Create Pop Art Fashion Illustrations from Photos with Procreate

1. Introduction: Hi, I'm Priscilla, an illustrator, surface pattern designer, Skillshare top teacher, and digital art educator with a passion for iPad based digital design. Over the past few years, I've helped hundreds of artists create digital artwork using Procreate, and I'm thrilled to introduce my latest class creating pop art fashion illustrations from photos with Procreate. In this class, you will learn how to choose and prep a photo for a digital illustration, how to use procreate brushes and layers for clean outlines in bold color fills, how to add cartoon style shadows and highlights to clothing. Work with clipping masks, add hand drawn white elements for extra impact, and export your final illustration for sharing. No prior experience is needed, whether you're a beginner, a fashion illustrator or just curious about turning photos into fun, modern artwork, then this class is for you. You will also get access to my custom Procreate brush set, color palette, pinch rest board, and patent image, so you can follow along step by step. By the end, you'll have your own unique illustrated portrait and a playful new digital art skill to use again and again. Grab your iPad, a pressure sensitive stylus. I will be using the Apple Pencil and the Procreate app, and let's get started. 2. Class Project: Before starting the lessons and class project, download the resources from the project and resource section below this video available on the web version of Skillshare. Save them to your device and then open the file in your downloads or file storage and choose Procreate to export it too. For your class project, we're going to keep it super simple. Take a screenshot of your portrait before or after applying the techniques from this class or upload a JPEG of the before and after. You can use the class image or one of your own. Upload the final result to the class project section, and if you create a custom color palette or add embellishments, I'd love to see it. Fair warning, this process is very addictive. You might find yourself making these illustrated portraits non stop. But let's dive into setting up our Canvas and selecting an image in our next lesson. 3. Inspiration and Photo Selection: In this lesson, we are going to look at some inspiration on Pinterest for our pop art fashion illustrations, and then we're going to source an image to use for our project on Unsplash. First, the Pinterest board, which is linked in the class description section just below this video. When you tap the link, it will open up to a board where you can see the style of illustration. Generally, when you're looking at these style of images, the face and the hands of the subject are left untouched. But the clothing of the subject has been turned into a cartoon style fashion illustration with a lot of illustrated hand drawn elements added around it. These are often white colored lines, stars and embellishments. The clothing is outlined and filled in bold colors, and we want to keep this in mind when we create our own portraits. Next, selecting a photo. We're going to look at the sorts of photos suited to this style, and for our project, we're going to follow the link in the class description to select a royalty free photo from the site Unsplash. In the album of Images I've created for this class, you want to look for images that have clear contrasts in the folds of the clothing so we can see them more easily as we make our outlines on the image. Light colored clothing works better than dark clothing as it allows you to see the highlights and shadows more easily. For our class project, we're going to select the image of the girl sitting at the table in the cafe. To download the image to your cameole, just press the arrow on the bottom right hand side, and it will save it to your device. Next, we can head back to our Procreate App gallery. At the top right, you can select the text photo and then select your image from your device, and then it will open up a new Canvas with the photo in it. And now we're ready to begin. Join me in the next lesson to start outlining the clothing in our image. 4. Outlining the Image: In this lesson, we are going to tidy up our photo with the clone tool and outline the clothing and objects in the image that we want to stand out. Before we begin, I'll show you where your class resources can be found. For your swatches palette, on the top right hand side, tap your color circle to open the color menu, and at the bottom, tap the text that says palettes. Scroll until you find your palette in the list called photo and then tap the three dots on the right hand side of the palette and tap the text set as default. Now, when we head back to the disc view at the bottom menu, your palette will be found at the bottom of your color wheel. For your brush set, if you head to the top right to the brush icon, you can open your brush menu, and you will find your pop art brushes located at the top of your brush set. Okay, to start with, we're going to clean up the area of our photo where the shirt is showing through the hair with a tool called the Clone tool. Tap the icon at the top right, open the layers menu, and just make sure your photo layer is selected and is blue. Then on the left of the interface, tap the magic wand icon, which is our adjustments menu. Scroll down and select the text clone to activate the clone tool. Use two fingers to zoom into the image and place the circle that appeared on an area of the hair that you want to clone on the right hand side, in our brush menu, tap to open, and we're going to our pop art brush set and selecting our