Create Rock Art in Procreate

1. Hello and Welcome!: Hello and welcome to create rock art in procreate. Take a look at this image. The ward and the background is a photo. The stones and the pictures on them is what you're going to be painting on this course. And I do mean everything in the first part of the course, you're going to be creating stones from scratch using a variety of techniques that really harness the power of what Procreate. You'll be using the liquefy tool to create original marble textures. You'll make those textures console around the shape of the stone using the liquefy and transform tools, you'll be using layers and layer blend modes to build up the complexity of the stone. I'll show you how you can create hundreds of variations from just one stone. And I'll show you the best way is to combine real-world textures with your art work. Trust some fun facts, and if you're not sure what to draw, I've got you covered as well as supplying 15 stones for you to base your work on. I'm also supplying you with 72 different sketches, all of which have been made, whether art painting in mind. And I will take five of these sketches and I will show you how to apply them to the stone, how to login to the stone, how to build up an ink layer on top of the sketch. The most efficient way to lock in your artwork on how to paint your images. Oh, and I should also mention, I am also supplying you with various different color swatches, including acrylic paint color swatches, Golden Age color swatches, a whole variety of different oil paint hues in swatch form with shade and tint built into the swatches. We will go through those five projects together. At the end, we will take those five stones and I'll show you what to do if you want to combine those various projects into long composite image, the image you saw at the beginning of this video, a whole variety of different techniques. 15 stops the paint off, 72 sketches for you to work with. Five of them you see as exercises plus a whole load of different color swatches. Schools is offering you a whole load of tuition, resources. Enroll now. And together you and me are going to make some great looking on her rocker. I'll see you on the course. 2. Let's Start our First Stone: Okay, Hello and welcome to create rock art in procreate. And just at the start of the course, I'd like to say, thank you for investing in the course. I think I've got a lot of stuff for you to learn, plus also a whole load of resources for you to practice with once you've completed the course. Okay, let's get started for this lesson. I just want to create a stone. And by the end of the lesson, you're going to get something that looks like this. And the good news is, it's actually very easy. In fact, it's practically self working. Let's make a start. I need a new file, so I will come to the plus sign and the top right and tap, what shall I have? Look, I'll just go with a square file, 2048 by 2048 sRGB. This is all fine. There we go. And I'll pinch in a little bit just so I can see my entire canvas. The next thing, open up my layers panel and I want to change the background color because painting against a white background can sometimes make it a little bit difficult to judge how light or dark you should be. Paintings come to a midtone light, h gray around here. But you'll notice I'm not going completely gray and I don't want mid gray because that's just a little bit dead. I'm gonna move install little bit, not as far as theirs. That's way too much. But I'm going to come to about there and I'm going to change the color to a kind of a bluish color. It doesn't matter which color I'll tap on Done. And one thing I should say at this point is if you're following along, which I hope you are, don't expect to get the exact same result as me, because the way we're going to make this involves a lot of randomizing your brush strokes. So yours will be different. Just follow along with the process. Okay, so the next thing is we need a stone shape layer one is selected. I will tap and I will come to my airbrushing. I want from the bottom of the list, I want hard airbrush. I've got it set to maximum opacity and the size, I've set that to 100 per cent as well. So I got a fairly broad stroke like that. I will two-finger tap to undo that. But the color, not much of a stony colors. So I'll come and make, let's make it a slightly lighter gray than I have for the background, but also still a little bit of color in there instead of yellow out like kind of a slightly brownish color maybe about there. So my brushes selected full-size, full opacity, and I'm just going to make a vaguely round shape like this there. That's the outline of my stone. And I want that filled in so I can just come up to the very top right where I'm circling, that's my current color. And if I rest my finger on there and drag over, I can flood the entire area. Now when you do, you're gonna get something called a color drop threshold. And that's going to vary depending upon when you last used it. In general, with the color drop threshold, you want this set as high as possible. So you slide your finger to the right and can you see the slider at the top moving when I slide my finger from left to right, I want this going all the way over until audit. That's a little bit too far. So everything gets flooded. And now I want to drag my finger back just a tiny little bit until the area is flooded. That gives me the maximum flooding potential. Let me show you something if I drag my color drop threshold so it's quite low. Can you see just where I'm circling because my threshold is set low? What, 28.6, the flood tools getting a little bit fuzzier about what it wants to flood and what it doesn't want to flood. But if your slide your finger over to the right, you can see it gets a lot more happy about what it wants to flood. So I'll take it to about there. Alright, that is my basic stone shape. Now let's do some little bands of color. Well, now let's be good. Come on. Let's rename this to stone shape. Because on all my courses, I keep on saying name your layers because it makes your life much easier. And sometimes I even listened to my own advice, especially in a tutorial like this where I'm telling somebody else to do the same thing. Let's create a new layer. And I'll call this bans want, because I want to put down some bands of color. What I will be doing that with this, we'll be setting the mode to clipping mask, but I won't do that just yet because showing you a before and after can help make things clear. So if my colors, I don't want the hard airbrush, lets try a soft airbrush look like, and I need a different color. I want to make this some darker bands of color may be down like here, or maybe you vary the hue, so I'm getting different tones, but also slightly different colors. And that can help to mix things up a little bit. Now what have I got with this? Is that big enough? Big enough. Is it soft enough? Yeah. I suppose this kind of soft enough, but what I will do is I'll two-finger tap to undo that. I'll start off by making things a bit bigger and I'll come to about halfway opaque so I can build up a few areas of color. And we're going to come up here and build but area of color, they're very my brush head. The size of it. You notice I'm making some pretty big strokes here. That can help me later on. My brush bigger and just a little bit lighter just down the bottom here, make my brush a bit smaller and press fairly hard. They're actually make it a little bit bigger and press here and do a couple of strokes and just very things a little bit. Not all the way in, that's fine, but I do want a little bit of detail just on the outside. Alright. Those are the dark stripes, but you may notice they're kind of going off the edge of the stone a little bit. But that's not a problem. If I come and choose clipping mask. What that means is if you have my bands one lab and it's sitting on top of stone shape in the layer panel. When you turn Clipping Mask on, you'll only see the pixels in the bands one layer where there's already pixels in the stone Shape Layer. One of the nice things about it is if I come to where I'm circling, which is the transform tool, and I have uniform selected. I can move this around. So I can very whereabouts those bands of color are, and that can be useful. But now let's come to the fun bit. And for this, I want to turn off clipping mask again so I can see my layer and I'm going to come to my adjustments and I'm gonna come down to liquefy. Let's show you the basics of this with the Liquify tool you have. At the moment, I have pushed selected, I'll make my size fairly big. And if I just push around with my brush, you can see I can distort the brush strokes like this. Well that's nice, but here's the fun bit. I have some more controls here and one of them is distortion. I'm going to crank that all the way up to maximum. And if I draw now, can you see if I just jiggle my brush head around a little bit, I'm getting all kinds of distortions. That is way too much. So I will come to the reset button, which takes everything to how it was when I first opened up liquify a while. I'm here as well. I'm going to take a look at the momentum. This is a symbol, fluffy brush stroke with it off. Which is quite nice. But if I crank up the momentum to maximum and do the same fluffy brush stroke, you can see the brush stroke. It gets a life of its own and it goes flying off and distorts things way down the line. That is quite nice because I want that randomness. Or to a couple of more brush strokes like this. You can see I'm really starting to get some nice squiggly lines which look like the kind of shapes that you do get on a stone. If I vary the slicer now it's small and do the same thing. You can see I'm getting some slightly smaller shapes. Now there are other things I can do as well. There's crystals which I'm circling now and I've just tap that for make this a bit bigger and we'll look at this. Can you see how I'm getting a little kind of well, crystals on the edge of what I'm doing. And these are just light, fluffy pen strokes. I'll come back to push again, maybe alter the size a bit more. Yes, I like what that is doing. I'm also doing bits that you don't see once you come to the layers panel to commit that liquefy. And then if I turn on the clipping mask again, part of what I did, you don't see now. But like I say, if you come to your transform tool, you can very whereabouts which bits of those bands of color you get to say, I will two-finger tap to undo that. To get back to where it originally was, because now I am going to add a new layer. Let's call this bands to, for this odd like some lighter bands. What do I have? Soft airbrush, that's fine. I will come to my colors. Now. The original base color of the stone is stored. Yeah, fair in history. If I circle it now and I'm going to tap it, that was my original color. I want a lighter version and also I'm going to vary it. So it's just a little bit more yellowish about there. And soft air brush is selected. I want to take the opacity up. I want the size set fairly small because I'd like needs to be some fairly fine bands of color. And as before, I just make the brush strokes like this. I don't want it to be too, even I'd like them to be grouped together in some places, I'd like the size variable a little bit. Maybe slightly concentrated in some areas, not so much in others, just to get that kinda random effect you do get. And let's do the same thing with this. Let's come to liquefy. What do I have set size is set small, that's fine. That's what I want. Distortion is set to maximum. That's good as well. Let's make this a little bit smaller so I can see what I'm doing. Let's do some light fluffy brush strokes on this. Yeah, I like that. Now I wonder just to mix things up a little bit. I have not tried this. Maybe it will work. I will come to the next one along which is 12, right? Distortion momentum, everything is set. I take the size down, so it's fairly small. And that's just try this top left squiggle. Let's try doing that. And let's make it a little bit bigger. Oh, yeah, that's looking quite nice. I like that. The twirl right into the left, drag the brush strokes around in a spiral, which can be quite nice. What about crystals? Let's make this a bit bigger and put some crystals. Yeah, I like that as well. I think I will go with that. Let's come to my layers panel, which commits those various different liquify things I've done. And I'll do what I did before. That's turned on clipping mask. Now we're starting to get the basis of a stone. 3. Add Light and Shade to our Stone: Okay, We're back now. The first thing I'm gonna do is I'm going to come to gallery and I'm going to slide to the right. And I'm going to duplicate my artwork because what we have here is just the foundation for something that hopefully looks like a good stone. And some of the things I'm going to do in this lesson, like create some lightened, some shadow. I recommend you do with any stone you want to create, but other stuff, a case of experimenting. I'll be honest with you, I have no idea what I'm going to end up with because I can take the same file and just develop it twice. And I'll probably come up with a very different result. And for that reason, I just want to keep a copy of my stone in place so that I can come back to my gallery at any point, duplicated again and just work it up and probably come up with something different. Anyway, let's tap on my duplicate. So here we are. I'll make this stole a little bit smaller and off to the side so I can open up my layers panel. Well, the next thing I want to do is create some shadow because let's face it, this is looking very flat. To do that, Let's create a new layer. Let's tap on it and let's rename it to shadow one because I'm meant to be doing more than one shadow layer. The next thing I could do with a color to paint on that, let's take a look at my history. That was what I used for the original stone layer. I think what I want to do is to have a much deeper version of that, but also a little bit more saturated. I want a little bit of color in the shadow and come back to my shadow layer. Want what brush too, I have that's come to my airbrushing and I'll choose. Yes, the hard airbrush is fine, precise is that large? Uh, what I wanna do, start drawing down an area of color which cuts into my stone like this. I want to make it so the light is coming from the top right. So I'd expect to be shadows to be more in the bottom-left area. And as you can see, I'm cutting quite happily into my stone like this, but I'm leaving the top-right corner untouched. And I'm also going to extend this by quite a bit. I know it looks messy now, but there was a reason for this. There we go and come and I will turn on clipping mask and I will set the layer blend mode of this to one of the dark and blend modes. I do that by coming to this little n which I am circling now and I tap on it, I get two things. I get the opacity that controls how transparent or how are painful areas. But also I have the various different layer blend modes. By default, any new layer starts out as normal, but above that you have things called the dark and blend modes. And I'll make my opacity just a little bit lower. So you can see this. Can you see how well they changed these different darker blend modes? It changes how this top shadow want layout plays with everything that's underneath it. Like multiply gives you a different effect to darken, two different effect to collarbone, different effects or Linear Burn, different effects and normal. I'm gonna go with multiply for now, I'll make the opacity quite high. But now I come to my adjustments and I come to Gaussian Blur. I put my finger on my screen somewhere on the left-hand side and I drag over to the right. And as I do, can you see that that hard area is now getting blurred and it's starting to look like a shadow. Now it depends what kind of a shadow I want. If I had a very flat stone, I would expect to have a fairly tightly defined shadow area, maybe like this. But if I had a more rounded stone, I would expect to see us softer, more rounded shadow like this. And I'll go with what? Twenty-two percent. Yeah. Okay. I'll go with that. I'll tap on my Layers icon and there's my shadow. Now the reason I asked you to do a large blurry area like this is because once you've done your shadow, you may decide you want to adjust it a little bit by coming to your transform tool, which I'm circling now. I have uniform selected and I can move this around to wherever I want. Like, I might want a little bit more shadow there in the bottom left to create more of that kind of effect. Or I may want a little bit less like this. I can, even if I zoom out a little bit, I can make the entire shadow area larger so you get a more spread out shadow. So it's just hanging onto the outer areas like this. In fact, I think I quite like that. I prefer that so I will keep that. So tap on my layer icon. Let's do that. I'll zoom in a little bit. Let's take a look at what we've got. The opacity, I can alter that to whatever I want. Here's a little tip for you. When you are trying to figure out how strong you want this layer to be like that maximum and it's really quite strong. Take your opacity slider all the way down to 0. Let's make sure we can see everything, open up our layers, then. Graduate dial in the amount you want and I want something about about there for now. Now, what have I got? What 79 per cent having I put this down at a 100%. But then I decided that I prefer it to be a little bit lower. So don't be afraid to ride the opacity slider. When you do this, now I did say I'm going to do more than one shadow area because as well as the general shadow which is creating the form of the stone, I also wanted to talk a little bit more intense shadow just around the very edge of the stone where the light maybe getting lost in various different cracks and stuff like that. So here's another layer. Let's call this shadow. To this. Mark can use the same color, I can use the same brush. I'll make it a little bit smaller though. And I just want to come right the way around, just the very outside of this stone. Like that. Let's take a look at that with a clipping layer turned on. Yeah, that's about right. You'll notice it's not completely smooth. I want it to be, well, I'll exaggerate. It will cut in a little bit more in some places and not so much in others, not so much as that. So I'll two-finger tap to undo that. But now I do what I did before. I will set the blend mode to one of the dark and blend mode. Again, I will go with multiply. Let's take down the opacity just a little bit and do what I did before I come to Gaussian blur. But this time when I drag, I'm going to make it as small. Tipler, something like that. What have I got? What I was what, seven per cent. That's hardly anything. But it's just to get a little bit more definition just on the very edge of my stone. And that is a bit too strong, so I'm going to drag that down. So the opacity slider is set to none and gradually dial in the amount I want. I'm thinking just maybe right about there. And just while I'm here, I've set to multiply. What about if I said to one of the others, like Color Burn can give a slightly more colorful shadow as Linear Burn, but not at the moment because the colors are very desaturated. Anyway, I will just stick with multiply. Let's quickly take a look at that before and after. That's without that shell is just around the edge and you can see it's looking a bit more 3D with a shadow. Let's take a look at what we had with no shadows at all, all of a sudden looking very flat. So yep, the shadows are helping. Okay, so that's the shadow. Now what about a highlight? Should we do a highlight? Yes, let's do a highlight. Create a new layer. Let's call this highlights. And for this, I will just choose a straight up white my paintbrush. Again, I'll go with the hard airbrush. And actually there are different ways of doing this, but I'm trying to make this a self working as possible. So you don't have to practice too much to get an effect that you like. So I want to paint in white, my heart airbrush is selected it on full. A 100% brightness. You can see that was definitely a highlight. But what I'm gonna do now is I'm going to come to my eraser. And yeah, I have it set to the same brush, hard airbrush, same brush, same opacity, same size. And now I'm just going to rub out one or two bits. So I get thinner bits just around the start of this brush and maybe just wave up the line or the outline just a little bit a while I'm here. Let's come to my brush and I want to extend this down around here a little bit and then come back to my eraser and just take out some of that. So I've got just kind of a moon shape just towards the top right where the light is coming from. Now It's a new layer, so it's set to normal blend mode, but as well as having the darken blend mode, which just make it invisible, I have a lightened blend mode. And I'll start off with screen because for making something realistic in a fairly natural waist screen does quite good job. Or maybe take down the opacity look. If I take it to halfway, you can see it's interacting with the colors underneath in a different way that some of the other blend modes would do. But now what I'll do is I'll come to Gaussian Blur again and do what I did before. Put my finger on the screen, this slide from left to right. And you can see that that gradually fade into a general purpose highlight like this. Let's come to our layers panel again, it is quite subtle, but if I make the layer invisible for a second, just by ticking where I'm circling now, that's without that width and that little highlight is rarely starting to make the stone look 3D. It is set to around about halfway, so I can increase the opacity to increase the highlights. I can also do things like change the layer blend mode. Like if I take it something like add. Add is a very, very strong layer blend mode. But if I take the opacity down to 0, gravity dial it in, you can see getting a certain kind of effect, that kinda blown out effect, which can be nice. Let's take that back to screen for now and raised we're about there. What about I'll maybe make it about there. And because we want to be neat, Let's do the same thing. Let's turn on clipping mask. And there we are. Now just before I wrap up this video and go on to make this a little bit more interesting. Let's create a shadow underneath the stone. So that's simple enough. You come down to our original stone shape, swipe to the right and we duplicate it. Now, all those layers above the stone shape layer or all clipped to the layer which is currently highlighted. It's the layer underneath which I'm interested in. So I select it and come to my transform tool. I'm set to uniform and all I'm gonna do now is just drag it down a little bit like this, down to the left. Because I want a shadow area underneath the stone which makes it look like you're looking at a stone lie on a surface pictured from above. And it's not working very well at the moment, but that layer is selected. So I will come to Adjustments, Hue Saturation and Brightness. And I will take the brightness down to 0. So we have black. That is one harsh shadows. So again, we can come to our adjustments and I can come to Gaussian Blur again and slide to adjust. And I can create a shadow underneath the stone. I've done minus twenty-three percent. You go with whatever works for you, then come back. It's such a neutral, I would like you to set to one of the dark and blend modes like multiply because it helps the shadow area to blend in just a little bit better with the layer underneath. In this case, our background layer. I want to take my opacity slider all the way down to 0, then gradually dial in the opacity to get the depth of shadow that I want. In this case, somewhere around 70%. Yeah, I can go with that. So if I cut back to what we had at the beginning of the lesson, we have a stone with a pattern but looking rather flat, kill me back to where we are. Now. We now have a much more 3D looking stone, but we're not done yet, not by a long shot. There's lots of things we can do with this stone, and I'll go on and do that in the next video. 4. Getting Creative with our Stone: When I was recording the previous video, I thought there was something like an eyelash or something like that on the screen. And I'm circling it right there. And I thought I'll dust away the eyelash once I've finished recording, it wasn't till afterwards I realized that what you remember way back when I took my stone shape layer and I flooded the layer, it didn't quite flood everything that I want it to. And if I make everything invisible, you can probably just see that area right there. And I didn't notice it beforehand because I didn't have that shadow layer underneath which come on, let's rename this stone. Shadow. But one that's that. All of a sudden you do see it. Well, that's really easy. Just come to our stone shape layer. I will sample the color. What brush do I have? The hard airbrush that's fine. And just color that in like that. I will quickly pinch inwards just to automatically resize. And let's take our suddenly rarely boring looking stone. Add the layers. And this is where we are, right? Let's have a bit of fun with this. I just experiments. I'll be adding new layers and adding new textures in there. Where they go in this layer stack will matter. I might try a layer mask on the highlight. I would use the hue, saturation and brightness to alter the look of layers. I will be playing with our layer blend modes to alter the look of layers. And I might even transform things as well as blurring things. So if that's thoroughly frightened, do I'm sorry, come on. Let's get on with it. Okay, So getting started, my bands one lab, that one, those colors are darker, so I'm going to use a dark and blend mode like, well, that's multiply, which gives a different effect. Color Burn is giving you a very rich effect. As is linear burn is very strong. I will take down the opacity and gradually diluted a bit like this. But already that's given me a much richer effect. And the point I'm making here is that it does pay to experiment with the various different blend modes. Because blend modes always work because the layer is sitting on top of another layer and it changes how my bands one layer plays with the layers onto leaf. Let's take a look at bound 0 to, at the moment it's set to normal. And if I make it a pasty really low and bring it back in, okay, that's alright. But what about if I take it to something like light? And did you see that? Let's zoom in on this particular area here just to the left of the layers panel. Maybe it's set to normal. Those bands just sit on top of whatever is underneath it. If I said it'll lighten it, playing with the layers underneath in a slightly different way. If I set it to Screen or color dodge, look at the difference. The screen gives a fairly natural looking effect, but Colored Dodge is starting to play with the colors a little bit depending upon what is underneath, like him getting some yellow areas in those lighter colored bands, depending upon whether the lighter band is sitting on top of the stone shape layer or the bands one layer. So that is interesting. Ad is going to complete blower everything and you have to take the a posteriori right the way down. But actually that's looking interesting as well because I'm getting some of the darker layer peeping through, some of the slightly lighter browns peeping through as well with those very light balance sitting on top playing with what's underneath them and I'm getting a more natural effect. I do quite like that, So I think I will go with that. And now I'm in uncharted territory because look, I practiced this video a couple of times before I started to record. And I can tell you for a fact, I didn't choose add either of the two times our practice, this, this is what I suggest you do. This is the bit where you play around a new judging whether something has worked or not. This simple, you simply say, Do I like it? If you do, it worked? But anyway, I will zoom out a little bit because look, I quite like the way those colors are playing with each other, but I want a little bit more texture in there. So what I'm gonna do is my stone shape layer is selected. I'm going to add a new layer. And when I do it, automatically clipped to that layer underneath because the layers above are clipped of outlet. And then what I'm gonna do, it sets a neutral, okay, that's fine by me, but I'm going to choose a different brush. They used to be a category in procreate called touch ups. They changed that to materials. So if you've been doing one of my older courses and I talk about the touch ups category. It was renamed to materials. They also added a few new brushes in there, which is all very nice. And actually I haven't tried this one black wood that it looks interesting. I don't know what this is going to look like, but that's part of the fun of this. Just for the fun of it. I'm going to choose a sort of some warm brown. I'm going to choose a cooler blue there. My brush is set to black. Would my opacity is set to a 3%? I'll try size of what, 17%. Let's see what happens with this. Oh, that's looking rather interesting. It's not quite working at the moment, but it's providing another layer of complexity. If I brushed over again. Okay, that's looking a little bit thick. Let's try changing the layer blend mode for this. Let's change it to maybe one of the overlay blend modes. Nope. Hard Light, it's giving a different color to this, which I quite like Linear Light. I'm getting some tone there. What about some of the dark and blend mode? Multiply is looking quite interesting. Darken, color burn, yeah, that's looking rather nice. All of a sudden that's starting to look like one of these fake dark pebbles that you sometimes find on the beach. But the problem with that is now the highlight is too strong, so you can only play with the highlight and you reduce that down a little bit. So all of a sudden, I've got something rather interesting that I think are past he is too much. Let's take it down a little bit. Let's take it down to about there. Yeah. Okay. I'll go with that. But now because I like that, but I want an overall kind of a texture to this. I'm going to create another layer. What brushes do I have? Well, I was trying one earlier down here called the zombie skin, which looks interesting. And again, I'm going to choose a different color here because I want to mix things up, add a little bit more saturation to it. I'm not sure what's choose it because I've got no idea what this is going to look like. Let's take a look. My brush size is set to about twenty-nine, thirty percent, my opacity is set to about 40, 41%. And because it's clipped, if I just make some brush strokes that hasn't really worked, it's not giving me a textured effect. The colors look nice, but I'm looking for texture as well. Now, what can I do about this? Maybe if I change the blend mode to one of the overlay blend modes, which makes things darker and lighter. But I'll set it to one which is quite strong, like hard light. I want to choose different brush. Let's try. That's trying noise brush. Now what do I have here? So the size pretty large. I'll set it to maximum. My pasty is around about the halfway mark. And let's do this. And oh, that's looking interesting. Book, if I zoom in and make the layer invisible or not, that's invisible. That's with it. That's given me the kind of texture I wanted. Just a rough stone a little bit so it doesn't look too smooth. And so I'll scribble that in a little bit more. Now this is where things start to get a little bit fun. I have my layer nine selected if I know I should rename them, but you're gonna get bored. So instead, I'll come to hue saturation and brightness. And just play around with the hue and look when I do that. As I move my hue slider around, I'm getting lots of different hues for this. And some of them are looking very nice, but also looking quite natural like that. Kind of a blue color. That's looking nice. If I add the saturation, it looks a little bit cartoony. If I lower the saturation, he gets more of a subtle effect. The brightness. Looking rather interesting, just a little bit low, but I'm automatically getting much more of a textured effect that now I wonder, what about upping the saturation. And then surrounded. I'm getting some lovely kinda see greens here. Or I'll go with that. Now what about the layer underneath? Let's try that hue saturation and brightness. Move that around. And again, I'm getting, well this time I'm getting more of a kind of a reddish, warmish turn to this. And it's really breaking up things nicely. I'll other saturation a little bit. The brightness as I lower that, I'm starting to get more Partner Field as I lighten it last part and revealed. So I'll go with some around. Now, let's come to our bands to, that's the one with the lighter bands. I'm going to swipe to the left and I'm going to duplicate my layer all of a sudden looking very, very harsh. What I'm gonna do with this is I'm going to pinch out a little bit. And I'm going to come to my Transform because I can move this around relative to the layer just underneath to start, get some rather interesting effects. What I will do is I will come to just on the N REM cycle in which says warp. When I do that, I can start to distort this relative to what's underneath it. You can see it's, it's twisting things around like this. And I want this to be so the bounds are sitting pretty much on top of what's underneath, but just offset, just a little bit, like maybe something like that. And our tap on one of the icons on the right to commit to that. But I will come out, zoom in like this, and I'll come to Gaussian Blur, and I'll blurb is. So it's more of a softer effect, but it's just enhancing what's already underneath like this. That's what 5%. But now it's not looking like the same image, just slapped down on top of what was underneath. It's starting to interact. Now, if I take the blend mode, what's going to happen if I change this overlay? Light-colored. Okay. Color Dodge is interesting. I'm starting to get, can you see that little flecks of color? If I change that back to add, it's all the same tone. If I change it to color dodge, I'm starting to get little bits of color in there. I wondering with this, I've not tried it, but let's try it. If I come to hue saturation and brightness color play with the color a little bit. Yes, I can I can get some little bits of color just peeping through those lighter areas. What about saturation? Let's take it down a little bit so it's not too strong. Let's play with the opacity. I can make it very subtle like this, or I can make it pretty loud. I'll make it a little bit more subtle there just to add a little bit of interest in there. Alright, I've done various different things to this. And you can see I'm getting some really quite interesting effect. Look if I go into my stone shape that is set to normal blend mode. And it's probably the only thing which is set to normal blend mode in this entire image. And all the layers above are all playing with each other to create the overall effect. But if I come to my starting shape and I kept a hue saturation and brightness. I can make the shape any color I want like this. That's looking quite nice. I think for this tutorial, I've gone more towards a C kind of stone, which I do like. And I can play around with it as much as I want. If I make it very light like this, then it kinda makes sense to come to my shadow layer and maybe just reduce the opacity of the shadow. And you can see me doing that now. Just so we get an overall look to this. I can come to my bands layer. I just did the opacity of the top bands layer, but what about the bands layer below? I can adjust that so I get more of a subtle effect or more in your face effect. Supposing I have this highlight here. Take it back up again like this. What happens if I take the highlight layer and I stick it underneath those bands, two layers, that's looking interesting because I've put the highlight layer underneath those to light. Means that one and that one, they're starting to poke through a little bit more, which I do quite like. In fact that highlight layer starting to get a little bit lost. One thing I can do is I'll up the opacity, but I will create a mask. So now I'm going to use a layer mask. Whenever you create a layer mask, blacks couldn't get selected. Now what's my brush? The noise brush, I think it's going to be good with this. So what that is going to do is if I make sure I paint on my layer mask, not my actual layer by layer mask. I'm going to paint black and I'm going to paint some noise. In fact, c'mon, let's zoom in so you can see this more clearly. Yeah, that is starting to work. I'm starting to get the effect that there is a highlight there. But instead of reflecting off a completely smooth surface, it's reflecting off a slightly textured, slightly pitted surface. Look. I'll make it invisible for a second and make it visible again. And yeah, that also works at it just helps to sell the final look. But what I will do is I'll come and let's just try taking a look at the various different blend modes to see how it looks. I'm actually overlay look quite nice for a fairly colored effect. Vivid light, linear light. Now I will go with, I'll try it out again. I'll just take it down a little bit like this. Okay. I'm going to call this for now because I just wanted to show you the various different things that you can do just to vary the effect. But there is one final thing I want to do, just to make this look a tiny bit more realistic, I'm going to come down to my stone shape, the shape on which everything is based. And I'll zoom in for this. Can you see how it's got a very, very sharp edge? Well, I'm going to come to my Gaussian blur. I'm going to slide to adjust. I'm gonna adjust to a very small amount. Maybe 2%, 1, 2%, 3% percent, even 3% is too much. I'm gonna go with 2% like that. And I'll just tap on my layers panel to commit to that. Because what we've got here is a fairly realistic stone. And when you are drawing or painting, especially with the digital art program, you can create some extremely hard edges. And if I just come in, I just double-tap to undo. That was our extremely hard edge. But when you look at a photograph or photograph of a painting, you don't get ages, which are this hard. You just don't take a look at any photograph. And finally, an edge which is either completely stone or completely background. You won't find that what you will find even on Ages which looked hard, if a three finger tap to redo, you get a slight blurred edge. Now if I zoom back out again, if you just saw this picture and you hadn't seen me do what I've just done, you probably won't even realize that was there, but it just helps make the shot just look a little bit more realistic. Okay. I'm going to stop now because I'm looking at this, thinking I want to do this, I want to do that, but that's the whole point. This does invite experimentation. In the next lesson, I'll create another stone. I won't go through a full explanation of every step because you've already seen the process and action and you know what? I'll stop talking and I will see you there. 