Transcripts
1. Class Introduction & Summary: Hello body, welcome
back to my channel with Miab Florentino
for today's video. I'm a huge Zelda fan, especially the Legend of Zelda, the Ocarina of Time. And because I've
been doing a lot of digital artwork lately, I did a two part live
stream not that long ago, and I'm combining
those two together, and I'll be making a step
by step tutorial on how to draw Volvagia from
the Legend of Zelda, the Okran of Time,
the Fire Temple and Adult Link and Nav. I'll be using Procreate with my iPad Pro and
Apple Pencil, too. One of my favorite
things to do is combine traditional
and digital together. And because Procreate
has layers, we're going to build
on top of each other, and we're going to both
color it at some shadows, highlights, use
different types of brushes and textures and
just color all of this. And because it is
digital painting, we do have a lot of
freedom to experiment and erase all of our
mistakes and just practice with various
different digital mediums. So if you didn't know, my name is Ivan Florentino Ramirez, and I graduated from California State
University Fullerton, with a Bachelor's in Fine Arts, and I have a lot of
experience in painting, traditional drawing with pencil, life drawing, and
graphic design. And one of the reasons
I wanted to start this class is because
I wanted people to get comfortable with digital
coloring on traditional media so we can have a mixture of
traditional and digital. And this is the
perfect exercise to use layers to create
something visually striking. And in this case,
with video games. All you need is your iPad, iPad Pro, your Apple Pencil,
or Apple Pencil two. I happen to have
Apple Pencil two, and I highly recommend one of these artist gloves for digital painting.
They're super cheap. You can find these on Amazon. They are super easy to
keep your glass clean and easy to move around without
smudging your iPad screen, which is pretty
useful and helpful. So are you ready to get started? So, make sure you
have your iPad ready, your Apple pencil, and any
art program that you have. And let's get to it.
2. Importing and Background Removal: Before we begin any part of
our coloring and details, let's remove some of
our excess background that we do not need.
That's useless to us. So for the first step, I took a picture of
this small sketch. I transferred it to my iPad
Pro, and in Procreate, I always make a duplicate layer just to make sure that I have the original so that I always go back to it just
in case I made a mistake. And what I did was I
made it as big as I can. And I just removed
the excess part of the sides next to the dragon and link just to make it as
clean as possible and remove any unnecessary paper that I'm
not going to color anyway. And I made it as big as I can, and by going into the selection
in the top left corner of the iPad and in between the
arrow and the magic wand, this is going to give
us a lot of options, but we're going for the
rectangle selection. And that way, we can easily draw a rectangle around the
areas that we don't need. We use our left hand
with three fingers, and we're going to choose
the cut feature with the little scissor icon and
delete that selected area. After sizing everything up, cleaning all the backgrounds, even using the clone
tool if necessary, making sure you lock
one of the layers, we are moving on to
the base colors. And you'll notice to the
left of every layer, there's a small box
with a check mark with a letter to
the left of that. Click on that, and you have many options to play around
with for that layer when it comes to different ways
that the colors or anything that you
draw or color on top of interact with
the drawing underneath. So we're going to go with
the multiply layer because I found that when we
use our base colors, that it easily blends in well with our traditional media
that we use underneath, like our tone paper
stays preserved and the ink pens that I use along
with my Prisma markers. So it keeps the integrity
of our original drawing while having the
modern convenience of digitally coloring it. So we're doing a
combination of both. And this is what
this course is all about, experimenting
with colors, different brushes, textures, shadows and highlights
as an exercise.