monoline brush to use as the clone brush. Make sure the brush is large using your slider and begin to draw a stroke to fill in the gap. As you draw your first stroke, the circle will move in sync with your stroke to clone in the same direction. So reposition the circle before each stroke in an area of the hair that is completely dense, and then draw across an area where the shirt is peeking through. We're going to keep going until we cover all of the white areas. This will only take a moment, but it is worth it because once you've finished your image, it makes it look so much more cohesive when we're done. Once the area is completely filled in, we can tap that adjustment menu icon on the top left to deactivate the tool. Now we're ready to begin the outlines of the clothing. So head to the top right to the layers menu and tap to open. Then use the plus icon to create a new layer and then tap on the layer to activate the side menu. We're going to select the text at the top that says rename. And then on our keyboard, we're going to call this layer outline. Then on the top right in the color studio, we're going to select red from our color palette, and this is just going to make our strokes easier to see for now against the photo. We will change the color once we are done. Next, he to your brush menu, we're going to select the monoline brush and set the size to about 6% using our slider. We're then going to create a basic uniform outline of the jacket, the shirt underneath, the beret, and the croissant. Starting with the jacket, I like to zoom in to do this as I create my lines in sections. It's better to go over the perimeter rather than under it so that none of the white jacket will be outside your lines. I really do like to do this in sections so that I don't activate the quick shape tool. If this tool does activate as you are drawing slowly, you can head to the top left to the wrench icon, select your preferences from the menu, and then head to your gesture controls. In this section, find your quick shape in the list, and then at the bottom, increase the delay time and tap done at the top right to return to your main canvas. So I'm going to continue going around the tea cup and then moving up her jacket. I am going to cover a bit of hair here as I do this so that I get one cohesive shape. The important thing is to make sure that it's fully enclosed, which is going to be really important as we create these shapes. Don't worry about all the tiny little details. We will come back and do all the folds later. Remember also that you can use your gestures as you do this. So a two finger tap to do. If you want to redo a stroke, use a three finger tap. And you can also use a two finger spread to zoom in to the image as you create your outlines. Next, we're going to keep going around her jacket to the right hand side, again moving section by section. Once the right hand side of the jacket is done, we're going to continue to that inner shirt and the bottom section of her jacket just above the table. At any point, you can tidy up any overhangs by tapping and holding down the erase tool at the top right to set it to monoline and then just erase any slight overhangs. Finally, we're going to finish up with the shirt inside her jacket, where the sleeve pops out at her wrist. Okay, so once all of that is complete, we are going to outline the perimeter of the beret on top of her head as one large object and including that little tip at the top of the beret. We're going to finish up creating an outline around the croissant in front of her on the table as well. Alright, so this was just the perimeter outline. Now we're going to create a new layer for our inner folds. On the top right, head to the layers menu and tap it to open at the tops like the plus icon to create a new layer. Tap on this layer, and in the side menu, we're going to select rename. This time, we're going to name the layer folds. At the top right in the brush menu, and in our pop up brush set, we're going to select the Baskerville brush. This brush is pressure sensitive, so the more pressure you give, the thicker the line. We're going to set it at about 18%, and we're going to follow the most prominent folds using light pressure at the thinner edges in the lighter section, and heavy pressure for the thicker lines in the darker parts of the folds. I really love the way that the change in pressure gives you a tapered stroke and implies a bit more shadow with a thicker line and more weight in those darker portions. Line weight is a really valuable technique to learn. And understanding this really enhances the look of your art. So work your way around the arms and the lapels of your jacket, creating tapered lines for the main folds and sections as you go. Remembering that if you make a mistake, you can always use that two fingertap to undo the stroke and try again. I'm going to fast forward my time laps a little bit, but feel free to pause the video while you create your lines for the shirt and start up again when you are ready. Next, we're going to create the main fold for the beret and any other areas that you may see around it like a line around the tip to define it a bit more. Finally, as we create the lines for our croissant, just follow with heavy pressure around the main outline and lighter pressure where those folds end. And we're going to outline the folds at the top and the bottom of the croissant. Alright, that is our folds complete. Now we're going to change all of our line work back to a black color. So tap on one of the layers, and in the side menu, select Alpha lock. Then tap on the next layer, and we're going to use a different technique for turning on Alpha lock. Take two fingers on your screen and swipe to the right on the layer at the same time, and this will automatically alpha lock your layer as well. This function with the honeycombs means that only the strokes that have been placed on that layer can be changed and no other area of the canvas. At the top right, tap your color circle and select black from your palette, and then tap on any one of your linework layers. And in the side menu, tap the text fill layer, and it will turn your outline from red to black. Repeat for the other layer. And finally, we're going to hold and drag to rearrange the layers so that the outline is at the top, the folds are beneath, and the photo is at the bottom. And that's it for this lesson. Join me in the next lesson to start to fill our illustration with color. 