your gnome
when you're illustrating, you can have it be
just like that. Or you can also choose the
KnitOutline to go right on top with a dark
color right on top. I'll zoom in so you can see that gives it a little bit
more of a knit look. You do need to make sure the
brushes are identical in size to do that with each of the ones
you're going to use. If you're going to use this
with this or this with this, the two that you're going to use need to be the same size. The same thing goes for
these two flannel brushes. The way you do that, I'll show you with
the flannel brushes. You decide what size
you want to do. You can play around
and pick a size. Then once you're
happy think okay, I'm going to do 45 percent. Then get pretty close to 45, and then drag your pencil out. This way, you have more control and you're going to want
to go either when it goes right from
44-45 or right from 46 down to 45 and you're going to pick one
and be consistent. I'm going to go from 44-45, which is right there and lift up my pencil and then do the same
thing for the next one I'm going to get close to 45
and then come out and then go right from 44-45
and pick up my pencil. Now, I have two that
will work together. I can go and switch between them and they will line up in the way that they're
intended to line up. That's a nice flannel. Then there's a bootie
and a boot and a braid. We'll talk about those
when we're sketching. There's two different
snowflake brushes. They are meant to make
lines of snowflakes. If you want to go
ahead and check out my brush-making classes, I can show you all
different ways to do different things
with your snowflakes. If you don't want them to
all be straight up and down, for example, you can go into
"Shape" and tap "Scatter". Then each one is going to
be lined up differently. Then the bottom four are just simply some pattern brushes
that you can decorate your gnomes hat or body to
make it look like fun fabric. I think I missed this one. This one is just intended
to give a little bit of a fun knitted sweater look. I think that's everything.
See you in the next lesson.
3. Your Class Project!: For your class project, I would love to see three sketches of
different-looking gnomes, completely different
from each other. In this example, I have
one with just a nose, one with eyes, one with a different nose. I have a girl, I have one with legs, I have one with no limbs at all. They have different body shapes. There's so many
different ways to make the gnomes that we're
going to talk about in class. Practicing the different styles
is a great way for you to come up with your
preferred look for gnomes. The next step of your
class project would be to practice a family of gnomes once you pick a style
that you really enjoy. The point of that lesson
is to draw cohesive, similar-looking gnomes
in different ages, genders, sizes, and so on. Then finally, once you have
a favorite type of gnome, see if you can make one single gnome at a
few different angles, or different poses if you can. Gnomes are a great
way to practice character design
because they have very simple parts
and you can practice different techniques
with getting cohesive looks and all of that. As a quick recap, three
different gnomes, a family of gnomes, and gnomes in different poses. Next, let's look a little bit
at the history of gnomes.
4. Why Gnomes?: Some of you might be
asking, why gnomes? Why are gnomes so popular? I personally just think
they're really, really cute, and they're versatile
that you can really get a lot of
different looks. When gnomes started
to pop up in stories, they'd always been talked about as being small in stature, and they bring good
luck to farmers, good fortune with people
finding minerals on their land, and all sorts of stories. Over time, gnomes went
from being depicted as not cute little creatures, and eventually they
got cuter and cuter, especially as people
started to put statues of them
in their gardens. At one point, many believe that those
statues ended up getting way too cute, resembling
Disney characters. When that happened, there was a push to go back to little bit more traditional statues that we know today as little
garden gnomes. Then, of course, with
the crafters out there sewing cute little gnomes, what I've been calling gnows-gnomes have
been all the rage. These are the ones that we're going to be talking about today. There's even a million quotes online using gnomes
in the sentence. I've included a few for you, in case you want to make
little greeting cards with your illustrations, or just a fun while art, anything you want to do. But you can definitely
search online for tons more. Up next, let's learn about
the anatomy of a gnome.