3. Starting with Base Colors: Now, what's really
important when using Procreate is
to work in layers. So I made a completely
different layer, and I do have my reference
photo next to me on my phone, and you can even have
your reference photo on your iPad because
there's a lot of new features where you can add the reference photo directly on the iPad right next to you, so you can select the colors, but this is just easier for me. And just as a reminder, I do have my drawing ready to download and the reference
photo so you can follow along. But again, the
purpose of this class is for you to have any
of your drawings being imported into procreate
and color them in and experiment with
different brushes and textures. And this course is the
perfect exercise to do so. So I made a separate layer, and I chose a soft brush tool. And that way, it's easier
for me to directly draw over Volvagia and
create a base layer. And I use the multiply tool, which means anything
that I draw on top of, it's going to blend
directly into my drawing or sketch
that I did originally. So this is a style that I'm
going for where I'm using my old traditional drawing
that I did in pen, and I'm drawing directly on it. So this way, it
saves us some time, and it keeps the style of the original while using the
modern way of coloring, which makes it a lot
easier and faster. And this is where you're going
to want to take your time. Keep on zooming in and
literally follow the line. We're going to be
basically coloring in the red part of the dragon. And I chose to do a
medium toned red color, and I really like how
this one turned out. What I'm doing is coloring the top side of the dragon
while ignoring the belly part. And notice how my
original ink shadow lines and linework are kind
of showing through, and that's actually
cutting our time in half, we already know where
our shadows are going to lie because of
the drawing that I did. And this is why the
multiply layer works perfectly for this
type of style. And same thing with
the gray tones that I use with Prisma markers, that's going to add into those gray tones
for our shadows. And throughout this
entire course, feel free to pause
where you need to and take your time filling
in all these colors and going back and
forth if you do need to listen for any tips that
you might have missed. Now, before we get into
using our drop tool, which is more of a
paint bucket fill tool, like a lot of programs have, because these areas
of the dragon are very thin and skinny, we don't need to
do that just yet. And in larger areas,
you can always size up your brush as you need to. And the more
pressure you put on, the bigger the circle gets. So on the left hand
side of your procreate, you'll see the options
to keep the opacity, all the way at 100 or zero and also sizing up the
brush up and down. It's very convenient.
So play around with larger areas to cover more of that
base color quicker. Now, let's move on to
the second base color, which is a yellow or more of a yellow orange for the flames that Volvagia
has in its hair. And this is one of the
striking features of this boss from the LedenO
Zelda, the Aquarna of T. Okay. Now, let's save
some time by using the color dropper tool and filling it in just
like a paint bucket. For areas like it's hair, the fire hair, we're going to use our pen brrush
that's a solid one. Like any of the pen
brrushes will work fine. We all we're going to do
is trace around the fire, make sure the shape is closed, and we're going
to drag and drop, and it's going to
fill it in for us. Now, you will see a mistake here where I didn't
close it completely, and you'll notice that
the colors will bleed all the way into the
entire canvas area. And you'll notice me dragging and dropping the color picker, the color circle that you
see on the top right. So that where I'm dragging
and filling in those shapes, all you need to do
is make sure that the area that you're
coloring is closed, and you can easily
drag and drop colors. And for smaller areas, I'm
just filling them in manually like I would if I was
coloring a normal drawing. In order for this mistake
to keep on from happening, the monoline tool in the calligraphy section
of the brushes, I find to be one of the best ones because
it is solid enough. There is no transparency, like using any type of
those airbrush brushes. It's perfect to outline a shape and make sure
that it's closed. It's a solid, solid brush to use when you want to do
something like base colors. And you can see as I turn
on and off the layer, how you can see how it's almost like a puzzle piece
in silhouettes. And what I'm also doing
is alternating between different shades
of orange and red just to have a balance and
see which one looks better as I'm directly applying
the color on the dragon. And the reason you want to
do a different shade of an orange is because this one is the one that's a
little bit behind him, so it kind of gives it the illusion that it's further away. And to finish off with the
orange and the entire drawing, let's finish up with the
belly part of Volvagia. And I even went
ahead and created an extra layer just
because I feel like I'm going to do a
different texture later on for the belly. So you'll notice that I
created another layer, and this one was more
of a red orange that I did for his stomach
dragon scales. And finally, for his
entire face, horns, and mask area, it's kind of
like a bone color or a stone. So I decided to use
a medium gray tone. And same thing with its claws, it'll also be gray. And also with the only part of this entire dragon that's
green are his eyes. Now, you may be wondering why we took our time with
our base colors. It's because this is
actually the thing that will save us a lot of
time in our next steps, which will be the combination of brushes for our shadows
and highlights that we're going to use different darker applications
in order for us to have that distinction between harsh shadows and highlights
and middle tones. And the fun part is
that we're gonna be able to push this a
lot when it comes to the glow in the flames and the mouth area with
bloom lighting as well. And it all comes from our
layer choices and the way that our opacity is going
to affect our base colors.
