Create a Charming Snow Globe Snowman In Procreate with 22 Brushes and Other Assets Provided

1. Intro to Create A Charming Snow Globe Snowman in Procreate: Hi guys. Welcome. My name is Dolores now Scranton. I'm coming to you from sunny, Manitoba, Canada. Today's little project time bring you is called snow globe snowman. And that's exactly how it sounds. We're going to be painting a little snowman, and then we're going to be putting him into a snow globe. We're going to be using gouache brushes. So there's going to be a few techniques that I'll teach you with that. And I am enclosing a set of brushes that you can use for your project. So you'll get everything you need to produce this. We're going to be working in several stages. We'll start by painting our little snowman. And we're going to be adding all of his little details, including a little cardinal sitting on his branch arms. And then we're going to take and place him into the snow globe. It really isn't difficult once it's broken down into easy steps. And that's exactly what I'm going to do. So each lesson focuses on a different part of the snowman. And throughout, I'm going to be teaching you a whole bunch of stuff about things like lightened shadow and different kinds of techniques that you can use with the wash paint to make the finished really interesting. Is that sound like fun? Well, I'm glad you're here today so we can do this together. Now if you haven't done so already, all encourage you to hit the Follow button up there. I also want to remind you to get your name onto my mailing list at Dolores art dossier. That way you won't miss any mailings from me. And besides, that's where I post all my freebies for artists. So definitely when you go there and check out that artists resources section, I've been talking about taking a holiday pretty soon. And in that holiday time, I'm going to be producing a lot more of those resources. So keep an eye out for those. Thanks so much you guys for sharing your projects with me here. And also thanks for all the nice reviews that you're giving me. Reviews are one of the ways that a teacher moves up in the rankings. And therefore my classes get viewed by more people. So I really appreciate that. Are you ready to get started? All right. Let's get to it. 2. Overview, Sketch and Brushes: Hi guys, welcome to lesson 1 and less than one here we're going to just take a quick look at the whole projects. I'm going to be giving you a sketch that you can follow if you'd like to. Or you can definitely draw your own Snowman. If you find that the snowman is a little bit too difficult by all means you can substitute anything else, a Christmas tree, a reindeer, anything that you'd rather draw. And you'll still get a really nice little project by the end of it. So let's take a look at that sketch and then we'll get started with some of the brushes. So for this class, I want to show you all the steps I took to create this snow globe snowman. So as you can see here, I've got shaped just right for flag and I create a class I, it the pattern for the tablecloth. And of course, I did this whole snow globe with a little snowman inside it. And at the very end, of course, I did some lettering. So I'm going to show you all of the steps that you can take to complete this little project. First things first is drawing the snowman. So what we've got there, Let's go back into the gallery and I'm going to go back into First artwork just to show you the steps that I took. So I started off with just a quick pencil sketch. Maybe I'll clean this up and give it to you as one of the assets for the class so that if you're not comfortable with drawing, you can use this drawing just to kind of get the feel for how the brushes work. Really, I just quickly sketched it out. I took a pencil, which is one of the pencils right here in the sketching set. I usually use a 6 B pencil and I went through and I just basically drew what I thought I wanted my little snowman to look like. When you're drawing something like this, It's great to have reference. I kinda did it just kind of from memory. What snowmen look like. We used to make a lot of snowman in our front yard when we were kids. And basically we did exactly what you see here. Three balls of snow, roll them up, stack them up, and then use whatever we could. And we didn't normally have really nice things like scarves and hats to put on them. So, um, I think I remember one where we used a tin can and I can't remember what else for a Hat. The branches, of course, are pretty easy to come by and I don't think my mom would ever have allowed us to tie a scarf on our snowman. But regardless, we ended up with some pretty cute looking snowman. And this is the process that I'm going to use today to just draw and create my little guide for no bulb. I guess I won't go through the whole steps of drawing it since I'm going to provide you with this drawing. What I like about having a drawing to work from in the background is that I don't have to, once I'm painting, I don't have to be thinking about G actual construction of it here. I basically can just follow the sketch that I've got. And the sketching is something that you can do in an evening, let's say just sit down and draw a whole bunch of little snowman do some practice, are very easy to draw just simply because their basic shapes are circles. What you can do too is just make sure you've got kind of a central line to follow to put your features on so you see where the nose is lined up. That would be where are the buttons would be, and that would be where you'd send to your smile. Okay, so that's exactly what I did for the drawing. Once I have the drawing, then I put that on actually the topmost layer. You'd think that that would be the bottom most layer, but I prefer having it as the top layer. And I set my blending mode to darken that way, whatever I do underneath is going to show up and I do actually reduce the opacity a little bit. You can see here then the steps that I took when I was drawing my little guy. So I started off by these layers off. I started off with just doing the snowman himself. The brushes that I used for this is a goulash set that I have. I've created this squash set. It doesn't have a lot of brushes in it yet. I'm going to probably add a few more to this saps and I'll provide you with a few of these. You may have a couple of these from one of my other sets that I've given you. Basically, what I like to boat the wash Set is that there's a lot of texture already built-in who? A lot of the brushes. So when I started to do the drawing for it or the painting, I added layer and then I went through and I think I used this textural wash because I really like how that one locked in as far as the color. Just clear that. And we'll go into the palettes that I have here at Hearst. A kinda stuck to this blue palette that I have here. So let's start with that one and see where it goes. So of course, I don't want to go with pure white. That was just a little bit too stark, the actual white, because of course you can't see it when you're working with it. So I started with this color here, which is actually a little bit of a gray. And with that I just kinda went through and basically just the outlining here. You can outline the entire shape if you'd like. You're not going to generally have that side the same color. We're going to actually create some shading here. You can see here though, that the brush that I'm using goes on really nice. Blend II, That's just go a tiny bit darker with that. And I'm going to switch to blue here to, if we do get a hint of color that is a blue. So what I started to do was this kind of a scumbling. Scumbling is a term, and we mainly use this in my theatrical design class. But scumbling is kind of a technique where you work in a circular sort of emotion. What I like about scumbling is it just gives you a bit. Sure, even without having a textured brush, and we could switch to more textured brush. So something like that could work. And I'm sure this guy is not going to turn out like my other one. That's just the nature of doing sort of painted projects that you'll never be able to do it exactly the same way twice. So I'm going to take a little bit more of a textured kind of Akash here. And at this point I'm going to go a little bit wider in here. Or maybe what I'll do is I'll build up my shading a little bit more. And that's way too dark. Now I'm not too worried about this area where the scarf is going to be because it will definitely fill and cover. Of course, switch to a smaller brush. If you feel like you're not getting where you want to go, you want to build up a bit of a shadow underneath the scarf, along the edge here where the scarf will be sitting and then also under the brim, brim of the hat. So it's okay to go a little bit darker to start out with because we can definitely go back and work with that a little bit more to lighten up afterwards. So I'm going to go back to my palette and I'm going to move this out so that my palette is really available and switched to a lighter gray here. And move that one over towards this edge here. And I'm continuing to stumble as I put down my paints here. You can always switch back to your different color pickers, whichever one you prefer. Sometimes when you're doing something like Grey's, you're trying to keep them really light. It is easier to do it here and CSM scumbling here. I'm creating a lot of texture. And the reason we use this a lot in theatre was to create some really nice finishes that the light would hit really nicely. And we could create a lot of different textures like stone or brick or fabric just by doing this sort of a technique. So this is one of the first things I would teach my set design painters, set painters. So let's go back to the palettes. And I'm going to go a little bit bluer here, but definitely lighter. And you see us endpoints through that. I'm leaving kind of wider area on this side or it will end up being that way. I'm imagining this as if the light is coming and maybe coming straight down or down from this corner. And now I'm going to go with the pure white, and I'm going to scramble back some of the highlights that I want here. So you see I'm adding highlights kind of down the middle here. And I think I went a little bit of the shadow kind of in that area there. I forgot about that because that would be a bit of a shadow being cast by that top or middle boulder of snow. And for lack of a better word. So we basically already got our first step here for our snowman. And the next step is going to be adding that background. So let's see how close I got to my original. I can see right away by looking at it that my original had a lot more blue. And you can see how my bristles are. My texture was a lot more pronounced there. So maybe that's something I could go back and do definitely on this one. It actually looks really dull now that I look at it in comparison. So maybe one of the things you could do if this happens to you, is to go into your curves for and make some adjustments there. Let's get into the light and go into the blue here. I think that's improved it already. It's not quite as blue is that original one? And that's probably just because I'm using a different palette. I can just ignore the palate if I want and go into, let's just look at that one end. I could sample that color and then go back and add a little bit of that in here. And go a little bit darker and adding a little bit more that bristle texture. So this is toe a little bit more. This is kind of teal in comparison to that first one, but really irrelevant at this point. We can do whatever colors we like. And of course, your preferences are going to shine through when you start working on this. In the next lesson, what we'll do is we'll work on that background and then hopefully start on some of these smaller details. All right, I'll see you in that next lesson. 