5. Anatomy of a Gnome!: Breaking down the different
parts of a gnome is incredibly simple, here we go. We have hats, noses, or faces. I do mostly noses, sometimes I like to
add eyes and ears. Hair. Is that hair going
to be beard, braids, pony tails, no hair at all, maybe a scarf around the neck. Body. Lots of different
body shapes to choose from and finally, limbs. You can also easily and very successfully create adorable
gnomes with no limbs at all. For hats, I gave you some examples of all
the different styles of hats you can think of. Keep in mind, you'll always want a little divot for the nose. You'll want the brim
to be a little bit wider and you'll want to keep a little bit of space
where you're going to imagine the gnomes
head being inside. So don't taper out to quickly, give a little space
for there to be a head inside that hat and then you can do whatever you want with
the tip of that hat. You can have it curved, floppy, be super-duper tall, all these different things. You can also add cool
brims to your hat, pump pumps on the ends, there's so many options. Here's a few examples of faces. We have nose only, nose and mouth, nose and eyes, and nose, eyes and ears. You could also add a mouth, One thing to think
about if you're doing a beard is how you're going to place that beard around the mouth and
things like that. Hair or no hair. Gnome beards come in
all shapes and sizes, just like their hats do. I have provided the braid stamps so you can do braided hair. I just put it right
next to the nose. Here's an example of when
with no hair and he's all bundled up with a scarf up to his nose and then of course, you can add all sorts of different styles of
mustaches as well. Body. So for body, I like doing little squatty, like a beanbag with
it sort of flat on the bottom, or a taller, egg-shaped one, where you
might want to taller gnome and then there's also a really fun look with
this flat bottomed, almost straight sides, they're kind of
curved a little bit more of a cylindrical tube look. There's a lot of really cool
look gnomes out there with that body shape and then
think of some simple clothes. So here I have the outline of the cylinder body in a dotted line and
I've just shown how I added clothes around it. I added little feet and it
added clothes around it. Limbs or no limbs. So you can have the cutest little
peggy beanbag gnomes with no hands or
feet, nothing at all. Just focus on the hat, the beard, the face; super cute. You can do short little
legs, long legs. You can hide those hands, a lot of people don't
want to draw hands. You can make little
squashed gum drop shapes for the feet. I provided stamps for
some booties and boots. That JPEG I provided
in class is all of those things on one page
with my little chart, hat, face, hair, body, limbs. Picture your gnome in your head and we'll get started
on sketching one.
6. Let's Sketch a Gnome Together!: You probably are at a spot
right now where you're ready to get started
in sketching a gnome and you're thinking, wait, now what was
it supposed to do? This is where you can bring
in the image that I provided. If you tap the wrench tool and the plus sign and
insert a photo and tap on the photo that I provided for you and
just shrink it up. You can do the Canvas and tap reference and have it
be on a reference layer or you can also do
split-screen with your photos and have it be over here like this,
whatever you prefer. This is actually
how I usually work. I usually don't work with
stuff in Procreate like that. I'm going to go ahead and work with it like this actually. I'm thinking hat, face, hair, body, limbs. Well, I need a base structure. I've chosen a sketching
pencil and a dark color. Just do whatever you want for this and you're going
to make a teardrop. Your teardrop does not
need to be perfect. But if you do want
to use symmetry to make this teardrop,
you can do that. It can be tall, it can be wide, it can be like big wide
[inaudible] But just pick a teardrop shape
and this is going to be the basis of your gnome. Then let's go ahead. I think I'm going
to do a tall hat. I'm going to make my mark here for what's going to distinguish between
the body and the hat. Then I'm going to
put a nose in there, probably right on the line. Then eventually
my hat's going to go up and over that.
Just like that. I like that as a start. I'm going to turn
the opacity down on that and go to a new layer. I'm thinking about my
different types of tall hats. Is see a really tall hat here. I really like that. I'm going to have
the brim come out a little bit on the sides, sloppy, just wavy lines here, kind of a sloppy fabric. We do not need to be precise. Then have some space in here that's going to have the head. We're going to come up
like there's a head in there and then after that, you can do your hat
however you like. Maybe you want it to be curved a little and just taper it, taper it as it goes up. The more waves you
have on this side, the more areas you have
to show some wrinkles. But that's a little bit more involved than we're
going to be doing today, we aren't going to
do a little bit of a shadowed area like
above the nose. The hat looks like it's
resting on the nose. There's my hat. Then think about the face. What kind of face do you want? Do you want eyes and ears? I'm just going to
go with my go-to. I'm going to put a nose in here, that's buried under
the hat a little bit. Maybe you're going to want
your nose out of the hat, maybe you're going to want
one of these long noses, but pick a nose, pick your eyes, pick your ears. Whatever you want
to do for the face. Is this going to be a girl? Is it going to be boy boy? Is it going to be a little kid? Think about that. Are
you going to want a beard or you're going
to want a crazy beard? We have hat, face, now we need
to do the hair. Just for the simplicity
of this class, I'm going to show a
fairly straight beard. I'm going to have
it be pretty big. If this is my body shape, well, I don't know
my body shape yet. Just so you know I'm going
through my thought process, in case you can't tell, so that, you know, I'm not just crazy. I'm just talking out loud
so that you can hear my thought process as
I'm developing a gnome. I haven't really
decided on a body shape yet except that I did know that by putting this
initial line down here that I was making a
short body with a tall hat. You can change your
mind at any time. You can just turn
that layer right off and maybe you
want a taller gnome. I'm going to go ahead and
I'm going to turn that layer back on and use it as my
guide for my beard at least. I'm going to come down on the sides and I'm going to
do a nice swoopy beard. Just so I show you an
example of a mustache, I might do a mustache
on this guy, but that makes him look frowny. Maybe I'll do a different
type of mustache. Maybe one that's more like this. It's under his nose and it's swoopy lines for
his beard and mustache. I like this guy. Now I
need to decide on a body. I think the mustache comes
down further on one side, I'm going to turn
this background off and decide on a body. I'm going to go ahead and change his body to be a little bit wider on the sides and
then flat on the bottom. I veered away from
our teardrop shape. But that teardrop was just our step 1 basis
for getting started. It also helps you