5. Fill with Colour: In this lesson, we are going to create the fill colors for the main shapes we outlined in our last lesson. To do this, we're going to head to the top right and tap to open the layer menu. Select the original photo layer until it activates in blue, and then click the plus icon to create a layer above it, but beneath the folds. Tap this new layer, and in the sign menu, select rename and label this layer jacket hat fill. This will be our first fill layer. Then at the top of the list, select the outline layer. Tap again, and in the side menu, select the text reference. Now we can use the enclosed shapes in this layer to fill our jacket in that layer. So we'll select that layer one more time, and then we can begin filling. On the top right, open the color menu and select red from the color palette, and drag the color and drop it to fill one of the areas. You'll notice a second menu appear at the top, tap the text, continue filling, and now you can use your stylus to tap all the areas of the jacket and beret that we want to fill in red without having to drag the color in. Once you're done, just tap the tick to disable the color drop tool. Head back to the layers menu and use the plus icon to create a new layer. Tap this new layer, and in the side menu, rename the layer as shirt. In our color menu, select white from the palette and dragon drop to fill the areas of the inner shirt, and then use the continued filling feature to finish and fill the sleeve. Tap the blue tick to disable the color drop once more, and we're going to head back to the layers menu and create one more layer. Tap and rename this layer croisint And then head to our color menu and select a medium brown color from our palette and drag it to fill the croissant. Now that the fills are done, we're going to add a bit of detail by adding blue lines to the white shirt using a clipping mask. In the layers menu, select the shirt layer, and then use the plus icon to create a layer just above it. Tap again and in the side menu, select the text clipping mask. And now every stroke we add on this layer will only show up on the area of white colour on the layer below. In our brush menu, select the monoline brush and set it on a small size using the slider. In our color menu, choose the blue color from my palette and create some blue stripes on top of the shirt and the sleeve. And this will just add to that Parisian theme that we have. Once you're done, head back to our layers menu, and we're going to select our outline layer one more time. Tap again and in the side menu, tap the text reference to disable this feature. And that's all for this lesson. Join me in the next lesson to learn a simple way to identify our shadows and highlights so that we can paint them on our illustration more accurately. 6. Finding Shadows & Highlights: In this lesson, we are going to learn a simple technique to find our shadows and highlights on our original photo so that we can replicate them on our illustration. In the layers menu, scroll down to the original photo layer, and we're going to long press on the tick box on the right to isolate the layer. Because the jacket and beret are white, it can sometimes be tricky to see the placement of shadows and highlights. So the first thing that we're going to do is swipe left on the layer and select duplicate to create another version of the photo that we can adjust, and then we can untick the original photo at the bottom. Next, head to the top left to the magic wand icon, which is our adjustments menu and tap to open. Select the text, hue saturation and brightness, and sliders will appear at the bottom of the screen. Head to the saturation slider and reduce it all the way down to zero so that we can see our values more clearly without the color. Then head back up to the adjustments menu and double tap to reopen it. This time, select the text curves. At the bottom of the screen, we're going to adjust the gamma curve by moving the bottom node to the right a bit and bringing the line close to it down slightly to make the shadows stand out from the highlights. Finally, we can double tap the adjustment menu one more time. And this time, we're going to select color balance in the list. On the bottom menu on the right hand side, you'll see a little Sun icon. Tap to open a menu that will allow us to color code our shadows and highlights. Select the shadows and use the sliders to move the shadows into the Magenta range. Once you're happy with the visibility, select the highlights, and this time we're going to adjust them to the yellow range. This just allows the two to be clearly visible when we start placing them in our illustration. We can now disable the adjustment menu, and next to it, select the wrench icon, and in the tabs below, select the share tab. Scroll down and select hPEg and save this image to your iPad camera roll. Now head back to the wrench icon, and this time we're going to open the Canvas tab, scroll down and turn on the reference function. Tap Import either on the main screen or at the top left and select your image from the camera roll. And now we can refer to it as we add our shadows to our main illustration. So to finish up in our Layers menu on the right, we can swipe to the left on our altered photo and delete it. And that's it for this lesson. Join me in the next lesson to start painting our shadows on our image. 