3. Painting the Top Hat: Hi guys, welcome to lesson 2. Well, we're off to a great start and now let's start working on his top hat. So the next part of our project is to add a really simple background here. And we don't have to do too much here because remember that this is all going to go into our snow globe. And that snow globe is very forgiving as far as backgrounds goal, you're going to have a lot of it covered up with matter of facts. So we're just going to put a little bit in here. And what I like to do is word below the snowman that we have there. So we'll add, keep him on, but we'll add a layer. And then this layer we're going to just do maybe kinda the same idea, I guess the same. We can use the same shading colors and so on to create our background. And what we're just trying to do is create that look really cool winter day. That's just sample that color there. And we're going to go maybe into a slightly different blue just to have a bit of contrast there. So again, I'm doing that scumbling technique and I'm going to go to very loosely encircled. Can see it's very textural. We can add some around him. And one of the things that we wanna do is have snowflakes. So in order for the snowflakes to show up, we really do need some color in the background. Oh, you know what's guys are like in the winter. They're just kind of gray and that's the look that I'm trying to get here. So I'm going to do this first. We're gonna do a little bit of white mixed in with it. And I'm going to give that maybe an edge. You'd be right about here to show the difference between the sky and the base. Like I said, it's very forgiving. You almost can't do this wrong. So we're going to just use this brush to add a little bit of extra texture in here. Let's go a little bit darker tube, we'll do a few spots that are just a little bit darker and we would have to go too much further than this honestly. Because like I said, the snow globe itself is going to definitely make that kind of a frame around the snowman. So we're not worrying about it too terribly much. I'm going to get this blender. Which one was I using? Thick blender. And now I can kinda go in and smooth a little bit of it out. I'm being really selective. I'm not getting all of that text stroke because I do really like that texture. And you can see how recreating just sort of that feeling of sort of a cold, blustery winter's day. So let's go back and take a look at the background that I had originally created. And I have even more sort of heavy colors in there. So maybe I'll go back and add a little bit more of that. Definitely makes the snowman stand out when you do that. So that was my original. This is my new one and this is my current background. So I think we can add a lot more color in here. So let's go to a thick wash here. Bigger brush when I want to do this blend. Yeah, that's a good one. So we're going nice and big. I'm actually going to go in here to the properties and make sure that I've got that set nice and large, sampling the color and then just going quite a lot darker. And remember that the drawings that we put over top, like the hat and the scarf and everything are going to release, straighten up our lines here so we don't have to worry too much about the fact that we're going over the lines, so to speak, to put that really nice and textured tree, like we can introduce a little bit of another blue in here. And I'm gonna go back to that bristle and introduces a few more sort of texturing bits. Can always go back with white. So never fear if you feel like you've put down too much, you can go back and scumbling it out a little bit. I think now that I've done that, I'm going to go ahead and start working on some of the smaller details. So let's take a look at this half and how we might finish that. I'll show you original that I did. And you can see that some really nice rough edges, lots of Brussel texture in here. And I've done this lighter rim around the edge of the rim here at the brim? I think so. And yeah, that's what I'm gonna do for this hat that we're going to create. So let's create that red underneath this hats. We can always go back for reference. So I'm going to shut that layer down and looks like my drawing was pretty accurate. We've got some white there, but let's just go for it. Let's start with block and we're going to go with a little bit thicker of the paint. So this one is one that I call dirty wash, because if you see here when I drop it down, there's quite a texture in there. And I liked that. You, once you go over it a few times, it kind of loses the real contrast of the texture. But if you go lightly with it, you can definitely still see the texture, which I do like in some areas. So I'm leaving a little bit lighter in that area where I do you want the highlight? And remember we talked about the highlight kinda going down this whole side here. So we probably want to keep some of that in there. And we can go fairly small if we feel like that gives us a little bit more control for the drawing. Now I think I've got I'm just going in here right now to reduce the amount of a falloff that there is here. And make sure that it's dark right up until the ends, like that better. So I'm going to draw this. I'm drawing you. They're really bad angle for my hand. I'll tell you I would need to have this switch to this direction. So remember that I want to have a highlight along this edge here. So we'll just fill this in. I'll maybe do that after. But right now I'm going to grab kind of a gray blue to just put a highlight along this edge so that it'll be good separation from the inside of that RAM. In this area, I can go even lighter because that's going to be sort of my highlight area. Anyways. Let's go back to the black here. Now I've got this one set up so that if I tilt my stylus a little bit, I can get a thicker sort of a line. Now I didn't leave much of a highlight there, but I can go back with the lighter color here and both white because I can always go back darker. And now in here we do basically the same thing. Outline it nicely, and then just go in and fill it in. So I like that this brush can be just tilted to make it thicker so I don't have to go over here to enlarge it. I forgot that I had even done that. Now to make the curves really smooth, one of the things you can do is go to the Stroke path there and go to a higher streamline. That will also help you to keep your lines nice and smooth. Now generally underneath here would be fully shadowed and I'm just going to maybe have a little bit lighter of an area just right about here. So let's just hide that pencil sketch for a second. See how that looks. It looks like Mickey Mouse ears at the moment. But I think once we get the rest of the hat completed, it'll look great. I'm going to go a little bit smaller here with my brush and just kind of make sure that that comes to a full point here and here. And then clean up that edge a little bit here where I messed up a bit. Thank Here, we could make that contrast that a little bit more with the color of the shadow underneath the brim, because I think that's still light enough in contrast to the block to make that block look alright for the rest of the half, you can definitely tell where the brim edge is. You can see here that my painting is nice and loose. I'm not looking for major procession. Overall. I like that feeling of sort of sketchiness that I accomplished by going a little bit faster and by being a little bit looser. So, so far, so good. I think this is good for this lesson. And let's take a break and come back and do a few more of his little accessories. See you in the next lesson. 4. Top Hat Ribbon and Scarf: Hi guys, welcome to lesson 3. And less than 3 here we're going to finish off that top hat by putting on that ribbon. And then let's get started on the scarf. So for the hat here on the previous guy, I did just kind of a green ribbon. That would be just fine. And we can do green, we can do red. Let's do a red one just to have a bit of a contrast. So I'm going to start with dark red. I think I can continue with this brush here. I'm going to start by just drawing that edge. So I'm going to go a little bit bigger, a little bit darker. And I'm going to draw right across top and bottom. And you see how now putting this layer on, we can straighten up any little kind of problems that we had there originally. And I was thinking like the other reason that we're trying to do this to look very casual is the fact that chances are he would have been pretty shabby this little guy. He wouldn't have been wearing a brand new Top Hat by any means, right? So we're gonna go darker towards the back here and then a little bit at the front just to show that there is kind of contour. And then as we're moving our way to the middle here, we're going to go lighter and lighter. So we could just do it with this color. Look, I've haven't changed colors yet. And of course I can go lighter with my brush if I want to put some really strong highlights on there. So I think that looks a bit of a darker. So can you see that they're fairly subtle at this point, I can go quite a bit darker and then maybe it will show up a little bit better, pretty good already with the other one, you saw probably a lot more bristles of a sort of bristly texture. You see that in there. So we could definitely go in on this one and add some of that bristly texture. So we'll get the streaky brush. I find that what this does is it really makes it look remedy if that makes sense. Let's go later here and add some highlights and even lighter yet. And I think we can go and do that with the black as well because I think that will help it to look a little bit shiny because of course, top hats were very shiny. Now this brush, I've got really big. So I'm going to bring it down a little