get things lined up. I'm really liking this guy. I think I'm just going to
put little simple arms. I'm going to have them overlap
the body a little bit. Then I need to erase the
body line right there. It comes down more like that. Then I'm just going to go
ahead and put this one in a similar position but I might change that later if I want
him holding onto something, he's looking like
a wizard to me. Maybe he could be holding
a staff of some sort over here and then I would
want his arm to come out. If you don't want to leave
the feet hidden and you want the garment that he's wearing to come up and over the feet, you can just make
these little curves and then make these little tiny, curvy, little flat on the
bottom, gumdrop shapes. Like that, if you were
to see the whole foot, it's like the front
of a boot facing you. Like that. Then if this were a girl and didn't
have a beard or if it were a child and didn't
have all this facial hair, you could do similar
clothing design here. I'm just going to clean
up my sketch a tiny bit. Super cute. I don't think
I've drawn this gnome before. I really like this. I got hat, face, hair, body, and limbs. That's it. That's your
first gnome sketch. I have a lot of practice
drawing gnomes. If that looked way
more simple than what you're experiencing
right now, don't fret, it takes practice, really just takes practice.
7. Starting Your Gnome Illustration: I took our sketch, I added some more details. I moved them off to the side, and I also added these hills. I used a duplicate of our
sketch so that we have the original sketch set aside in case you want to
use it for something else. I'm really happy with this. I think I'm going to
add a moon up there. But for now, this is going to be our sketch and
now you just need to do some texture on top of your
layers and a color rough. You can just know ahead of time what colors
you're going to do. I would duplicate this sketch, so you have two copies. I would turn one of them
often set at aside, you're going to need it later. Then I would go ahead
and above everything, I would do my texture layers. I went ahead and added the pulpy paper
brush to this class. I don't like duplicating
all the time, so I hadn't added it originally, but go ahead and grab
that if you like it. But there's a lot of
other ways to do texture. I'm going to turn the
background color down to a putty color so you can
really see what we're doing here with the texture layers. I'm on pulpy paper. I'm on a layer up high. I'm on white, and I'm
just going to fill the whole page without
lifting my pencil. I'm going to set that
layer to overlay. Then on top of that, I'm going to do the
same thing with black, but I'm going to
rotate my Canvas so the brush grain is different. It doesn't have to
be rotated fully, it just needs to be different. I'm going to set
that to overlay. If you zoom in, you can see some specks of
light and some specs of dark. The dark isn't very dark on
this kind of putty color, but it'll be more noticeable
on some other colors. This is just something
you can play around with and decide what you like. There's lots of other texture brushes that you
can do that with. I also do this with
color burn sometimes, and for that you would
want to choose a gray, straight over somewhere
in that area. Do this before you choose
your colors because it will affect the colors
that you decide on. Now you have a sketch layer and you want to
go to some layers underneath to start
roughing in your colors. I'm just going to
choose the big, huge chunky chalk and we already have this putty
color on the background. [LAUGHTER] I'm going to go
ahead and turn the background back to white so you can see
what I'm going to do here. I'm just going to fill everything with
approximately the color that I'm going to use, really, really roughly
just like this. That was not working. I'm going do that
for the whole thing, and then I'm going
to merge it with the outline layer when I'm done. That's why I had a second outline layer already
ready for me to use later. Here's my completed color rough merged with
an outline layer, and I'm ready to get started. I can just keep referencing
this as we go along. If I forget what color
I chose for the robe, all that type of thing, I can just come back
here and look at it. I may not need to come
back and look at it, but at least I have an idea of how all the colors are
going to look together, and I like it, before I spend all that time
on the full illustration. I'm going to get this
cleaned up here. Now I have a separate
outline layer still since we duplicated it. We have the one that you've
merged with the color rough, and we have this one too, and you can decrease
the opacity. Now you're ready
for getting down your base colors in a nice way, not in the rough way, and then after that you
finish the full illustration. I have my base colors down for this illustration
based on my rough colors. I started with my snow, so I chose this darker of
these putty colors here. I'm going to be adding
some highlights, but I chose dark to begin with because it'll be a night scene. I smudged and made the
upper edges very textured because it's just nicer to
have those far-away hills look more blurred and not crisp. Then I added the
night underneath, you can see here
I have the snow, and underneath that is the night so I can be messy
with that brush, and all of this is from
the brush from class, which is this huge
chunky chalk brush. I added the colors right
here for the night. I started with dark and
then I played around with these two colors on the lower opacity to get a little bit of
color variation, and I smudged also
with the same brush, just tap smudging to get some
more variation and texture. Now it's time to
start on the gnome. With the gnome, the nose
is underneath the hat, really the hat is the
highest layer at this point, we started with the
hat on the top layer. I made some changes from the sketch and I
made the brim come down and be more floppy
onto his shoulders here. I put the nose
underneath the hat. I don't have to
stay in the lines. I can tuck it up in under there, [LAUGHTER] and the
mustache under the nose. I did the beard, and the hands and feet on the same layer, I made a thumb look like it was wrapping around the staff. I just worked my way down. I did do this stuff on a
separate layer all by itself because it needed to be
under the hand there, but on top of the robe here. Finally I did the robe, the sphere, and the moon
all on another layer. That's just how I
managed my layers. I like to get a base coat of
color down for everything, and that's how I start. Once I do that, I will either Alpha lock something and work
directly on a layer, or I will add a clipping
mask and do all of my shading and texturing on a different layer so that I have much more
flexibility with that. It really depends on how
many layers you have available and just
your preference. I'm going to come back and do the stars and moon
later but for now I'm going to turn the sketch off and stand back and look and see, and I really like
the look of this. I think the robe might
be a little bit too dark compared to the
dark gray beard, but I'm going to be
adding some highlights to that beard and I think
that will help a lot. Come back and we will go through the full finished illustration.