4. Adding Shadows & Textures: So now, one of the
next parts that I did was make a completely
separate layer, and this one I made so that it's just for the gray
mask and its eyes. And this is where I started to experiment with
different brushes so that it adds some
kind of a texture because right now we
only have flat colors, and this is going to
add some dimensions, some variety in the textures of the skin and the
mask of Volvagia. So I decided to use this rock
texture with a darker gray, and as you can see, I'm applying it to where there's shadows, and the reference photos only
being used for the colors. So this one, I drew ovagia in a completely
different pose. And this is where
I'm starting to use just darker tones
or the shadows. So I feel like it's
the best way to start with some contrast is to
start with the darkest part, like shadows and work your way up into the highlights
and midtones. You can see me using a
monoline brush right here to kind of trace around his
mask again with a bit of a medium gray just to
test out if that's the gray that I'm
going to use before I use my textured brush. And again, with every brush, it does feel a little bit
different when you start applying it onto
the iPad screen, meaning that because this one is a charcoal textured brush, it won't be a perfect circle. So that's why you see me resizing the brush up
and down just to kind of get a feel for how
wide it's going to cover in the surface
area of the dragon's face. So at this point,
I had it at 2%. And again, I kept zooming in so that I know
that this is going to be the detailed part of
this entire digital painting. We are getting into the area where we're going to
have to slow down, zoom all the way in
and take our time. I'm rounding out those parts of the mask that involve
certain types of shadows. And if you see the
reference photo, you know what I'm talking about. Certain parts of the
light hit on one side, creating a shadow on the other. And that's where the
reference photo comes in handy so you can
know where to apply the darkest parts of
the color and leave the middle tones and then eventually where we can
apply the highlights. So what I'm going
to be doing for the horns around the nose, the middle part of the mask is treating them as
individual shapes. So that way, it's
less confusing to me and makes it a
little bit easier, and I'm even going to start
using a darker gray, as well, kind of closer towards black, intensifying even
more of that shadow. And again, the purpose
of this course was for us to get familiar with experimenting with
different textures and colors and just having fun coloring some of our
old drawings that we've done in traditional that were originally in
black and white. And because this
original drawing was in black and
white with ink pens, it gave us the perfect
opportunity to experiment with vibrant colors. Uh. And a very important tip from now on in this part
of the course is to make sure you are rounding
out the form just like you would do in
traditional pencil drawing, meaning don't use
straight lines to start coloring things in because that will keep things looking flat. We do not want that. We
want to make sure this looks and feels like it's rounded and has
that three D look. Our base colors are
flat to begin with, but this is a step where
we start making and giving things some form and some
three dimensionality. So as you can see,
I'm adding a bit of a darker green also just
to give it a variety. And as I'm applying
highlights as well, that rock texture is really making this stand
out and it gives it some three dimension and keeps it interesting
and not flat looking. And the reason I
added the green was just to kind of give
it something different than just pure
black and gray and also the light of its eyes, also having those reflections a little bit on
the green as well.