5. Importing Textures: Okay, In the previous lesson, we created a stone, will do the same thing again, but this time we'll use one or two different techniques just so that you're aware of them. So as before, I will come to my plus sign in the top right of my gallery and I'll do the same thing again. I'll create a square file. I will pinch in a little bit just so I can zoom out and see what I'm doing. As before, I have my background color on my layer one will this time round. Instead of just changing the color of the background, I'm going to drop a file in. To do that, I will come to the top left, that little wrench icon, which is my actions palette. And you get a number of sub tabs here. I want the one on the far left, add panel on the top item on the list, I will insert a file. Now, any bitmaps I use on this course will be available for you as a download. And in the case of this, I want fabric zeros six rough Beijing tap on that. My file gets imported. And anytime you import a new file, you're gonna come to your Transform options. And you can see that I'm just circling in the top left. There's my little transform icon at the bottom, I am set to uniform. And you can see around the outside of that file I just imported, I have a number of little blue dots. Well, if I come to the little blue dot on the top right, I can drag it up like this until it gets to the top of my canvas. Now I do have snapping turned on, which means I get a little guidelines like that. You can see that little yellow line at the top. If I come down to where I'm circling now the snapping and I turn it off, tap away. I don't get those snapping lines and I can position this without the guides if that's what I want to do. Let's just come back and turn snapping on again and comes my little blue dot in the bottom left and drag that down until that will sometimes happen. I ran out of screen, not a problem two fingers and just drag with the two fingers. Zoom out by pinching in. Zoom in by pinching out. And yes, that's a bit of a mouthful. Anyway, let's drag that down to there. Now be sure this is the size that you want. Because once you tap away by coming, say to the Layers panel, all that bit of the cloth around the outside is lost. Some programs, you can keep it not with procreates. Okay, so there's our base and that came into layer one. And let's do the right thing and rename this to, well, let's call it cloth. I want a new layer and I'll do what I did in the previous lesson. Greater symbol stone shape, and work it up from there. Before I do though, I'm going to insert another file. So come to our wrench icon to add, Insert a file. And this time I'm going to come up through the directories. I'm on my iCloud Drive at the moment and I'll come to pilot PNGs. And there's a file here called Iraq hue 01. I will tap on that other imported and I'll put my panel thing in the middle of that box and just drag it up to the top right. And what I did was I just took some photographs of some stones or I got them off the internet and I sampled the colors from those stones and I put them down as little dots of color. And so if I want some of those colors, for example, I'll tap on my layers panel just to commit to that, I'll create a new layer. And supposing I wanted a gray stone or kind of a bluey gray stone. Well, all I need do is put my finger directly on top of one of those little dots and I can pick up the color. You can see my existing color is in the bottom half of that circle around the outside. And the color I'm about to pick up is on the top half of that circle. And suppose you wanted a lighter shade. If I drag up, you can see the top half of my circle changes depending upon whereabouts are little cross hair in the middle is centered on. So supposing I wanted this mid gray, I let go and that becomes my new color. Now the advantage of doing something this way is that I don't have to keep on coming back, for example, to my palettes every time I want to choose a new color. And I can give this file to someone else who doesn't have all the palettes I have. And I know what colors to use because they are included as part of the file. Same thing if I came back to this in five years time where I've lost all my palettes, all the colors I want will be right there, just waiting for me. And if I don't want them there, invisible, visible again, I will come and I will rename this too. And I'll even spell it than not British way. Okay, let's make that invisible and we'll do what we did before. Come to my brushes. I'm in my airbrushing brush set hard airbrush, That's fine. Actually what I will do, I'll choose colors again and I'll try and draw. And you get, this message is letting me know that my current layer is hidden. And what I like to open the layers panel. So I open the Layers panel and it gives me the option to make it visible or not. I'm just showing you that so that if it happens to you, you know, why? But now I want a layer three and let's make our shape. There you go, a nice round shape and we'll do what we did before. We'll come to our color swatch in the top right and drag down and fluid to take our pen right way over to the right and then just drag it slightly over to the left until my color drop threshold at the top is as high a number as I can get it and let go. Alright, let's do some of the things we did before. I will call this stone and I will duplicate it. I will come to my transform icon. I will drag down a little bit like this, which is a bit confusing at the moment. But what I will do is I'll come to my adjustments and I'll come to hue saturation and brightness. If I make the brightness darker, oops, I'm making the top one darker. Not a problem. I'll come here and I will drag it down like this. And now I'm starting to think head because I know I will want to change the layer blend mode for this so that it's darker colors just sit more naturally with what's underneath. So I will come and I will change my blend mode to say, well, multipliers a popular one. And you notice when I do that, you can start to see the pattern of the fabric peeping through. So let's hear if a blend mode that is useful. But now what I wanna do is come to my Gaussian blur like we did before on our slide, my finger from left to right to gradually get blurred effect about what works for me. I think maybe just a little bit softer. Yeah, I'll go with about 20%. But the nice way about doing it this way where I've set up the layer blend mode and I've done the blur is that if I come to my Hue Saturation and Brightness again, I can move my hue around because there are still a little bit of color in there. And I can blend it a little bit more naturally with that cloth background because that cloth background is well, it's kind of a beige color. So I don't want a kind of a warm red shadow. I want a shadow which is going to be kind of orangey hue. So it looks more like the kind of colors you would expect to see in the shadow, maybe about there. I can even increase the saturation a little bit like that if I want or decrease. This is going to vary depending upon what background you're doing. But the point I'm making is set your layer blend mode. Do you blur and then just play around with the color see gradually guide what you want into place too. I wanted a little bit darker. No, that's too dark. I'll go with about there. And I come up to my layers panel to commit to that. Just while I'm here, I set it to multiply. What does it look like with some other blend modes? Darken, not very nice. I'm losing some of the detail of the fabric. Color burn. That's too strong. And I'm getting those little dotty bits which I don't like. Linear Burn is too strong. Darker color is losing some detail. Normal just looks terrible. And so you can see I have various different blend modes here, but experiment around. And in this case, I find multiply suits the best, right? Last thing, let's rename this to shadow. That's coming up to our stone layer, create a new layer on top of it. And we're going to come to clipping mask. And for this one look, I could use paint brushes, but instead, I'm going to import another file, come to our wrench icon again and add a selected, and we want to insert a file. Now, what do I want? I'm going to come down to texture 2020. And I have textures like stone textures where I photographed with various different things. But it doesn't have to be a stone texture to create a stone effect. For example, I was playing around and I came to my skin's folder. And I came across this file, tile bull human's skin 01 blotchy. I will tap on that. It will get imported and there's the texture. It's basically a photograph I took of some skin and turned it into a tile. But also that is a nice texture for stone. I think it's looking a little bit small and fine for my needs, so I'll pinch out just on the outside actual file area. I'm just pinching out in that dark gray surround where all the squares are. And then I'll do what I did before. I will come to the top left blue dot, just where I'm circling. And I'll drag that out. And I'll drag down like this. Just to make that text should look a little bit bigger. I prefer the scale of that. Can I even make it a little bit bigger? Yeah, I'll go with that. I will come to my layers panel to commit to that. And you'll notice that that layer five, because I clipped it to the stone layer, you didn't see a huge square texture. You only saw the texture where the stone was. And that helps me to judge things a little bit better. But if you look at this, this is a mid gray texture. It's not perfect because we're stone is round and you would expect any textures which are on there to get a little bit more angled as you go to the edge of the stone. And I'll show you what I mean by that, by showing you what to do about it. Come to our transforms at the moment it's set to uniform. That's what I use to scale things. But just on the end there is a very useful feature called warp. And you know what, Just before I show you that, I'm going to turn off my cloth and I change my background color to any old color, but I want a plain background. So that when I do this, you'll see more clearly what it is I'm doing. I will come to warp. And you get this little cage of nine squares with dots just in the corners. Well, I can take those dots and I can move them in. Like if I come to the top right and I pull it in, can you see that text starting to distort as I do. And as I push this in, you can see the effect I'm getting what I want just around the top right edge of that stone. If I zoom in a little bit, you can see the texture starting to compress. And that helps sell the effect that this is a round stone. I'll do the same with the other corners. I'll post them in like this. I can also come to say this intersection here where I'm circling and I can pull that down as well. And if I take everything and just pull all the bits in, I'm guessing the effect which I laughter, which is the texture looking quite wide in the middle, but looking like it's going around as you get to the edges of the stone. In fact, these bits in the middle where you get two lines crossing. I can also drag those outwards like this to stretch the inside. And then I'll tap on my layers panel to commit to that. And I'm getting a much more 3D effect with this. It's kind of mid gray with some darker bits and some lighter bits. I made it that way because it is designed to work with contrast layer blend modes and find them. You come down from normal and you come down to well overlays the first one, then you get soft, light, hard, light, vivid Light, Linear pen add hard mix. These are all variations of the contrast layer blend modes. I'm basically with that mid gray turns invisible and the lighter gray is make everything underneath them lighter and the darker grays make everything underneath them darker. Look. I'll just choose Overlay and I'll leave it to that. And yeah, I think that works, but I want to do more. I want to build up various different bitmaps into a more complex stone shape. So new layer, clipping mask and come certifier. Now watch when I use with this, I think for this one, I will come to my stones. Know what should I use? Let's try puzzle 0 to d saturated. I haven't even downloaded this. You can tell that because there's a little white triangle in the top right along with an even tie the icon which says Come up, download me from iCloud. So I will do that. I'll make it bigger like this. I can come to this little green circle at the top which I'm circling and I can rotate it like this, which I'll be honest, I particularly well, yeah, maybe I'll give it a try and maybe around save that, come to my layers panel. Now, this is predominantly white with some darker bits. So I can come here and I suggest I use one that darkened layer blend mode. I'm going to take the opacity right the way down. Just fade in just a little bit, just a break at that service a little bit more. And it's by riding the opacity of one texture layer on top of another, you start to get more complicated effects. Now that I've done that, I'll turn the cloth layer back on so I get a feel of what it looks like on top of a semi real background. I quite like that. Just before I move on, I'll come to my actual stone layer and I'll do what I did before because this edge is looking very, very hard. Come to Guassian blur and hours before, I will just increase the Gaussian Blur just by just 2%. Just to soften that edge a little bit could even go to 3%. No, I won't, because eventually I'd like to have a whole load of different stones which I can put onto one file. And I'm creating them all on a square file, which is 2048 by 2048. So let's keep the boiler consistent two per cent. There we go. There's our basic stone. I've been talking for a while, so I will carry on with this in the next lesson. I will see you there. 6. Playing with Blend Modes: Hello, and we're back. Let's create some shadows and highlights for this stone. Before I do though, housekeeping, Let's rename call it texts 01, which stands for texture 010 to which stands for, we'll look, I'll let you guess what that stands for. Now, up until this point, I'm creating a stone and I'm starting to get something which looks quite realistic. But basically, I haven't done any painting at all. I've just been calling in textures based on photographs I've taken around my house and just converted them to black and white, drag those in, tweak them around to get the effect I'm looking for. Now, some people might call this cheating, to which I might reply, Oh, come on, get real. For starters, let's come and find a nice texture brush like Glover. If I tap on it and you see that the kind of effect you're getting, but the actual shape of it. Well, that's the shape and also that's the grain. They are both bitmaps. They are textures which from the look of it have been taken from real life. And you stamp that shape, for example, down several times to get look you're looking for. Well, what we've done with text and text to is exactly the same thing. But instead of painting with the texture in the form of a brush head, we've imported the textures and we've manipulated them to get the effect we want. This is a huge advantage of digital art. If I paint, I'm painting with real-world textures. And if I laid down textures like this, I'm doing the same thing, but instead I'm just importing textures and manipulating them to get the effect I want, but that won't automatically make things look good. You can do the same technique and make things look awful. It is the skill you develop with this technique, plus also the choices you make about what layer blend mode, how it blends in with other layers. These are all artistic choices you make if you can learn stuff like this, in addition to using paint strokes with your pencil or your finger, you're going to have a whole new tool set to create your art work with. Okay, and around. Let's create a shadow. For this. I'll create a new layer and come on, let's call this shadow. Now in the past, you saw me create a hard outline and then blow it for this. I'm going to speed things up a little bit just to show you a different way of working. I will do what I did before. I will come to clipping mask. I will set this to, well, that starts off with multiply. For my brush. I'm gonna come to my airbrushing. I'm going to choose my soft airbrush. I'm going to make it nice and big. Maybe about there. And I'm going to set the opacity low. I want to set it down to what say around about, around about 2425%. Now for the color, I'm going to stick my finger on my screen just where the circle is. And I'm just going to choose the same kind of blue and paint with that. And that will work because I'm painting on a layer which is set to multiply, which will make things darker, brush size set to maximum. And I'm just going to come down to the bottom left and to start making some soft brush strokes. And you can see it's starting to happen there. Paint a little bit lighter, just towards the center of my stone. I'll make my brush size quite a bit smaller now because I want a little bit just around the top left, because there will be just a little bit of shadow just in this top left area. I'm painting along the outline of my stone. I'm doing it this way. I can mix it up, like I'm coming down to the bottom right. It makes it a bit bigger. I'm just making things a little bit uneven around here. Just to give the impression that this isn't a completely round stone. I'm getting one or two little slightly deeper shaded areas because the surface of the stone is uneven, so the shadow won't be completely smooth and completely evenly spaced as you go around the stone. If I come to my shadows layer and just briefly, I'm going to turn off clipping mask and you can see where I've drawn around the outside. I'm going to create a little bit of extra there for me. I'm going to make my brush size bigger. Because, well, you'll see why I'm doing this in a little bit. So my clipping mask back on and that's my shadow. Now for the highlights, let's calm and rename my layer two highlights. I'm going to set this one to a lighter blend mode. I'm going to choose Add, which is a very, very strong layer blend mode, because what I want to do is gradually build up my colors. I'll come to my paintbrush. And I have been using materials which has a whole load of nice effects. They're like the noise brush might do the job. Come on, let's mix it up a little bit. Let's come to spray paints. Instead, I was using fat nozzle. Let's try let's try flicks and see what that looks like. Now for this, I've set it to add. Let's put the clipping mask on as my color. Let's choose different color. Let's try a slightly lighter version of that mid gray, just around maybe there. Now a pasty is set to what, between 3540 per cent my dress size. That will affect what the final look is like. Let's try it on our own. We know, Let's try around 12, 13% and start to draw. And that's quite subtle, but I'm getting, let's try upping the opacity a little bit more. Now, you're starting to see this. If I make another brushstroke That's looking a little bit large for me, so I'll two-finger tap once and two-finger tap again. I will make the brush size a little bit smaller and I'll come here. I'm just gonna go over everything like this. And then I'm going to come to my fat nozzle again. I will take the opacity way, way down. The size around what, 6% on my pasty is on around, well between 30, 35%. And because the light is coming from the top right, I'm just going to make this actually, you know what? Two-finger tap, two-finger tap again on my brush size, larger to around about 19%. Do this. Now you're looking at that thinking, Wow, that's a little bit of overkill, isn't it? Well, I've done it deliberately because what I'm working towards with the shadows and the highlights is the ability to create a number of different styles from this. So what I'm gonna do is come to my highlights and I'm going to create a mask. And I'm going to come and choose a black for this. I'm using the same brush and the opacity is set low. But now what I can do is just come around wherever I want and just get rid of these highlight areas like this. I've got rid of it mainly in the bottom-right, are moved towards center a little bit like this. If I write my brush size a little bit smaller, you can get a bit of a harder edge just on the edge of there. If make my brush bigger, I can get rid of a softer edge on the other side. But here's the thing supposing, I think, well, actually that's okay for one stone, but I'd like a bit of variety. I can come and instead of painting in black on my layer mask, you can paint it white and white reveals. So now I will come just where I can see that highlight. And I can gradually put in the highlight where I want it. So effectively I have one highlights layer, or by concealing or revealing bits of it. By using the layer mask, I can create all different manner of reflections. Anyway, that is my stone. That's the basics of it. And I do think I need to have fairly plain stones because the whole point of this is creating some stones to act as if you'd like a backdrop or a canvas for me to paint things on top of. And so while it is nice to create really highly decorative stones, sometimes you just need a fairly plain Canvas so it's not fighting with whatever it is you're painting on top. I've got my basic stone. I will come to my gallery and I will duplicate this. I will call it my duplicate. Let's play around with it. The shadows. Those could do with being just a little bit lighter. What about the actual stone layer itself? Maybe it could do with being a little bit brighter overall, which is so easy to do. Do I want a different color? Yeah, I can do a different color if I want. Let's play around with the saturation. That's fine. Do I want the highlight to be like it is, or do I want it to be a little bit more, not back. Well, I've got a choice. I can come on, let's move over to the side. I can reduce the highlight overall. So we're getting quite a subtle effect like this, or I can take it back up to full. I go to my layer mask and I can come to black and my brush. Fat nozzle is selected. You could use any brush and I can fade it out just in the areas where I don't want it like this. Now let's take a look at that shadow at the moment it's kind of a blue shadow. Can I do something with that hue saturation and brightness? You can see I can change the color of the shadow, which can give me some nice effect. Maybe to something like that. Looking at the little thumbnail on the shadow layer, well, actually that's purple, but because it's in a different layer blend mode and all these layer blend modes are interacting with each other. It doesn't look purple. It looks like a nice deep shade of that light green stone. And now here's a fun thing as well. If I come to the stone, the stone layer is where everything on top of it is clipped to. So if I come to my adjustments and come to liquefy, I don't want any distortion. I don't want any momentum pressures. Final Max, I just want push. And we're going to make my size nice and big. Watch what happens now? I'm just resting my pen on edge of the stone. And you can see, I can pull it around to what ever shape. I want like this. Maybe I want to slightly more egg-shaped stone like this. Maybe I want a little bit more here, a little bit more here, and a little bit more here. So I end up with a different shaped stone. Because I've done that. That means things like the shadows on the stone and underneath it are a little bit off because they were based on the previous shape. So I'll come to my shadow layer and repeat, come to liquefy same settings. But now I can adjust the shadows where it wants. I could pull it in a little bit so I get them all shaded area in some areas but not in others like this. A little bit around the top. Come back to my layers panel to commit to that, let's come to the shadow underneath, liquefy and I can pull the shadow around to where I want it to be. Come back to my layers panel. What else do we have? We have the highlights which are already covered by the Layer Mask. Let's see what happens with this. I can pull that around as well. I have a completely different shaped stones. Let's come to our gallery and duplicate that. Let's call it the duplicate of the duplicate. See what we can do with this. Underneath the shadow and the highlight layer, I will create a new layer which automatically gets clipped. I will call it my stone colors and come on. That's throw a little bit of vibrant color in there. Let's choose. Well, it says brown, but in my book that orange and make our stone colors invisible again, let's use a paintbrush, just wondering what spat would look like. Let's make it nice and big. And straight away with an orange color. We've got really a very attractive bit of marbling in there. Quick issue like and that's just set to normal. What happens if I start playing around with the layer blend mode? You can see almost every single layer blend mode off. Some of this stuff is nice. Almost every layer blend mode is giving me a different effect. Let's create another layer and let's choose, well, let's choose fat nozzle again. Let's call up our colors. Let's choose another color. Let's try, let's try a brown like this. It's a slightly different color to the one we chose before, but layer blend modes can shift that around, turn that off. And what we gonna do with this, Let's try. That's a bit too big for me. Let's make that a little bit smaller. Make sure the layer is where it's supposed to be. And let's just create I wanted to Strips. You'll notice when I'm doing this, I'm kind of trying to follow the contours a little bit of the side of the stone. Maybe vary the brush size a little bit to get one or two lighter areas in there. Let's try changing the layer blend mode for this and see what happens. Screen is looking rather nice colored dot au. Just look at some of this stuff. It's rarely, the possibilities are endless. Oh, look at that. And I can vary the opacity as much as I want. Like that. I can come to liquefy and this time I think I will do some distortion. I'll make my brush size a bit smaller. I can just push this around like this just to monkey around and create some interesting effects like this. Then. Alright, good. Well let's duplicate it. Let's change the layer blend mode. Pen light is giving me some rather interesting breaker perfect there. Let's come to liquefy, can make my brush a little bit bigger so that those two different wavy line layers aren't directly sitting on top of each other. There's a little bit of variation in there. Let's come to our hue saturation and brightness for the top one. And we can vary that around. Take a look at the brightness. Too dark to light. Hello Goldilocks, we're somewhere in the middle. Maybe play around with the saturation and play around with the layer underneath lot. By now you've probably guessed. I'm just having fun with this. There's so many different things you can do with this. Every single time you tried doing this, you will come up with something different. But also if you think about it, all I've done is made one or two wavy lines plus also shaded around the outside of the stone. This is easy. The rest of it has been important in textures. Having knowledge of how to do things on that is really the key to creating these various different effects. I can up the highlights, create a sharper highlight there as well. And you can see it's sitting nicely on top of those bands of color. I wonder what'll happen if I just come here and I just duplicate the entire layer so everything gets added that is way too strong. But what I can do is I can take that back down to 0 and increase it just by a little bit to just where I want it. I'll count to the top layer mask. I will come to block again so that I don't get too strong. An effect where I don't want it. Like just there for example. I did want to start out with a fairly simple stone so I can paint on top of, made it a little bit fancier and change the shape. And then really went to town with this. And then if I decide you know what, that's a bit too strong, just play around with the opacity of the layers to get the look I want. And this is all technique. It's not skill. And that you're spending a whole load of time carefully painting in all the shadows and highlights and all the textures by hand. This is knowledge when it comes to any art form, whether it's a traditional oil paints or whether it's digital art. Well, with oil paints, you need knowledge how to make sure your pigments, what pigments work well with each other. How to size a canvas, putting down thick paint on top of thin knowledge. With this, the knowledge or getting at is how to work with textures, how to work with layer blend modes, how to use the Liquify tool, the value of adjusting the opacity of your layers. You can create some pretty realistic looking style means if you take a look at my gallery, they all look different. Hopefully they all look good. Here's one I did earlier. And you can spend hours doing this. But by now, I think you certainly have enough to be creating your own stones. So now it's time to move on to think about what we're actually going to paint on those stones. So let's move on and I will see you in the next video. 