8. Finishing Your Gnome Illustration: I feel like I want to
start with the snow. I'm going to go to this
snow layer and I'm going to add a clipping
mask on top of it. Then I had started with
this darkest putty color. Now I have these two lighter
colors to really work with, to get some more
snowy look here, keeping in mind that
it is nighttime, so I don't want it
all to be really bright white or
anything like that. I'm going to go
ahead and go and try to work with this
chalky brush here. I'm on this middle color here. There isn't a huge
difference with these two. That's good. I'm having
huge changes in texture, give a much more harsh look. I do know that this moon is
shining more light here. I'm on this middle color and I want to keep
this dark color, I could even go darker down here at the
bottom of this hill. Then it's brighter up here. I'm going to go
ahead and just add, I'm going to go on
a big size here. I haven't used this
brush for this purpose. You can also go to the
artist crayon brush, the native artist crayon
brush or go to Nikko Rull. We have some highlighting
along this whole hill here. Must be on the brighter white, I'm barely touching this
brush on the canvas here. I'm going to the putty
color and go a little bit darker where I want the dark areas because
I'm working on one layer. I'm going to darken here. I'm going to add another layer. I don't need it to be
a texture, I mean, a clipping mask and I'm
going to put it on multiply. I'm going to go back to the
darker of those colors. I went to here and then I
went a little darker with it. I'm going to get a
little shadow under him. That's kind of green. I'm going to push it over away from any color added there, just make it gray. Be a little darker,
a little yellow. The moon is coming, I should make and go this way. The shadow is going to come
this way because the moon's over there. We'll
come back to that. You might have a little
shadow under your staff here. Then I might, to smudge
that a little bit. Definitely smudge it
where it's further away from the source. If you had trees, you would also give them shadows coming in this
direction as well. If you want some of that
shadow to be a little darker, you can just keep going
darker with your gray here while it's set to multiply and then smudge
that a little bit, tap and dab, what Brenda Bakker would say. I learned so much from her. Another Skillshare teacher,
fabulous Skillshare teacher. We have our shadowing. Now let's go ahead and start. Well, let's go to the sky. The sky is on the bottom layer, I don't need to do
a clipping mask. I can just add a layer
right on top of that. It's all going to be
underneath all of this. I'm going to make this moon
area a little brighter. If I go to my
brightest blue here, I'm still on this brush,
I like this brush. Then that's pretty saturated,
I might go a little, more towards gray and white. Maybe a little creamier
around the moon. You just want some variation. Now I'm smudging with that
same brush and I'm going to go to a big size and just
pushing it around a little, let's get some glowy area
around the moon here. Nothing super precise. I am going to go
darker over here, so I'm going to go to
the darkest blue here and go a little bit darker. It's always nice to
have some contrast as you get further
away from the moon. A night sky, I can go ahead and
add another layer. I have a favorite brush of mine. I can't remember which class
I've given it away in, but it is Starry Night. That looks like
snow and it's not going to snow on a
clear night, is it? We do want those to
look more like stars. I'm going to turn the opacity
down, something like that. You can play around with it. Now we can focus on the gnome. I'm going to add
a clipping mask. I added a clipping mask
over his hat here. Let's go ahead and go
to a sketchy brush, maybe dark pencil, and do
our little wizardy look. Now underneath, I'm going to
want to add another layer. It automatically turns into a clipping mask
because there was a clipping mask above it. I need to add more shading. Right now, I think I want it
underneath the white here. I can go to that red
and I can just darken it and go to preferred
texture brush. Let's go ahead and
go to Nikko Rull. That's in the painting again. I'm going to go, let's see, it's going to be darker on this side because the
moon is over here. I'm going to darken
this side a little bit. I'm going to go to sketching
and go to artist crayon, and go back to
that red and go to a brighter color, smaller size. Just get some brighter
highlights over here where the moon might be really
brightening that hat, maybe the tip too. This is just so you
can see my process. I'm going to go back to a sketching brush and
on a darker color, darker red, I'm going to put
a little dark area there. I'm also going to
darken the whole, I'm going to go a little darker. I'm going to darken the whole
very bottom of the hat. That'll really help it look
like it's curling under. Then you can add little lines however you want it to look. You could give it that little felt look with the felt brushes. If you're adding a bunch
of wavy wrinkly looks, you would do a dark
and then a light. The light gives it a bump look. You would do a light along here, for example, to make it look like that brim is
coming out over the nose. If you had some folds
going on over here, you would do light on
right up above the dark. That makes them look like
they're coming out and back in. Or you can just do some
simple striations. Then you can play around
with whether or not you want all of that shading to be above or below the