7. Painting Shadows: In this lesson, we are going to use our reference image to add shadows to our pop art illustration. On the top right, head to the Layers menu and tap to open. Scroll down to the fill layer for the jacket and hat and select it in blue. At the top, use the plus icon to create a new layer above it, tap the layer, and in the side menu, select clipping mask. Finally, tap the N on this layer, and it will open up a list of blend mode options. We're going to set the blend mode to multiply at the top of the list, which is a great blend mode for building up shadows. On the right in the color menu, select the dark red color from the palette to use to create our shadows. In the brush set, select the soft brush and set it at a fairly small size using the slider so that you have a bit of control over the stroke. Take a look at the reference image, and we're going to use this brush to create shadows on the darkest parts of the jacket. The darkest area of magenta is where the jacket is behind the table and teacup. And so we're going to use the semi transparent brush because the color will build up the more you add strokes to the same area as you layer the shadow. You can make the brush bigger or smaller to get a bit more precision around the folds. But we want our shadows to basically form anywhere that two objects layer over each other and along the inner folds of the clothing as well. We're starting with the area at the base of the jacket and slowly building up the shadows. Once you're happy with that intensity, we're going to go up the right arm and add shadows around that sleeve, where the hair falls against the sleeve and also around the wrist of the jacket. Then moving towards the lapel, where the hair falls against the jacket and its single fold, and then reducing the size of the brush slightly and placing a bit of the shadow behind the lapel where it falls against the jacket. I'm going to take the small brush size and then start to place a few shadows around those inner folds of the jacket on the left and on the right hand side for more definition. And then I'm just going to look at my reference photo and deepen any areas that I think I may have missed around the jacket. At any point, you can use your eraser tool and just tidy up any of the edges. Once you feel confident with your shadows, if you long press on the smudge tool, set it to the soft brush, and then use it to smooth out any shadowed areas that seem like the transition from light to dark is too harsh around those inner folds. Next, we are going to switch back to the brush and begin to make shadows on the beret. I'll just increase the size a bit and create a shadow underneath the main fold of the beret and along the lip on the right hand side. And then we're going to look around and see what other areas that we have magenta in our reference picture so that we can add more shadows. I can see shadows around the side of the beret along those fold lines. And then I'm just going to smudge out a bit of our shadow. I'm going to zoom in on the beret so that we can see the shadow area at the top a bit more clearly and then use our smudge tool to blend out that shadow so the transition is not too harsh. Then there's another little dip in the beret, and then I'm going to smudge that out a little bit as well. Once you're happy with that, we are going to create our croissant shadows. So head back to the layer menu and scroll to the croissant layer and tap to activate. At the top menu, tap plus and create a new layer and set this as a clipping mask. On the right, we're going to select multiply for the blend mode. In the color menu, we're going to select the darker brown color from the palette for the shadow. I just want to increase the size of our image a little bit and increase our reference photo so we can get a clear picture of where the shadows fall around the base of the croissant. Then using the brush, we're just going to start layering from the bottom the shadows and then going over it a few times, maybe increasing the size so that we can get a gradual change in that shadow. Just keep going using the reference photo, and then we can smudge out any parts of the croissant that seem like the edges are too harsh. Once that's done, we're going to zoom out. And now we're going to create some shadows on the shirt. If we head to the layers menu and this time, select the line layer. We're going to use a plus icon to create a layer above it and then use a side menu to set us a clipping mask. Set your blend mode to multiply, and then in the color menu, choose the gray shadow color to use for our shadows on the white shirt. We're going to set the brush fairly small using our slider and then start to create shadows where the hair starts to fall against that white shirt at the base. A little smaller, and then along the side. Then we can continue with our shadows in the V, just leaving a bit of a highlight where the light would hit the white shirt and smudging out that shadow. And then we're going to add a bit more of a shadow to the wrist and then use our smudge brush to smudge out those harsh lines as well. We'll just add a bit more at the base of the V where that lapel would overlap, and then use the smudge tool to smudge it out. And I think we've hit all the areas that we needed to on that inner shirt. And so that's it for this lesson. If we head up to the layers menu, take some time to select and rename each shadow layer using the side menu, and then join me in the next lesson, and we will add some highlights to our illustration. 