bit. Here we go. Yeah, top hats were made out of silk, I think. Must have been something underneath and then they would stretch the silk over top of it at all. So I think that's a lot more like the original. And now let's take a look at that scarf. So you can see the bristle, a lot of bristly texture in there. You can see it's also very sketchily done, so quite rough. I think we can definitely create that very easily as well. So we'll turn that one off. We'll add a layer. And do you want to do green again? Let's start. I'm going to start with a fairly dark green, going to put my pencil sketch back on. And you can see that, I mean, if you look at the basic structure of the scarf itself, of course it follows the contour of the head and the next boulder of snow. And then this is basically a square. You could definitely get away with it just being a square. I put kind of curves on it. It depends how you want. The knit would be like or whatever on there and you would add some of the texture and then just a couple curved sections here and some really sort of topsy turvy little ends. So we're going to go green, we're going to go dark. Let's go back to that 30. And we'll use this for our basic outline. I want to go a little bit darker. I like this brush is quite creamy. We look tiny bit darker for this back one. And it goes on nice and smoothly, which is super nice. You can definitely go with that darker green in here, because we want it to look like this is in the foreground and this is in the background. And this one would generally be kind of darker anyways, just because it's behind snowman. So it would be in a little bit of shadows and we think that we can even go darker here and same with under here. And at the neck, it can be a bit darker and definitely in here. So then you could go back to, I'm just sampling the colors that I had already put down, but you could pick from over here as well. So I'm now going back and I'm just gonna kinda fill in. I'll worry about the highlights at the end. So I'm making sure that I leave some of that darker green showing there. And we'll think about that. And we could do stripes or we could do a textural pattern, I guess, even doing it like that. Like, I know streets as we painted could work. So we could do it very simply like that. Sample, that green to do this. And then, yeah, let's try just using that green, that darker green to stripe this. So that could be kind of a shadow. You know, how really thick knitting has kinda ribs in it. So maybe that's kind of what we're trying to create here. So that would have kind of a shadow on both sides of it. That's the way I'm thinking of it. And then we would then have a, so I'm sampling that green here. So we'd have lighter green, not too much lighter. But we could then go in and add some highlights, which gives that makes it look like it's a little bit more three-dimensional. Now I think here I should have done three, sort of three lines there. So that was pretty much the green that I had there. Any ways we could use this in here, go back to that darker color to put in here. And then let's go even a little bit lighter. And I'm going to go pretty softly so that we do get some of my texture from that brush showing through. You can see that. And I think that works really well for this. I'm going to go a bit smaller. I don't want to lose my shadows and stuff that I've already built up. And I'm a lot more careful when I'm getting to the topmost layers because really can be used to correct anything that I've done kinda messy in the first two or three passes. So I think here we'd have mainly just highlights on the middle part. We would definitely have good highlights at the front and then maybe just a little bit darker here. So it's starting to come together. I don't mind it at all. I think we should go a little bit lighter even on some of these. And you know, we'll go back at the end and probably do a few more little corrections and things once we see how he looks when he's in his snow globe, I think here at the end, we'd have a bit of highlighting. Might be a bit too bright for the back part. But you see how we've given it a lot of dimension just by varying the colors a little bit. We're making some of the areas brighter and that's definitely bring it forward and anything that's darker proceeds to the back. And it definitely is a good way to meet the edges. More obvious, I'm thinking that maybe I'll go in and I'm going to put a bit more shading in around underneath the scarf and so on. But we can save that for a little bit. And then the next lesson, let's try to get a bunch of these other little features done. All right. I'll see you there. 5. Painting the Branches and Cardinal: Hi guys, welcome to lesson 4. So in Lesson 4 here we're going to work on those branches for arms. And we're going to also get started on our little cardinal. Let's get to it. Now I want to show you how simply these little branches were to create a wee, I remember now I did have to switch and move, hit his arm down to between the two parts of the scarf there. Basically, it's the same idea where we go around the edges with a little bit of a darker color and then work our way back until we have a highlight kind of along the top. So I'm going to go into that pencil sketch there and just grab the arm and move it down. So I'm going to use my freehand selection tool, grab this whole area, and move it down to here. So I'm going to have to go back and fix that little bit of the scarf, but that's not a big deal. It's got to put that in there and we'll end up, I should have done this part of the scarf on a separate layer. So maybe let's just separate that at the moment because I think that's going to make it a lot easier for us. So I'm just going to do the selection carefully here. Cut and paste. You'll see that puts it on a separate layer. And then we'll be able to put that branch over top of this and underneath, underneath this and over top of this. So let's add a layer now here. Okay, I've reached my maximum number of layers. How can that have gone so fast? Let me go into my Canvas and I'm just going to crop it. You see ASM cropping it here. I'm getting a lot more layers, so I know I only need this much. And that'll give me five or six more layers to play with. That's probably all I really need. Okay, so let's hide this scarf and this one. And now we can draw this little branch. So we're going to take, go into our browns. So let's start right about there. Back to my I guess I'll just go back to this one seems to be serving me quite well. So I'm going to basically just draw, draw the strokes in like this. So with a branch, you probably don't have too many curves. So it's more like straight lines like that. And with a tree, horse, all the branches starch smaller and cheaper to be a bit bigger towards the bottom. And I use the eraser tool to get that edge nice and sharp. Maybe clean up a couple of these. And my using here, I like using my posca pen for an eraser because it's a monoline so it stays the same thickness. No surprises. Okay. I don't have to get too perfect with this. And now I can start working my way down to the lighter colors. So simple, that brown again. And we're going to go a little bit later and just go along kinda the middle of it. So we're leaving some of that brown. And I'm kind of favoring the left side here, so the right side ends up staying darker. And if anything, I do my shading so that it's highlighted on this left side and the right side kind of stays darker. You can see that they're right. And again, I'm just using this really loose painting style. You really don't have to get too perfect with this. Once you've done that whole color, go a little bit lighter, make your brush a bit smaller, and then just start putting a few highlights. And you don't have to do it everywhere. See how that works. And I'm kind of leaving this area fairly dark. And if anything, I'm gonna go a little bit brighter in here. Because nothing could be casting a shadow really at the ends here, but it definitely could be shadowed over here. So I'm kind of trying to think of that as I'm putting those highlights and shadows on. So I think that looks just fine. I'm pretty sure that this one is darker than my original, but that's okay. We can always lighten it up later on if we feel like once it's in the globe is just a little bit too dark. But that's how you go and paint the branch. And I'm gonna go and do the other one and I'll do that one off camera just to save some time. And let's do the nose at the moments. We could do that on the same layer because you're not going to be touching anywhere and see some almost in the right category here for my carrot. And I'm going to do the same technique where I start off darker and kind of outline my carrot. And remember, you know, a carrot has kind of ribs in it. So you might want to go somewhat like this kind of thinking about those ribs as you're laying down those outlines. I'm kind of matching them up here. And then I'm gonna go a little bit darker along the base here so I can go a little bit bigger or use the side of this brush and then a progressively lighten it. I'm gonna go back and make some shades along the ribs. For now. I'm just kinda laying down my sort of base of orange. Like I could go darker in here again. And you know what, at the same time I might as well be starting to think about those little ribs. And I think here I could go lighter. And, you know, it's almost there. And print just some brighter areas in here because we want this to look three-dimensional rate. And I think that works. You can go darker. Here if you wanted to. And you can see the way I'm curving my ribs and that really contributes to it looking rounded. So we're getting there now time for our little cardinal. So this cardinal I'm going to do on a separate layer because I'm going to want to go back and do that branch. Let's take a look at this guy here. And you can see that although it was quite loosely painted with a lot of bristles, I did put a fair bit of detail into his little face. So let's start by blocking in that color. And I'm going to use, the mice will use the same red. And he's on his own layer here. And I can use the same brush to at least block in the color. So I'm going to start by putting a couple of highlights in there, so I don't lose that color. And then let's go darker. And I'll go around and do the edges first. Just so I have something to follow. This kind of outline is very easily recognized as a cardinal once you get done so you don't have to be too detailed and it's still going to be a cardinal in everybody's eyes. Sounds nothing wrong with also having a couple of photographs here for you to follow. I would download a picture of a Cardinal and then just loaded up into your reference if you'd like that. So the fastest way is to find a picture that you think would