stars and the moon. I think I'm going to
keep those on top. For the nose, I'm just
going to alpha lock the nose and stay
right on that layer. That was my color right there. I'm going to go a
little bit more towards red and a
little bit darker. I'm going to go to
the chalky brush, but go to a small size here. I really want the underside
of my nose to be darker. But I also want it to be darker where it's
buried under the hat. That's not even
quite dark enough. Then of course it's going to
be darker on that one side. I want to blend a little. You can do this
all on one layer. Go back to the nose color
and do a little bright area. Something like that. I'm rushing so this
doesn't take an hour. For the mustache,
I am going to turn my texture layers
off and select that gray and turn my
texture layers back on. I'm just going to stay
on this very layer and I'm not going
to alpha lock it. That way I can go
out of the lines. I'm on that gray and I'm
just going to go up to a lighter color and
I'm going to choose a dark pencil, maybe even my HB. I'm just going to
make some striations. It's going to be darker
around the nose. Now that I'm on a lighter gray, I went to keep that lighter
gray away from the nose. I'm going to go even
lighter in a bigger size, especially over here where
the moon is coming over here. It's going to be brighter. I'm going to go to
that initial gray and go darker and get some dark areas coming right
out from under that nose. Not too drastically different. I'm going with the
flow of the hair, I almost said fabric. We can do the same
thing for the beard, remembering that our
hands and feet are on the same layer so we
don't want to bump that color into the beard. I'm going to turn
the texture layers off and choose that beard color. Turn the texture layers back on, and start going up
lighter and lighter. I think I might
leave this part up under here pretty much alone. I just give it a
couple little stripes of slightly lighter gray. I'm liking it just like
that, nice and simple. I'm going to go down. I'm on the hand and
feet color too. I might just give a little
highlight to the tops of those boots and a little hint
of moonlight on that one. But this is really
shaded over here since the moon's behind
them over there. I'll just leave that one alone. We're on the stuff. For the stuff, I
chose this brown. I'm not a big fan of that brown, but I'm just going to go a
little more orange and darker. I'm going to Alpha lock this and just stay
right on the layer. I'm going to make the left side darker since the moon
is on the right. It was jumbling,
lobbying some dark. It could probably
even go darker. I think I might actually
just like it just like that. Maybe dark around the hand, go down a layer for
the green robe, and the yellow
sphere and the moon. I am going to Alpha lock that. No, I think I'm going to go to a clipping mask
right on top of it. That was this green right
here I'm going to go darker, and I'm going to go
to the chalk brush. I accidentally changed back to a different color, darker. [LAUGHTER] I'm going
to make it darker, especially up under here
by the brim of the hat, where things would be
darker, under here, underneath the
beard and mustache, that would cause some
shadowing, go even darker. If you like, this is choosing
its own colors here. I am going to go dark just
around the base a little bit, like what I did along
the hat so that we can make the robe look like it's
going up onto those shoes. Now we're going to go
a little brighter. I can just go to this
green right here and get some variety. Not really a rhyme or reason, I am doing a brighter spot on the top of this arm
because of the moonlight, and maybe the sight of the robe here because of the moonlight. Making sure I don't mess with my shadow of the
beard under there. Let's go ahead and make a little area that looks like it's going up and over
those boots. Here we go. Then I might even
go to that lightest green and on the small size get some really bright highlights on some of these areas where the moon is really shinning. We're still on a clipping mask for the sphere and the moon. I don't think I need
much for the moon, but let's do something
for the sphere. This bright, we can
do it much brighter. Since we are on a clipping mask, it's going to
contain the color we do within the shape itself. Maybe if I do a really bright, center, that'll look cool. But then on a layer that is
not, maybe it's underneath, that's not a clipping mask, it's underneath the sphere, I can do a really bright yellow. Maybe we get a
glow around there, turn the opacity down, have lots of fun with
that, super fun. I think it's done. I probably went and put a
little contrast here on this black little hand. That was pretty black. Maybe I'll come up
to more of a gray. Just to have something, so I'm going to do the
same thing with this one. Just to have something
other than just black for the moon. Something you can do with the moon is go to
layers above or below it and you can
duplicate the moon itself. I need to go to
the moon layer and select and uniform three fingers swipe down and duplicate. It's on a clipping mask,
but I'm going to move it underneath the
moon layer itself, and then I want to blur it. The magic one, two Gaussian blur and
blur it like 10 percent, and play around
with blend modes. To add blend mode makes
things really bright. You could duplicate that again and that's just crazy bright, you can blur that some more. There's all sorts of fun
things you can do with moons. You can also manually
draw your glow. I think we're done with that. So fun. I love it. I hope you enjoyed that.