7. Using Real Textures with our Stones: Okay. It's been about three weeks since I recorded the last video. And the reason being is I wanted to make the course better and give you quite a few more resources so that you have more things to play with. And so in this video, I'll show you one of those resources. But before I do, I made a mistake. This is pretty much where we left off in the previous video. And I wonder if you've figured out what it was. It's subtle, but it is there. If I come to my layers panel, I grouped all the various different layers that make up the stone into a group called stone. But it's not the stone, that's the problem. It's the cloth underneath because look, if and a little bit on the stone, we've mentioned this before. The direction of the light is coming from the top right down to the bottom left. But now, if I zoom right in on a cloth, that might be a bit difficult for you to tell, but the lighting the cloth is coming from the top left down to the bottom right. It's the wrong way round. So I'll quickly into center, I will select my cloth that I'll come to my transform icon and it's very easy to correct. All I do is come down just where I'm circling to where it says flip horizontal. And the whole thing flips over. Now the light direction is coming from the top right down to the bottom left, which matches what happens with the stone. So thank goodness, I realized that in the past three weeks. Otherwise, I'd never have forgiven myself. But I was talking about some extra resources. Let's take a look at the first of those. I've opened up my layers panel and I will open up my stone group. I come to the very top layer and I'm going to add an extra layer. Let's move this over a little bit so I can see what I'm doing. Then I will come to my wrench icon and then I'll come to insert a file. I have a folder full of grayscale images, which I will give to you. And let's choose one at random. Let's try say stone texture 04. Tap on that. And this is what you get. Basically, I took a photo of various stones. The stones that you would use forced own painting. And I played around with the texture around something called a high pass filter onto it and doing various different cloning operations. I've come up with variations of stone textures. Now these are designed to be used a certain way because at the moment you can see their grade. That's not much use to us, but let's do a couple of things to change. That. First thing I'm going to do is tap on the icon and come to clipping mask. And then the next thing I'm going to do is come to the little n which I am circling now to access my layer blend modes. Now, maybe I've mentioned this before on this course. I probably have because we'd been using layer blend modes a lot what we want now, other contrast layer blend modes, these grayscale images do not work too well with the darker colors. Well, they're not bad, but they make everything darker and they don't work too well with the screen colors because they make everything lighter. Although that might do as an effect in its own right. Now, what we want of a contrast layer blend modes, and the first one of those is overlay. There are several contrast layer blend modes, and the most useful ones tend to be overlay. Soft light, hard light, vivid Light, Linear Light Pin, Light, Hard Mix. Not so much. But let's go back to overlay. Now this new layer, this grayish stone layer with variations in dark and light where the cracks are, it's still a mid gray color with dark and light variations, but with any of the contrast layer blend modes made gray becomes invisible and look just very quickly. I'll take this back to normal. You can see most of that is mid gray, that all becomes invisible, but the areas which are darker like this crack here, which I'm circling now, when they are in a contrast layer blend mode, they will make everything underneath them appear to be darker, and the same is true of this lighter area here in the contrast layer blend modes, that area will appear to be lighter. So let's take this back to overlay. And if I make this entire layer invisible just for a second, There's my stone without There's my stone width. And you can see I'm getting dark and light of variations, which looks like cracks in a stone. So I'm getting an extra layer of realism here. Now there are a couple of things I can do with this. I can derive the opacity. So it's more or less visible. I can play with the different blend modes. Overlay is a good overall compromise. Soft lights is a bit softer. Hard light, as you'd expect, is a bit harder, and I'm not so keen on what it's doing in the shadow areas because I'm getting some light areas that I don't really like. Vivid light can work. Linear light can look, look. All of these blend modes can work, but it all depends on what it is you're combining them with. When you see a tutorial on YouTube which says use Overlay or Soft Light. It is worth playing around with the different blend modes to see what you can come up with because no two pictures are alike and hard light might work well with another picture. But for this one, I think overlay works best for me. Now, if I wanted it to be stronger, I can also swipe to the left and tap on Duplicate because you can stack blend mode on top of each other. Now if I decided that was too strong, I can always lower the opacity from anywhere from maximum down to 0. So if it's on 0, That's what we had a couple of seconds ago, but now I can dial in the intensity of the effect I want. So I've got a huge amount of control. But what I am going to do is I'm going to backtrack a little bit because there is one more problem with this, which I'm not keen on. I am going to swipe to the left on that new duplicated layer and I'm going to delete it. I'm also going to tap on my icon and turn off clipping mask because there's something I want to do with this. And in fact, look, I'll go the whole hog. I'll change this back to normal because this can give you some realistic effects. But if you take a look at that stone layer, it looks a little bit like a flat paving stone. But if I make it invisible, the underlying stone is rounded. And you can tell that because it's got shading in the bottom left and a bit of a highlight around the top right. So if I'm putting this which is flat on top of this, which is rounded, some of those cracks around the edges are going to be a little bit unrealistic. So this is what I'm going to do. I want to change this back to, well, I'll change it to one of the harder blend modes so you can see more clearly what I'm doing. And from there, I'm going to come to my transform icon. Now the little magic tool for this is just where I'm circling now, the warp tool. And you can see when I do that, I get a nine square grid laid over this entire layer, basically that box around every bit of the area which has pixels on. So if this layer was just a few pixels in the center of the picture, I get a much smaller box, as it is. My great texture covers the entire less so my surrounding box is also bigger. Look enough of that is the interesting bit. I'm going to come to that little blue dot in the top right-hand corner, and I'm going to drag it in. When I do that. What's happening is what it says on the tin. It's warping this layer and you can especially see it in those darker areas. Can you see just where I'm dragging in and out? The texture is getting compressed just around the shadow area of my stone. Look, I'll come to the one at the bottom left and you'll see it even more clearly now, I bet. Look at that. See. So I'm squeezing the texture into a more circular shape. And also the edges are getting more compressed than the center, but it's not just the corners I can move. I can move any of these points and look, here's a tip for you just where I'm circling now can you see advanced mesh? I'll turn that on. Now you can see the control points for every intersection of this mesh. So I can push the various control points in so they get close to the edge of my stone. Look like this. I can even take those central four dots and pull them out slightly. So I'm getting more of a rounded effect. And that means that this texture is behaving more high. You'd expect it to behave if it's wrapped over a rounded surface. The only thing I would say is be careful not to get too happy about this and start to cut into the mouth so that just that little bit which I've adjusted, the very bottom of the stone, doesn't have this texture on anymore. So I'll do that. And then if I just come to my layers panel, that will apply it. And if I turn that so it's normal again, that's what we've got. Instead of looking like a flat paving stone, it's starting to look more like a rounded stone surface. So that's like an extra layer. Realism. I must be careful when I do this. To turn clipping mask back on. Let's take a look before and after, before, after. And I'm getting a little bit more realism. And as before, I can play with the layer blend modes, but I'm finding things like hard light or Vivid Lights. Actually vivid light is not too bad. But hard light, I'm starting to get some little light flux in the shadow areas, which I don't want. I think for this case, overlay suits me fine. I might duplicate it. And yeah, I prefer that. That's a little bit strong for my taste, so I'll just fade it out a little bit. This second layer to get the exact effect that I want. So there you go, That's a little bit of the extra. And if I come to insert a file, I have 11 different stone textures which I came up with. Play with these for your various different stone designs on that score. This is a stone we were working on, but if I come to the gallery here of 15 different variations of stone, all done using the exact same techniques that I've shown you. And these will be made available for you as a download and you can use them as they are or you can play around with them. For example. This one here. I set it against a goal cloth background. But if I open up the stone, Let's try layer nine, which has given me some of those green effects. All I need do is come to hue saturation and brightness. Or what if I play with the hue a little bit? Yeah, I started to get some nice interesting effects. This is not a subtle stone, so I'll increase the saturation like this and you can play around with the brightness. And actually that is quite nice because it's starting to give me, well, have you noticed with certain stones which have a lot of say marble, they get just a little bit of depth to them, like you're looking into them a little bit. I can simulate that with this. And like I said, any color I want, and I can play around with the colors for any layer. Also play around with the layer blend modes. All the things that I've shown you how to do. Or it will be really nice to see some original designs because this technique is practically self working. Once you understand the concepts, these stones practically make themselves. So those will be sent off to you. And in the next video, I'm gonna show you the main thing I've been working on for these past three weeks, I hope you're going to like it, but you'll find out about that in the next video, and I'll see you there. 8. 72 Sketches to Play With!: All right, so we've got our stones now. It would be nice to have something to actually draw on them. Well, I think I've got you covered there because another thing I was doing over the past three weeks with some sketches for you to draw with. And maybe you can see on the video, I have 123456 files with doodles on 12 sketches per file. So that's 72 different things for you to draw it in case you can't think of anything yourself. Hopefully, that will keep me going for a while. Let's just call it one of these files. Let's try doodles. Buildings are 01. I'll just pinch and a little bit so you can see the whole thing. And let's quickly go over this. If I come to my layers panel, you can see I have my doodles, I have backgrounds, circles, and my background color, which is just a plain white like this. Okay, so what I'm showing you here is the procreate file. And for some reason this file is a lot of megabytes. So what I am supplying with you are PNG files. That's the doodles without the blue circles with a transparent background. So if you want this as a Procreate file, I will show you how to set that up. I'll come to my gallery. I'll click on my plus sign in the top right-hand corner. And I've come to this little plus sign here for the dimensions, while I've already got it set up here, this is in pixels and the width is 4 thousand pixels, the height is 3 thousand pixels. The DPI does not matter. Now are my few years old iPad Pro, this gives me a maximum layers of 40. That's gonna be plenty for me to do what I want to do. But you may have an iPad which is more powerful or less powerful. If it is less powerful, you should still have plenty of layers to be working with. That's why I chose the dimensions I did, the color profile. I've chosen Display P3, that gives plenty of colors to work with. So that's all I really need. So I come to create and there's my file. I will pinch and a little bit like this. And you can see all I have is a background color and layout one. The next thing I'm going to do is come to my wrench icon and I'm going to insert a file. This file is supplied to you. It's circles guides for k by three, k it as a PNG file. And I get this 12 circles in a four by three grid. If I come to my layers panel, you can see that as layer one. And yes, I'm gonna be naggy and I'm going to rename this two circles. Now the reason I've done this is because one, it helps with composition, but also you've got 15 stones to play with. You also have 72 sketches. And each one of those 72 sketches has got to fit on one of 15 stones. And so the reason I have these circles here is because if each of my sketches fits inside the circle, there's more chance that any one of the sketches I gave you to fit on the stone of your choice or one you've made yourself. What I will do though, is I'll take the opacity and I'll drag it right the way down because I just want that to act as a guide. Okay, so the next thing I will come and I will insert another file, because just down here, which one shall I do? Let's try doodles. Missed a 01, it's a PNG file. And that just drops straight in for me to start working with. If I just come to my layers panel, you can see inserted image and yes, we're going to treat neonates. Doodles. Look, I'm sorry, I know I keep on nagging you about this, but it does make your life easier. Anyway, you call up a file 4 thousand by 300. You insert the circles image to act as a guide. And then you can insert any one of the five PNGs to get this. And if I zoom in on one, let's try, let's try this one. You can see I've done a sketch. I didn't do finish line work. I did a sketch. Maybe you could drop that straight onto a rock and start working from there. But what I'm hoping is that you're going to draw over the top of that maybe some line work which is in your style. I'd like you to develop your style, but also I'd like you to practice with some line work because from other courses I've done, for example, on the solid foundations course, I try and stress the importance of good line work thick and thin. For example, using thick and thin to have fast lanes and slow lanes. And by mixing things up, that's when you're gonna get some interesting artwork anyway, very quickly, just before I move on to the next video, let's take one of these files and drop it onto a stone. So I'll come to my gallery, I'll come to my styles folder. Let's try. Let's try stone 11. I'm not going to tap to open it. I am going to duplicate it first because I want to keep my original stones without any artwork on there. So I'll take my duplicate, I'll drag it out of my stack and just drop it in here somewhere and open it up. Okay, So let's take a look at that ice cream cone we did, for example, I'm going to show you a little gotcha. Before I do though, let's make sure my stone group is closed and let's come to insert a file, not worry about it. Doodles Misko 01, this is the PNG file. Once you've done your sketching, you don't need the circle. So just come here, imported and o straightaway, we've got a problem. You can't see the sketches because they're brown against a dark stone. Oh dear, what a disaster. Look, it's not a problem. Look, I'll come here and I will just delete that layer. I will add a new layer. I will come here and I will flood the entire layer with white. Then I will drop down the opacity so I can just see the stone. Let's do it again. Insert a file, come down. What was it? Doodles, misc 01. Okay, so now I could drag out by the corners, but it's much easier to place my two fingers on that ice cream cone I was showing you earlier and pinch outwards that way. I can very quickly position it to exactly where I want. Say that for example, actually let me make it just a little bit smaller because there is a little gotcha. I want to show you top of my layers panel that commits to it. Now one thing I want to do with this is I want to use the warp tool, just a shape this around the stone a little bit before I start tracing it. But the problem with that is look, if I come to my Warp tool again, you can see the surrounding box is a little bit big. And the reason is some of the other sketches I did, I still there on the outside of that ice cream cone. So this is what I'm going to do. I will come to my Transform. I can use freehand or I can use rectangle. And I'm going to draw around my ice cream so only the icecream is selected. Now what I want to do is to clear everything, which is not that ice cream cone. But the problem is if I was to come to my layer and clear it now I've clearly ice cream cone. So what I have to do is come down to just where I'm circling and press invert. Now, everything apart from the ice cream cone is selected, which is what I want. So I can see my layers panel tap on the icon and come to clear. Now everything's gone apart from my ice cream cone, I'll tap on my Transform again to make it a little bit bigger. I'll come to uniform and do this. Then I will come to warp. I'm just going to try and make it bulge out with just a little bit. I'll tell you what, I'll come to advanced mesh so you can see all the nodes I'm using and just drag out just a little bit. You'd pinch in a little bit down here. What I'm trying to do is make my sketch sit on the stone. Because if you are painting over the top of the stone, the stone is ever so slightly curved, so I'm just trying to get my sketch to match that. Now in the case of this, well, you can see it's a fairly flat stone. But if I was to come to my gallery again, come to say stone 05, which looks much more rounded. And I'll do the same thing again. Create a layer flooded with white. Take the opacity down and I'll come and insert a file. And I'll do the same thing. I'll do that ice cream cone. Make it like this. Come to my selections, freehand, drag around like this. Invert. Clear. Now if I come to my transform on a warp, because that stone is really quite round. I might need to distort this a little bit more. Let's turn on advanced again and make it more of a rounded shape like. And also when I've done that, I might want to consider Liquify tool from my purse fairly large. I don't want to push it this sketch around a little bit just to give the idea that it's wrapped around that stone. Anyway, let's come back to my gallery because I'd rather work on the original look. You see, I've done it. I've made the exact state I was telling you not to do. I've drawn over my original stone 05. Now that might happen to you. So I'll show you what to do about it if it does, and it probably will just swipe left and duplicate your file. Let's take one of those files out of my Stones Group. Come back into my stones, open up my original stone five, and get rid of those layers. The reason I'm showing you that is because what looked, it was a couple of minutes worked for me. But imagine you spent an hour working on that one particular stone. You might panic and not know what to do with it. Anyway. There's our stone ready for painting. I will keep the layer 13, my white layer in place just while I do my initial outlines. But in the next video, let's start to ink this in, and I will see you there. 9. 06CreateSwatches01: If you're looking at this video and you're not on the rock art course. Don't worry. Because as part of the rock art course, I thought I'd do an extra treat and provide a few different color swatches. But then I thought, well, actually this is gonna be very useful for many of the courses I do with procreate. So this is a crossover video. So we've got a stone with a background, and you can see I've inked in an ice cream, which we want to paint on the stone. And so that's gonna be a case of blocking in which we'll come to, but also we need to choose some colors for it. And that can be a bit of a problem because well, warm colors do you use? And if I create a new layer just to draw on, let's try the medium airbrush that should be alright to show you, and I'll open up my colors. And one thing you notice people doing a lot is choose from this part of the color palette. For example, if I think, oh, I need a read while I come and I find a read and I think, oh, that's red and it's especially red up here. I'll draw with that because it's red and I want to read and you end up with a whole lot of colors that are way too saturated. Or you can end up with colors that don't quite go together. So what do you do? Well, if I come to my wrench icon, I'm going to insert a file and I've created a few swatches for you, which I will supply to you. For example, let's take a look at this one, color codes 01. If I zoom in a little bit so I fill my picture. What you've got here are a whole load of different color combinations. You'll notice hopefully that they're divided up into groups of say, six or five or in some cases close to ten. But the point is, according to color theory, these are colors that go nicely with each other. Let's take, for example, use two fingers to make this bigger by dragging it outwards. Take a look at this one. You have a mix of warm reds going through to some rather neutral colors in the middle, going through to some cooler blues. And so if you're confident that those colors go together, then those are the colors that you use for your compositions. And the theory goes, you have a whole load of different color combos here. But once you find the one that you like, I can come to my selection tool, the rectangle is selected and I will select those colors and I want to get rid of the rest. Now I will do that by coming to the layer and pressing clear. But my problem with that is that if I do that, oh dear, I've got rid of the wrong one. So two-finger tap to undo that, I will come to my selection again, which of course, de-select everything, but it's simple enough, rectangle select. And this time I'll come down to where I'm circling. And it says invert, tap on that. Now everything apart from the color swatch I want is selected. If I come to clear, everything else goes and I'm left with just this one Color Swatch. And that can be the swatch that I will use to get the colors for my illustration. Now at the moment it is plant right in the middle of my illustration. I do not need that, but that's not a problem. Come to our Transform tool and you can move it around by dragging. I prefer to do it by the outside and move it around. I'll turn off snapping. So I don't get those blue lines all over the place. But here's the thing. You might decide who I want to make it small so it doesn't interfere with my picture. I can just about get away with it, but just think about it. You have your rotation node at the top, which I'm circling, that little green one. And you can just rotate the whole thing around and move it to where you want to tap the Transform tool again. And there you go, there and my swatches. Okay, so a couple of things to note. If you look at these swatches, I've tried to give a little bit extra at either ends, all of the swatches arrived at darker or lighter. Every single swatch in every single group is going to have this feature. Now, I can work nicely, but supposedly I have saved the yellow there. Supposing I'm drawing and supposing I've got an extra layer which I want to draw with. Do a little bit of drawing like this, and then I cite, all right, let's get a little bit of deeper shade of this is making a life so it's easy. Thank you, Simon. Get a bit of a lighter bit there. I want the base color now. So the middle third, remember, is all the same base color and I can do that. And I can touch up the darker areas and lighter areas. But then I decide or actually get so happy about it that I end up covering nearly all of my darker area. And then I think I want the same deeper shade that I had before. So I put my finger on. But because this has graduated, you think, which bit was it? Was it this slightly deeper shade? Was it the slightly more subtle shade? I'm not sure. That can be a problem as it is within most of the color panels, you get the history where you get some recent colors. But if you're selecting a lot of different colors, eventually your original color might run off the end of the history panel. So this is what you do. 17, I will clear it. I'm going to choose my orange. Just make a little dot like this. Let's choose a different brush. Let's try medium hard, so I have a slightly harder edge. And then I choose, I want that particular shade, and I choose that as my deeper color. And then for my highlight, I don't want it quite as bright as I want it a little bit more subtle, like say there, and I do that. Then I think, well, what else do I want to go with this or I like that. Tilly color there. And I want just slightly shaded version of that. And as bright as I can get for the highlights, I make my own palette based on the swatches. And let's come and actually call it palate. Once I've chosen all the colors I think I'm going to use, well, I'll lock and make this invisible. So now I have all the colors I think I'm going to use for this particular drawing. The nice thing about it is supposing I'm zoomed in like this. I don't want to have to keep on dragging up like this, but because I have all my colors in a localized area, I can go to my transform tool and just move it down to the bit where I want to work and I can move around. I want to accidentally made it bigger or smaller. It doesn't really matter as long as the colors are all still intact by the head, which they should be allowed. I'm painting my ice cream. It'd be very certain that you choose the right layer. Now in the case of this, I'll have to create an extra layer for my underlying colors. And now I can just come in. I will choose a pen. Let's try just blocking in and supposing I want that color for the cone of the ice cream. I'm painting like this. Choose my shaded area there, and if I want a slightly deeper shade, I choose that. Now, I'm not working very efficiently. I will be showing you a more efficient workflow soon. But for now, this is the way you do it. And if you decide you want some blue ice cream, there you go, you're good to go. So I will clear that. So just quickly, where do I get the colors from? In the first place? I've just switched over to my desktop because I just find it easiest navigate around things like Chrome on a desktop as opposed to an iPad. And I've just googled color palette generator. And you can see I've got quite a few hits here. Now this one's a very popular one, coolers.co that's come to here. And I get something like this. I'll just lose this for a second and I will just get rid of this. This is very easy to do and it automatically generates color palettes for you. Let's try it. If I come to start the generator, I got a series of colors which are designed to go with each other. And if I press my space bar, I guess new version and a new version and a new version. Now supposing I say, oh, actually, you know what, I like that, What is it? Dark sienna, I can lock that one. Press the Space-bar again, had a new set of colors get generated for me, which is supposed to go with that dark sienna That's looking quite in your face. I quite like that. Let's lock this one as well. And then I can go through like this and then whichever ones I love will stay the same. Now supposing I liked that, but I think, you know what? I want to alter it a little bit. Look, there's a little thing here called adjust palette. And if I come here, I can make everything less saturated or more saturated. I can alter the hue around like this. The brightness, temperature, warm or cool. And I can have all loads of different variations of my original palette. Now once I find a palette, I like you can save things, but what I tend to do is just take a screenshot. In the case of a Mac, that will be Command Shift plus four. And I can take both of them. I can just do this, let go that will get stored on my desktop. So I can use that to sample my colors from. If you choose to go pro, amongst other things, you can have more colors on your palette at the moment, we've got 12345 different colors which are supposed to go together. Anyway. That's cool. As.co color palette generator, you can upload an image and get the color from there. Well, what about Adobe? You can do a similar thing here. And all analagous recovered that on the solid foundations course triad, yes, we did that complimentary split, complimentary, a lot of this on the solid foundations course. And you can move things around like this. And as before, you can save various different colors here. Or if you have a particular color you want to match, like supposing I have read 118 Greenwald more three, blue 96, our knee too much stuff to their you've just seen it happen. If I adjust this one, generate a whole load of other colors which go with it. That has gotta be useful. Again, you can save or you can take a screenshot of it and generate your color palette that way. In the case of this, if I want to get them onto my iPad, I can do that just by dragging and dropping my saved screenshot into iCloud, which you do get if you're using an iPad so you're sorted. Okay, I am back in Procreate and I think I will make a new file so that I don't get distracted and I'll come to the screen size. So I just have a canvas that's the same size as my iPad. I don't need anything bigger. And I will come to insert a file. And you remember I took a screenshot. Well, there it is. Screenshots, blah-blah-blah, and important. Those are my base colors and I'll show you how to do it in procreate. But there are other programs which make this a little bit easier. Things like Affinity Photo Affinity Designer, Photoshop? Yes, because with those programs you can specify gradients which makes your life just a bit easier. Also, if you're using vector shapes, you can edit the gradient at anytime so it speeds things up. But I can't assume you have any of those. If you do, I have tutorials for them, but what I will do is I will just create a new layer. Layer two, I come to my paintbrush and supposing I want that peachy color, I will just tap on it to select it like this. And I want a gradient, so you would think, well, okay, let's use a soft airbrush and gradually build up darker bits and lighter bits. But I'm not, I'm going to use the hard airbrush. I'm going to make my brush size nice and big. And I'm just going to create a solid band of color like this. Then I'm going to come and I want a shaded version of that. So I might come down like this and make a darker version. Common wisdom says you make it less saturated in the shadow areas because there's less light falling in the shadow areas. So colors get less saturated and put down a darker band down there. Then select my original color and I want a lighter version. Now I'm trying to keep the saturation fairly high by not moving over to this side. So maybe around about there, for example. And there's my lighter version. And look, it depends upon the calorie theory that you're using. Because if I choose my original color again, some color theory says that if you're going to make it darker and less saturated, you also want to make it a little bit cooler. So in the case of this, well, I have a pretty standard read, but I'll move it in towards some of the cooler colors like this. And maybe do something like that, that might be a little bit exaggerated, but I'm just trying to make a point. And similarly, if you're choosing a lighter color like this, you might move it more towards warm. I'm pretty sure would be based upon if you're painting on a sunny day because you've got the warmer light from the sun, which is a warm lights. If it's in shadow, you're still going to get some of the blue sky, which does give out a little bit of light reflecting in the shadow areas. So warm highlights, blue shadows. But if you're doing cartoony stuff, you might want to fairly saturated shadows for a more vibrant effect. If you're doing a Picture, moonlight with say, a shop window just to the side of a person's face, then you're going to get warm light on the person's face, even if it's on the shadow side. And you're gonna get some fairly cool highlights from the Moon, depending upon which way you want to paint it anyway. So what I do is on my new layer, I have my three bands of color. And then all I do is I come to Gaussian, a Gaussian or Gaussian blur and blur like this. And I'm starting to get these transitions. That's why I made this fairly big. Because look, I'm starting to get my image fading against that light background. There's always a risk. I'm gonna get a little bit of background pollution in these gradients. But supposing I wanted to say about there, that's 13% blur. There's no fixed number for this. All you need is the middle area fairly distinct. So you can always pick your base color plus a little bit of light and a little bit of dark. And all they do then is I just drag like this and then come to invert and then come to clear my layer. And I'm left with a color swatch, then repeat for all the other swatches until you fall asleep from boredom. Speaking of which, I think it's time to give you a break. We'll carry on in the next video. 