be suitable in the pose that you're interested in doing doesn't have to be exact. This one might be a good one. You can save it by holding your finger down on it and you can add it to your photos. Then in Procreate, go to Canvas, odor reference. It's taking what I've got here on my canvas, but what I want to do is import an image. So I get imitator, go to Import photo that picture, and he's here for me as a reference so I can place that off to the side so I can follow it as I am doing my drawing. So I think I can switch to my red. And what's nice too is you can sample right from here for your colors. So I'm switching to a little bit warmer of a red here. And let's look at that shading again that I did on the other one. So you can see that I had somewhat darker areas and they just highlights kind of the back of the head on his wing probably should have been further back a little bit and then under the wing and stuff, I still kept it fairly dark. So I'm going to switch to that bristle brush, I think because I think I'm already getting close to the point where if I could be adding that kind of detail. So let's go with this street squash. And I can go to a pure black even because that's what I did with this one here. And you can see I've got some block. I'm going to go back with some of the brighter reds in a minute. Let's highlight in here. And there's our little cardinal. So it was kind of thinking of this one as a possible Christmas card for this year. So not sure if I have made up my mind yet, but I still wanted to do that class on creating a Christmas card. So for this one, I'm going to use the textured liner and I like it because it's got kind of a rough edge, as you can see. It's still has a little bit more precision so that I can get in and do some finer detail work here. So you can see that the beak is kind of shaped like that. So kind of like a diamond with a line through it. I mean, there's no doubt that this is a cardinal, just simply because of the colors and of course the crest. And we've really stylized, It's definitely very cartoony looking, but I think that suits the style of the card. Now we can go and fill with this, but as you can see, because I had a lot of broken lines there, it was giving me a little bit of trouble. I had to lower the threshold, but still it worked just fine for doing that. Now, as far as the eyeball goes, what I had done is a blue circle and fill it with black and then I just put a little bit of highlight on it. So let's do that for this one too. Maybe I could shorten this just a little bit. I'll go back and add some of that shadowing afterwards. And this is going to give me a decent line. I think it will. Let's go with, now, let's look at where we want that eyeball position. So it is very close to the beak here. I think I've got this block session too big, so I probably go back and change that up. My big circle. I actually don't think that one was quite right when you're drawing the circle. If you just keep your pressure down at the end, you'll make an ellipse holding down your single finger will also make it. So it's not just an ellipse spent a very symmetrical one. And now we can add that little white highlight. A reasonably good-looking I, and we've caught, I'm going to fix up this beak a little bit. And that's kind of orange in color. So let's go with what did I do on my other one? Yeah. Orangey colored. Start with dark. Just underneath part is probably mainly dark. And then we'll just go in and put a little bit of the lighter color in there. Now I'm still on this same brush that I was using, that textured liner. I could definitely have switched back to one of my other brushes. But this seems to be working. Alright, so I might as well stay the course. And now we've got a really simple little cardinal drawn. But I think it's going to do just fine. I'm going to go in and kind of fix up his head there this evening. And then we'll do the whole for the eyes and we're almost there. I'll do the branch as well. And I think I'm going to lighten this branch because to me that seems quite dark now that I looked at it. See you in the next lesson. 6. Finishing Touches on Snowman: Hi guys, welcome to lesson 5. Let's finish off our snowman here. We have a few little finishing touches to add. Obviously painted my other little arm here, basically followed all of the exact same steps as this one here. So there's nothing really new to report there. And I'm not sure if you noticed, but I did go in and deepen some of the shadows here a little bit. And sometimes that happens, you know, you start drawing and painting and whatnot. Once you started adding some of the extra features, then you need to build up your shadows a bit more. Sometimes it's the highlights. Regardless here we are at this point and I want to do the eyes next. I did the little cool buttons here. So it's super quick and easy. I can do those eyes and show you and the mouth. And I don't know if you remember the original here that I showed you, but I had done eyes that weren't cool. I just did a little face. That at all. I don't know how important it is to stick to the exact description of what a snowman should look like. And I do notice here that my arms on this one are a lot lighter, so that's something I might consider changing here. At some point. I'm not sure, and I could probably adjust that just using the curves, but I'm going to paint the eyes and then I'll think about what I'm gonna do for the mouth. If you look at reference for snowman, you'll find hundreds of pictures that are very similar to this Top Hat scarves the branch has for hands, sometimes the eyes and mouth are done differently. Let's just do a quick search here and, and just take a quick look. And you can definitely see that there is a quintessential snowman that everybody draws same Top Hat scarves, carrot for a nose. But you can see in a lot of these that the eyes and mouth are not necessarily drawn with coal as the means to create that. So I think we're pretty open to doing it any which way we want. Here's a kind of a cute little face satellite goes, I am not smile. And the one I had done had the original I actually did had really rosy cheeks and stuff. I'll show you that one in a sec. This one made me laugh. But let's go back and some work your own. I also wanted to fix that scar. Why don't we do that first actually. So you can see here in my layers panel that I've got the arms on this layer with the buttons and the carrot. And I've got this one underneath. Now I see that I put a little bit of a shadow here, probably from this spot here, and willing to cut and paste because this belongs with this part here. So I'll collapse those two together. And then we've got this piece separate. And remember I was going to fix that little notch there, but I'm thinking that can actually just grab this one and just tuck it in a little bit. Definitely underneath so that I get the arm where I need it. Actually want the arm to be behind this and in front of that one. So I'll just slide that underneath here and you can see that that works then, somewhat like the front part of the scarf to be sort of flapping in the wind in front and then this one in behind. I think I'm going to change the angle of this one a little bit. I want to tuck it in a little bit more there. And I'll probably do a little bit of touch up on that arm to make it look like it is indeed behind this front part. The person want to work on the eyes. So I'm going to show my sketch so that I have an idea of where my placement should be. And I'll go back to that layer that I have my carrots and things on. And I'm getting lots of layers here and that's because I've got those original layers. So I may at some point get rid of all of those. Last night. Also took the time to make a bunch more brushes. So I've got a lot more here to choose from. And I'm not sure which one I liked the best. I did use this texturing wash quite a bit. That was that one that had that texture in there. It'll maybe I'll just continue on with that one for now. And really to do the eyes, you know, that coal is essentially just a square piece, is just where I think I'm going to round it a little bit at the top here. And what's going to make it end up looking like coal is when I give it dimension, which I will do by adding highlights and shadows, of course, so I'm just kinda filling it in with black. I could've dragged my block over there because it's such a small area. I don't mind coloring it in. And you can see as I build it up, it gets a lot blacker. So what I wanna do here is add some highlights a little bit on one side or in the middle, and then a little bit of darkness on the other side there. So I'm basically going to leave this block here. You can see the color that I selected here are the color area that I'm in. And I'm gonna go with kind of a dark, really dark blue and I'm dropping that on there. I know it's going to be really hard to see that because of the block and they can go a little bit lighter. What I'm doing here is now adding a little bit of a lighter area just to start giving it a bit of dimension. And then I'm gonna go quite light. And I think I'm going to go a little bit career. And really you could, even though it might not be realistically correct, you could add even a little bit brighter of a highlight in there just to make it really look like eyes, you can go right to white and add a little bit of that in there as if there's something reflecting and I've made kind of a couple of little dots, so it's not super flats. And I think that kinda works. What do you think? The other thing would be? That it would have been pushed into that snow. So back on our snow layer. So that would be this layer here. I want to add a little bit of shadow around there. So we're just going to sample maybe one of these and grab one of the really texture, really textured brushes. We'll try this super streaky, inimitable little bit darker. And that looks like it's pushed into the snow now, we could do a little bit, little bit around this side as well. And you can see that I've left a little bit of white there and that would be sort of just like a little bit of a highlight. And I think that that's actually worked out pretty good. I think that looks definitely like coal, little bit different than the buttons. I just wanted to make them look a little bit more alive for his eyes. So let's try just making this one a little bit bigger. All these extra layers are actually starting to confuse me. So I think I'm going to get rid of them. Which bird was the one that I did with you? I think I like my first bird better. So it might leave that one for now. And I'm going to delete that branch, that one as well. And the original scarf. That might be a little bit more reasonable to deal with. So here, I want to make these a little bit more even in size. I'm going to go back to