5. Background Adjustments (Color Tone): So Now, as for adult Link, although the reference
photo does have him with a green tunic, if
you play the games, he has to have a red
tunic when he's in the volcano areas to keep him from getting
damaged from the heat. So I actually started with
green because I did forget. But I started the same with
adding some flat colors, some base colors for his shield, his tunic, the sword, his boots. Then eventually just
started coloring him in using the same method
like we did with the dragon. If the areas are large enough, all we need to do
is outline and use the drop color beater and
fill in those spaces easily. The green skirt
part of his tunic, the shoulder and the hat
are in a vibrant green. Along with the boots and part of the gloves are
a medium tone brown, a little bit of his blond hair. The ear part is a peach color, and the shield is a blue and gray with some red
accents and yellow. And the same way we took
our time with the dragon. I'm taking my time with
Link's outfit because, again, it's going to make it
easier for us when we finally start adding some
highlights and shadows. And because we're
trying to preserve our underline drawing
with the ink pens, this is also making it
a lot easier for us to kind of keep that traditional color look that we're going for. And again, before I
made him into red, here is an actual screenshot of how Link looks like
with the red tunic, which we are going for now. And all I did was drop a bright red color over
Link's green tunic. And after that, one of
the things that was missing was the environment
and background, just to make sure
that it feels like Link and Bobagia
are in the volcano. So I decided to change the entire layer of where I have my drawing into a
tone version of it. So I changed the entire tone of the page into orange,
yellow tinge, and this changed the whole vibe into what I wanted and makes it easier instead of just colouring everything directly
as a background. And this it's super easy to do. On the top left
corner of Procreate, you're going to see
a small magic wand. You select that and
you can play around with color balance in
the adjustments layer. I also played around with hue, saturation, and
brightness as well. Now, this may differ from
the tone paper that you use, and especially something
as plain as white, it will differ a little bit. But I did play around
with Cyan, the magenta, and yellow as well until
I was able to find that perfect tone in
between a red and yellow. And as you can see,
I'm playing with the sliders left
and right until I find something
that looks similar to the reference photo that
has a lot of red in it. And another one to try
out and experiment with is the curves option. This one had an
easy way of toning the paper into that color
tone that I was looking for. And one final layer, I wanted to play around with the bottom part of the ground
that has some of the magma, fire and smoke
illuminating from it. Now, this is going
to also make sure it's grounded into that scene, and I'm playing
around with different textures of the dirt area, so I'm playing
around with a lot of concrete options of the brushes, and I added a little
bit of the red smoke, also playing around
with the opacity as well so that it can blend in
perfectly into that paper. And keeping around
with that same tone, I also started using the
background with a smoky red, as well, and everything looks
like it's coming together. And this is where you
want to take your time so that the background
doesn't look so plain. So now that the tone
that I wanted is there, I added some flames in the ground with
some charcoal texture, some smoke coming out
of those fire pits. And even when it came to erasing
some of that background, if I kind of went
a little bit too far with some of those colors is using the eraser of the exact same brush
that you used. So, for example, in the back, I kind of did a little bit
too much of a dark red, so I erased it
with the charcoal, and it kind of gave
that texture so that we have some
consistency throughout. And we also must give our
adult link some more detail. I finalized link
with some textures, some flames around his tunic and his entire body to kind of reflect all the
flames around him. And again, adding some more
textures into that hammer, the shield, the shadows, his tunic with a little bit of contrast with light and
dark and making sure that he's as detailed
as Volvagia one of the main brushes that I
always like to use for a lot of clothing is
the leather brush. That gives it a great
texture that's subtle that I do like to
play around with the opacity on the
left hand side, just to make sure that it
isn't so plain looking. And as you can see, I'm
adding a little bit of white highlights in the tunic
to round everything out. You can use a combination of pink and some bright
whites so that there is a consistent tone with a dark red medium,
some pinks in there. And also remember that a lot of the things that colors do
is reflect on one another. And because we have the dragon, the flames underneath,
everywhere around Link, I'm also adding some yellows all over the hammer, his boots, and it makes sure that he is grounded in that area
in that setting, in that volcanic dangerous
area just like in the game. And for one helpful last step, I use the clone tool and the eraser tool to make
sure I get some clean, clean outlines if I do happen to color out of the lines and zoom in into every
part of the detail, make sure the lines
are clean and look to see if any more detail
needs to be added. And what makes the clone
tool so versatile is that you choose an area that you like where it's going to start cloning and you use
it like a paintbrush. It's just literally
cloning that area and it makes things consistent,
like it was always there. And now this digital
painting is complete.
6. Final Thoughts: So, what did you guys think of this fan art digital work
or the Zelda fan art? I really hope you enjoyed this class where I
used pop culture, and specifically for this class, the Legend of Zelda Series, where we colored in Link and
the Boss Dragon Volvagia. This is one of the
classes that I have always wanted to do where we not only are nostalgic for fandom in the
video game space, but also learning to
experiment with brushes, colors and textures in procreate and learning a
lot of these techniques, hopefully you guys
will apply this to your own artwork
and make sure to upload these in the class
section of this class. And also, it would be amazing
if you left a review. Come I down in the
section below, if you guys are excited for
anything Zelda related. Thank you guys so
much for watching. See you later. Bye.
IVAN RAMIREZ, Artist, Painter & Youtuber