10. Inking in our Ice Cream: Oh, carry. So I've got my file. I hope you've been following along and you've got to have very similar point. If not, just go back and review the previous video on how to set up something like this. It is good practice for you, but the next thing I want to do is to ink the whole thing in. Okay, So for that, I want to take my sketch layer which I renamed, going to fade it again like this. I've just got enough of an outline so I can see what I'm doing. And then I'm going to create a new layer. And I'm going to call this ink. Now for the color, I'm going to use black. You use whatever color you want. But black is a very common color with this, especially because eventually it's going against quite a dark background. So I need something that's going to stand out okay for the color. I know I said I was going to use black like that, but instead, I'm going to use a very dark gray. It's not really black, but not quite because I can do whatever sketch I want. It can be realistic in style or it can look very cartoony or stylized. But the stone itself on the background, while they're quite realistic. And so I want that cartoony or stylized picture that I'm drawing to look like it belongs on a fairly realistic stone. And if I'm doing that, unless someone's done quite a bit of touching up to a photo, you rarely if ever get a true deep black. So dark gray is what I want. Okay, so the next thing is, what Penn do I use? Well, I'm in Procreate, inking, brush set, and I have a load of pants here. Let's try a few of them out. Let's try mercury. Interesting but not really what I want. So double-tap to undo that, Let's take a look at some other, Let's look at basketball. That's not bad, but again, not quite what I want. Look, I did some experimenting around with this. And the closest one for my needs would either be the gel pen because people use gel pens. But the one I almost like was minsky occasions ski ink. There. If I zoom in a little bit, there's test stroke and it's nearly there. But my only problem with it is is that at certain angles, it's thicker than others. And that's not quite what I want. I want the thick and thin, but I don't want that ribbon effect. I want to try and get the effect that you get when you use a gel pen, which is going to be thick and thin ideally, but also a bit blobby rather than this ribbon effect double-tap to undo. Instead, I will come to my gives you and ski ink. I will slide to the left and I'll will duplicate it. And then I'm going to tap again on the occasions key ink come into my properties because there's two things I want here. I want to look at the shape and sure enough you can see I've got that oval shape. I don't really want that. So I'm going to come to where I'm circling now and I'm going to edit. I'm in the shape editor and I will tap on import. And I'll come to my source library that all the brush heads that Procreate supplies you with an all I want with this is gonna be this one here. Medium, round like this, and tap on, Done. Let's take a look at this. Now. That's giving me all the effect I want. I'm getting thick and thin, but it's a rounded, thick and thin. The owner other thing is, if I take a look at grain, Yeah, I've got a slight grain there. I don't want that. I just want this to be a simple, straightforward, thick and thin, with no texture inside the actual brushstroke. So again, come to edit and come to import. And again from my source library, I just want a straight blank file. That way there's no texture. I might just get a straight line like this. Now let me take a look at stabilization. I don't want any streamlining on it. I don't want any stabilization at all because I'm trying to emulate a hand working across the surface or stone. Now, if you've ever tried to do that for one thing, gel pens with a thick acrylic ink can be quite blobby and difficult to control. But also, I'm not drawing on a flat surface. I'm drawing on the surface of a stone. And if you've ever tried to do that or face painting, for example, you will know that it's very difficult to get a smooth line because it's very difficult to adapt your hand to the roundness over the stone or the roundness of a face. So no streamlining. Okay, Let's come to and give a test stroke with this. I have it set at eight per cent and those are knocked there as well. Let's give this a try. Yeah, that is giving me the kind of effect I want. And if I zoom in on that stroke, you can see I'm just getting a little bit of a soft blurry edge. That suits me fine. Because if you're a member, I made the edges of the stone is a slightly blurred because again, this is quite realistic and in a photo you never get a completely sharp edge. We spoke about this before. Anyway, I will clear this and I will turn on my layer 13 so I can see what I'm doing just while I'm here as well. This gives you an ski ink. I'd like to add that to my own brush set. So what do I have? Dc inks? I'll tap and hold. To wrap this up to where it says DC inks and isn't really difficult to do sometimes. But if I let go dearly go in there, no, of course it didn't. I bet anything there. Look, I don't know about you, but I find it very difficult to place in the brush set. I wanted to go to Come on, be nice. Yeah, there it is. Pigeon ski ink. I will tap on it. Come down to about this brush. Thank you very much, Jonathan Kaczynski. I will leave that there, but I will just call this landscape inc, adopted and done. Let's make a couple of test brushstrokes before I start. I created a little notch there at eight per cent. Is that the right size for this one? Here's a good idea. Let's first of all, clear my ink layer because I managed to put down a couple of blobby brush strokes there. But also, let's come down again. So I've got a dark gray, not completely black, and we're on the right layer, the ink layer. So let's do a couple of test brushstrokes. That's quite nice. But look if I zoom in just on the top of the ice cream and I do some thick brush strokes and some thin brush strokes like this. And I'm thinking, Oh yeah, this is looking really, really nice. But then if I pinch inwards to zoom to fit those brushstrokes which looked pretty thick. What I'm drawing up close, all of a sudden don't look quite as thick when you're zoomed out to the final viewing size. And so while I quite like 8% for some of the finer detail, maybe I want to try something a little bit bigger, maybe just even 12 per cent and give that a try. Here's my thick, There's my thin. Yeah. That's giving me the right amount of thick and thin, which I think is appropriate for this particular bit of ink work. If there was a lot of fine detail, I might use the 8%, but for this, I prefer 12 per cent. So I will come to my slider at the side, tough and my slider button. And I'll create another size at 12 per cent. So now I have two notches, and now for anyone drawing, I'll either use 12% or 8%, or if there's a lot of fine detail, I might create another notch on my slider on the left. But if I'm getting a bit happy with my slide on the left and varying the size all over the place. That's not mimicking what happens in the real world. Instead, I'd rather a lie on pressing harder or softer with my Apple Pencil to get the line thickness I want. Anyway, let's come to my ink layer and clear it. And let's make a start. So zoom in. At this stage, I'm not getting creative with a composition like how long the drips are on the ice cream. All I'm doing now is concentrating on getting some nice thick and thin lines. This is kind of designer, he tight work rather than splashing a load of color down on your canvas. And when you're doing design every type illustration, It's nice to have one bit of time to do one job. That's the sketching, and then another bit of time to do another job. This is the inking is, so let's come to the side of the ice cream first. And I'm going to make the outside of the ice cream quite thick. This is what's known as a key line. And often around the outside of an object or around the principal shapes. You do get a slightly thicker key line because it helps to separate out the shape from the background. That's not to say that I want the whole thing to be really thick and blocky. You can do that if you want. Make it fairly thick down the bottom. Now, I've already decided that the light's going to come from the top right to the bottom left to match it with a stone. So on the right-hand side, I might make this a little bit thinner because then you get the thicker key lines more in the shadow area. It helps to emphasize the effect rod here. Now what I will do is this sketch layer is looking a little bit indistinct, so I'll make it a little bit more visible. But now, look, I've got two shapes here. I've got the ice cream and I've got the ice cream cone. So in theory, I should have a fairly thick border there. But here's the thing. Look, if I come here and do this. Rarely I want thin around here because I didn't like that. I'll undo that, make it a bit bigger. Sometimes it's a bit difficult to talk and draw at the same time. But what I want is for the drippy bits of the ice cream to have a thinner line there because the ice cream is stretched out at that point. So I want my line to be stretched out to match that. If I wasn't talking to you, I brought in some fairly gentle background music and just concentrate on a few deep relaxing breaths to get into the right mindset because I want a steady hands do some nice sweeping lines. Let's do this. Bit thicker at the bottom because the liquid is moving slower at that point. And I want it to look heavier there, but a little bit thicker here, just in this corner. A little bit thicker here and around like this, a bit heavier in this corner. Rod like this. Now I've got some lines joining here, so maybe a bit thicker out here. Like that. Just while I'm here, there is a lip to the ice cream cone, which I'm going to make it a little bit rougher like this, just to suggest that slightly crunchy texture of the ice cream cone. There's my line. It's also an example of what I'm talking about when I say thick and fit, because part of the craft of doing thick and thin is knowing where to make it thick and where to make it thin, slightly thicker on the shadow side, slightly thinner, where you get these long running shapes like that big drip of ice cream. Because if you imagine the long bit of that drip of icecream is a first line. Just while I'm here though, before I carry on, I'm going to come to liquefy my brush size, pretty small. No distortion, no momentum, nothing like that. But what I want to do is just come to this bit of the trip to make it a little bit thinner at the top. Just to make that look more blobby. Because it was a little bit straight up, straight down, maybe just a little bit on this ice cream here. I'll go with that for the bottom of the ice cream cone or the top, whatever you call it, I want to do this now. The temptation is, and you saw me do it to slow down at that point where the drip is. There's no need. Come here straight through if you want to make it a little bit thinner on the sunny side because then I'm going to tap and hold on my Erase tool. I want to do that because I held down for just a short while. If I open it up, I get the same pen I'm drawing with as my eraser. And now I can come in. Rid of those lines. This is something you can't do in real life. You lay down some ink or some enamel paint. It's really difficult to get rid of it and you definitely can't get rid of it as cleanly as I've just done. But this is digital. You can do it, it's easy. And there's one or two areas around here. I think. Also, I wouldn't mind just taming one or two of these areas because I went over with my pen. Anyway, those are all the basic principles. I will speed up, then I'll draw this. And if I think of anything more important to say, I'll let you know. Otherwise, let's have a bit of background music. Okay, I've got to a certain point with this of two things to say. One is those little sprinkling bits on the ice cream. I added some extra ones there. And the other thing to say is, look if I make this invisible for a second and I make the sketch much more visible. There are certain things like say that crisscross pattern on the bottom of the ice cream. I didn't include it in my inking layer. And also, there's one or two extra little swirly lines on the ice cream itself, which I didn't include. And that's the point I want to make with this. I did these sketches to serve as a starting point for you to do your own designs. But if you want to add bits or take things away or change things, or maybe even combine two of the sketches into one. That's great, That's all good. You don't have to follow the designs that I'm doing. They're just there as a starting point, hopefully for something nice for you to do. Anyway. Now, let's take a look. I'll make my sketch layer invisible. I will also make my pale layer invisible. I can see what this looks like on the actual stone itself. And as soon as I do that looked very clear. Not quite so clear. Now bear in mind, this is going to be filled in with some bright colors. But by looking at my inking in, well, it's actually sitting on top of the stone. It's supposed to be going on. I get a better idea of what it's going to look like. And so there's just a couple of things I want to, I'll create a new layer and I'll rename this to extras. This is going to get merged down, so I didn't need to rename it. But what I am going to do is just to show you that just in this corner where this bit of juices dribbling down the ice cream. I'm going to come and I'm going to add just a little curvy bit there. In fact, now's the point where I'm making. I choose my 8% notch because I want this to be a little bit finer. And we're going to just add one or two little corners in just to strengthen certain areas. You do not have to do this. I'm just giving you an example of how you can vary the style. Just something extra for you to do. Okay, I've made those changes. I'll turn on my lighter light just for a second, just so you can see the difference in what I've done. And so if I turn off my extras layer, that was it before. And that's it with just some of those corners filled in and contoured off. You don't have to do this. And it's just an extra tool in case you want to develop your own style. Anyway, for this extra layer, I'm just going to merge it down. Turn off my layer 13. That is now LinkedIn, hopefully with some useful tips for you along the way. The next thing is, well, we want some colors. I'll see you in the next video. 11. Welcome to Swatches!: If you're looking at this video and you're not on the rock art course. Don't worry. Because as part of the rock art course, I thought I'd do an extra treat and provide a few different color swatches. But then I thought, well, actually this is gonna be very useful for many of the courses I do with procreate. So this is a crossover video. So we've got a stone with a background, and you can see I've inked in an ice cream, which we want to paint on the stone. And so that's gonna be a case of blocking in which we'll come to, but also we need to choose some colors for it. And that can be a bit of a problem because well, warm colors do you use? And if I create a new layer just to draw on, let's try the medium airbrush that should be alright to show you, and I'll open up my colors. And one thing you notice people doing a lot is choose from this part of the color palette. For example, if I think, oh, I need a read while I come and I find a read and I think, oh, that's red and it's especially red up here. I'll draw with that because it's red and I want to read and you end up with a whole lot of colors that are way too saturated. Or you can end up with colors that don't quite go together. So what do you do? Well, if I come to my wrench icon, I'm going to insert a file and I've created a few swatches for you, which I will supply to you. For example, let's take a look at this one, color codes 01. If I zoom in a little bit so I fill my picture. What you've got here are a whole load of different color combinations. You'll notice hopefully that they're divided up into groups of say, six or five or in some cases close to ten. But the point is, according to color theory, these are colors that go nicely with each other. Let's take, for example, use two fingers to make this bigger by dragging it outwards. Take a look at this one. You have a mix of warm reds going through to some rather neutral colors in the middle, going through to some cooler blues. And so if you're confident that those colors go together, then those are the colors that you use for your compositions. And the theory goes, you have a whole load of different color combos here. But once you find the one that you like, I can come to my selection tool, the rectangle is selected and I will select those colors and I want to get rid of the rest. Now I will do that by coming to the layer and pressing clear. But my problem with that is that if I do that, oh dear, I've got rid of the wrong one. So two-finger tap to undo that, I will come to my selection again, which of course, de-select everything, but it's simple enough, rectangle select. And this time I'll come down to where I'm circling. And it says invert, tap on that. Now everything apart from the color swatch I want is selected. If I come to clear, everything else goes and I'm left with just this one Color Swatch. And that can be the swatch that I will use to get the colors for my illustration. Now at the moment it is plant right in the middle of my illustration. I do not need that, but that's not a problem. Come to our Transform tool and you can move it around by dragging. I prefer to do it by the outside and move it around. I'll turn off snapping. So I don't get those blue lines all over the place. But here's the thing. You might decide who I want to make it small so it doesn't interfere with my picture. I can just about get away with it, but just think about it. You have your rotation node at the top, which I'm circling, that little green one. And you can just rotate the whole thing around and move it to where you want to tap the Transform tool again. And there you go, there and my swatches. Okay, so a couple of things to note. If you look at these swatches, I've tried to give a little bit extra at either ends, all of the swatches arrived at darker or lighter. Every single swatch in every single group is going to have this feature. Now, I can work nicely, but supposedly I have saved the yellow there. Supposing I'm drawing and supposing I've got an extra layer which I want to draw with. Do a little bit of drawing like this, and then I cite, all right, let's get a little bit of deeper shade of this is making a life so it's easy. Thank you, Simon. Get a bit of a lighter bit there. I want the base color now. So the middle third, remember, is all the same base color and I can do that. And I can touch up the darker areas and lighter areas. But then I decide or actually get so happy about it that I end up covering nearly all of my darker area. And then I think I want the same deeper shade that I had before. So I put my finger on. But because this has graduated, you think, which bit was it? Was it this slightly deeper shade? Was it the slightly more subtle shade? I'm not sure. That can be a problem as it is within most of the color panels, you get the history where you get some recent colors. But if you're selecting a lot of different colors, eventually your original color might run off the end of the history panel. So this is what you do. 17, I will clear it. I'm going to choose my orange. Just make a little dot like this. Let's choose a different brush. Let's try medium hard, so I have a slightly harder edge. And then I choose, I want that particular shade, and I choose that as my deeper color. And then for my highlight, I don't want it quite as bright as I want it a little bit more subtle, like say there, and I do that. Then I think, well, what else do I want to go with this or I like that. Tilly color there. And I want just slightly shaded version of that. And as bright as I can get for the highlights, I make my own palette based on the swatches. And let's come and actually call it palate. Once I've chosen all the colors I think I'm going to use, well, I'll lock and make this invisible. So now I have all the colors I think I'm going to use for this particular drawing. The nice thing about it is supposing I'm zoomed in like this. I don't want to have to keep on dragging up like this, but because I have all my colors in a localized area, I can go to my transform tool and just move it down to the bit where I want to work and I can move around. I want to accidentally made it bigger or smaller. It doesn't really matter as long as the colors are all still intact by the head, which they should be allowed. I'm painting my ice cream. It'd be very certain that you choose the right layer. Now in the case of this, I'll have to create an extra layer for my underlying colors. And now I can just come in. I will choose a pen. Let's try just blocking in and supposing I want that color for the cone of the ice cream. I'm painting like this. Choose my shaded area there, and if I want a slightly deeper shade, I choose that. Now, I'm not working very efficiently. I will be showing you a more efficient workflow soon. But for now, this is the way you do it. And if you decide you want some blue ice cream, there you go, you're good to go. So I will clear that. So just quickly, where do I get the colors from? In the first place? I've just switched over to my desktop because I just find it easiest navigate around things like Chrome on a desktop as opposed to an iPad. And I've just googled color palette generator. And you can see I've got quite a few hits here. Now this one's a very popular one, coolers.co that's come to here. And I get something like this. I'll just lose this for a second and I will just get rid of this. This is very easy to do and it automatically generates color palettes for you. Let's try it. If I come to start the generator, I got a series of colors which are designed to go with each other. And if I press my space bar, I guess new version and a new version and a new version. Now supposing I say, oh, actually, you know what, I like that, What is it? Dark sienna, I can lock that one. Press the Space-bar again, had a new set of colors get generated for me, which is supposed to go with that dark sienna That's looking quite in your face. I quite like that. Let's lock this one as well. And then I can go through like this and then whichever ones I love will stay the same. Now supposing I liked that, but I think, you know what? I want to alter it a little bit. Look, there's a little thing here called adjust palette. And if I come here, I can make everything less saturated or more saturated. I can alter the hue around like this. The brightness, temperature, warm or cool. And I can have all loads of different variations of my original palette. Now once I find a palette, I like you can save things, but what I tend to do is just take a screenshot. In the case of a Mac, that will be Command Shift plus four. And I can take both of them. I can just do this, let go that will get stored on my desktop. So I can use that to sample my colors from. If you choose to go pro, amongst other things, you can have more colors on your palette at the moment, we've got 12345 different colors which are supposed to go together. Anyway. That's cool. As.co color palette generator, you can upload an image and get the color from there. Well, what about Adobe? You can do a similar thing here. And all analagous recovered that on the solid foundations course triad, yes, we did that complimentary split, complimentary, a lot of this on the solid foundations course. And you can move things around like this. And as before, you can save various different colors here. Or if you have a particular color you want to match, like supposing I have read 118 Greenwald more three, blue 96, our knee too much stuff to their you've just seen it happen. If I adjust this one, generate a whole load of other colors which go with it. That has gotta be useful. Again, you can save or you can take a screenshot of it and generate your color palette that way. In the case of this, if I want to get them onto my iPad, I can do that just by dragging and dropping my saved screenshot into iCloud, which you do get if you're using an iPad so you're sorted. Okay, I am back in Procreate and I think I will make a new file so that I don't get distracted and I'll come to the screen size. So I just have a canvas that's the same size as my iPad. I don't need anything bigger. And I will come to insert a file. And you remember I took a screenshot. Well, there it is. Screenshots, blah-blah-blah, and important. Those are my base colors and I'll show you how to do it in procreate. But there are other programs which make this a little bit easier. Things like Affinity Photo Affinity Designer, Photoshop? Yes, because with those programs you can specify gradients which makes your life just a bit easier. Also, if you're using vector shapes, you can edit the gradient at anytime so it speeds things up. But I can't assume you have any of those. If you do, I have tutorials for them, but what I will do is I will just create a new layer. Layer two, I come to my paintbrush and supposing I want that peachy color, I will just tap on it to select it like this. And I want a gradient, so you would think, well, okay, let's use a soft airbrush and gradually build up darker bits and lighter bits. But I'm not, I'm going to use the hard airbrush. I'm going to make my brush size nice and big. And I'm just going to create a solid band of color like this. Then I'm going to come and I want a shaded version of that. So I might come down like this and make a darker version. Common wisdom says you make it less saturated in the shadow areas because there's less light falling in the shadow areas. So colors get less saturated and put down a darker band down there. Then select my original color and I want a lighter version. Now I'm trying to keep the saturation fairly high by not moving over to this side. So maybe around about there, for example. And there's my lighter version. And look, it depends upon the calorie theory that you're using. Because if I choose my original color again, some color theory says that if you're going to make it darker and less saturated, you also want to make it a little bit cooler. So in the case of this, well, I have a pretty standard read, but I'll move it in towards some of the cooler colors like this. And maybe do something like that, that might be a little bit exaggerated, but I'm just trying to make a point. And similarly, if you're choosing a lighter color like this, you might move it more towards warm. I'm pretty sure would be based upon if you're painting on a sunny day because you've got the warmer light from the sun, which is a warm lights. If it's in shadow, you're still going to get some of the blue sky, which does give out a little bit of light reflecting in the shadow areas. So warm highlights, blue shadows. But if you're doing cartoony stuff, you might want to fairly saturated shadows for a more vibrant effect. If you're doing a Picture, moonlight with say, a shop window just to the side of a person's face, then you're going to get warm light on the person's face, even if it's on the shadow side. And you're gonna get some fairly cool highlights from the Moon, depending upon which way you want to paint it anyway. So what I do is on my new layer, I have my three bands of color. And then all I do is I come to Gaussian, a Gaussian or Gaussian blur and blur like this. And I'm starting to get these transitions. That's why I made this fairly big. Because look, I'm starting to get my image fading against that light background. There's always a risk. I'm gonna get a little bit of background pollution in these gradients. But supposing I wanted to say about there, that's 13% blur. There's no fixed number for this. All you need is the middle area fairly distinct. So you can always pick your base color plus a little bit of light and a little bit of dark. And all they do then is I just drag like this and then come to invert and then come to clear my layer. And I'm left with a color swatch, then repeat for all the other swatches until you fall asleep from boredom. Speaking of which, I think it's time to give you a break. We'll carry on in the next video. 12. Creating Swatches: So finally, let me show you what I've got for you. I will come to insert a file. Well, you already saw color-code 01. These are various color combinations I got from websites like the ones I've shown you, what I went over to my desktop. Let's make that invisible. So as a file at acrylic pen 01, these are colors. I've got some of the exact kind of acrylic paint sets that people buy in-order to paint rocks with. And so if you want your rock art, look fairly convincing, well, you can make a start with these colors. As you can see, they are for the most part, pretty bright. Alright, so make that invisible. Gold and copper. These are various different shades of gold and copper. The three on the right, will they have copper tones, the six on the left, those you gold tones. I sampled various shades, golden copper from various different photographs. And rather than having amid third, which is your representative color with a little bit of a light and a little bit of dark at the bottom, I've done a more continuous set of shading so you can pluck out the colors that you want. And here's 1. I did want to make a lot of times when people are using swatches, they want to know what is the definitive set of gold terms or copper times or here's my favorite, what are the definitive set of flesh tones? And if I use the perfect set of flesh tones, I'll get perfect flesh colors in all of my paintings. He doesn't work like that. You'll find certain color swatches, which will give you a wide variety of flesh tones that people expect to see. But there is no one size fits all for flesh tones or for these gold tones here. Just while we're on the subject. And if I come to my color pallets, there we go. There is little plus sign at the top where I can create a new palette or I can go to New from camera on you from File and New from photos. Alright, well let's try that. And I will choose, say, the Fed what I'm circling now, I'll tap on that and look here. I've got palette from image. Some people think, Oh, this is really useful. It's so quick, it's so convenient. I do not like that one bit. I've got a representative set of colors from here, but I don't know which colors belong to which and procreate has made an effort to group them together. You can see some blues together or some reds on the bottom together. But I don't know which colors belong to, which I think a much better way of doing it is, is to, well, in this case, I'll come to insert a photo. I will choose the exact same photo. There it is. Those are all cars I want to sample from. One I'll do is I will duplicate this and then I recommend you do this if you're sampling from photos, I'm going to come out, we're going to do a Gaussian blur of one, maybe 2%. Just a blur ever so slightly. Now, why am I doing such a weird thing? We'll let, let's come to say this. A visor here. That's my son. If I come to say that offers helmet. And the point I'm making here, when you take a photo, all those areas of color like a clear blue sky or the top of his helmet, for example, you think, well, it's a smooth color so I can sample from anywhere inside that. But if I see him a ride up close and personal, hopefully you can see this on the screen recording supposing I sample my color from there. Okay, That's my definitive color. For the top of his helmet. Will look. If I come and I sample just from a little bit off to the side, I'm getting a slightly different tone. Because in a digital photo, you rarely, if ever, get a completely flat set of pixels to represent an area of color, I would say when you sample your colors to make up your palette, you may think you're getting the definitive gray of the helmet, for example. But he may get these slight drifting color, which could throw you off a little bit. If you compare that with a top layer, which I did a slight Gaussian blur on. You see how everything gets smoothed out. So you're more likely to get a representative color of your slightly blurred image. Now I think I set my Gaussian blur to 2% because I wanted to be sure to illustrate this point. If I was doing this in real life, I would probably do it one per cent blurred. Because if you come down to this bit here, you can see because it blows. Take a look at that highlight which I'm circling now. Not blurred. Blurred. If you blow it too much, you start to merge the colors together. You can end up with losing some of the brightest or the darkest points of where you're assembling your colors from. Like, okay, so I've got this. Now suppose I want to say some of the purples off that jacket in the foreground. That's easy enough. I come to my palette, I'll create a new pallet. And supposing I want to say that I think that is the brightest of violet I'm going to get, I just tapped in my top left slot of my new palette and it's there. Now I can, when I choose another color, Let's choose a slightly darker version there. Tap in slot next to it, choose another darker version, tapping slot next to it. Choose another version, tapping the slop next to it. Is there anything darker? Is that darker? Yes, that's darker. So now I have five colors which I think are representative of the color range of that violet. You compare that with a palate below where you can see the violet colors, but they're all over the place. And I'm not sure if this one I'm not sure why that was actually taken from. I mean, look, I can use the bottom palette. It's got some colors in there which are nice, but I prefer the control of actually importing my photo, blowing it slightly. I'm pulling the colors that I know are representative of the violet on that jacket, for example. I want to get rid of these two. I'm going to come to my palette again, and I'm gonna get rid of that one. I don't like it and the one on top well, I may add to it at some point, so I'll keep it there for now. But you can see I've defined a few palettes that they can be useful. But supposing my iPad crashes, supposing I get a new iPad and I forgot to backup my color palettes. At some point, I may end up not having these color palettes, which I've spent a long time creating. And then supposing I call a picture which I've painted before. And I think, oh, I don't know what colors I originally used to get those beautiful light and shade tones which I got. But if you do it this way, a series of color swatches, you can keep your color swatch with your actual file so you will never lose that palette again because it's on a layer within the file called the layer, whatever you want. And here's the other thing as well. What he saw me do it here, I chose them a lighter and darker shades of that violet jacket and I stored it all my new palette which I've just created. But with the swatches I've got now, I can incorporate the lighter and darker shades plus all the shades in between. And so instead of having five shades of violet, for example, with this, I have a continuous gradation from my lightest, warmest highlights through to my orangey mid tones, through to my more brown shades. And as we saw before, I can choose any of the points there and create my new palette on the spot to draw my colors from. Okay, Let's pinch out a little bit because certain none or file the rock hue strips. The first nine are all directly sampled from photos of stones. And you can see, I've got some really nice gradations going on there. You can see the little dots in the bottom right-hand corner. Those are the actual colors which I turned into the gradients that you can see. Now the swatches from ten to 18, that's where I started mixing some colors from one of those little set of five dots on top of each other. And the mid tones might be from another of those five little tone sitting on top of each other. So you've got those kind of variations, make that invisible and we will insert another image, the Golden Age color strips, the golden age of illustration, that's children's illustration. Think late 1800s, early 1920s. It's called the Golden Age because people took a lot of time illustrating. And these are a whole set of color strips are sampled various different colors. Take a look at number 13, for example. You'll notice that the darker greens are really quite cool, but the lighter greens go through to a much more yellow green. I may not have thought to do that if I'm doing my standard color theory, but that slight drift in the hue as you get through towards the lighter tones, that can look very, very nice. And the final one, this is one I hope you're going to be happy about. These are oil paint swatches. If you go searching on the Internet, you can find the red, green, and blue color values for each manufacturers paint, like for example, cadmium red light, as with a lot of the other swatches, the mid third is the actual hue. What I've done is provided a neutral, slightly desaturated shade plus a tenth or the lighter area for every one of these swatches where I've tried to keep the saturation high. I've chosen what I think are probably the most popular colors that you get for oil paints. And if you're into oil paints, I have this enough here to put a smile on your face. I have three columns. The column on the right is the various different neutral tones, silver Davies gray, Payne's gray, and what have you, the left column with the cadmium red and using yellows and whatever. And you'll mid column with your burnt sienna and your cobalt violet and two different versions of Prussian blue. Those are your hue pigments. And supposing, for example, you're choosing cadmium orange. As I said, the highlights and shadows are fairly neutral than either warm or cold. But what you've actually got here is a color wheel which has been compressed into two columns. Now let me show you this. I'll make this invisible and I'll import the file that this was based on. This, it has a color wheel and I arranged it according to the red, green, and blue color values in terms of warmer colors and cool