that texturing wash that I have just to be consistent. And there we have it, a nice set of eyes now for the both of the company to keep it simple like that other one, I think I am just going to draw it on. I think it should be positioned a little bit more like that. So I'm just going to draw it on. And I think we have, we can have a little bit of artistic license when we're creating something like this, we don't need to necessarily follow all the rules. It is, after all, kind of a cartoon. And I'll just put some little dots. I mean, you could put little dots there or you could put sort of that half-moon that suggests a cheap, maybe I'll go a little bit bigger. But hide my sketch so I can see that a little bit better, but I like that they'll swell. Very charming. And then this is where you could decide whether or not you want to add a bit of color for the cheeks. And I would do that maybe on a different layer. I'll add a layer. So that could be something that you could easily get rid of if you didn't want it. And I'm going to stick kind of into this red family that we have here. I could actually probably sample that part of the ribbon there. And this is where we'll go back to that kind of a scalpel technique. I'll do LAN D. So this is, I'm calling this one the blending brush because it ableton really nicely. I don't know if you can see that there, but you know, it it builds up, but it's scumbling. And I feel like that looks like a really natural sort of a finish. I'll put this part on a little bit darker and then we'll use that scum blur to kind of blend it out a little bit. For some of these are new. I'm not quite used to using them yet, but as I was going through and creating them yesterday, I was thinking about all these different things that I needed to have them be able to do. And so with this bloody wash in the rendering, I have it as uniform blending, but in the wet mix I have the dilution set really high. And what that does is gives it that sort of transparency, which makes it really easy to do things like scumbling on and building up a color. And I think he's super adorable. I think it's turned out quite nicely. So we're really getting there as we progress through this, he's getting cuter and cuter. So let's right now fix up this area here. I know that I was using that tip string wash so we can go in and put some shadow onto the branch. Make sure I'm on the right layer and I'll go into bit smaller. And I definitely want some darkness over here, quite dark along the edge, and really probably all along here. So even with this brush, I can really use it as a scum blur. The whole methodology behind that is having a really light touch. So less pressure allows me to put the color on a little bit more lightly. And then let's go into this part of the scarf. I'm going to erase it back a little bit more here. Make sure I'm on the right layer to do thats. Sample this darker, make my brush a little bit bigger. And then we'll just stumble a little bit along this edge and go to a little bit lighter here, just to dial it back a little bit. And course you can also affect the transparency over here by bringing down the opacity. So that's something that I can do here to just add a little bit of shadow along that spots along the edge here. And I think that that now has worked out okay. Near hat branch. And I'd say for all intents and purposes, our snowman is ready to go. I think that in the next lesson we should start working on that snow globe. All right, so I will see you there. 7. Starting the Globe and Base: Hi guys, welcome to lesson 6. So in this lesson we're going to start on that snow globe and the beast for it. I've got everything to do with the snowman on this layer here, which is great. And one thing I just realized is that we haven't done the end of the scarf. So we'll do that in a minute. We'll see. So I'm going to hide this temporarily and we're going to get started on doing that snow globe. I find that it really helps to put a little bit of a background color there because we are going to be working with white at first. So I'm just gonna put a light gray here and we'll go a bit darker just so that you can see it. Okay, on camera. And what we need to do is first of all make a circle that we're going to use for the snow globe. So there's 20 different ways you could make a circle here, we could draw it on, or we could use the selection tool. I think that I'm going to draw it and I'm going to use my streaky wash here. We're going to go to white. And course, when you're drawing a circle here, oops, let's draw, and let's add a layer. When you're drawing a circle, you know that you can draw it, hold down your stylus here and then one finger down on the screen. And that's going to give you a perfect circle. I'm going to do that again because I'm going to go with the biggest brush I have here. So let's go again. Let's make it about this big I'm not worried about that little break there. I think that's going to be just fine. Let's fill it. I'm pulling so that I get it filling as well as it can here. And then we're going to fade out that middle part. So I'm going to grab the selection tool this time. And so I've got the freehand and I'm going to select more. So on this side I want to leave a lot more white on this side or just kind of a free hand selection, kinda like that. Close the selection, then we're going to feather it. And I'm going to feather at about 25 percent. I know it's hard to tell that that's what's happening. But now the selection itself has spread, but it's going to be a soft edge. So you have to click off of that feather here. And then you can go to cut. And that, as you can see, has gotten rid of that portion. Now, I did a practice run of this. It was a different size of documents. So I'm going to actually do this again because I want more feathering than that. So I'm going to make my circle smaller and I'm going to do Let's try more like 40 percent. Yep. You got it. Click off of that first and then cut. And that's a little bit better. I like that. And I think what I'll do is actually rotate this a little bit. I like that to be a little bit bigger on this side. Now we may find that we have to take a little bit more of that owed after, and that's fine. We'll just deal with that later. Right now go, Let's start thinking about that base. So I have a reference I'm going to grab here. So I'm going to go to my Canvas setting here, hit reference. We don't need that cardinal anymore, so I'm going to hit Image Import and we'll bring that one in. And this is an actual photograph and I'm using as reference. So I want to draw this beast is, I'm going to keep it simple. I'm not going to make it quite as elaborate as this one. Let's go back and take a look quickly at the one that I had drawn myself those many years ago. And you can see it's a lot simpler than allied shows, but I brought that one up just because I thought that would be a good way for you to kind of visualize what we're doing here. So of course, the pieces going, going on the bottom, I'm turning my canvas because it's easier to draw that way. And I'm going to grab a sketching pencil. I'm just going to take one of them under the sketching set here. The 6 B pencil is great. So I'm gonna go and edit the drawing guide. I want symmetry. I'll do that with, with it vertical first, I should have thought of that. I'm going to go to PE first of all, let me center this guy. So I'm going to put snapping on and now I have it centered. And now I'm going to go in and coded the drawing guide, edit, drawing guide. And I want this to be centered and symmetry is on perfect hit Done. And then I'm going to turn it sideways just because it's easier for me to draw that curve in this way. So you understand perspective when you're drawing these curves, if you have a curved surface that you want to follow, then the curve that you're drawing has to at the very least match this or become a little bit bigger. So a little bit more convex. So what I'm gonna do here, just so that I don't disturb that circle. I'm going to add a layer. And what I'm gonna do is just a pencil sketch to start out with. And you'll see now that it's going to draw on there, okay, Now, it looks like my circle wasn't a perfect circle. I thought I needed a perfect circle. Evidently I did something wrong there. No problems. I can always adjust it. You can see now that I'm drawing this stat, I can use those Drawing Assist to draw my circular lines here. And I'm trying to keep that in mind that I need to go a little bit bigger. So this is a little bit wider here than it is here. And then the further it gets away from the circle is, the wider it would get. And that's going to make it look correct as far as the prospective goals. So that looks all right to me. Let me just erase some of that extra stuff in here. Now we just need to draw this. Kind of a shape that I want here. And I'm kinda, that's one of the reasons I brought this one up because I wanted you to see this and you see that on this. You've got an angle. So the line that's coming out and around would be the completion of the oval here. So if I were to actually go through now and just complete this oval here, Let's do this one here. It would be easier for you to tell if I was completing that oval. You see how this line looks. That's exactly how it has to look in order for it to look correct. And the same thing would go with this one here, even though it's going to be bigger, imagine that that whole shape has to be correct and it has to be symmetrical. So that's what I've done there. I've got side pits that I need and I really don't need that there. So I am going to just erase this part off, but that's giving me what I need as a guide to now do my painting. I'm going to put that a little bit less opaque. It's a guide. So I definitely don't want to be painting on that layer. I'm going to set it to darken. I'm going to leave it on the top. I'm going to add a new layer, and now we're going to do that kind of a mahogany wood. So I'm just going to sample and get kind of a dark brown there. And I'm going to go back to that streaky wash of mine, super streaky. And we're going to draw in these curves now in color. So we're going to start fairly small. And remember, I've got Drawing Assist on, on the main Canvas settings. So if I, let me just erase that part first. So if I indicate Drawing Assist on here, then it'll do what it needs to do here to draw on both sides. The other thing you can do when you're drawing the curve, of course, is to draw the curve and at the end, hold it. So push down on your stylus and hold it. And you've got your art created. And remember that you can also go in and edit the shape. So you just hit that edit shape at the top and you can go in and make any adjustments necessary. So we'll do this last one here. And if anything, err on the side of having a flare out a