8. Painting the Highlights: In this lesson, we are going to add highlights to our illustration. Head to the right to our layers menu and tap to open, scroll down and highlight our shadow jacket layer, and then use the plus icon at the top to create a layer above it. Tap this layer and on the side menu, we are going to rename it highlights. Tap again, and we're going to set it as a clipping mask so that the strokes on this layer act only on the area of the jacket and hat. On the right hand side, tap the N, and we're going to change the blend mode of this layer to add. This is a great one for highlights. Then in our brush menu at the top, we're going to select the soft brush and set the size using our slider. In the color palette, we're going to select the light pink color. And then looking at our reference photo as a guide, we're going to begin adding highlights to the left hand side of our jacket, where the highlights are the brightest in yellow. I'm also going to add a highlight to Hur lapel, where I can see highlights in the image. Then we can move across to the other sleeve and start to add highlights on the areas that are the brightest on the left hand side, and then next to those inner folds. You can adjust the size of your brush as you go just to get in between the folds without disrupting the shadow layer. Okay. So the next thing that we are going to do once we are happy with our highlights is we are going to start placing our highlights on the beret. I'm going to zoom in on the image and the reference image, and then just start to place the highlight around the left hand side and on the perimeter of the lip of the hat, around the areas where we have previously placed our shadows. So just take a look at where the highlights are in the image and add as you feel to your illustration. Once you're happy with the placement, we can long press on the smudge tool to make it the soft brush and set its size. And then we can just use it to soften any edges of those highlights that seem a bit harsh. So on the beret and then move down to the jacket and just soften the highlights around those folds as you feel. If you feel like the highlights are too bright, head to the top to the layers menu and then tap on the A on the right of the highlight layer and use the slider to reduce the intensity of the highlight a bit until you feel comfortable with the brightness. Now I like to go in and add a bit of extra to our highlight to give that pop art cartoon element. I'll just zoom out. And then on the right in the layers menu, we're going to create one more layer above this highlight layer. We're going to tap and rename this as white highlight. And then we are going to tap and set this as a clipping mask. This time in our color palette, we're going to select a bold white. And in our brush menu, we're going to take the Baskerville modified brush and set the brush size with the slider, and then just create a white stroke along the edges of the highlight on the left hand side, following the curves of the jacket. I'm going to use this to accentuate where we have placed our previous highlights, just to add a real pop feel to it. So follow those folds, and just right in the center where you've placed your original highlights. You may want to add just a little line to make it stand out a bit more. I just gives our illustration that sort of cartoony comic feel to it. Once you're done with the jacket, you can move up to the beret. And just keep doing the same thing, following that main highlight and just adding a little bit of an extra stroke to make it pop. Okay, so once we're done, we're going to head back up to the layers panel, and this time, we're going to create a layer above our shadow croissant. Tap to activate the side menu, and we can rename this layer as highlight, as well. Tap again, and then we're going to set it as a clipping mask. And then on the right hand side, scroll down and set the blend mode as an ad mode. In the color palette, select the light brown color. And in our brush menu, we're going to use our soft brush again. I'm going to zoom in on our reference image on the croissant and also on our main image to place these highlights. Adjust the size of the slider and then begin to create a bit of a highlight in the areas that you see in your reference image along the top. As you layer your strokes, the highlights will also increase in intensity. Then we'll head back to our layers panel and create one more layer above this, tap and set this as a clipping mask. And in our color menu, we're going to select that bold white color, and in our brush menu, select the Baskerville brush. And we're just going to add a couple of those white lines in the middle of the highlight on our croissant. Okay, so that's it for this lesson. Join me in the next lesson, and we are going to add a few embellishments around our portrait. Mm. 9. Embellishments: In this lesson, we are going to add a few embellishments to our illustration. Often in this pop art style, you see a lot of white lines and hand drawn elements framing the central figure. So on the top right, in the layers menu, we're going to make sure our top layer is selected, and then we're going to create a new layer using the plus symbol at