colors. Now there's always gonna be a little bit of debate over what is the coolest color, what is the warmest color? But for my purposes, I've called phthalo turquoise as the coldest color. I've chosen cadmium red light as the warmest color. The way this works is you've got your various different shades and tints. Now supposing I'm using cadmium red and I want a lighter color or a tint of it, but I want it to be warmer. In that case, I'm going to start heading towards the warmest color, cadmium red light. And every step around this clock is gonna give you a slightly warmer highlights. So if I choose cadmium red as my base color and then I think, Oh, okay, I want a warmer highlights. I might choose the bones yellow tint. Now supposing I've got cadmium red and I want a cool highlight, in which case I would go anticlockwise. Maybe I want to say a permanent magenta highlights the same thing with the shade supposing I've got cobalt blue, but I want a warmer tint. Might come around and I might choose the deepest shade from cobalt violet because I'm heading towards the warmest color around the wheel. That's the way the wheel works, but that just takes too much space. And I kept on adding some extra bits like the flesh tint or the sap green. And so I've taken that and I've condensed it into two columns. If you're on the left column with the academy and reds and yellows, and you want to make things cooler, go down. If you've got a color there and you want something warmer, go up. The same thing for the middle column supposing I've got permanent magenta and I want to cool a tint for that. Or the lighter, I go down and maybe choose ultramarine blue. Now there are a few words of caution here. The first thing is that digital paint does not behave or mixing the exact same way as pigment paint without going into the reasons. Pigments and digital code different things. The second thing I've tried to get these as accurately as possible to how things appear in the real-world. That will depend on what kind of light is shining onto the picture and how much light is shining onto the picture. And the second thing, I've got two versions of Prussian blue here because I saw what the official manufacturers, red, green, and blue values were for Prussian blue on my reaction was why, you got to be kidding, that's nothing like the Prussian blue. I know and love. And so I've included it here, but I've also included another version of Prussian blue, which I thought was more similar. The Prussian blue that I learned all those years ago. So if you do the same thing and you're looking at this thinking, I'll come on, you gotta be kidding me. That's never permanent rose or Alizarin. I'm sorry. I did the best I could. This is wrapping up my series of videos about color swatches, all the swatches I've shown you apart from the color wheel swatch, you will get us downloads. They took a long time to do so. All I would ask is that please don't pass them on to other people. Let's keep these unique to the courses I do. Those are the color swatches you've got plenty to get on with. And I hope they're really going to help you when you ask yourself, what color can I use here? Okay, Let's move on. 13. Block in our Ice Cream: Okay, so we've got our rock, we now have our line drawing as well. So let's start adding some color. Just before I do though, I'm going to come to my layers panel. And there's a couple of layers here. I just want to get rid of my sketch layer. Well, I'm not using that anymore, so I will slide to the left and delete it. And that layer 13, which I use to position my sketch, I can go as well. So slide to the left and delete. Okay, So let's color it in. I need some colors to color it in width. So let's come to our actions panel and insert a file and use one of the swatches that I was talking about. Well, for this lesson, I'm going to show you a very simple method. So let's get some straightforward colors. Let's come to acrylic pins 01, and let's position this just somewhat out of the way and maybe make it a bit smaller by pinching in with my two fingers and moving around to where I want it to go. So maybe about there. Now I can see all of the ink outline, but I also have my colors. Okay, so the next thing I'm gonna do, I'm gonna create another layer and I'm going to rename this to palette. Now the reason I've done the pilot is because for reasons I discussed in previous videos, you can move it around when you're zoomed in. But also, I'm gonna do your typical ice cream color, kind of a creamy color. And I can see three or four different swatches there that might do the job, which is nice, but supposing I'm in the middle of my painting and I want to come back and I want to select the same color. And that is the exact point where I realized I can't remember which are the four swatches I was using. And I know I'm gonna do that for a fact because when I was doing a practice run for this tutorial, that happened to me. So let's create an actual color palette. I can always come back and add to the palette later. For now. Okay, What brush am I using? When you're doing palettes? Don't bother with soft airbrush as you'd get something fairly hard edged. So what do I want? Just double-check. Yes, I'm on my palette layer. Well, I think for the ice cream, I think this color here which I'm sampling, I can try that. In fact, I could do something, he'll blow a little bit lighter, maybe there. And this is another reason it's a good idea to do a pilot. Look if I come down here in the middle where it's all the same color, that's fine. But I want something a bit lighter about there. What are the chances of me finding that same color? Not very good. So what I've done that I managed to get myself, I'll kill myself the standard color there, although there's not much difference. And I'll come down and I'll choose the darker version that I'll also choose a bit of a highlight color, just slightly off white, and I'll put that there while I'm here. What about the cone underneath? Well, let's try this orange brown at the top. Let's try some of that fat. Let's make it a little bit, a tiny bit darker. I'll put that there. Let's get the darker shade of it. Let's get a bit of a highlight there as well. For that source tripling down, I think I'll go for the very first one on my list. I don't know about you, but when I was younger, it was always raspberry flavored source. So let's get a sample for that. In fact, can I get something a little bit darker than that on top? I definitely want to highlight here. Let's just drag this down a little bit. See what I'm doing maybe about there. And that little flake of chocolate. Well, I've got the brown here. Let's just try us down the brown. One. Dipa. Yes, I do. A little bit lighter as well. Chocolates, not very reflective, so I don't need a particularly bright highlight, but come on while I'm here, That's just play safe. Alright, so now I make my levels in invisible and these are the colors I'm going to use. I'll come quickly to my transform icon and I will just move them off to one side so I can see what I'm doing. Okay, so the next thing is getting that color where I need it to go. I said the first thing I'll do is I'll come to my ink layer and I will create a new layer, but I will drag my layer underneath and rename it to be 0 while because I can't be bothered to write block 01. But whenever I see BL unknown, it's a block layer. Alright, we'll look, I'll start with the ice cream. And the obvious thing to do is to select my color. When you're blocking in, you want a hard brush. You don't want to mess around with anything else. And I can come in and just check my brush size that's way too big. Let's take it down to around about that fully solid as well. Yeah, that seems about right. And so the next thing I can do is just come in and start drawing in like this. I'm painting in all the areas where I want this particular color, which is going to take a long time. So let's choose another way. I'll double-tap to get rid of that. Now one thing I can do is imagine I was drawing around the area. I draw a circle like this, and then I come up and the current color is shown right up in the top right hand corner. And I can. Tap and hold and drag and come down to here and fill in like that. That's another way to do it after you traced around the outline. But there is another way of doing this as well, just a tiny bit more involved, but it will save you time in the long run. And that is by using something called a reference layer. So I will double-tap to get rid of that. Come to our ink layer, tap on the icon. And just here you can see something called a reference. That means the ink layer is now a reference layer. So any other layer, like the BL 01 will refer to the ink layer when you're doing the flooding. And what does that mean? We'll look, I'll do the same thing. I will come and I will drag and I will flood into this area here. And the flood spreads outward from where I dropped the color until it meets a border. I'll double tap to undo that. If I didn't have the ink layer as a reference layer, and I came to my blogging and layer and I did the same thing. The entire layer gets flooded. I do not need that. But because we have the reference layer are blocking in layout is referring to the ink layer because the ink layer is the reference layer and the ink layer is telling the flood how far it's allowed to go before it has to stop. And that is wherever there is a border in the ink layer. So you get this effect. Now you may be thinking great. And yes it is, it's very, very useful. But there are a couple of things I want to tell you about this. I will zoom right in on this area here. This time what I drag my color into flood the area. Look at what it says at the top of the screen. While I flood, I leave my finger on the surface of the iPad. Okay. Don't remove it because it will be sliding it from left to right in just a minute. Color drop threshold thirty-seven point three per cent. This describes how tolerant the flood is when it's flooding. Let me show you this. If I come and take this right the way down, can you see as I do, there are certain bits around the outline which are no longer being colored in. Take a look at the area I'm circling at the moment, and I'll bring up my threshold again by dragging with my finger or my pen to the right. Can you see how it gradually fills in like that? That's because the high of a threshold, the happier the floodgates about how much it cuts into the borders of where it's allowed to go. So if I let go, okay, well that worked nicely, but supposing, I wonder if this is going to work, moves across. I will flood and I'll keep dragging up and up and up and up till eventually, yeah, there. If I get to a color threshold of a 100 mile flooding is so happy that it's flooding everything, that it starts skipping over borders. That's something you need to watch. So you gotta get a balance between that, which is too much, and way down to the color threshold of 0, which is nowhere near enough. If I was to put up with that, I'd have to go in afterwards and start tracing around the edges just to get some clean outlines on what will be the point. Why not just do that in the first place? In general, what you want is you want the threshold to be set high as possible. And in fact, look when I flooding the next bit, Let's try say this bit down here. In general, the rule is dropping and then take your threshold as high as it will go until odor it's flooded, everything which you don't want, then just take it back a little bit and as soon as you get it, not flooding all of it, you don't want to let go at that point. Alright, now let's show you something else. I can keep on going with this and flooding all the different areas. But there was a quicker way to do this. And I'll show you this now. Look how flood another area here and come up to the top and come down, That's great. Then continue filling with three color. I'll tap on that. And you can see it's very conveniently already flipped in that area of ice cream underneath. But if you take a look, can you see you've got a little crosshair in there. If you put your pen or your finger on that, you can drive the cross hair around to decide which bits you'll go into flood, like supposing I want that bit, that's nice. And I can adjust the threshold or the flood level this time with this little slider on the bottom. See. And again, I want to crank it up as high as I can get away with that. And the nice thing is I can tap and you get the cross-hair again and I can tap and you get the cross-hair again. And I can tap to get the cross-hair again and again. And now it's made a mistake because it's got a bit too happy. It started to flood the ice cream cone underneath. So at this point that's where I take my flood, slide it down until that, I just get rid of that little bit in the middle. Once I do that, then I let go. That's continue filling with re-color, but I'm going to show you a gotcha with this. So top of my brush and then I'll double tap a few times to get rid of stuff. Supposing I have down here, there and I flood like this and I think great, That's all very nice. I continue filling with re-color. One thing that can happen is as soon as you press continue filling with re-color, you get that little cross sign, which I am circling again. Now sometimes that can be in an area where you don't want it to be. Like, for example, if I was down here, for example, you may end up flooding a bit of your picture which you didn't intend to do. But also you can simply not notice that it's flooded, an area that you don't want it to flood. So just be aware of that. Anyway. Let's take that down and then tap in another area. If I tap in an area and I think, Oh no, I've got it wrong. I can always place my pen or my finger on the cross out and then drag it to where I do want it to go. Like that. And while I'm here, let's write the layer to about there. And then a bit of hair, and then a bit here. Alright, that is my ice cream cone colored in. Now I will create a new layer and I'll call this BL 0 to four block layer 0 to let's do the cone for this. Let's try that there. Zoom in a little bit. Flood, slide up as far as I can get away with and slide back a little bit. And then it's done it again. It's colored in a little bit with the actual ice cream. So drag back until it doesn't continue filling with three color. That's a good example of what I was talking about. Your little crosshair just plugs itself down in the middle of your screen. I can start coloring and things you don't want coloring in. So I'll tap there and it's doing it again. I will slide down on my flood slider until I don't get that bottom bit of ice cream colored in and then tap set my crosshair there. Can I slide my slider backup a little bit more? I know I'm being a little bit fussy about this. But this little Flood tool is one of those things that makes you think great. I can color and things really fast. And so you tend to do things really fast. I wonder if I can get that. If I didn't my floods slider up a little bit more. No, that didn't make much difference, but supposing I had to set my flood slider down to say 30% because I've got an awkward bit of flooding to do. But then it works and I think, Oh great. And I start tapping rarely quickly all over my picture with a 30% flood tolerance. Well, I may end up with those little fringes just around the outline of the ice cream that we were talking about earlier, where the flood doesn't quite go up to the edge and that is always a pain in the backside to try and fix afterwards. So come on, beef fussy with your sliders triangle that flood up as high as it will go. Alright, next thing, new layer. Rename that L 03 block three. And for this, I want that raspberry flavor. Let's start off with a nice bright color with that. And I come and flood color threshold up high, then drop it down just a little bit. And I think that is it for that, We'll look, okay. As a general rule of thumb, you want as few blocking in layers as possible. So for that chocolate flake at the top, I will just come down to my blocking layer 0 to just flooding there. Let's zoom in like this. Come and flood this bit here. Take the threshold up, drop it down, continue filling with re-color and my cursor plunks down the center of the screen. Let's drag that away so it doesn't mess everything up. And they got to track that down a bit. Ah, that's good to know why that happens. Can you see by mistake, instead of tapping in-between my black lines, I tapped accidentally on the black line. And so you can see I'm floating in areas on the outline like this. And you can see the tolerance really working well there. Okay, I don't need that, so let's just carefully drag in. So I flipped on the inside of it. I take my tolerance up a little bit. Can you see that just at the top, you can see the tolerance and action. Drag it up, then drag it down. Now the very last layer are those little sprinkling bits now, now going to take a long time to flood. So here's an easier way of doing it. New layer, call it b 04. And I'm going to tap and hold on that until lifts up and then drag it underneath the ice cream layer. This is going to make life easier because look, if I make my swatches layer visible again, what color should I make sure I make them kinda nice baby blue color like this. And if I'm doing that, don't forget to put down the color I'm using on my baby blue palette. Now, come down. It's about blocking layer I just created. And because it's sitting underneath the ice cream layer, all the colors get blocked. So rather than having to carefully draw around the various different shapes, I can just scribble. And anything I don't need is just going to be hidden by the layer on top. So I just have to make sure I don't swap the order of my layers. I'll just come into this bit here and just coloring that bit that's professional, a little bit big. Let's do that. And there's a little bit of blue peeping out just from the side. I don't care about that because well, it's supposed to be rock painting. If a bill, a little bit of paint spills out. All that will happen in real life. But I'll try and get it neat but not obsessively so, alright, so make those two invisible. And at its simplest, That's your rock art because people will often do a key line and then do simple blocked in colors to get the effect they're looking for. But of course, we're going to be doing more than this. So you have a go at practicing this where he blocked colors in what I will take this image further in the next video. 14. Paint our Ice Cream: Okay, We have our image. Let's do some coloring in. I'll show you a simple way to do it. And that is just come to our various blocking and layers and just turn on Alpha lock. This will do is mean that we can only paint on that layer where there are already pixels. Let's give you an example. Let's come down to our code and supposing I've got a color to shade the cone in width. If I turn off alpha lock, so it's just a normal layer. Let's choose a brush, Let's try. Let's try medium airbrush for this pasty on full size about there. That'll do without the alpha lock. I can just draw straight over it, two-finger tap to undo that. But if I turn on Alpha Lock again, I'll do the same Scribble. See that you can only draw where there are already pixels on that layer. That is very useful. So come on, let's do it. Let's take a look at my ice cream now. I believe that was a killer I used for my ice cream. Well, there's a shaded color for you. Let's try that out. Let's make sure we are on the right layer. With all the ice cream. There are certain way pasty down low on my brush, fairly high because I want to draw a large area of shading on the left-hand side. Now one thing I have noticed from students who have done my other tutorials is that when it comes to shading, people can be very shy about it. They'll do this. They'll say, alright, let's do a shaded area here. And I'll do a very small, tight area of shading like this. And so you get this rather large flat area of say, ice cream color with just a little bit of shading on the end. I don't want you to do that. I want you to try lower your opacity, make your brush nice and big. I color in general areas like I'm coloring in now. Because you can always just sample from your original color. Knock it back if you don't want it to be that size. I'm trying to color in the overall form of the ice cream by using a big soft brush like this to color in certain areas. Then when I've done that, then I will make my brush size smaller. And I'll start doing in more localized areas. Even with that, I could do with it being a bit bigger, I think. And gradually build up like this. If I go over a line which you can see I've done that just in the area I'm circling. I'm not going to worry about that. I'm just working fast just to get shaded areas where I want them a little bit at the bottom of these trips, because I can always choose my original color. I can make my brush even smaller and I can make crank the opacity all the way up, come to this area and I can just paint those areas out again. Uh, we learn to draw using a pencil and paper. And we love to paint using probably poster paints on paper. And we learned from that. Once you put pencil or Python something, it can be quite difficult to get it off. And so we have this habit, which we've learned over the years of how to paint very carefully into all those little nooks and crannies. And we're very careful not to go over the lines. But this isn't traditional art, this is digital painting. And so you can paint on and paint off as much as you want. So it is okay to go over the lines as long as you can paint them back in again. Alright, let's take a look. I'm going to get a little bit just some lighter colors of light just around here, especially around the top of the ice cream. A little bit there. Take those shadows back in again. Choose my original color because there's still a little bit of shading just around the top of the ice cream like this. Now I don't want to be a slave to this thing where I've got my palette of colors which I defined earlier. And I'm going to stick to them no matter what because I'm thinking with this, let me try it. Let's open this up and I want something a little bit deeper again, I'd also something a little bit warmer. I know shadows in theory is supposed to be the saturated and cooler, but come on, this is, this is an illustration, not particularly realistic. We want it to be. I just want it to be a nice little fun kind of a thing. I just want to deepen the shadows. Just here. Just in certain areas. That's my, my brush, a little bit bigger. There is another way to do this. I'll probably show you that after I've done this, but this is a quick and dirty way of doing it. We did all the hard work while we blocked in our layers. And the nice thing about it is I'm painting down here and I don't have to worry about going into my ice cream cone because it's on a separate layer. So good times. Just want to make things just a little bit more 3D by a little bit all depth into the shadow areas. And again, this is simple. I'm not going for a huge work of art here. I just want something that looks like it's been painted. Stone. Now I've done my darker areas. Let's choose that highlights. Now I've got my airbrush. Look. Let's try something a bit more textured, shall we? Let's come to painting. What do I have? Autistic? Take a look at the autistic tool set and let's try. Tara Leah, was that like I'm experimenting at the moment. So once I mean, just a little bit more textured, make it a little bit smaller. Now what do I have here? Oh, that's quite nice. The texture is looking a little bit ice-cream me, but I'll take it my pasty take my size down a little bit. Oh, yeah, I quite like that, but I'm experimenting at the moment. Drop the opacity down a little bit. Next slide is just a little bit bigger. And that's giving me more the effect. I want a little bit there. That went too far. Little bit here. That's the ice cream. Let's take a look at the cone underneath. So come to the cone, my brushes, I'll come right up to the top where it says recent because then I will find the brushes I've already been using. Okay. That's terrible. Yeah. Let's try the soft brush, which is from the airbrushing section. As you can see there. That was my base color. Let's choose a shaded color here. And pasty, fairly low brush size, quite big. And let's see what this looks like. I'm just going to paint. Can you see how that whole left side suddenly got a little bit darker? That's because I'm making big brush strokes. I'll make the brush size quite a bit smaller because I want a little bit of shading underneath that around but at the top. And then I'll come in and make my brush even smaller. And do just a little bit here and a little bit here as well. Our Samsung, my original color, because I think that's gone a bit too far. And I just make one or two little light debbie brushstrokes around just to give a little bit more for where it's needed. And come down here and just give a little bit of texture. Just an account area I will tap and hold just to get a little bit darker, just around the right part of my code. Top again. And take it away from areas where I don't particularly want it just to knock it back again. You can paint on and paint off until the cows come home. I do. I want a little bit of a light color in there. I think I do, but not much. Because ice cream cones tend not to reflect light, particularly the mat objects, they're not shiny. You have shiny object, you get quite as strong highlights. And Matt object like this is going to be much less so. Just a little bit of light just down the central part of the ice cream cone. Add on the same layer, we have the flakes, so let's choose darker color. A flake is very math thing as well. So pasty, fairly low size, fairly small, and I can just paint around the base of it, the underside of it. Let's take my pasty higher and my size lower just to get deeper shade. Just around the base of it, just around the bits where I think light's not going to go very readily, maybe a side like this. And for my highlights with my brush size just a little bit bigger and just tapping down few highlights here and there make my brush size smaller. Few highlights just around the top. So that's my flake. And finally, I have my raspberry layer. I'm going to use the same brushes before to that darker version. And let's see how this looks a little bit bigger. And just put in one or two little shadow areas. You can see where the light's being buried on the underside in the corners. And this is gonna be a little bit blobby as well, I think because the juice is a bit blobby, so it's not going to be even all the way round. Some bits, you'll get more shadow like this little corner a bit here, or maybe still a little bit on the other side. They're just come down. It's a fairly small brush with a fairly tight, definite brushstroke. Like that. I'll make my brush a little more transparent and a little bit bigger. Because I want just a little bit, some softer areas just around here. The larger area. Then I'll make my brush smaller again because I want just a little bit of shading around here. Maybe make my brush a little bit bigger just to blend that in a little bit more, I want areas of light, areas of shade, one or two little highlights. I want areas of color, not tiny, timid little lines of color which are cleaned to the outlines of the ice cream. Okay, Last little bit. What we'll do a little highlights. Pasty, fairly high brush size. I'll make 2% at the moment. I'll put an area of color like this. But then I choose my original color. Remember size, smaller, so I get a harder edge and maybe do that. In fact, that was my highlight color. I want something a little bit stronger. Let's choose that great light yellow, which I had. And put that, yeah, I prefer that I can always lower the opacity, so it goes on more subtly. But I want a little bit of a highlight there. Maybe you want to a little higher, it's just around the drippy bits. A little bit of a highlight maybe in the shaded areas as well, down here. Oh yeah. A little bit of highlight down the side of it. But also just a little bit of a highlight just in the shadowy areas because it's a shiny surface so you're going to get light bouncing off it, but also it's semi-transparent, so you gotta get some light going into it. So you start getting some rather interesting effects. One or two little flecks, which sounds a little bit bigger. Student better out here. Alright, that is the basic coloring in, and it is basic, but it's enough to get you started. Now supposing, I come to this ice cream layer and decide, well, I want some of these colors blended in a little bit more pushed around. Well, that is where smudge tool is going to come in. I can come down to, for example, my soft airbrush in my airbrushing brush set. Let's take a look at verse midsize fairly small. And I'll set my opacity to about midway so I can control this a little bit better. But if you come to the area I'm circling now you've got some fairly strong borders there. I can also soften them just by rubbing onto them, which has the effect of softening them. Maybe I want to add a little bit of large texture. I can always drag backwards or forwards to create a little bit more of a ripple effect on my ice cream like this. Oh, and I just managed to smudge heart one of my highlights at the bottom. So you can either soften the borders or you can drag them around like I'm doing now. Take kind of a little spiral effect in Britain we call them Mr. width is. Or if you're feeling adventurous, let's come try say well, let's try artistic Talia, we can use that as much brush, but with this one, when you drag it around, look at that, you get a much more textured finish. I will lower the opacity plus the size of this. And I can start to get some interesting effects. Has been the strength a little bit stronger. So you can see more clearly what I'm doing. Can you see how I didn't quite work at one bit, but maybe it'll work around some other areas. You can start to get it textured smudge. And this is the other thing about digital painting. It's not just paintbrush to apply a brush strokes may be using your fingers or whatever to smear things around. With digital, you have so many more options, so many more different ways to make brushstrokes. And I think this would work nicely. Just around here. Just to put a little bit more texture, I probably get a better result if I was to experiment around with different kinds of brushes. But a light, a little bit of texture that this particular brush is pulling down on here. It also makes it look a little bit more like the paint's being dragged around because it was thick acrylic paint. Well, sometimes you will get a slightly textured finish because it's thick paint on what is quite often an uneven surface stone. So that's the basic way of coloring in our ice-cream. Just use alpha lock, using our little custom swatch to paint various different areas in. Don't be afraid to come up with new swatches or go back to your color palette if you're not getting quite the color that you want. And also as well as painting, your smudge tool and your eraser tool for that matter, can be every bit as effective in making brushstrokes as your actual paintbrush. Sometimes it's just what we expect a brush to do or what we expect a smudge tool to do from real life that holds us back. But this is digital. Or once you learn how to control it, you Van Gogh wants to realize that the possibilities are nearly endless. Okay, I'll see you in the next video. 