little bit more in the middle. Okay, we'll do that down. Just fill this in here. And that's basically what we need to just get started here. So I'm going to turn off my sketch now because I don't need it. And in here now we can decide on what way we want to fill it. So this would be my darkest shadow. So I think I might go even a little bit darker here. And just kind of, you can see here on our example that we've got quite a bit darker in the middle. So I'm going to do that right now. I'm going to dark in this middle area. And I think that base we could be pretty dark all the way around. I probably could have just done done it darker. Now to get a really good curved who I find that if I, how the edge of my hand or end at my hand here almost like a pivot point. I'm swinging and my hand, this part of it, but this is remaining perfectly constant on the base there. So that helps me to get a nicer curve when I'm drawing. It definitely takes practice. You don't get that right away necessarily. But in time your hand or your muscle memory will help you to make perfect curves like that case, non-moving a little bit more into the oranges here. And I'm going to go a bit lighter and I'm going to go a bit bigger with my brush and I'm going to start brushing in. Now there's going to be a point here where I'm going to turn off my drawing assist because I'm going to not want both sides to be exactly the same. Let me go a little bit lighter. And you can see now that I'm getting a contrast. This is contrasting to the darker area. And I like to streaky gouache because I think that kind of mimics what's happening in the picture here, which is to have some nice lines that make it look shiny. So I think at this point I'm going to turn off my drawing assist. You can just do that right here on the layer. And now I can start putting in a little bit more in the way of highlights. So I'm going to add that white color upon this part. And then I'm going to go a little bit lighter over here and over here. And you can see that we've got highlights kind of along the top edges of those changes in depths. And we've also got some highlights there. And already I think it's starting to look shiny. So the more we work with these colors getting lighter, I'm going to go a little bit bigger. Is that the more that I could build up what looks like a shine here. So I'm keeping that middle part kind of dark. You can see that. And this bottom level here, I can go quite a bit lighter on the top edge of it, especially where these highlights, these other highlights are. So I've put those other highlights down. And now I'm even further sort of emphasizing that. And I'm working my way up on my color wheel here you can see. And so I'm getting lighter and lighter. And if you're a tentative, you can also reduce the opacity so that you can build it up a little bit more slowly. Wrong with being tentative at first because you're really learning, you're just figuring it out. And sometimes it's better to build it up slowly than you kind of have a little bit more control. So I'm getting to the point where I'm almost at the white here. I'm gonna go a little bit smaller. And I think once I get to full on white, I'm going to go quite small with my brush. And this is one where you would possibly want to actually use your technique of holding down your style is so that you can get that curve really perfect to get a really nice edge. There. We go a little bit bigger. And I think that's pretty good. I could probably do a little bit of touch up on there. Definitely here in the ends. You can see right through it. So I would and touch up there, but really that's basically worked out perfect as far as the base goals. So that's really the trick. And doing the base, we've got this started quite nicely. I'm going to probably well it went, we just do that now I'm going to go to that layer and I'm going to distort it slightly and see if I can just get it to fit. Let me turn the snapping off and that's fine. So whatever I had somehow not gotten my circle perfect. I think it's definitely adequate now, and I'll end up doing some touch upon that in the end. But I think we can move on into the next lesson where we're going to start thinking about bringing our snowman into this globe and getting him positioned and distorted in the way that we need. Alright, so let's do that in the next lesson. 8. Placing the Snowman: Hi guys. Welcome to lesson 7. And less than seven here we're going to get those details down on the snow globe. Let's get started. Okay, so to get started with putting our snowman in here, I guess we can get rid of this for now. The reference, it's going to stay there if we need it, we can call it back up again. Now, I've done this in the same document. You may have reason to do it in a separate document and I'll show you why in a sec. If I go to duplicate this at this point, you can see up here that I have reached my maximum number of layers. I'm going to go into my gallery here, and I'm going to select this one, and I'm going to duplicate it now on my original. I'm going to go in and get rid of anything that I don't need anymore and I'm going to be using the other document for the globe so I can get rid of it on this one. I don't need that sketch anymore. I don't know what that is. It can go the sketch can go. And so I'm down to basically what I need for the other document now, let's see what we have here. I can't remember. Oh, yeah, I forgot snowflakes. Well, we can do that after I believe so. Let's just wait on that. I'm going to delete that because that's from the original snowman. And you know what, I think I might actually, while taking notes from this, what I want to do is on this layer, add a little bit more white because I think that's going to make it easier for this next step. I don't know how much, I don't really need too much more, but let's just do that anyways. Some point, pure white. I'll go to my streaky wash and I'm going to actually add the layer underneath that thought when we're apt and all the scumbling and go as large as I can. I'm even going to go into my brush here into the properties and increase the size so that I can go nice and big just for filling in and giving myself a bit more white to play with. Probably a lot of this will end up erasing. We won't need it really when we bring it into the snow globe, but I don't want to have to go back and add it later on. So if you add maybe a little bit of the lighter blue as well here in there. And hopefully now I can actually duplicate this. So I've got lots of snow. I think that's perfectly adequate. So let's see if we could duplicate this group now. And yes I can, which is perfect, because what I wanna do is I want to collapse all of this together. Oh gosh, I keep forgetting about the scarf. Let's go back and do that first. So it was super easy, which is probably why I've been kind of ignoring it. I'm going to take the eraser and just clean up and lay on the wrong one. I'm just going to get that edge nice and straight and clean. So that's that one. And I'm going to add a layer underneath the scarves. And that's what we'll do our little castles with. So because it's underneath this edge here is going to give us a nice hard edge at the top, I want to go full opacity. I've got kind of darker green. Wonder if that's the best choice for brush, maybe we can go to emit a tassels, could probably be done 20 different ways as well. So you can do some experimenting. That's a nice solid kind of a stroke. So let's use this one. So I'm going to do there, the wind right there, full blowing in the wind. So let's make them a lot of energy. We're changing direction. I think for this backbone, we could go a bit darker on some, and we can definitely put some darker ones in here. So I'm going to basically grab all the different sort of greens that I have going on there. Make sure you tuck them in behind that other scarf because that just really gives it a clean and on that end. And what you could do as you're going through this before you start overlapping is taking the eraser and giving these a nice straight edge. It's up to you. I mean, it knitted wool could be a very old scarf. So use your judgment. You can have a much more casual look than I have. I mean, a lot of my lines are really sharp and tight and clean. They could be done a lot more loosely once you do your overlap and you could go in and tidy those ends up to so you're consistent. And I'm just sampling from within the scarf to get my colors a lot faster that way. And that's kind of a nice in-between green. And so you're just kind of predator overall, make it kind of even and balanced looking. You don't have to go crazy here because it's definitely giving the full suggestion of your castles at this point. And I think we're good, and that works for me. So now we can duplicate our snowman. Can you believe it That one layer was enough to make me over the limits. So I'm going to pinch those two together and duplicate. It was at one LEA or her that made all the difference in the world. Okay. So now that I've got this one altogether, I know I've got it here as a backup, so I can now flatten this one and that gives me everything, entire snowman all on one layer. So now we can three finger swipe, copy and I've got my guide on still selected. I'm going to turn that off. I can go into my other document. And what we want is for him to be underneath this white at the moment. So. I'm gonna do the three-finger swipe down and paste and we know it's going to be too big. So here's where we start kind of getting him to fish. And I think that size will probably be great. So it's a good thing I did a little bit of extra white. So you can see it does go pretty much right to the edge. So I commit with that. I'm going to turn off my drawing guide. And now I definitely want to erase a lot more of what I have going on in here. And in this case, rather than doing a selection, I'm going to go with a really soft airbrush. And I'm going to get the softest one here, actually for my eraser, what am I doing? And this makes a great eraser. So now I can go in, maybe not too big, but I can start erasing away some of that white. So he's really starting to look like he belongs in this snow globe. So really the only thing that I want to change with him now is to make him look like he's in a snow globe. So, you know how when you see a snow globe, it's always kind of a bit of distortion that happens because of the glass. I'm definitely going to be doing that and getting him to look more like he's a little bit bubbled out. So Khan, the x. Okay? And here I'm gonna go back to his layer. And I'm going to use the same eraser and just erase anything that's kind of ended up on the outside here. I'm really depressed so far for getting there. I hope yours turns out like this and you really are happy with the results. So now I'm going to