the top. Tap it, and in the side menu, we're going to rename it as embellishments. In your brush set, we're going to select the Baskerville brush and in our color menu, select white from our palette. We're going to set this brush at a fairly small size, about 8%. And the first thing we're going to do is to just trace some dashed lines around the perimeter of the figure. This simple outline technique just gives a bit of motion and makes the illustration look more dynamic. Next, we want to fill up a bit more of the negative space around the image. So we're going to start with a little hand drawn think bubble. If we head to our color menu, we're going to select black from our color palette. And then in our brush set, we're going to select our think bubble brush. In the layers menu, create a new layer above the embellishments layer, and then we're going to set this brush stamp at about 45% on the slider, and we're going to create a stamp on this shape in the center of our canvas. Then on the top left hand side, I'm going to select the arrow tool for our transform menu, and in the bottom menu, select the uniform setting. And then just resize this bubble and place it into the empty space on the left hand side of the figure. Now we can head back to our color menu and select a white color from our palette. We're going to zoom in on our image and then drag and drop the color into the think bubble to fill it, and then we're going to continue filling the three dots below. This just gives us that black pop art outline that we have been using for the rest of the illustration. You can pick the symbol that you want to fill in the think bubble, but I'm going to keep with our theme, and I'm going to add a little red love heart to it. So in the brush menu, select the Baskerville brush in our color palette, select black, and then create an outline of the heart in the middle of the think bubble. Then in our color menu, select the red that we used for our jacket and just drag the color in to fill. Finally, in our color menu, select the white, and we're going to add a little highlight on the top left to keep with that pop art theme. Now we can add the rest of the embellishments around the figure. So in our layers menu, head back to that embellishment layer and select it. In our brush menu, we're going to select the diamond star brush. And we're going to place a few of these around the figure in white, red and blue. So starting with the white, place some stars around the figure loosely. And when you're happy with the placement, select the red color and place the red stars down. Finally, select blue from our color palette and place blue stars around the figure. This is just a great way to add a little pizzas to the pop art illustration and tie the colors into the color of the clothing to make it more cohesive. Now, you can choose any shapes that you want or draw hand drawn elements, but I thought I'd start with the stars and the Think bubble just to give you some inspiration. The last thing I want to talk about before I finish up is for those of you pattern lovers like myself. You can always incorporate patterns into your pop art, which is a fun way to personalize your image. I'll show you how this works with a generic pattern I've created quickly in the eye Ornament app, which I do have a class on here on Skillshare, and I've linked the image in the class resources. In our Layers panel, if you head to the jacket and hat layer and select it in blue, then at the top left, head to the wrench icon, and we are going to choose the AdTab and select Insert a photo and pick a pattern image that I've provided or any pattern that you choose. Once it's inserted, you'll notice that because we have a clipping mask above it, it comes in automatically as a clipping layer attached to our jacket and hat. While we are here, I'm going to tap on the on the side and change the blend mode to luminosity at the bottom, to have it blend into the color of the jacket more. Now, because this is still below our shadow and highlight layers, the shadows and highlights will automatically apply to this pattern, too. Now we can use the transform menu at the top left to resize it to fit the area of the jacket, and then heading back to our layers menu on the right, duplicate the layer by sliding to the left and then use the transform menu to move that second image up over the beret. And that's it for this lesson. Join me in the next lesson for how we can export our images and final thoughts on the style. 10. Final Thoughts: Thanks so much for joining me in this course. I hope you've enjoyed creating pop art fashion illustrations as much as I do. They make a great personalized birthday card or fun social media post. To export your artwork, tap the wrench icon in the top left in your Procreate app, then select the Share tag and export it as a JPEG or simply take a screenshot. Then upload your image to the class project section just below this video. Feel free to add your own twist. I can't wait to see where your creativity takes you, and sharing your work also helps inspire others. I've included a few of my own examples in the project section for your inspiration. If you enjoyed this class, please consider leaving a review as it helps others discover the course. You can also check out my other appropriate courses on my profile and follow me to stay updated on new classes. If you have any questions or ideas for future lessons, drop a comment in the discussion section or book a one on one session with me for a deeper dive. If you're on Instagram, tag me at Cardwell and Ink I love to see and share projects in my stories. Have a great day guys and happy creating.