15. Placing Photos on our Stone: Before I go on and do another full piece of art work, I just want to show you a couple of quick ways of using your photos. So for this, I'm in my stones folder and I think I'll choose stone 14 for this one. So do what we should be doing. Swipe to the left and duplicate. Dan takes down 14 and drag it up to where it says stones until eventually I get out of that folder. And this is the file I'm going to be using. I'll just take it a bit smaller and let's take a look. I'll add an extra layer. Strictly speaking, you don't need to do that because any imported artwork should come in on its own layer. But I'm just being ultra cautious just in case at some point something goes wrong. Me paranoid. Who told you that? So come to insert a file. And for this one, I'm going to come down to doodles faces, whether our couple of pieces, which I just want to explain a couple of techniques. Now for this one, I want that little baby's face, and once more I want it to be very large in the picture. I just want the baby's face. And I will tap on my Layers panel and that's the baby in land nine, I'm wondering, do I have any stray bits of our work from other areas? I don't think I do. So let's go with that. Okay. So what I want is just things like the baby's eyes, the nose, the mouth. I just want them appearing on the stone, nothing else. So this is what I'm gonna do. I'm gonna come to that little n which I'm circling now in the Layers panel and tap on it. And for this, we're going to use one of the layer blend mode that doesn't get used very often, but it's useful. And that's the one just above normal that is darker color. And straight away you're getting close to the effect that I want to come on. Let's rename it to baby. Okay, so what's happening with a darker color blend mode is that anything on that layer which is darker than halfway gray is visible and anything which is lighter than halfway gray becomes invisible. That's the way it works. And so I'm only seeing the darker bits, which in this case is quite lucky because the darker bits are the baby's eyes, the nose, and the mouth. And you know what? I think I'd like that to be even bigger. There you go. About that. And incidentally, if you have any photos, I've loved ones, which you'd like to do this exercise with. By all means do that. What you do is call up the picture and then you come up and you can choose hue, saturation and brightness, and just take the saturation down to 0, that will make things black and white. You can try fiddling around with the brightness, but I find that brightness a bit of a crude tool I must admit. So take the saturation down to 0 or leave the brightness where it is. I'll show you something better. So just to cancel that, Let's tap once and tap on, Cancel. And then when you have he desaturated image, the most powerful way of adjusting the tones is by using curves. I will use this because I want to fine tune this image because I'm getting little bits of the side of the nose, maybe just some areas around the cheek and the forehead, which I don't really want. So if I want them to be invisible, I've got to make them brighter because we are in the darker color layer blend mode. I'll come to my graph at the bottom and you see that little blue node at the top. I'm going to drag that over like this so that all the lighter areas are getting lighter. And as I do, can you see what happens as the lighter areas get lighter eventually they become a light for them, whatever is underneath and so they become invisible. When I can take this bar as I want, I can get some really quite extreme results. But instead we'll look, this is curved, it's not straight lines, so I can put a node in the middle of my straight line like this. Now if I move that up and down, now you're getting a curve. And this lets you fine-tune the darker bits and the lighter bits like this. I can even put a little note down the bottom and just darken the very darkest areas like this, you see how dark bits are getting more darker, modified. I think that's a little bit too dark for now. I think maybe I'll do about that. That's just for the darker bits. Basically I'm just controlling the bottom under this curve, up and down like this to fine tune the effect side. Yep, That's the effect I like. So I just come to my layers panel and tap on it that commit to the changes you've made. But actually, I can do more. Maybe I'd like the baby's nose to be a little bit better defining, can I do something with that mouth underneath the lips? Could they be more leverage or just a little bit more defined? I think they could, and I'm gonna be cautious about this. I'm going to make it duplicate layer and make the layer underneath invisible and welcome the top layer. And so in case I completely messed this up, I always have the layer underneath as a safety backup. Okay. So now I'm going to come this time, I'm going to choose Hue, Saturation and Brightness. I am going to use the brightness slider, but I'm not going to make overall changes. Instead, I will come to just where I'm circling that little triangle on. I'll tap on it. At the moment. If I make changes, the entire layer gets affected. But if I come to pencil now, I can just draw it in the changes where I want them know what kind of a brush do I have? Soft airbrushed, that's perfect for what I want. I will make the opacity lower a little bit so I can build up the effect on the size. I want the size fairly small as well. So now lower the brightness a little bit so you can see the changes I'm going to be making. And now I'm going to brush just in the nostril area. You see that, You see how that nostril is getting more defined. That's because I'm making the pixels darker just where I'm brushing. Let's do the other nostril and yes, I can, I get a better definition. What about the sliders knows, yes, I can do that there and around the other side. Now what about the lips and the mouth? Yes, I can instantly I have brightness of thirty-seven percent. That's what I've been brushing in. If you want even more control, you can always adjust the brightness slider like this to get the effect you want. That's way too intense effects. Let's take this down to, well, I think I'll take it down to about 40 to 43%. It's a little more subtle than what I had before. But now you've seen the technique and action. I can afford to do that. Okay, so now there are just a couple of areas where I would like to get rid of the eyebrows, the side of the nose on the left, but I can make those adjustments while I'm still in the hue saturation brightness using the brush. So just tap once with one finger. You can see where I did it, apply what I've just done. And I'm still in the brush mode. And if I tap on brightness and slide that up and then start painting in certain areas, I'm just getting rid of the eyebrows now. And so I brighten those up to the point where they are invisible. My brush size a bit larger. Let's try the side of the nose that gradually gets made invisible. Maybe a little dark bits around the eyes and just the sides of the nostrils are now here's a very subtle little gotcha. If I commit to that and I make this layer invisible for a second and visible again, maybe you can't see that on the recording, but there's one or two areas just in that red cloth where the highlights are actually gray now instead of white, because of the way the layer blend mode is working, I'll come to my erase tool and that's kinda had to airbrushing, just use, well, I can use the soft, I can use the medium. The important thing is crank up the opacity to 100. Get the brush the right size. And if I just zoom right into these good re, highlight, which I don't need, I will just paint them out just by using my Erase tool that has the baby's face. Very easy, very straightforward, provided you know about the darker color layer blend mode. Okay, that's it for this one. Let's move on to the next video. 16. Create a Silhouette: Alright, here we go again. I'm going to do something a little bit similar to what I did before. So as before, let's slide stone 09 to the left and come to duplicate. And let's choose one of those stones and bring it out of my stones folder and into my main area. Here we have our stone and you can see it's a whole load of different areas, their top on a new layer. So let's come to insert a file. I'm going to load up the same thing as I had before. But this time I want to use this I want that filling up area. I've got a reasonable amount about that and tap to commit to that. Now I do want to get rid of those red sketch outlines as well. So come to our selections. I want free hand and I want to draw just around the outside. Be careful that my silhouette tap. I want to get rid of everything on the outside. So in that case I need to invert my selection. So everything on the outside of that silhouette is selected. Come to my layers panel and tap on. Clear. Alright, so for this one, this is a photo of my son when he was doing some drawing. And so of course I was going, Oh, he's the most beautiful boy, everyone, stuff like that. It's very easy for you to do this. Just import photo stretched out to the size you want. Then on a new layer, just get a pan like the pen we've been using for inking in things and just trace around the outline flooded in annual end up with a silhouettes. And in fact, that might be a nice thing for you to do. So instead of a picture of my son, you're doing a picture of someone that you like. I'm gonna go with this because it's, my body is beautiful. Now, just with what I've described, you can leave it there, but I want to push this a little bit further. So this is what I'm gonna do. I'm gonna make everything invisible apart from the stone. Animals are going to go into the stone because there's some shadows in there as well in the background, which I want to get rid of. So I just have the outline of the stone. I am going to come to my spanner icon and I'm going to copy canvas and then I'm going to paste. So I have that entire stone all on one layer instead of many layers. And there it is, my inserted image, I will call this base. I'm going to drag it underneath my silhouette layer, turn it on, and I'm going to clip this layer to my stone base. The reason being is, what is the inking brush I've been using DC inks, gauging ski ink adapted. We use one finger to tap. And I'm going to come down to the bottom and I'm going to extend. Let's make our brush a little bit thicker. Shall we want to extend the silhouette down a little bit like, what do I do? I'm going to come around like this, because as it goes around the side of the stone, you would expect to see a little bit of curvature. And let's do the same on this side, curving around like that. Now because this layer is clipped to my base stone layer, when I get to the border, I can't draw beyond that. That's what I want. And just scribble. Hi and scribble on. So now I have the silhouette going around the border of the stone and I've done that. Come on. Let's turn everything on again so I can see what I'm doing. And if you think that's looking a bit strange, it's because I've got to come into my stone layer and turn on the shadow. Now, it looks like it's sitting on top of that cloth underneath. Okay. I would like a little halo around the outside of that. So this is what I'm going to do, slide to the left and come to duplicate. I'm looking to my bottom layer and let's zoom in a little bit for this, I'm going to come to Gaussian Blur and I'm going to slide out. And when I do, can you see I'm getting a little halo around the outside of the silhouette. That is because I'm blowing the layer underneath so I still get the hard outline, but because the exact same image is being blurred underneath, I also get a dark halo, which is not really what I want instantly when I do this, look, if I slide down with it set to 0, that outline is looking quite harsh. But if I slide up just a little bit, it can really help to sit your designs against the stone so it looks a little bit more like it's sitting on it, but that's not where I want to be now. I want to move it up to say, let's try 9%. And now if I turn it off, you can see there is the halo there, but it's still too dark and it's two indistinct, not a problem. I'm going to duplicate so To lay sitting on top of each other and the effect gets stronger. But what I will do is I'll tap on the top layer and I will merge down. So there's two layers become one layer. I'm going to repeat, duplicate that. So now I'm getting a much stronger layer and I'm going to merge that down. Now just to show you what this looks like. If I come to hue saturation brightness by tracking the brightness up. Can you see now I'm getting a halo around the outline of the silhouette. But at the moment, well, why it is okay, but I'd prefer something just a little bit more golden car. I would like this to be gold. So I'm going to turn on Alpha lock for this. If I paint on it, I can only paint where there are already pixels. I will come to the top and add an extra layer on top because I want to import those gold swatches I showed you a few videos ago, but I want them to be on top of my layer stack, not sitting in amongst all these other layers. So Insert a File, palette, PNGs, golden, copper. I can make that a little bit bigger and put it there. Without brush. Do I want I want brushing and I will go with a soft airbrush, come to my layer which has the halo effect on it. And I need this goal to try and match the shading on the stone itself. And if I just make these layers invisible for a second, there you can see there is a highlight where I'm circling now, plus there's also shadow areas around the outside of the stone. So with that in mind, control airbrush, soft airbrush, that's good. Come on. We need to make a silhouette layer there so we know what we're painting onto. Let's try the third one along because it's quite colorful and I'll choose the darker areas first. Now for this, I'll just block in solid colors for now, just to get the colors in the big airbrush. Around the bottom there, I can do that. I will tap a slightly lighter area now and do this around here. I will make a much lighter yellow crown these areas. And in fact, I will come right to the top and choose the very lightest areas, just where I can see the highlight peeking out from underneath the stone. Now it's getting there. I just need to do a little bit of fine tuning here because I think it needs to be a little bit darker, a little bit sooner down the bottom. And in actual fact, I think just where it curves around, it's still looking a little bit too light. So come here and just make everything darker like this and get this to match more closely what I expect to see. I'll make my brush size a little bit smaller. I'm putting just wanted to darker areas just around the mouth and nose. But one thing I will do as well. What should I do? A little bit of reflected light in my brush size, smaller, and just worth just playing around the bottom and putting into it a little bit of reflected light because gold paint is going to be more reflective than that Matt Stone, even though it's quite shiny stone and so on. But again, just a little bit of reflected light just in those shadow areas because it's more likely to pick up those shadows. Alright, That's a certain point where the gold paint, I will duplicate the layer again, make it visible, invisible, and wanna do that. I'm getting a sharper outlined or do I like that? Not entirely. What I will do is I'll take the opacity of this extra layer down to 0 and then gradually sliding the opacity of this layer. So I can really fine-tune that border where I want it to be. And I'm thinking no more than around about a quarter in this particular case, that's 29 per cent, that's fine. I will merge that down. Then what I'm going to do if I zoom in, is I'm going to add a little bit of noise. So when I do that, put my finger anywhere on the screen and just slide backwards and forwards. Can you see when I do that, I'm gonna be a slightly mottled effect. Now I want the noise to be set down low no more than say, nine per cent. If I take it down to 0, I'm getting an ultra smooth gold paint effect. I don't really want that. I want to do a little bit of roughness in there, but it's gotta be set pretty low. Print 56, even six per cent using Cloud scale on 0 Tobin 70 Octavia non is just breaking up the surface of that gold paint a little bit. Okay, I've got to a certain point with this. I want to make one or two changes because for one thing, when people are doing a stone painting, don't really get a soft halo like that. It tends to be a harder outline. So what I'm gonna do is come to my layer 17, which has a gold paint effects. And I'm going to duplicate that again. And I'm going to merge down. I'm going to duplicate it again. And I'm going to merge down. And every time I do that, that soft fuzzy outline around the edge gets a little bit harder because around the border there are semi-transparent pixels. But what I'm doing is stacking the semi-transparent pixels on top of each other. And so when you get a semi-transparent plus a semi-transparent pixel, the border becomes harder. Now I think at that point, that's become a bit too hard because I'm starting to get it or not very nice hard edge there. So I'm going to get rid of that layer. So yeah, in general, I think I prefer that halo, that because I've made it more opaque. There's maybe one or two more changes that I'd like to do to it. So turn the alpha lock on again. Let's come to our brush. What do we have the soft airbrush? Make it a bit smaller, make it a fairly low pasty, and there's just certain areas down around about here. I'd just like to fade it just a little bit so it's not quite as in your face as it was. Maybe just an area around here for that to be slightly lighter. Now the next thing I'd like some of the texture of the rock to be appearing on the silhouette area, but also the halo area as well. And one of the first things I'm gonna do is I'm going to come to my silhouette. I'm going to come to my hue saturation and brightness up the brightness just by tiny amount. Because as I said before, when it comes to paintings, you've very, very rarely get a solid black like that. So looking at it a little bit too intense. So by default, the brightness slider is set to 50 per cent. I'm going to up it by just a little bit. Just fifty two fifty three percent. Fifty three percent here. That's making that just a slightly off black. It's a very small thing, but I think it does help. Okay, so the next thing, I want a little bit of the texture of the stone to be in that silhouette, plus also the halo as well. So the first thing I do is I come to my base tone. Do you remember we made that by making everything invisible apart from the stone and then copy and my canvas. Well, this time, because we've already got it, we're just going to duplicate that and drag it up to the top. Before I do anything else, I just want to D saturate this as well. So I just have a dark to light version of my stone. I'll make it invisible for now. Because the next thing is, I want that new stone I just created that one to appear on top of the silhouette plus the outline. I'll do that by using a clipping layer. But the problem is look, that's clipping mask. I'll also set this one to clipping mask, and that works. I have a hard edge, but if I make the base layer visible and I said that clipping mask, I'm trying to do a clipping mask on top of something that already has a clipping mask, that doesn't work. So this is what I have to do. Take this layer, turn off clipping mask that turns off everything. And I'm left with this little bit sticking out at the bottom. But that's okay because what I'm about to show you, I already did on the gold outline layer. Can you see with that how it's all nice and smooth? This is how I did it. I come to my base layer and then I come to my select tool. I make sure that automatic is selected. I tap anywhere outside the border of that stone. I get this outline. That is the area which is selected, which means that everything outside the stone is selected. So then I come up to my layer 17, which has the silhouette. And I just tap and come to clear. That clears everything which were selected, which leaves me with a nice sharp border. Now, things can start to work. I'm going to make everything invisible apart from the two layers of the silhouette plus the halo, I'm going to Copy canvas. Then I'm going to paste. And now if I make everything visible again, my two separate layers of the silhouette plus this around invisible. I'm left with this all on one layer. And now when I come to my base file at the top, which I desaturated and come to clipping mask. It only appears where the silhouette is. Now that's quite hard to see at the moment, but if I change the layer blend mode, what did we have before? Lighter color, then you can start to see it at the moment, it's way too much. Now, while we're here, let's just take a look at a couple of other ones. Hard light is looking interesting. Vivid light, maybe not linear light is quite interesting as well. I can lower the opacity and gradually dial in the amount of the texture highlights that I want. But what I will do is I will come to lighter color. For this. I will come and do what I did before. Play around with curves. And this time, instead of making everything lighter, I'm going to make things darker. And as I make things darker, just move that new node around about the mode of this layer I make darker the more of the underlying layer is starting to show through like that. And I can fine-tune it a little bit like this. Maybe around about there. I can jump back in. And it can also be a pasty as much as I want. If there's certain areas where I don't want it just around, say the cheek area. What I can do is tap on this layer and come to mask. That applies to a layer mask to this layer. If I draw in black on my Layer Mask, everything becomes invisible. And sure enough, if I open up my layers panel, you can see on my little icon for the layer mask, you can see those dark paint strokes that I made. Here's the interesting thing. If I then come back and paint it white, I can paint all that detail back in again because this is not like erasing something. The layer mask just makes things visible or invisible based upon it's got white or black wherever you paint. That's it. The nice thing is if I come and paint in black and white in my brush size larger, but my opacity down lower, I can gradually paint away the detail, all the pixels on this layer where I don't want them, maybe make my brush a little bit bigger and just gradually fade out the pixels like this. And if I decide, oh, hang on, I've gone too far. Well, if I was erasing, that will be tough. I'd have to start on doing. But all I need to do now is choose white and paint in the same areas. And I can paint the details on this layer back in. That's the way a layer mask works. Anyway, I don't want that, so I will come and choose black again, just faith this. So I can have the detail just where I wanted an edited all I want. 17. Redoing the Light and Shade: Alright, I just want to show you a technique to deal with a situation that you may come across. And I'm going to supply you with this file after I've done a couple of things to it, y will become clear pretty soon. So this is, I think, stone 15. And I used one of the sketches from, I think it was doodles misc, which stands for miscellaneous. It's a painted person. And the process I use to get to this point, well, we've already done that, so I'm not going to do the whole thing again. Instead, I will just quickly talk you through one or two points. I brought in the doodles sketch, I resized it. I use that as a base and then I put down my ink layer just quickly. I am going to unclip this. And can you see just around the outline of the stone, I put a solid line so the whole area is completely enclosed. The reason I did that is because I made the ink layer a reference layer like we did in a previous tutorial. And so I could use it to create my various different locking layers and then flood them easily just by dragging down my current color into the area I wanted to flood if I hadn't put those black surrounding lines around the outside of my stone when I tried to flood, I get loads of areas flooding, which I didn't want to flood those lines around the outside just to contain the flood so I can float in the various different areas efficiently. Now I've explained that Let's take our reference layer and let's the clipping mask back on. For the swatches. I imported the Golden Age swatches and use that as a basis for the various different colors for the brush. I just used the simple soft airbrush from the airbrushing brush set. I'll just add brushed in the various different areas. And I used alpha lock all my various different blocking in layers and I call it everything to this layer hole stone. And that was where I took the entire stone, but I made the shadow invisible plus the word plus the background color. Then I came to my actions. Underneath the Add tab. I did copy canvas to copy everything that I can see, and then paste, then turned everything back on. And so I have my whole Stone which I renamed to all stone, and they use that as a basis to clip everything. So I end up with this, okay, I've done my painting. I had some fun with it, but it's completely flat. The stone itself has a shadowy area and the highlight area, but I wasn't concentrating on that when I created my artwork. So the shadow to the side of the stone is helping a little bit, but the whole thing looks way too flat. What do I do? Well, the first thing I'm gonna do is get rid of quite a few of my layers because the fact of the matter is I'm using an iPad Pro, which is a couple of years old. And so the memory is not bad there, but I'm starting to run into memory problems. I simply have too many layers as well. I'm not going to send this file to you as it is because some of you may have older iPads. You may have an iPad Air, things like that. So there's no point you won't be able to open the file. But what I'm gonna do is decide what I can get rid of. Well, I've already got my colors, so my swatches layer that can go. But the main thing is the stone. I already have my entire stone on my highlighted layer, also my stone group with all these various different layers on, it's now completely invisible. I don't need this anymore, so I'm gonna get rid of it. But just before I do, I'm going to come down the bottom in check because right at the bottom I have shadow. I don't want to get rid of that because look, if I do, I'll just make the entire group invisible for a second. I lose the shadow and it looks even flatter. So come down. I'm going to tap and hold on my shadow layer and just drag it down until it's out of the group. And so now I can go up to my stone layer, slide to the left and tap on, Delete. So now I have a lot less stones. That is good news. So I will come to my gallery. I will rename this to fine face 01. That is the one I will share in a Procreate file format. Airdrop Simon's iMac. That is now sand, tap on Done. So now I can carry on working on it. I'll just be completely paranoid and slide to the left and duplicate. So in case I mess this up, I can always come back and show you all over again. Alright, the next thing I want, light and dark. Well, one of the aims of this course was to give you a little bit of a masterclass in layer blend modes. We've used them all the way through here and they can be a bit confusing at first, but hopefully, as we've gone along and you've used them more and more, you're starting to get a feel for what they can do. They can make things lighter or darker or more contrasty or things like that. I'm going to use them again to quickly create some dark and light for this image. The first thing I'm going to do is get rid of everything that isn't the actual stone. That means getting rid of the background color. Oh yeah, and definitely get rid of the shadow. What I'm looking at now is a mixture of the whole stone layer which everything is clipped two-plus by blocking in layers 1234 and my ink layer at the top. That's good. So now I'm going to come to my actions and come to copy, canvas and paste. So now I get everything all on one layer. I'll make my layers visible again. Actually, I don't need to make the background color of visible because the word layer is covering everything anyway. My shadow layer visible as well. And just to keep things a little bit neat, I'll come to my house, don't swipe to the left is select all the layers which made at the Stone originally, put them in a group. And I'll call the group height because I can hide it. Because everything I want is on my inserted image layer. I'm going to rename this to safety, and I'm going to duplicate it and call this one base. I don't need to do that. I'm just suggesting another way for you to work where you name your safety layer, the layer you do not touch in case you mess everything up as your safety layer. And then the layer above that will be the base layer on which I build everything else. Okay, just to be sure, I'm going to slide to the left and I'm going to unlock my safety layer. I will also make it invisible. Okay, next thing, I'm going to come to my base layer and I'm going to duplicate it. And for this, well, what are the problems I've got that this is too smooth on a stone. You would expect to see a little bit of a texture even on a smooth stone just a little bit. So let's add a little bit, come to our adjustments and I'm going to come down to Noise, our slide my finger from left to right, anywhere on the screen to get the noise. Now that I think he's gonna be too small for me. So I will come down to the bottom and I'll move my scale slider up by quite a bit. Maybe to about what, 27 per cent. Yeah. Okay. I can do with that. Let's yeah, 28%. Now the type I'm using Cloud, well, what about the other kinds? Pillows, ridges? Which one? I think for this? Well, if it's below, it's going to have to be bigger. Now the turbulence I do want set fairly high. If I said it will allow you're getting like little cells rather than it being broken up, I need to be more broken up. So I'm going to raise the turbulence up by quite a bit. So I've got a bit of a stone texture there. And I've got the overall look, how much noise do I want? I'll come back to my main screen and just slide my finger up or down a little bit until eventually, I think maybe, maybe around there, 17%. Yeah, I'll go with that. But then I'm going to tap my adjustments and tap my adjustments again because I want this a little bit blurred. This is too crispy for me. So it goes gambler just by a tiny amount. So the finger on my screen and move it. Even 3% is too much. Let's try about 2%. Yeah, I'll go with that. So compare that with what we had before. That's looking very crisp and smooth. That's just a little bit more broken up. Let's move this just to the side. And from here, let's give this a name so I can say the name of the layer so you know which layer I'm talking about. Let's call this noisy. And now I'm going to duplicate noisy. I'm going to rename this to darken because I want this to be my shadow layer. So tap on the N or the mode was set to normal layer blend mode. But any of the blend modes above their dark in color burn, linear burn. They make everything darker. Look about Linear Burn is dark. Color, burn a bit too strong, darker and we went over darken in a previous video. The one I'm looking for is multiply. Now the image itself is, it's bright, it's colorful, but I want an idea of realistic shadows on a stone. For that, you'll find multiply gives you good results. But as you can see, it's covering everything. But this is where it starts to get interesting. Tap on the dark and lab. We're going to come to mask. When you do that, you create something called a layer mask. On what the layer mask does is show or hide bits of the layer it's attached to. In this case, the darkened layer. At the moment, it's just a load of white pixels. Now when it comes to layer masks, white reveals, black conceals. And I will show you what I mean. If I come to my Layer Mask, I'm going to invert it so that instead of being filled with white, it's now going to be filled with black and the whole layer becomes invisible. That's because black pixels conceal whatever is on the darkened layer. But let's check. I've got my soft air brush selected. I want it to be, I make the opacity fairly low so I can build the effect up and I'll start off with my size being pretty big. Now Fill Layer Mask is covered in black pixels and it's hiding everything. And I want to reveal parts of this layer. And they come to my colors. And I choose white because white reveals black conceals. I'm going to make some brush strokes in the bottom left of that stone and watch what happens when I do. Can you see that? I'll make my brush really, really big because I want a fairly broad shadow here. Like this. Remember our size a bit smaller because also I want to go around just the outside in general. The shadow quite small and tight around the top right, but I want it to be bigger and broader around the bottom left. Now let's take a look at this now, before and after. This is without the shadow. This is with the shadow. And you can see I'm definitely getting a shadow there. Now just while we're here, let's work on a couple of things because one side effect of using layer blend mode is that it can affect the saturation of your image. If you take a look at this before, after, because it's darker, those colors have got more intense. But here's the thing. I'll go into my darker layer and I will come to my Adjustments, Hue, Saturation and Brightness. If I come to my saturation slider and slide it all the way down, can you see how all of a sudden I'm getting much more realistic colors in there. And what I will do is I'll bring up the saturation a little bit because that's what we had before. We're really quite intense. That effectively is turn that layer into a black and white layer and things look more natural. I want to make this just for now, a little bit high again because I just wanted to show you a couple of extra things. Do you remember her saying how you can get cool shadows and warm shadows. If you come to the hue slider and move it around, you can get warmer shadows. And you can get cooler shadows. And you can control how saturated the shadows. I like this. Supposing your side. Well, that's nice, but I'd like the shadows to be a little bit deeper. You can affect that with the brightness slider. And you can make things really quite deep like this. And in fact, that might be a bit too deep for me. So what I'm gonna do is I'm going to accept that. And if I tap on my layers panel, make sure my layer mask is selected. But now I want to do the other really nice things about layer masks. I reveal the shadow areas by painting and white. Now I'm going to choose black again. I brushes selected. I want to set my brush opacity, really, really low price side, nice and high. Again, I'm going to start working from the center of the stone outwards like this. I wanted it to look. I'll make it really obvious. I'll crack the opacity right the way up and I will look at that. I painted in black and that top layer, the darker layer, got concealed just in that brush stroke area. And so you see the underlying layer which is lighter, two-finger tap to undo that. Instead, I'll lower my opacity down my brush size, nice and big. And I just want to remove a little bit of a deeper shadow just from the main part of the stone, but I am going to leave it just in the very bottom left to be pretty dark because here's the other thing as well. I'm set to multiply. I played around with the opacity. I played around with the lightness. I played around with what colors are there. I played around with the saturation of it. I played around with how cool or dark the shadows are. But I can also take the opacity right the way down to 0 and gradually bring up the slider to dial in the exact amount of shadow that I want. So I'll stick around what, 60% for now. Let's take a look before and after. Without the shadows. With shadows. Alright, well that's the shadows. Now what about the highlights? Let's come to our noisy layer again, and I will make another duplicate of it. I'll drag that up to the top. I will rename that to highlights. And this time, instead of using one of the darker blend modes, guess what I'm gonna do? Tap on the end. There's a whole load of a lightened blend modes, lightened screen, color, dodge, add. I look at some of these colors, lighter color. Then you've got the contrast layer blend modes, but we're not talking about them now. All of these screen is good for natural highlights, so we'll go with that for now. We can always take a look at it again later. But as before, tab and press mask as before, we will come and we will invert it. And then we will do what we did before. The layer mask is selected, not the highlights layer. You don't want to be painting on that layer mask. For the highlights layer selected, I will come to white because white reveals highlight about that size, a pasty about what let's go with halfway. And now I'm going to brush in just around the right eye of this character in the picture. And I'm going to gradually build up the brush strokes just around the eye area like this. Let's make our brush size bigger. I wanted Rod highlight here and can you see that just slowly coming into view, I'll make my brush size a bit smaller and just get a little bit of light just down the bottom. Let's take a look at what we've got so far before. Without the highlights. With the highlights, I want a little bit more just around the top. And while on Halo, I'm just curious, I'm going to make my brush size smaller. I can dance the bottom. Maybe I can add just a little bit of reflected light there. In fact, come on, What am I doing? I'm doing this little thin line there. Come on, let's make our brush size bigger. And just make a bigger brush stroke like this. So I get a smoother effect and then just swap the colors over because I keep on telling you no brush mark is permanent and just brush on and brush off. I'll follow my own advice. Here we go. Alright, let's see what that looks like. Before. And after a year, I'm definitely getting a lighter effect while I'm here, let's take a look at the various different blend modes that I've used. What about Color Dodge? That's a little bit too bright. What's it look like if I lower the opacity? Now I'm still getting blown out. Areas on the eyelid, for example. Add what's that like? Well, actually no, I do quite like that. But again, it's a little bit too bright. I could always come back in and paint that back out. I think I'll stick with screen for now. Let's take them up to maximum again, allocate. Let's come back. Let's choose the highlights layer, not the layer mask, the highlights. As with the shadow layer, I can play around with the brightness