9. Easy Gnome Poses: I want to very briefly
talk about how I would do a little bit of a chart to do a single gnome in a
few different poses. Once you have your
front-facing gnome, you're not going to want to always draw front-facing gnomes. Here's a way that you can make that same gnome look like it's a different angles
and still have the consistency
with the one gnome. Have your first gnome just on
the page so you can see it. Then we're going to go
to a different layer, and we're going to go
to the Drawing Guide, Edit Drawing Guide, 2D Grid is on. Make sure drawing assist is on because now you can
only draw straight lines. Then let's go ahead and draw
the line where his feet are. We're going to go
all the way across. Now probably let's
draw a line at the top of his hat.
All the way across. It's approximate,
it's close enough, doesn't have to be super exact. You can be pretty detailed
if you want to have a line where the top of his nose is and a line with the
bottom of his nose is. I would probably
make sure you have a line where the
bottom of the hat is. In this case, it's basically the same as the bottom of the
nose, so that's good. That's all one line and then maybe a line for
the bottom of the hands. You just have those as
guidelines on a separate layer. You can turn the
opacity down and then you can turn the grid off. We actually don't need the grid. I would Alpha Lock that layer
with two-finger swipe to the right so that you don't accidentally draw on that layer. Here is a front-facing gnome, so I'm just going to
write front here, and we're going
to want a side or profile and a
three-quarter view, and one maybe front facing
with his head tilted. It's nice if you can
have a little 3D object, even if it's just approximate, so that you can see what things to look at at
the three-quarter view, what's it going to look like? Are you going to be able to
see the other ear and how much does the hat come
down? Things like that. If you don't have
that, you can try to picture in your head or
just look at some photos. But we're not going to
go into a lot of detail. This is just a very
basic understanding. The side view, we're going to have the hat.
Let's start with the hat. I need to go to a new layer. It's a tube. It's the same width. Approximately the same width. You have that little
bend up there. I don't know, the bend
is probably going to look a little different
from over here. [LAUGHTER] The nose is here
and the nose sticks out. The nose is going to be
probably more of a circle at the side view like that and the hat is going to
come to the top of it. Now you might want that
hat to look like it's resting on the nose a little
bit and then it swoops down. This line at the
bottom of the hat, that's at the shoulders, which is going to be
right here in the middle. It might go down
in the back more. You might want to
make it look like it's going down further
in the very back. You can't see it in this view, but we're in the side view now. Now we have, let's
do the hands maybe, would be right in the middle. The arms, in this case, are just floppy, little sacs here like
a bean bag gnome. The beard, well, and is he going to
have hair back there? Well, let's go ahead and get his nice round body here and
that'll help us picture. See how we have that teardrop, this'll help us picture
everything else. The feet are probably going to start in the middle and go out. The beard. Definitely, this particular
beard goes all the way up into its nose areas. We don't need to draw that part. We just need to figure
out where the side of it starts to come down.