start distorting my snowman and I would never do that without having a backup. So I'm glad I've got that other document in case. The other thing I can do here is I can just duplicate it, turn one of them off just to be on the safe side. And now for the distortion, what I wanna do is use the liquify commands. So I'm going to go under adjustments here to liquefy, and we can use a couple of different controls here. So let's start by using the expand. And I'm going to go pretty big. And what happens you see when you use that is you're going to get the shape expanding. I'm going to go even bigger. So what you want to avoid is having small areas like that. And even when I was about here, it looked like it was just bulging out one small area. And I really want the whole thing to be bulging out a little bit in the middle. I don't want to go that crazy. I'm going to turn the momentum down a bit here and the distortion so that I have a lot more control. And you can see what I'm doing here is I'm going to be slowly expanding his middle section. Okay. So I think I'm going to stop for now on that. And then what I wanna do is do some pinching. So I'm gonna do use the pinch and experiment with that here. And that is good, but I need a lot more control. So I'm going to go bigger and you see how I'm getting his head smaller. And I'm just doing quick taps and we're going to go too small. And then I want to do the same thing on the bottom. Now I'm going quite a bit lower here because if I haven't here, I'm distorting that middle all there, and I don't want to do that. So I'm going quite a bit lower here. And I think I'm going to have to do some correcting with my push here by it. I think I've accomplished what I needed to with both the pinch and expand, but I'm going to go to push, I'm still going to keep it large. But now I can do some of this by just pushing. And now I am because I'm not in the best position to do this. I'm not sure how whether my judgment is okay and the way that I'm distorting him, so I hope it is, but you can reduce or enlarge the size of your brush, so to speak, so that you can get more control. And I use this liquify actually quite a lot. It's one of those things that you can use to correct minor little problems that you've caused or that you next day you go to look at your artwork and you go, Oh my God, you know, this is, this is really wrong with this arm. Why is it up this high? Well now I can take this and use it to massage, might artwork to really make it work. So you've got to remember that the middle part needs to be wider and the bottom part needs to be a little bit narrower and same with the top part. And I think I think I'm going to leave it at that like that. I think we could go a tiny bit bigger with him and Young. I'm going to allow myself to be satisfied with this at this point. So the next thing we're gonna do, and I think I'll save it for the next lesson is what I would consider all the finishing touches. I want to take some, a little bit more of that white away. I'm going to start adding some really nice highlights and shadows to make it look like it's, it's glass. And then we're going to add things like the snow. Alright? So I will see you in the next lesson. 9. Finishing Touches: Hi guys, welcome to lesson 8. Now it's just time for the finishing touches. Let's get started. So we're going to work with be finalized. No man that we had. And of course, you can see all my layers here. And you'll see that I've added a couple of detail layers and I'm going to show you, so this was the original sort of airbrush globe that we had. And on this one, I just really quickly painted in some highlights and I'm going to show you how to do that. And then at the end I'm going to show you how to add snowflakes. So of all the details here that are the most important, what we wanna do is add what looks like really reflective details. So I'm going to add a layer here, and we're just going to use a really standard pen that I have, which is my tapered pen pressure brush about that in a separate set here just because it makes it easier for me to find it, I use it so much. So for this one we're going to just simply paint in white. And you've probably noticed that things have changed a little bit here in the latest updates. Procreate, I have another class that I'm doing with the updates to procreate. So I'm not going to go over them now, but you will notice that some of the things look a bit different than they did at the beginning of this class when I first started recording it. Okay, so I've got my white pen here and I'm just going to simply paint in some highlights. I think I can actually get away with it not being a clipping mask. So I'm going to delete, and I'm going to delete this one too. We're going to add a new layer and there is where I'll do my painting. So I'm gonna go into my tapered brush and enlarge it so that I can get some really nice big highlights in there. And I'm gonna just kinda draw a couple of shapes. Maybe I'll just start with this one and I'm going kinda thinner and then thicker and that's just by pen pressure. And then I'm going to take my eraser and I'm going to use the same pen. Or actually maybe I'll use my posca pen because my posca doesn't change in thickness and then I'm just going to erase away some spots there. So now that's showing through the highlight that I had already put pairs. I'm going to go a little bit lower, but you can see that I can erase sections of it. And what that does is it kind of creates what would be highlights that are broken objects because of the way the light hits it and reflects rate because it's glass. So you can decide on where you want those highlights. I'm going to erase this section off since I had already painted one in there. And it's on my airbrushed layer, which I shouldn't have done. I should have done it separate like this, but I'll leave that one there so that it doesn't look weird. So you can break up those lines in any way that you want. And I usually just do that with the eraser and there's no reason why not to add or remove anything from those lines. They all it all kinda can contribute to it looking like a really realistic reflection and kind of a highlight. Now, you don't also have to stick to just the white. You can sample one of the other colors. So I'm sampling the blue here. Now you can choose to do it on the same layer. I'm going to put it on a separate layer because we might play with the transparency a little bit. So I've still got that tapered end pressure brush there. So I'm going to add another area here, and maybe over here. And again, I'm going to use my Posca marker to know I'm in streamline here now, remember that what it was always with our Stroke path before. And now in the new version of Procreate, There's a completely separate section for stabilization and the streamline is now there, so I'm just going to remove that so I can erase a little bit more freely. And I'm going to make my eraser a little bit bigger. So now we could do the same thing here where we constraint an op, our highlights. Now one of the things to think about is when you are cutting those highlights, I find that they look most realistic if these lines that you're putting in here kind of come to the center. So there it's almost like a perspective. So you see how I'm kind of flaring the ends of my highlights. These are kind of aim towards the center. So it says if they're on a convex surface like this, and same with this one here. So the lines aren't perfectly straight in this case, these, I've made them a little bit straighter because they're more in line with the central part. But I think this is just kind of makes it look a little bit more shapely here, takes it around the shape a little bit better. Now, in this case, I'm going to also reduce the opacity. So one of the things you can do with opacity is reduce it down so that it has a little bit of transparency to it. And I think that really helps to make it look like it's part of the glass and quite dimensional. Note with glass, you can also add really dark highlights. So let's try putting in a really deep blue as well. So I'm going to add that on a separate layer again. And I'm going to add that. Now. I'm going to also go in and change the stabilization on this particular one. So I'm also reducing the stream line now that I can have a little bit more control as I draw it, and it's not limiting me too much. So I'm going to put just a couple of lines darker in there, go in with my eraser. And really sharpen them up. And I don't want that to really hit the bird too much. So now I thought I'd add another layer. I hadn't, apparently, so this has been added to that same layer and I'm not sure I like this one here, so I'm gonna take it off. I think the other ones look fine. That's completely up to you. If you prefer it without the dark indefinitely, you can leave it off. So I'm going to go back to that point. I think that's the one I like the best. Now the other thing we can do to add the sort of reflectiveness and that look of glass is to go in here and add some light. And I'm running out of layers here, so I'm going to delete this one here. I'm not sure what that even is. And I'm going to do and snowflakes because I'm going to show you a way to add them that makes them look really well lit. So this is something that you'll find right here in procreates, not something that I've added myself. These are great brushes for this exact purpose. So what we're gonna do here is add some flares of light. So I'm adding that new layer. I'm going to add flares of light and some of these other effects to create what's left here, which is the snowflakes and some more highlights. So this flare is great for just adding that looks, I'm going to put it in white, but adding that look of reflection. So isn't that great experiment with the size to see what it is that you think is the most suitable for your particular layout. And let's add some of this bokeh lighting. So this is, I think would be great on a layer that's below our two white sort of rims would add that there. And what the bokeh is is like a bubble and I'll do it over here so you can see, but it's like bubbles that are light and dark and in-focus and out-of-focus and the feeling of real depth. So I'm adding some of that in here with the snowman. Be mindful of where you add it so that it's not detracting. I think that really gives the feeling of light reflection as well. And then the last thing that I did for adding snowflakes was to use this light pen. So the light pen is really great because whatever you draw has reflection or flare from lighting. So set the size that you want for your snowflakes. And then you can go through and paint them and you can see how they already have that look of light and dimension. So I added snowflakes basically throughout and especially in the background section. But