to make the overall effect just brighter. That's interesting. If I think it's a bit washed out, I can always increase the saturation of it to taste. I can decrease it. Desaturated highlights, but I don't wanna do that. I want to make it, if anything, a little bit more saturated because more light falling on that area. Now what about altering the hue? I can make it warmer or I can make it cooler. I might consider making it just a little bit warmer, just in that area for a warmer highlights. Now, is that everything I wanted it to be? Yeah. I'd like it to be bright and colorful, so I'll keep the saturation of light, the overall effect brighter or darker. Look, here's the thing. I can also make it brighter like this. Then if I decide I want to tame it, I can just come to the actual layer and I can alter the opacity of it overall like this. So let's take a look at this. Let's choose our darkened layer, slide across to select my highlights. And I'll put them inside a group. And if I make the whole thing invisible, That's what we had when we added the noise layer. This is what we started out with, all of a sudden looking very flat in terms of light and shade, but also in terms of texture. So that they're, now if I want, I can always play around a little bit more. Take our noisy layer that is set to maximum opacity. I can always fade it out just to get rid of the noise in certain areas if I want or make it less in certain areas, just a very things a little bit. And in fact, I've just decided that little bit of reflected light in the bottom right. I don't really like it. I think it's making the stone look a little bit flat on the edge. So that was from the highlights layer that I want the Layer Mask. I painted in white to reveal the highlights. So now I will paint in black to conceal it again, That's looking at bit more how I want it to look. Alright, so there you go. There's a very, very simple, straightforward way of adding some light and dark. Now I suppose I could have done it by putting down light or dark paint strokes on the same layer as my base layer. But this way it's just given me so much more flexibility because at anytime I can come back in and I can alter how intense I want the shadow areas. I can change the color cast of the shadow areas. I can have more of a shadow or less of a shadow by painting on my Layer Mask. And the same thing with the highlights. It's just so much more flexible and you get plenty of interesting effects. So in case you do a complete cover of your stone, this is how I go about adding shadows and highlights. Okay, Let's wrap this video up. 18. Paint a Butterfly: All right. Shall we do one more? Yes, Let's do one more. And for this one, I think I'll choose stone number six. So I will slide to the left as before and duplicate it. Then take my duplicate out, drop it down, open it up, and we are ready to go. Let's just rewrite this slightly off to one side. See what's happening here. I think for this, I'm starting to get a little bit concerned about the sheer amount of layers I'm using or whether your iPad can handle this. So what I'll do is I'll come to my stone layer. I'm going to take the shadow out of this layer, which managed to go into a new group. That sometimes happens. Let's deal with that. Just two-finger tap to undo and let's take shadow out again. No, not on there. Try give in-between. There you go. So now I'll tap on the stone icon and I will flatten this. So now I have the entire stone with a shadow underneath. And if you're flattening layers like I'm doing now, I suggest you do that. And the reason I'm doing it is because after I've done this project, I wanted to take the various tones that we've done on the course and put them together in one image, you have a group of stones with various paintings on them. And the shadow is going to vary from the various different stones that I already painted, but I need the shadows in the group shots to be consistent. Let's create a new layer and let's insert a file. What are we going to use for this? I fancy doing, I remember doing a butterfly now. Which one is it? I think that is in animals. Is it doodles animals? Is there a bit difficult to tell because I should have put on by masking layer. Yes, it's there. I can just see it but come on. Let's get into a good habit. Before we do that, let's clear this layer, then select white and I can flood or I can just come to Fill Layer. And that achieves the same thing. Let's drop the opacity down a little bit. So I can see more clearly what I'm doing, choosing new layer and I'll choose doodles, animals again. Now I can see more clearly what I'm doing. So I'll move it around like this. Now, I'd like this to be completely horizontal and vertical because I want to use the symmetry tool, but that's not so easy because I'm moving it with my fingers and it's very difficult to get that little dotted line, completely horizontal or completely vertical. So this is what I do. I come down to where it says snapping and I turn that on, or what I want is magnetics turn that on, then I have to tap away because if I try and resize this without little pop-up there, I just move the whole box around like this. So I need to tap once just to close that settings box. Now, can you see how I'm getting a sudden, rather jerky, snappy movements. That is because that butterfly is getting snapped to either 0 degrees or 50 degrees or 30 or 45 degrees. So that can be useful. Now I know I'm making this butterfly bigger than the actual stone underneath. But what I want to do is create the entire butterfly than I'd like to try and get the two wings so that at an angle with a shadow underneath. So I'm going to be resizing this anyway. And if you're going to do that, especially if you're working with sharp edges. Like I am working with sharp edges, make the artwork you're working on larger than the finished image. Ignore size things down. You don't get much of a loss in quality. But if you make things very small like this, and then try and make them bigger afterwards, then you risk getting some fuzziness around the edges of your artwork. Make it nice and big like that. So just tapping my Layers panel and there's my basic sketch. Okay, so the next thing I want to layer in, don't I? Create a new layer? I'll rename this layer to ink 01. And that's for our brush. Well, if you remember a few videos ago, I did create my own brush. I'll be using black as well. But here's the thing I was talking about using the mirror function so I can draw the two halves at the same time. To do that, I need to come to my spanner icon, what we call it a spanner in the UK, you might call it a wrench, but let's be all official actions icon. What I want is Canvas and I want the drawing guide. There we go At the moment is set to grid and you can see that fine grid overlaid everything. But I don't want that. I want symmetry turned on. So can we choose symmetry? And there it is. But you can see the problem is, it's off to one side a little bit. That is not a problem. Look, just zoom right in and you see the little dot. Just tapping my dot and just drag it to where you want it to where you want it to go. And I think for me that is about it, about there. Let's zoom in even more. It's not really going to matter because I'm only going to be concentrating on one side of my drawing and the rest will draw itself. So I'll come to Don for that. Oh, that's interesting. I accidentally managed to change the color of my symmetry line. Look, I'll show you that edit drawing guide zoomed right in. Instead of tapping on Done in the top right-hand corner, I moved the color slider for the symmetry line around an accident. He made it very, very light like this. Maybe you can't see that now. I'll make it a little bit thicker and a little bit more opaque. There you go. There's a symmetry line with me able to see it, but I'll make it a slightly different color to the black that I'm doing. Tap on done. And yet now we can start. Alright, I'll let go all inky with Gagarinsky. The final thing you have to do to make sure you're working with the mirror drawing aid or the perspective drawing aid or the grid drawing aid is just make sure you have Assisted on the layer that you want to draw on. If it's not, well, you can see Drawing Assist. It's toggle switch just in the Layers menu. Alright, so let's come and take a look at what size do I want? I've got my two notches, Juan, set to 8%, the other one is set to 12%. For this, what I want is to have, well, we call them red Admirals here. I don't know what you call them, but it's basically a black wing with some orange and white patterns there. So for the outline at least I don't really need to worry about the width of my price, so I'll make it a little bit smaller. So if I walk crisper edges, I can get crisper edges. And look if I do this, I'll quickly trace along the side of the wing like this. And you can see if I do that because mirroring is turned on, I get two brush strokes for the price of one. Great, good times. Now let's double-tap to undo that. Make this as big as I can. If I make my brush stroke like this, you may find when you're doing this that if you're a bit unconfident, your hand gets a little bit wavy because you're going quite slow like this. And certainly for the wings around the outside, I'd like this to be a nice smooth line, double tap to undo. And I'll count my ink brush. I'll tap on it. And I'm in the brush studio. If you want your brush to have smooth brushstrokes, you come to the stabilization tab. Now at the moment, for another project, I turn the amount up quite high, 63%. If I turn this down to 0, and I'll make a slightly jittery line like this. That's with no price stabilization. If I take the stabilization amount up, can you see how the brush start smoothing out into a smooth brushstroke. And the higher the value, the more the stroke gets smoothed out. And if I make another brush stroke, you can see it feels a bit weird drawing with the stabilization set as high as 100 per cent because it's trying so hard to smooth out the brush strokes you're making. It feels like you're trying to walk around a very excitable puppy on a very long lead. It goes more or less where you want it to go, but all over the place while you're doing it. But if you take your stabilization down to nothing, your brush stroke goes wherever your pen goes. But I do want a little bit of stabilization. There's various ways to do it, but stabilization is probably the most straightforward way of doing it. Because what that gives me the ability to do is if I draw a fairly fast come on, let's clear our drawing pad. If I make it fairly fast stroke, it helps move things out. But if I make it faster, I can certainly slowed down. I can always get sharper corners like that. And it's simply a case of rocking the stabilization around took place that you'd like for now. Look, I'll just take it around halfway and see how I get on. Now with the stabilization turned on, Let's try my brushstroke. I'll try and do this in one. If I don't like what I came up with, I'll just erase and start doing it again. I'm telling you that from now because especially when you're starting out or you're not that confidence at the moment, the temptation is to go very smaller, do little scribbly strokes like this. Now with other circumstances, doing a little line with a lot of angles on that, I can look great. But certainly for the wing pattern, I need this to be fairly smooth for most of it. And I'll show you what I mean by that because I will make my brushstroke. I'm trying to make it fairly fast, fairly smooth. Er, when I get to this point, I want to start putting in one or two little sharp edges like you to get on a butterfly wing. I'm right handed. So it makes sense that I draw on the right side of my mirror because I can see the brush strokes that are making much more easily. But when I zoom in like this, this curve underneath it is going to be difficult for me to do because I'm using an unnatural movement of my hand. Think about it. Get your Apple pencil. Any pencil or brush or whatever in your hand. Most likely you'll find there's only one way to make a natural arc with your hand, because your hand pivots around your wrist in a particular way. Try and do it any other way, you can have a problem. But the good thing about using an iPad and procreate. You can tilt the iPad, but you can also rotate your canvas just by putting two fingers on and moving it around. So you can always get to that position where your hand draws a natural curve like that. Alright, I'm quite happy with that. And I have mentioned this before, but I'll mention it again when you're doing these kinds of brushstrokes, it is a good idea. Put on some relaxing music, ideally without words so they don't distract. Just get your breathing nice and slow and even against self into a calm state because when you're turns, it's very easy to make timid brushstrokes. Ideally, what you're going for is just nice and relaxed. Like that. And I didn't talk while I was making the pro stroke because I just needed to concentrate entirely on what I was doing. And if I'm going to concentrate on anything else, It's just breathing slowly and carefully. Remind yourself before you start. If you make a brown brush stroke, you can always two-finger tap to undo it and start again and do as many brushstrokes as you need once you realize that you will start to work with confidence. And when you're doing smooth sweeping lines, working with confidence Is everything. Alright? Let's move this around so we can use a natural curve of my hand. You'll notice when I did that, I didn't talk again and I did very brush stroke a little bit, but I stopped at the point where the brushstroke would have suddenly started getting awkward and I couldn't see what I was doing. Instead, let's make this as big as I can and just carry on. Didn't quite join up nicely there. So two finger tap to undo because I can there. I'm going to close these off. So that should they have any to flood I can without the black spilling absolutely everywhere arcade, that is the basic outline of the wings. So now I have a choice. I can either flood everything in black, then erase the bits out of the middle of the wings using the same brush but as an eraser, which I can do just by pressing and holding on my Erase tool, which sets my arrays to whatever my brushes or I can come in like this and then start drawing the shapes are like this. Either way there is a fair amount of work to do here. But whichever way I am going to do it, I'm going to take my layer five, which is my sketch layer, and drag it so it is on top of the work I'm doing. The reason being is once I make my black ink mark, I won't be able to see my sketch if it was underneath the ink layer. So this way, I always have an idea of where the sketches, you do have some fairly small shapes here. So in the case of this one which I am circling now, bear in mind that the shapes are gonna be visible. But in between the shapes, those are the areas that are going to be filled in black. So if you work to the inside of the shape like this, you're going to end up with a very, very small area there. And I'll show that to you if I just flip this in black, suddenly goes way too dark. So I'll undo that. I'll undo that. And one thing I will do is come back to my ink layer because I made the classic mistake of making brushstrokes on the wrong layer. Let's do that again. I can afford to have a lighter touch like this. So that now when I flood, you get a much more realistic shape. And it's only the inside of the outlines that I'm doing that matter. The outer bits, they're going to be filled in black so they don't matter. Anyway, this is a fair amount of work. So I think what I'll do is speed up by quite a bit. 19. Ink in our Butterfly: Okay, I've got to a certain stage with this now. You'll notice that I didn't do those little circles just on the outside. That is because having to go through every single warm like this, I think it's gonna be a lot quicker just to flood the area and then just use the erase tool to hollow out those areas. So I won't do that. Instead. Drag and drop, like we've done a 100 times before. Take the threshold as high as we can get it so it completely flood and just drop it back by as little as we can get away with. So we don't get any little ghost edges just around the outlines where the flood tool didn't quite loud enough. Let's try the other 100%. Then. I get back just a tiny little bit. That way you will get clean floods. Alright, now I did say put the sketch layer on top of the ink layer so I can see things, but it's not very clear at the moment because it's a dark brush mark against an even darker background now, so let's just come to hue saturation and brightness brighten up a little bit. Now I can see what I'm doing. So Anxur want assisted my Erase tool because you can ski, I think adapted That's what I want. The same brush I was using all along. That stabilization which I added, is possibly going to work against me now because I just want to do simple round lines or maybe with a little bit of character. And when you're working in a small area like I'm doing now with all these little circles. That stabilization is going to work against you. So just take it down to 0. That is another point. The better you know the brush engine, the more you can ride the sliders to find you in the brush for your needs as you go along. And just in case you wanted to learn about the brush engine, my solid foundations course has possibly the biggest tutorial on the brush engine, but certainly I've ever seen. Anyway, let's come in and carry on. One thing I am going to do, It's trying to make a little bit of character rather than just a brown dot like that. I can have a few of them, but I just want to have something a little bit more blobby than around circle. Because in nature, things aren't really perfectly around. They are blobby. That's the technical term for it, by the way. With no idea what he's talking about. All right, I've done that. Let's check that by turning off my sketch layer so I can see things more clearly. And yeah, I quite like that. But what our sketching I was working my way through what, 72 different sketches and they'll come certain points where I think will come on, I've got deadlines I need to crack on with this. So they'll reach a certain point where I stopped. But with this, because we're concentrating on this piece, I just want to experiment a little bit. So what I'll do whenever you experiment, duplicate the bottom layer invisible and it's going to come back in. And I'm just going to add a whole load of smaller dots. I asked you tend to get with a butterfly. Okay, there we go. I'm not sure whether I will use this in the end. I'll see how it goes because the good thing is I always have the spare layer from the couple of minutes ago. Should I change my mind? Okay, now the very last thing to do this, I need to have the body. And I think for the body first thing. Let's make this a little bit darker again so I can see the body, but I think it will have the body on a separate layer. I'll make it assisted. Because I may want to do things with wings afterwards. I don't want the body getting in the way. So just the outline. This shouldn't take too long. Actually, you know what? I'm back to my brush. What did we say? Or ride the sliders on your brushes? Well, let's do that so I get a slightly smoother result. It doesn't matter which side of the symmetry line you draw on. As long as you're comfortable. Don't like it. Go through, make it thinner to a point and then back on itself. Come back in and just erase the bits that I didn't want. Bit difficult to see that. So make everything invisible. Make sure they're selected. If you're a Lepidoptera just, I'm sorry about the inaccurate anatomy. But really, again, I went off the sketch a little bit. But when you're inking in, you may have one or two ideas because you're taking your time to ink. In which case, great. You don't have to follow the sketch slavishly. Let's turn on my top layer. Turn off my sketch layer. And there's my butterfly ready to go off to you. I don't need the sketch layer anymore. I'm gonna get rid of it because I do want to set this off to you so that you can work with it. It is going to be a big file. So let's just save whatever layers we can let come to gallery. Let's rename it. Butterflies 01. Butterfly first. I hate it when Apple helps you with your spelling. No, I like it when it helps you with the spelling, but I don't like it when it comes up with creative alternatives, suggestions. So share that Procreate format. Airdrop, Simon's iMac, and that will be waiting for you at the start of the next lesson. And I will see you there. 20. Block in our Butterfly: All right, by now hopefully you know what comes next. We need to block in our layers. So let's come to our layers. Powell are actually, you know what Freud or anything else. I'm going to rename this layer to body because that is the body of the butterfly. And I've got a feeling that I'm going to be using quite a few layers on top of this. And I'm a little bit worried about you're running out of memory as you're following along. So we'll look, do I really need this white layer underneath? Because I don't need to see my sketch anymore. So let's get rid of that. So one less layer to worry about. And let's create a new layer on top. And I'll rename that to be 01, standing for blocking layer 01. And I could do with some colors as well, couldn't I? So let's come to the wrench icon. Insert a file or which one of these Hammond I used yet. Okay, let's try the oil hue, swatch 01. Let's make it a little bit bigger. I think for this, I'll pick colors from it and then just make the layer visible or invisible as I need. So which of these colors do I want for my butterfly? And I realized I call this butterfly or red admiral. I think I got that wrong. I think it might be a monarch butterfly. So for anybody I've mortally offended. I do apologize. I love these colors while he can't see the writing, but that's cadmium red light right up at the top right-hand corner. I've used that as the base color for most of the wings, but I think for this, so I can show you another way of doing things. I'll stop layers on top, on my blocking layer and use different layer blend modes. So make that layer invisible. And what an idiot, I created a new layer, I renamed it to blocking in 01, and then I imported in my color swatches there. So create a new layer, and let's call this one B, L 01. And so we don't get confused, come to this layer and call it swatches. And let's drag that up to the top of. Here's an idea that slide across and let's lock this layer so that I can't make any further changes to it. And through this course, occasionally I do make a mistake, and more often than that, I make a deliberate mistake for the simple reason that they are the kinds of mistakes you are very likely to make when you are doing your own work. So, you know, you're not the only one and what to do about it, then it's all for the best because I'm about to make another mistake. But let's move on to that. Okay, So I need a blocking in brush will look. I've got my Kaczynski ink adapted brush, so I'll just use that. Come here and start to fill in this area here. It's not all orange. There are some areas of white. So I'll do that on a separate blocking in layer. But for now, let's try and make sure the areas I want to keep white, like those little dots I'm avoiding at the moment aren't covered by this. And take this down to there to close things off. At dragged down. Threshold is on 56.9. Let's crank it right up until the early floods, everything and it didn't. So that's nice. Let's come down a little bit more because I still have this bottom wants to do, don't I? Take it round like this and plot this? Let's come to here. Just draw around the shape that I want to flood in orange. Now I did accidentally go over something. I didn't want to come to my Erase tool, press and hold until I arrays with the current brush, which is gonna be my kitchen ski brush. If I'm pronouncing Gish and ski role, I do apologize. Let's finish off. Let's try and avoid that little dot there. Flood. The last bit. There we go. I think we're good to go with that camera around. Hi, you go. There's the next mistake I made because I didn't have Assisted turned on for this layer. So I didn't mirror the artwork. And if I turn on drawing assist at this point, well, it won't magically copy everything on one side of the mirror to the other. And if that happens to you, then just come, I'll turn off drawing assist on our slide across to the left. And I will duplicate this layer. Then I will come to my transform tool. And just at the bottom, you can see it says Flip Horizontal. I'll do that. Let's zoom in a little bit so I can see more clearly what I'm doing. I have a couple of videos ago, I turned on snapping magnetics and that is good because now if I drag over, Can you see because I have biometrics turned on, I have that little blue line going across the middle of my screen that lets me know that this area of orange, which I'm sliding across, is staying on the same horizontal axis. Oops, I've pulled down too much. I got that, but if I bring it back up there, so now I only have to worry about fitting this duplicated shape and getting it right horizontally, rather than having to worry about the vertical. And that would make my life difficult. So what I'm looking at is that little point which I'm circling on the one side and try to match up to the other side. Can I zoom in? Now I can't. It makes my Transform Shape bigger. Double tap to undo that. Just try and carefully judge this about they're not up on my layers and just merge down means everything's on one layer. I don't think I'm going to be drawing on this layer again, but just in case, let's turn on Drawing Assist just for that lab. Okay, so now I need one more blocking in layer four, what are going to be the little white dots? And so tell you what, let's not make the same mistake again, let's come and choose Drawing Assist. So now I know I'm gonna get everything mirrored. Now what color do I want for this? Let's turn on our swatches. And I think for this, I'll choose zinc white is white but with a slightly pink tint to it. Turn this layer off. Layer nine, Come on, rename it be L 0 to standing for block two at. That's just start scribbling in various different areas like this. I don't want to get to the larger areas. Just draw out a shape like this. Flood the area. Take it up to a 100%, then drop it down a little bit. And with this, you may notice that suddenly I might speed up my brush strokes around the time that I'm not drawing. The reason for that is that I'm speeding up the video because one of the things about doing videos like this is to try and stop people from falling asleep in the middle of what you're saying. So if I can speed things up to save you a bit of time, then why not? Like I just did that. Okay, that is done. Let's take these and drag this underneath. My two layers are just little while I'm here. I'll do the body as well. One more layer, PL 03. And this is going to be for the body, nor can we shall use for the body. I think I want something pretty neutral for this because they tend to have darker bodies. I will go with the charcoal and I will go with darker version about there. Let's turn on assisted just to save me a little bit of time. Oh, and also let's make the inking layer invisible so I can actually see what I'm doing. Okay, that is the inking in. Let's make a start with the painting. 21. Paint our Butterfly: Okay, let's start painting. Let's come to our layers. Let's do the orange bits first. Now the simple way of doing this, which we did when we did the icecream, is to turn on alpha lock and then just paint on that layer. But I want to show you a different way of doing things. It's more advanced, but it offers a lot more flexibility. So I'll turn off alpha lock. Just to make a point with this, I'll create a new layer. I'll turn on clipping mask. One idea, you get that little arrow which points downwards about little arrow is telling you that layer 11 has been clipped to the blocking layer 01. And what that means, look, if I turn off the layers above and I have my layer 11 selected, if I turn off clipping mask and I'll make a brushstroke. There's my brush stroke. It goes everywhere. Two finger tap to undo, put every turn, clipping mask back on again and make pretty much the same brush stroke. It stops. What clipping mask means is that you can make brushstrokes, but they'll only appear where there are already pixels on the layer that is clipped to. In the case of this layer with the orange blocking here, I turn off clipping mask. You can see I did make a whole brushstroke, but if I turn it back on again, look at that, it gets made invisible. I'm going to clear this layer and I'm also going to tap again and turn on Drawing Assist so that I can do this symmetrically. Turn on my ink layer. So now, because I've done that, I can make my brush strokes quite freely knowing that they're not going to spill out over the edge of the butterfly wing. Now I could come and I could choose a color from here, supposing I wanted some lighter colors. So I can, when I choose. Very hard to see. Let's try it. Let's try zinc yellow, the standard tone. Make this invisible. Come here, choose a brush. And I think for this, I want to lay down the big areas first. So airbrushing, soft airbrush that suits me. A pasty set too low. And my size that's pretty big. And then I can just build up areas like this. But instead, I'll come and I'll clear that layer. And I'm going to change the layer blend mode because a very common way of working that people who know about it is to use your layer blend modes. Now if I want a lighter effect, I've got what lightened screen color dodge a lighter color. But underneath that. Just to remind you they are the contrast layer blend modes, which means if I paint a light color, it will lighten everything underneath. If I paint a darker color, it will darken everything underneath. And so sometimes people might choose a layer blend mode and you have plenty to choose from overlay soft, light, hard light, like the light pen light. For this, I will go with vivid light because it gives quite intense highlights and shadows make my brush size and nice and big my pasty low because I gradually wants to build this up. And let's start putting in some colors here. I'll make the bottom wings slightly lighter overall, and I'll make the top wing lighter in one or two places. I would say my slides down, my pasty up a little bit. Because I noticed that they do get some more other interesting variations just in certain areas. Maybe some people know why. The butterflies definitely know why, but they're not telling us. Okay, I'll go with that. And already it's starting to look quite nice. Then let's choose a color for some of the shadows. Now I think a vivid color light your cadmium red alizarin ones. I think those are going to look too saturated. I don't know yet. I haven't tried it. Let's try a slightly less saturated color. Let's try it venetian red. I choose one that's slightly darker shades of it, make my layer invisible. Let's take a look around here. I want my brush size set fairly small for this and pretty low. Now let's just come around the edges of that bottom wing. And you can see that even though I chose a fairly desaturated color, what I'm actually getting are still some quite saturated dark areas. Okay, I'm adding a note here after I've done the recording. Darker red tones aren't picking up very well on the recorded video. Trust me, they are there, but it's not that obvious here. Anyway, let's carry on with the recording. You do tend to get some rather saturated colors in certain areas, more saturated than if I was using normal blend mode. I'll show you that just very quickly. If I change from vivid light just to normal blend mode, you can see that less saturated. Take it back to vivid light. It gets more saturated. What about certain areas around here, for example, up the opacity and make my size a little bit smaller. That's too much. Resize a little bit smaller, a bit more careful with my brush strokes. Starting to put just wanted to streaks in there just to give the idea of the veins on the wings of the butterfly. In fact, let's make this much smaller than if I'm gonna do this. I'll do the little streaks of color, but I'm going to make it so they crisscross slightly. They're all falling out from where the wings joined the body. But I don't want them in completely straight lines because while they're supposed to be representing the veins and veins don't travel in straight lines. I'm pressing very lightly with my brush at the moment. I want these lines to be pretty thin and quite subtle. And I think there are certain areas like those darker couple of panels. I will need something a bit darker like that. I could do with my previous color now, just for these lighter bits. So just press and hold on my color area. And it calls up the previous color I heard. And let's put a few in here, just in these top areas. I think some of those darker areas have gone a little bit too dark in some places. So I'll tap and hold on my eraser so I can erase my current brush. If I come to this area here, we're starting to annoy me. What I'm doing is I'm erasing using my soft airbrush, but I've got the size set pretty small and it's just chlorine back. Some of those areas which I had before. And what it's doing is revealing the orange layer underneath. Because if you remember, I'm basing everything on that orange layer. Now one or two areas, I think we've gone a bit too far. So we're getting some rather ugly brushstrokes there. Now I could come back in and start trying to paint back in those areas, but instead, I'll come to my smudge tool that's coming out it airbrushing, soft air brush is selected, make it fairly small. And I can just blend the colors in where I think I've gone too far. Like around this panel here, I can just blend some of those colors in like this. While I'm here, I can use the smudge tool just to streak the colors around to get a slightly softer effect. I can crank up the opacity here, maybe make the brush size a tiny bit smaller and it can vary and streak of color around. Maybe I should have done this in the first place. But then again, if I did that, I won't be able to show you different ways of doing it. As I've said before, the blend tool is every bit as valuable tool for making marks as the paint tool and the eraser tool. Every bit as valuable, you have three tools to play with, and I'll find it by doing it this way, I'm starting to get, rather than just streaks of deeper red or lighter yellow, I'm starting to be able to make them look a little bit more like they belong. They're sitting together a little bit nicer. Yeah, I think I'll go with that for now. Now. What about our layer with the white bits on loud MIT for this layer, I don't really want to build up layer upon layer of different blend modes because it's a fairly simple white. So for this, if I don't need to, I'll just turn on Alpha lock. So now I can only paint on the areas of this layer which already have pixels. Let's find a brush. I just want to roughen things up a little bit. So let's come down to, well, let's come down to textures and see what we've got. I've got this one down the bottom. Grunge. Let's give that a try. Let's see what color I want to use for this. What about Davies gray? Just use a lighter version of that. Maybe around there. Make this layer invisible. I'll make my pasty low because I don't want this to be particularly strong. My size, I have no idea. Let's try what? 2223%, and let's do a few test strokes. Just in this area. Yeah, that's subtle, but you can see it's just adding a little bit of texture and that's what I want. I don't want any more. That's very low. What about if I take up the opacity to what did I take it to? Quarter, just so I can speed things up a little bit around here. That is working for me. It's just breaking that intense whiteness was looking at bit unnatural. And it's just giving you a little bit of texture so it doesn't look unnatural. In fact, while I've done that, let's load up what was I using? Davis gray, I'm going to choose a darker version. That's the color I've been using at the moment. Let's make it ever so slightly darker just to mix things up a bit. Make this invisible. What's that look like? That's looking a bit too dark. But what I wanna do is increase the size of the texture because I think the texture is a bit small. And now if I do this, I'm getting some variations here which I prefer public as the texture set bigger. It's not all concentrated in one area, it's more spread out. So and look, if I open up my swatches and choose the cheapest version, make this invisible. And I will zoom out a little bit for this and maybe make my brush size a little bit smaller rather than a very fine grain like you're getting just in these areas which I'm circling. That's getting a broader texture mixed into it like down here, for example, what basically the size of the texture is a little bit bigger. So you get this mix of bigger blobs and slightly smaller blobs. And it just helps create the feeling of chaos just a little bit more. But while I'm here as well, I want to choose a straight white just to mix up things a little bit further. I'm just making one or two variations in one or two areas just to further break up the different areas. I think that's all I really wanted to do for the white areas. Since we're here, I've got my layer 11, which was the layer with the layer blend modes, and I put the different oranges and reds on. You can vary this. You can take the opacity down to 0 and then gradually bring it in like this. You can also change the layer blend mode look a completely different effect. Vivid light, hard light again, a different effect. Slightly less saturated soft light is very, very subtle. Overlay is kind of a halfway house. Hard Light or vivid Light. Vivid Light is what I had it on. And if you decide that effect isn't strong enough, you can always duplicate it, which doubles up the effect. If he'd site that is way too strong, take the opacity down to 0 and just dial in. However strong you want it. I will get rid of that later for now. And I think I'm going to stop at this point because I've got so many things to show you. And so I'll do those things in the next video. 