Something like that. Then a little bit further
out past his belly. Then it's done. If you want it to be
done like that or you can maybe add some
hair back here too. That would be a side
view of that same gnome. A three-quarter view is very
similar to this front view, but then the nose
is off to the side. Everything's just a little
bit off to the side. I'm going to make the nose
off to the side at first. Then the hat is going to come down a lot on this one side, but the distance
between the bridge of the nose and the hat
is larger on one side, and then it's shorter
on this side. Because he's going to
be turning that way. Something like that, and the
hat is still pretty much. Got a little swoopty there. If it had eyes, those eyes would be
bigger on this side, smaller on that side. The beard, let's see, that arm is now no longer
right in the middle. It's going to be halfway between the nose and the
back of the hip there. We have an arm over
here and a hand, and now we can see the beard
is going to come down. Below the nose
will be the point. Something like that. Then the
belly is still going to be pretty roundy down here
on this particular gnome. Feet for this one, you're going to
see both of them. You might not see very
much of that back one pointing off to the side. You might see a little
bit of that hand, just a little bit. Now for the head tilts, I am going to duplicate, copy, and paste, three-finger swipe
down and paste. Just duplicate this first one and show you what I
do for a head tilt. I'm lining them up, and I'm just going [LAUGHTER]
to select freehand. Just the hat and the
nose in this case, select it, tip it. Now I'm not just going
to leave it tipped like that because that's a
very awkward angle. It would definitely be
over this way more. If his head were tipping, the nose would no longer
be in the center, it would be over this way
more. I think that's good. I think the nose would probably be around the same height, but over to the side a little. Now you just need to erase
where there's any overlap and extend some things
to fill in that gap. That's cute, and
then you can make the arm look like it's wavy, like a cute little
head tilt with a wave. That's just a real quick
rundown on how I would make one gnome style in
some different poses.
10. A Few More Odds & Ends: I used our same
background and I did a completely different
gnome and had a lot of fun. There's a couple of things on this that I just wanted to go into a little bit more
detail to show you. Then you'll be able to duplicate
this look on your own, which is this knit hat. I know I showed you already, but not really the
fine-tuning of it. Then, of course, the flannel. Then I wanted to show
you the little bit of snow that I put around the feet. In a snowy scene, it gives a little
bit more realism. Because of course, snow
kicks up around their feet. I just went on a layer above other things like even above, I don't even remember so, but I use the same brush that I used over here on
a smaller size, and I used some darker tones. It's not bright white
where the shadows are and that's a little
brighter over here. Definitely make
chunky bits of snow around feet as well when
you do a snow scene. Let me go ahead and show
you the flannel shirt here. I'm going to go, I duplicated this canvas and got it ready. Here we have the plain shirt, I do have a multiply layer where I've done
some shadowing and an overlay layer where I've
done some highlights and I'll turn those back on
after we get the flannel on. I'm on a clipping mask
on the shirt layer. I'm just going to
choose a dark green instead of black,
but basically black. I don't know what
green that was, but I'll go really dark for the darker part
of the flannel. I'm going to go to a
pretty small size. First, I would test out and make sure I'm on
a size that I like. Then do you my precision here. I'm going to go from
two to three and then lift up and then do the same thing for
the fuzzy flannel. Come down pretty close
to where I want it. Because once I come out here, it's hard to do big
changes and go from two to three and lift up. Now, I have them both set to
the size that I need them. I'm going to be going back and forth on this
one a little bit. I'm going to be doing two
different things here. On this one, I'm moving
the canvas because the flannel is lining up with how I have
the canvas turned. Then on this one, I'm going to be using Liquify. When you're doing something
where you move the canvas, you need to be doing both
brushes before you move. If I want to do this body part with the canvas
straight up and down, I'm just going to
come in here and judge where the body part is
right there, not the arms. But then I need to go
ahead and switch to my other brush before
I do any moving. I'm going to choose this light petty and
see if I like that. I like that. I went over
the edge a little bit. If I went to, I can go
ahead and erase that. Now, I can rotate. Now, I'm going to go back to the first brush and back
to the first color. This arm isn't quite
straight up and down, so I'm just going to
turn it a little bit. I'm going to zoom in
so you can really see. Now, the arm is pretty
straight up and down. Now, I'm on the
same clipping mask. If you want, you can
switch clipping masks, but I'm just going to stay
make sure my brush is just going right up against this
one that we already did. Then switch colors,
switch brushes and do the same thing for this
brush. There we go. Now, I'm going to do the
same thing over here. I think with this,
I'm just going to do the whole arm in one. Even though it's got
two angles here, we're not doing that precision. I'm just going to have
it angled like that. Then switch back to the other
brush and the other color. Oh my gosh, so cute. Then I'm going to turn back on my multiply layer and
my overlay layer. The multiply darkened
underneath the beard and in the arm areas, in the overlays, just adding some shiny areas
from the moonlight. I just played around
with it a little bit. There's the coat. For the hat, we have this one base color. I am going to be drawing
a brim on this hat. But right now, I'm just going to the clipping mask
right above it. I'm going to do one
of the knit brushes. I want white and I don't
really care which one it is. I can't remember which one
I used but I just need to figure out what size to use. Now, I know the knitsnow