you can add it everywhere. And the other thing I like doing is just kind of adding little bits of snow kind of on surfaces that would be just sitting stagnant. So the top of the bird maybe some, some spots on the top of the scar and it will get bigger. Now this is actually a pressure sensitive. So if you press really softly, you get a very small dot and if you press a little bit harder, you get a bigger dots. So when you're doing your little bits of snow that are just sitting there, you can press a little bit harder to make a little pile. And you can see how cute that is and how it really makes it look like well-lit snow. And I just realized that I forgot to put my bird's legs. So it's like he's just floating in space. So that's another thing I would go through an ad, but make sure you go through and add a bunch of those snowflakes. Now as you saw there, if you have a different color selected, you still get the pure white, but you possibly get a slight of color around them as well. So that might be fun for some of the snowflakes to have them reflecting a little bit of the color which could be like that blue from the background. And let's go in and actually draw our birds little legs on there. So we're gonna go to tapered pen pressure brush in block. I'm going to go as small as I can, which is still big because I enlarge this so much. So we're going to go quite a bit smaller here. Let's get onto the layer that has him. I can't believe I forgot that. My goodness. So basically just a couple of lines down and you know what, I'm going to go to one of my quash brushes because I don't think that this suit, the artwork. And let's go to that texture. Grow up, wash will go nice and small. And perhaps I should do that on a separate layer. Just know I can't, I'm out of layers. I could put it on here just in case I want to trim them down a bit or erase or anything. So let's go somewhat like this. And we always have the one flaw that Conoco within behind to hold him on the branch. And then the other two that come forward to grip all the way around. So usually surprisingly long if you ever take a look at a bird up-close. I have a cat, so I have had some pretty good close-ups of birds in my life. So that kinda finishes that off a little bit better. You could definitely go in and add a little bit of shadow and stuff around on that branch as well. But I think all in all, we've produced a really cute little Christmas artwork that we could use for something like Christmas cards. There's only one thing left to cover. And that's adding some of the background details. For this next step, I'm going to create a sort of a tablecloth pattern, and I'm going to do that in a separate document. So I'll just go to the right kind of proportion that I need. This will work, or we could do it this way actually. And let's get to work kind of in the greens. I think this time you drop the color in there and I'm going to add some texture. So I'm going to go into my texture sampler, go a little bit lighter, fun to add a little bit of interests there. And what I did was snowflakes on the last one. So let's just do a few sort of randomly placed snowflakes. That one's kind of a light teal color. We could go a little bit brighter with white, kind of a variety of sizes. I'm not overthinking this at the moment. We're just going to do this kinda quick. And I'll switch to a different style. I had been planning a class on creating snowflakes, which is why I had done a few, but I haven't tag that past has not materialized yet. Of course, it's on my list, honest, at this point we're just going to take this whole layer and copy it. So I'm going to three finger swipe down. Copy will go back into our document here. We could have done it in here, but I've just kinda find it easier to have that plain document I'm going to paste. It's going to fill it for sure are pretty darn close. Oh, maximum layers to that again. Okay, and let me just crashed those two together. Pastes. That's one of the things about working large. As you often run out of layers. Let's talk that in behind here for now. And we're going to actually put this in perspective. So what I'm gonna do is the storage and that allows me to pull at the corners here and I'm going to bring it down fairly low. And you can see you can have a lot of snowflakes. I probably could have put a lot more in there and getting this line quite perfectly horizontal. And basically we've got that in there now, all we need to do is add a little bit of shading and so on. So let's go back to the wash set. So if you're wondering why sometimes they have these little hearts or leaves or something showing the stat, it's for this exact reason is when you've got a big list like this, it's easier to find it if it's got a bit of a graphic at the beginning. So I haven't done it for this one, but I'm sure going to, I'll tell you. Let's try a blend, the kind of brush we're going to go a little bit darker than the teal that's there. And I know I can't add layer again unless I flatten. So I think I'm going to flatten these two together. And really I could get rid of this whole group here by flattening it. In fact, I don't think I even need that group at the moment. I think I'll just get rid of it because I do have it on that other document and that'll give me a lot more layers to play with. So I want to make sure that I have my gosh, that's gonna go on darker and that is in It's very small. But like I said, we're going to put it on another layer here. And you know what, you really could use an airbrush. You might want to go in on this one and put your streamline nice and high so that you could get a really nice curve and turn your documents so that you can get a curve the way you like it. And then here we can just reduce the opacity a little bit by little bit of a shadow in there and experiment with the airbrushed his, it doesn't give a really nice controllable. You have caught that blending on. So now as I'm painting and creating a darker area here, it's very soft, so that's kinda nice. You can decide where you want your shadows. I think it would be on this side because the light is presumably coming from there. So you could go quite a bit darker in this area here. And pretty much that's all you need to do. I know on the other one that had a quite a bit more texture. We'll go back and take a look at that one in a minute. Let's put in that width background. So here I would go in and hit Add, Insert a file. I've got some old different pieces than what I have in that other document, but let's just grab one of these to see how it would look. And this one might be just a little bit too textured in a way. But for showing you how it works, It's perfectly fine. And that's all. Just lighten it up. And of course it's an old so you would see through it. The thing is, you might have some distortion on that. So your last step could be to go in with liquify, set, nice enlarge, and you could distort some of those lines that are in back. There, you go. It's just now we don't want it to happening on the outside part. So what I should do here before I start is to select the area that I've got, the free hand selection. I'm going kind of within the globe there. And then I'm going to feather it a little bit until I see the feathering kinda go right to the edge. And then I'll go in with my liquefy. And it's only going to liquefy within. Now I should have been done a few more steps because I can see I still had it distorted, they're a bit, but this gives you the idea. And of course you can definitely go in and erase any stuff that you don't like. You can completely lighten the inside by taking a big airbrush and just kind of do some soft erasing in there as well. So you can kinda see the lines going in here where you've got the gloss. Again, it's subtle enough that that insight is erased off and doesn't disturb the snowman at all with that wood grain, Let's make sure that we have a perfectly lined up to the edge of the table cloth. There. You might want to give you on the tablecloth, you might want to add. If you do have your light coming from over here, you might want to lighten an area over on this side and even a bit of a highlight along the top edge of it. Let's go white and you see how I've ended up going into the wood area there. I could have protected it to for starting. I can just as easily do this and just cut it off. And now with the Woodward I would do is also add a bit of shading. You went on a separate layer. I still got that soft brush and I might want to add a little bit of shading at the bottom of the wood and maybe even in the top corners like this. And just use my selection to cut off whatever is over the edge. I know I've done that really fast and I apologize, I just didn't want this lesson to go on too much longer. And I think overall, I'm very happy with the way this has turned out in some areas here, I can see a little bit of my tablecloth kind of peeking through there. So that's something I would probably go in and erase or add a mask to. I think I'm just going to do a quickie racing for the city. I think it's going to be just fine. It's not like I'm going to move that tablecloths and yeah, I'm pretty happy with this. There are some things I'd go back and touch up. Absolutely. I'm going to look back at that other one unless just see some of the things that we might consider a better about this one. I do kinda like that. There's rich deep color around the outside, so that's something I might go in into and my highlights and shadows are a little bit different on this one. And as you can see on the tablecloth, I did add some additional textures and so on. Now I've showed you how to do lettering in another class, so I won't bother with it in this class. But, you know, I'm actually quite happy with that. I think that it's turned out quite the considering and I know that you can make some improvements. You're going to have some better ideas in mind, I'm sure, and you're going to come up with something that looks equally as interesting. And like I said, don't worry about Stuckey to Snowman. If you don't want to, you can definitely do anything Christmas related because even have to be Christmas related, it could be travel-related. And I've seen lots and lots of snow globes that have little villages inside or the woods. Freeze Santa Claus. You've got a lot of fodder for your imagination. So, yeah, I think that's it for this lesson and I'll see you in the wrap-up. 10. Wrap Up and Closing Thoughts: Hi guys. Welcome to the wrap-up. I'm so glad you've made it to the end and you've got just a gorgeous little project I'm sure at least started. I really hope to see some of them post to hear. I love seeing your work and I love that other students can see it as well, and that really gives them incentive to sign up for my classes. 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