was the one I was on. Now, I'm on a clipping
mask and I'm going to fill in a big area because I'm going to be doing
some moving around. If it's hard for you to tell
where you're filling in, you can turn the clipping
mask off so you can see the whole area around this. But I was just careful and I don't want to lift up and
put my pencil down again. I was pretty careful to try
to fill the whole area in one stroke and that now I
have the ability to move. I don't need it, I can't move anything around yet because I need to do the knit
outline brush first. I'm on the same layer and I'm
not going to go super dark. I'm going to play
around with this. I was initially going
with black for this and it looks a little bit
more natural if you don't. I'm just going with
a darker version of these petty colors and see
what I think about those. Then once I'm happy with that, I'm going to try to fill
the whole area in again. Now, you have your knit. Now, I need it to look a little bit more
like flowy fabric. Warp doesn't let you do
too much manipulating. If you select it and do warp, there's a certain amount of moving around that you can do. If you're not familiar
with clipping masks because it's on a clipping mask, we can actually move this
whole thing quite a bit, rotate it, and all
sorts of things. What I'm going to do is liquify. If you go to the Wand
and go to Liquify, and go to Push, and then play around with size, you can push things
around and pull things down and just get things to
curve a little bit more. Especially around the brim
is where I like to do it. Now, I want to
erase some of that. I'm just going to go to the
chunky chalk and I'm going to erase some of where the
brim is going to be here. Hopefully, you can see that. Erase a good chunk
here, very roughly. Then on that same layer
or on a different layer, you can play around with going to different colors of a darker version of
what you've got here. I'm just randomly
putting on some lines. Then I'm going to do some
bumpy sporadic lines along the edge of the
brim there and then a little bit of shadowing
right down along, just like we did with
the other gnome. Make sure you get that
very bottom edge shadowed. You could be going to other
clipping masks with this too. Once you do that, you can do some highlights
on the layers above it. Just like I did
with the flannel, I did an overlay layer. Then what I did with the cap
itself is I Alpha locked it. I went to the chunky
chalk brush and I did some coloring changes
right on that layer. Just like we did with
the red wizard hat, making some shadows on certain areas and
highlights on other areas. I'm coming through and I'm adding some things
like that on this, but I'm just doing that
right under the knit. Let's go back and look at the one I spent a
lot more time doing. I did some slightly
different colors. Then to look at the layers, I did the knit. You can see the base hat is now shadowed in certain areas and highlighted
in certain areas. I have the knit layer, and I have a different layer for the brim here in this case. Then I have an
overlay layer that I just added some more
brightness for the moon. You can do that same technique with all of the knit
brushes obviously. Then also this messy
woven brush will make a really cute fabric as well,
using similar techniques. All of these pattern brushes
would be really cute for little legging designs or any
clothing design actually. You would do a similar
technique as we did here with the clipping mask and the Liquify tool
and moving things around and doing the
shadows and highlights. He's rocking a look here with
some crazy fabric patterns. The felt is going to be
pretty fun for these booties. They are on the same
layer as the coat. When you go to a
really small size, actually I'm going to
go to a new layer, clipping mask above
it and turn it to Color Burn and I'm on gray. That's pretty dark. I want a really light color. Wow. Let's see if you can
see what that just did. It's subtle, but
it's pretty cool. Let me show you one with
braids really quick. For this gnome family, you can see the little
girl has braids. All I did for that is stamp one braid over here
when I was on the nose. Then I duplicated
it and I flipped it and moved it
over to this side. As long as you know where
the nose is going to be and where the hat is, then you can do that. If you have the nose and you have an idea of
where you want your hat, then you can go to a new layer, go to the braid, figure out how big you want it. It's just a sketch layer. Then move it into place. Maybe it's going to be right
next to the nose, maybe not. Maybe you went rosy cheeks, you don't want it super
close to the nose. Maybe want it lower or bigger. Figure out one of
them and duplicate. Select, flip horizontally. You can use the magnetic
tool if you want it to go perfectly over. But I think eyeballing
it is good enough. Then you can go ahead and merge those two layers so that you can erase them at the same time. Then just start erasing the excess areas that
are above that hat line. Then start finishing your
illustration after that. The ponytails are pretty simple, just come down from the nose. This little u here, little pony holder,
and then that, however long you want that
to be down below. That's it.
11. Thank You!: Thank you so much
for watching class. I hope that it's
helped you learn to love drawing gnomes like I do. I can't wait to see
your class project. I know the class project
section was a little bit lengthy with all the
different sketches, but even if you just
do the first step, I would love to see
what you come up with. Mixing and matching all
these different parts of a gnome, there's really endless
possibilities. It'll be really
interesting to see if there's any two that look alike. Be sure to head over to my
Skillshare profile where you can find all the
links where I am online, including a wonderful
Facebook group that I run with fellow Skillshare
teacher Brenda Bucher. My Instagram of
course, in my IGTV, I have a lot of free
lessons you can check out and I believe I'm at about 37 classes
now published on Skillshare all of which
are in Procreate, so definitely check
out those as well. You can also follow
me there and then you'll get notified when
I publish new classes. See you in the next class. [MUSIC]
Jennifer Nichols, Leila & Po Studio