22. Finish Painting our Butterfly: Okay, carrying on from the previous video, we have this layer sitting on top of an orange layer. And so the colors are interacting with the orange layer in a certain way. But one thing I can do is I can come here and I can change the hue of this particular layer like this, or getting all kinds of strange effects. I can change the saturation as well to take things a little bit, and I can alter the brightness as well. And you're getting all kinds of weird and wonderful effects. I will tap with one finger to bring up my options. I will come to Council for that. Instead, I can come to the layer underneath. I can run hue saturation on that. I want to do that. You can see because the top layer is basing a lot of what is on the orange layer underneath. If I adjust the orange layer like this, I'm getting I'm getting a much broader overall effect. Again, our top again, and cancel for that. I can come here and I can stack another layer on top of that and change the layer blend mode. And we can change that to another blend mode, like supposing I want to say a lighter blend mode. Let's choose screen, and let's choose a brush. Actually, while we're here, let's just stick with that grunge brush. See what happens. I want this set a pasty fairly low. First slide set fairly high. I have white selected. Let's just see what happens. The moment that is too strong. And also, let's clear that out. Let's turn on Drawing Assist so it's symmetrical. And also let's clip it. So this is also clipped to my orange blobby layer. And what I'll do is I will sample that lighter orange color instead of choosing white. And let's draw again. I want that is doing is just breaking up the surface of the butterfly wings so you get a slightly noisy effect, which looks more like the kind of thing I would expect to see on a butterfly wing. Now at the moment, I think it's a bit too strong. So what we do, why do you think it's too strong? Take the opacity down and then dial in just the right amount of the effect I want. Just for now, I'll take it back to Max and I'll play around with the blend modes. Because look at that color. Dodge gives a very different effect. Add gives a very strong effect. But again, with this, I can play around with the hue saturation and brightness. I'm getting he was like pinky effect there. In fact, I'm getting all kinds of effects there. Play around with saturation that has an effect as well. Maybe I'll do this saturation. I can also play around with the brightness to vary the effect. Nothing is fixed in stone, everything can be altered. And again with this, I'm going to take this and I'm going to take the opacity down to about halfway. I just want just a little bit of texture in there, just to break up some of the effects. It's affecting the lighter areas more. So choose another layer, clip it down. Drawings us turned on. And for this, I would choose one of the darker colors. And I will choose darken blend mode are pretty much repeat the same thing for this, just for the sake of choosing something different. Let's try a different brush. What do we have? I'm just looking at random here. What about charcoals? What about something like Birch Creek? Is that a very strong texture? Take the opacity down. Now what happens with this? Oh, I like that. I'm doing it just in a slightly darker areas. Pool. That is a nice effect. That's really giving me the kind of effect I was looking for. But it's looking really quite strong overall. I think the butterflies getting a little bit too colorful. So hue saturation and brightness and saturation, that kind of works. Now while I'm here, What about the terrible? That's not so nice. We just nudge it around a little bit. Saturation, kill that a little bit. And then the whole thing down, gradually dial in the amount. I want. Just in those areas. Now since we're on a bit of a role, let's choose another layer like this, drawing assist. Clipping mask. I fancy a different color. What about Prussian blue version one. I know you can't see it, but I'm taking it from there. For this. I'm just going to drag and drop the whole thing down like this. Now at the moment, you thinking, okay, you've just killed everything. There's no more texture there. But if I change the blend mode down to color, what that means is that it takes my basic Whew, my blue, and makes everything underneath it the same hello or the same hue. Saturation and the dark to light values that's all taken from the layers underneath. And if you decide that effect is too strong, you can take it out or you can provide a little tint of blue. You can make it much more blue and until eventually you get this kind of an effect. But supposing from that, you fancy some yellow tips on the wings. What have I chosen there? What is that? Zinc yellow make this invisible to our brushes. I'll choose a simple airbrushing for this soft airbrush. That's fine. Make it nice and big. And I'm drawing on that layer. I flooded with blue and I can change the hue, I can change the color. However I want, and I still pick up all the textures and the dark to light values from underneath. But I combined them with whatever is on top. I want something a little bit more orangey in there. I can do that. And actually painting using a color layer on top of, for example, a black and white image to colorize it. This is basically the way you do it. Again with this, I can come and I can come to hue saturation and brightness. I can alter that to where I want it to go. And I end up with a completely different butterfly. And I can fade a little bit of that in with what I have underneath that layer is partially visible. And if I decide all of a sudden that's looking a bit, say me, I want a little bit more dark and light, but I don't want to play with stuff underneath. I can add another layer, clipping mask and drawing assist. And this time I'll set this one to luminosity, which is right down the bottom. Then look, I'll choose a neutral, darker color. It doesn't have to be neutral. It can be any color because if I paint using my soft airbrush, for example, I can make area's darker like this as much as I want. And it will keep the basic color and the saturation from all the layers underneath. But all I'm doing here is affecting the overall dark to light of what I'm doing if I make my brush size smaller, little bit more intense so I can mark a bit faster. Again, I can build it with veins like this. Just to mix things up. I don't like that. I can always use my blending tool just to blend those in a little bit better because I'm just painting with dark to light values here. I'm not painting with any color, just dark to light, and I keep the color which is underneath. Again, this is a very common technique and I don't like it there. Okay, look, I wanted to show you the possibilities when you're using layer blend modes. The possibilities are huge. You've seen the kind of changes you can make. And since we're here and we've done quite a bit with the layer blend modes. I may as well let you know now. Yes, I wanted to do a course about rock art and yes, I wanted to give you a course about blocking in things, but also I wanted this course to be a masterclass in using different layer blend modes on my solid foundations course, I go into detail about the different layer blend mode, what they do, why they're good, and showing you some of the flexibility that you get with them. And I go through every single layer blend mode and say what it does. But I think it's a good idea also for you to see them in action because they can be a bit daunting at first. But once you get used to them as possible to all the various things you can do with them. I don't think you're going to want to look back anyway. I've done that and you know what, just while I'm here, let's just very quickly do the body. I don't particularly want the body to be anything spectacular. So I'm just going to make this, an Alpha Lock. Drawing assist is turned on that sample from the body itself. Choose a lighter version of that color. Software brushes, fine, posted, low. I'll just leave the body for that. Now to decisions, decisions. I did want to read monarch butterflies, so I will lose some of those top two layers and I'll make that the butterfly I want to take forward into the next lesson, where we'll transform the wings around and create a shadow for this. 23. Sit our Butterfly on the Stone: Okay, so we've got our butterfly, or let's make it look like it's sitting on a stone. Now what I've done is gone into my gallery and I've duplicated the work that I've already done. I'll just rename this to butterfly is 05. And this has absolutely loads and loads of layers, many of which I don't need. So I'm gonna do some pruning now and get this to the stage where I can transform it and add a shadow to it. So what can go? Swatches layer, Let's unlock that so that I can delete it. Now I could start grouping things. We've done that in a previous video, but instead I want to be a little bit ruthless with this. One reason is so that I can send you this file and it's not going to be absolutely massive, but also it's just going to make life simpler when it comes to explaining things. So what I want either complete wings on one layer and the body of the butterfly on a separate layer. So to that end, let's make everything invisible apart from the wings. So that's most of the things I like the way, but I do need to get rid of the body wherever I've got it. So that's just a wings. Everything else is invisible. So I come to my wrench icon, I'm in the Add tab. And I came to copy canvas, which covers everything you can see. And then paste. If I take a look, I have a new layer called inserted image, which I'll rename two wings. And I have to do the same thing for just the body. So that's the outline and the filled-in bit. And I need to hide everything to do with the wings. And yes, that would have been easier if I grouped everything. So maybe I missed a trick there. Anyway, do what we did before. We come to our wrench icon, Copy Canvas and paste. And it gets a new layer called inserted image, which I'll rename too. So now I have two layers, body and wings. And straight away, I'm going to slide across my body outline layer and get rid of it. I'm gonna get rid of my assisted ink outline layer. What do I need to make my final image? I need the cloth, I need the shadow, I need the base or where the stone is, and that's everything. So everything we just currently invisible I can get rid of. So tap on the bottom most invisible layer in the layer stack can just slide, slide, slide, slide, slide to the right. Anything which isn't currently visible and delete it. Yes. I want to delete everything there. Oh, hang on. Nobody missed this one. I don't need that value there, so we get rid of that. I don't need that. So slide to the left and delete. So now I just have the elements I want to work with. And to that end, let's come to gallery and slide to the left. And I'm going to share that in Procreate format, send it to my computer. And so now there is a file waiting on my computer called butterfly 05, which I can send to you on already. That's 63.5 megabytes. Imagine if I tried to send you that file with all the layers intact. But the fact of the matter is I already have my previous file with all the layers. If ever I have problems, I can always just refer back to that file. This is just iterative saving where as you work up your artwork, you call it butterflies 010203. C, always have the earlier work to refer to that. And butterflies 05, I will slide to the left and I will duplicate and work on the duplicate. So if I mess this up, I always have the previous ones work with. Okay, so the next thing, I have my wings and I have my body. I want this to look like it's sitting on the stone and I'd like the wings just to be a little bit more three-dimensional. So what I'll do is I'll choose just my wings layer. I'll duplicate it and make the layer underneath and visible as a safety layer. Then with my duplicate layer selected, I will come to my select tool. I can just use rectangle for this. I'm going to drag out a rectangle over the right wing. Then I'm going to come to my Transform tool. Now what do I want? I want distort, because then what I can do is I can come to this little blue node, just which I'm circling now. And I can drag that. And I'll drag it up like this. And I'll come to the little note at the bottom. And I'll drag that down like this. What I'm aiming for is a slight perspective just on this one stone. So it looks like being is up in the air rather than being completely flat. I don't really need to do this with a left-wing because all I want to do is get the idea that the wings aren't lying flat. So that works for me. One thing I will do as well, I'll take my body layer and I'll drag it underneath the wings and take a look just where the wings meet the body. That the wings are now sitting on top of the body, which is where they should be. The next thing my body is selected. I will slide across from the left to the right to select that one as well. And I will take both of these. I will transform them. Now for this, I want to choose uniform. I don't do anymore distortions and i'll, I'll the body around like this. I think it needs to be a bit smaller, which is a bit of a shame. Move it around so that it's sitting at a slightly more interesting angle than just flat on the rock. Maybe about there. Yeah, I can go with that. Now the sharper either amongst you will have noticed that the left wing is going over the edge of the stone. Not a problem. Let's come to our selection tool again. And this time I'm going to choose freehand. And I'm going to draw around that wing, just cutting into it a little bit like this. So that is selected. Then I'll come to my transform tool and I'm going to choose warp. Zoom in a little bit on what I'm doing here. I'll come to that little note just in the top left. And I'm going to drag it down like this. And also, look if I turn on advanced mesh, you can see all the nodes in action. And I'm just going to start pulling them around just to gradually fold, just the end of the wing. So everything gets kinda squished down. So it looks more like it's wrapping over the edge of the stone. Like this. I'll come to my layers panel to select that it's nearly there. But just to finish the effect of I will come here and I'll drag this down so it's sitting right above the actual stone itself. And if I'm gonna do that, I need to drag the body down as well. Then I'm going to clip the body to the base or the stone. And I'm going to do the same to the wings. Watch what happens when I do because I clip it. The end of the wing gets cut off and it's starting to wrap around pH of the stone. Alright, so I've done that now, what about a shadow? On that case? I take my wings late and I duplicate it. Choose the one underneath and we'll call this shadow. Now I can't just below this and offset it a little bit because that raised wing would presumably create a little bit more of a shadow. So this is what I'll do. I'll come to my adjustments or take the brightness down to 0. So if you look closely of a thumbnail in the layers panel that is all now black. But then what I'll do is I'll come to my selection tool. Freehand is selected, and I will select just the right side of the wing, the shadow layer. I'll apply Gaussian blur just to there. You can see me doing that now. I've chosen what 13, 14% around about there. Then I'll go into my transform. I come to distort for this. And I'll pull the whole thing down and out. Like this. I'm getting that kind of effect now it's very strong at the moment, but we can work with that. Also. One thing I noticed with the shadow, it's sitting on top of the body, which I don't need any of the shadow to be in-between the stone and the butterfly. And I'm going to change this to, I want to change it to multiply because I find it gives slightly better shadows to take the opacity down to 0 and then just dial in mountain of shadow that I want like that. Okay, That's 1.5. Now, what about the other half? Because I do want a shadow there just not as big as before. Come to our selection tool, choose freehand. And this time I'm going to choose everything on the left side is we're looking at it, come to Gaussian Blur. I want this to be a slightly tighter shadow because it's not going to spread out as much as the other one. But now I come to my transform tool, drop this down a little bit like this. And so now you can see I have a tie to shadow on one side and a more extended shadow on the other. Just while I'm here, just to wrap things up, I'm going to come to my wings. I'm going to create a new layer. I'm going to clip it to the layers underneath. I'll change the layer blend mode to a dark and one light multiply. I'll choose a simple gray for this. Come up to this top right-hand corner. What brush do I have by soft airbrush, that's fine. A pasty, fairly low brush, pretty small. And I'm just going to make just the very edge a little bit darker so that it matches the shadow of the stone. Like this. Just to sell the idea that, that butterflies sitting on my stone at all. I know he missed a trick to my body. Duplicate. Choose the layer underneath. Make it black. First of all, let's just move it down a little bit so it'll be about down about there. And then when I moved it, Let's change the blend mode to multiply. Drop it down to what was the shadow of the wings? What was that? So to 71%. So I'll make the body layer 71 per cent, that's fine. Zoom in and then just come to Gaussian Blur. And just a slight blur for this because you want to keep the detail like that. And it's okay for the top. I don't like it around the tail end, so I'm gonna come to Gaussian Blur again. But this time I'm going to come to my pencil. What do I have? My soft air brush is selected and I'm going to blur just the bottom bit and leave the top bit intact. That blends in better. And there is my butterfly. Just while I'm here, I'm going to duplicate my wings layer and just have a play around with the top layer because I can have any color butterfly I want. We already did this in the previous videos. So I won't go too much with this. So I'll make the hue where it was around 50 per cent. Maybe the saturation down just a tiny weeny bit. So it's not quite as bright and in your face because look, that's just way too strong. So chose to somewhere around there. Just a task that I've tapped once with one finger and I have my options here. If I just tap and hold on, preview, maybe you can see that, maybe you can't. I'll make this very obvious. I'll tap again, we'll preview. While I tap on Preview, I see what I had before and what I'm going to get if I commit to this. So for this, take this back to around about 50% brightness. Dare I turn the brightness maybe just a little bit. And that's helping to lose some of that dead black of the butterfly. Because as we've said before, there's very rarely a complete dead black in a painting on, unless you're going for that effect, it can look a bit unnatural. I'll go with that. So I'll just tap on my layers panel to commit to that. Close my layers panel. The very last thing I'm going to do is turn off Drawing Guide, so I don't get that little symmetry line running down the middle of my picture. And there's our butterfly. 24. Create a Composite of all our Work: Okay, We've seen how to create a variety of different stones, and we've also seen how to paint things onto the stones using a variety of different techniques. Let's take these various different stones and put them all together into one composite shot. This is what you do. Come to your Layers panel. And we've done this before. I want us to lose everything from the picture apart from the stone, whatever is painted on the stone. Now, depending on what you did, you may have to hide the background color as well. So you're left with this on what you're looking for is just the stone plus what you've painted on there with this checkerboard pattern in the background. Just to be careful and show you. If I came to preferences. If you have a light interface, you will see something like this. I prefer dark, but once you have your image like this, come to share and I want us to export the file as a PNG. The reason being is everything will get exported on one layer. That's what I want. But also you will get a transparent background which a PNG file supports that jpeg won't. Also a PNG is a small file size. So PNG, exporting that, where do I want to put it? Well, I'm going to come to save to files. At the bottom. It'll ask you for a directory. I have a directory called rock art in my iCloud. I'm going to tap on the name because I want to rename this to rock, butterfly. And at the end I'll call it P and G and capital letters so that I know what file format this is. I will tap on Done in the top right and then tap on Save. And that's how you do it. I will supply the PNGs for the files I'm using. If you've been following along, use those. Just before I go back to the gallery though, I will turn on everything that was used to make the image so that in the gallery the thumbnail looks accurate. Now I've done that with the various pictures apart from now, where was it? Yeah. Stone 14. Because there may be a problem with this one. Look, if I turn off the background color, the red cloth, and the shadow, I'm still left with the parts of the baby's head that I didn't erase when I was doing the exercise because well, I didn't need to, but low fat is straightforward enough. I could use a layer mask if I wanted, but instead I'll just come to my Erase tool. Soft air brush is selected. I need it to be a 100% opaque by size. Make it nice and big, and then just come and erase the bits that I don't want like this. Incidentally, if you're doing something like this, don't have it for size because you may erase various bits and think, Okay, this is good. I'm doing a good job and then export that. But then when you pinch in a little bit, you realize, oh, I forgot a few bits at the top. Anyway, there it is. So once more come to our Actions tab Share, PNG, save to files. Rename this to rot Baby, P and G, which is a pretty cool name. Safe. Okay. I've already done that for the other three files that we've been working on during this course. So now what I need Just to come to the gallery and I'm going to import one of the files. I've been using it as a backdrop. I think for this, I will come to old wood 0 to pinch a little bit. Just let me check the file size for this because I'm not sure how big this far worse. So if I come to our actions and I've tried to Canvas, and then I'll come to crop and resize. And if I tap on settings at the top, it lets me know how big the file is in pixels. So it's 4 thousand pixels by 2667 pixels. I'm happy working in that size. If you don't have much memory on your iPad, you may have to reduce the size of that a little bit if you are going to re-size the first thing you do, welcome to re-sample canvas and turn it on. Then supposing I want to half the size, I'll tap on my 4 thousand 2000s. And because that little lock symbol is active, it means the height and width are linked. So if you change the size of one, the other one will figure out how big it has to be in order to keep the same aspect ratio. So I've got that and then I can tap on Done it, resize it to Canvas, and you get a half size canvas. But I don't wanna do that. So I'll double-tap, which takes me back into crop and resize. Double-tap again, that takes me back to 4 thousand by 2667. That's what I originally had. So now I'm gonna make this smaller because I want to see what I'm doing. But also I want my layers panel to be open at some points. So let's just resize that so it's as big as I can get it without it being crop by anything. Then come to our actions panel, come to Add and insert a file. Now, whereabouts are they there they are. Okay, let's load up the butterfly. I'm going to try and keep these as big as I can for now even if they overlap. Because what I want to do is to get them all into my final picture that I'll worry about the position. And that's the point I start thinking about resizing them. The reason being is if I was to make this very small so that I know it fits. If I then resized up again for my final image. I will lose some detail, but if I keep them big and then shrink them afterwards, shrinking from large to small, you'll keep a lot of detail. If you're trying to size up from small to large, yeah, you can lose a bit of detail. I want to try and avoid angling this because for all of my pictures I made the light source come from the top right down to the bottom left. If I start rotating that around, it might change the apparent angle of the light. So I'll just put that off to one side there. Then same thing again. Up baby. Put them just here somewhere. You'll notice when I do it as well, I'm not taking this to the edge of the canvas because if I now press any of the buttons, commit to that right side and the bottom of that rock is going to be lost. Okay? Insert a file. Insert a file, and insert a file. All right, those are the various images I've used. They're too big now they need to be resized. The stones can be touching each other and they can go off the side of the canvas like this, for example, which I might do with this one. Maybe resize it. The only thing is they can't overlap with each other. So I'll put that one there. Just before I do though, you notice that with the backdrop, the old wood, you can see that the top right-hand corner is lighter than the bottom left corner. So the duration of the light is matching up to my stones. That's what I wanted. So let's take that and put that there. Maybe just a little bit smaller because I do have a lot of stuff to get on there for my money. Idle like the butterfly, the ice cream, and the face. I prefer those. So I'll take this one and make it a little bit smaller. And I would just maybe and commit to that. Then I fancy the ice cream. More of here. I'm happy with the size. I'll keep that size for now. What about the butterfly? I want that to be fairly central because I do like that image and come on, let's zoom in a little bit so I can see a bit more clearly what I'm doing. I don't mind that touching those stones but they can't overlap. Look, I'll make this a little bit smaller because they still have other things to fit in there. Maybe look at the Canvas as a whole so that I can see where I am. Maybe make that. For example. I'll keep this fairly big for now because I might need to make it smaller later. But I think this could be a case of nudging things into position. And in fact, I'm gonna come back to my ice cream and I'm going to take this off the side of the screen are a little bit to make it a little bit more space. The baby image, I'm not that bothered about. So I'm going to take it maybe down and shrink it down by a fair amount. And maybe make it down here, for example. Which means I can take my butterfly image, move it up a little bit, and they come down to my face image and move it down to what here. Maybe about that. And then my butterfly image. A little bit about just spread things out a little bit. Which means that I need to take my ice cream image, which now you can see because I cropped it, the very left edges gone slightly. But I'll make that about that. Okay, so I've got my various different images. The next thing to do is to make everything invisible. And we've done this before, that's come to copy canvas and paste. And I get my inserted image. I want to drag one of these above all the others, only going to make everything invisible. I don't really need them. I could even get rid of those other images that I did. But I want one composite image, which is everything altogether other top. And also I want one right at the bottom. And I wonder if you can guess what I'm gonna do with this. Possibly you can make more visible again. We're going to take this image and move it down a little bit like this. And then we are going to come to our hue saturation brightness, make everything black. Yes, we're doing the shadows. I'll change the layer blend mode. One of the dark and blend mode to multiply as good, and I'll make this about 63% visible. Then come to Gaussian blur. And blur if you want a very hard looking light, in which case you'd have some sharp highlights. Cute. You blast out low. If you want a softer area like this, which would mean softer highlights and softer shadows increased in size to about, well, wherever you see fit, I'm gonna go with about 15% now. I'll give a little bit more 18%. But let's play around with capacity now that I've done that. Yeah, you could do with being a little bit darker. I think that's making the stone sit on the wood. But one thing I am going to do is use this top composite image and I'm going to create a new layer. I'm going to set this to multiply as well, and I'll lower down the opacity to something, a similar level of opacity to the shadows. I'm going to click this layer. They inserted image because what I want to do is choose my soft airbrush. A pasty, fairly low, about a quarter opaque brush size, about the right size to add extra shadows because these stones are now sitting next to each other. Which means they're going to start casting shadows like just the top of that baby stone and making that a little bit darker. What about the side of my ice cream stone that could do is being made darker. So it looks like there is a shared shadow area between two stones, which means they're going to sit a bit better next to each other. Just while I'm here. Whoops, I raised that shadow. I'll quickly we do it again. While I'm here. I think the lighter edge of the ice cream stone is looking at this dark next to the word. So I'm just going to turn that down a little bit bare in mind. When I did this, I was creating every stone on its own against different backgrounds. So now I'm putting them together. They just need a little bit of weaving together. So in the case of this, a little bit more shadow in certain areas where the stones meet with each other. What about the bottom edge of that butterfly stone against the face stone? Yeah, That could do with darkening. What about the top of that face down against the bottom of the silhouette stone? I can do that or one thing as well. While I'm here, I want to make my opacity much lower. Well, a bit lower and increase my brush size because one thing I didn't do with my butterfly with just lower the tonal values just on that bottom left wing, which would be in shadow. So let's create a little bit more shadow around there and maybe the bottom of the rightmost wing. So that's sitting together a little bit better. Now I'm actually working this up. This is a bit like doing dodge and burn techniques when you're using an image editor. And the thing about it is you don't really realize how much another fact you've done until you come to your layer. And you make it invisible. That's before, that's after. And you can see by putting in those shared shadows, this composite is starting to sit better as a whole. Other nice thing is my opacity wasn't set to false. So if I want it stronger, I can make it stronger. If I want it more subtle, I can lower the opacity. So when you're working with stuff like this, setting your opacity. So it's not just the default maximum. If you lower it down a little bit, you get more flexibility. And another rule which I haven't mentioned on this course so far is when you are playing with your opacity slider, don't look at the slider. Otherwise you're looking at, oh, 6474% percent. What you need to do is rest your pen or your finger on the opacity slider. Move it around and look at the picture to look at the effect rather than the slider and the numbers. And that will do for me. Okay, one more layer. This one I'm going to set to screen, which is a lightened blend mode with the opacity down a little bit. I guess what I'm gonna do now, Yes, I don't want to get some white soft air brush is selected. Again, set pretty low. The size I want a little bit larger. I'm just going to paint in just a few common highlights just in the top right of each stone. Maybe oh yes. A little bit on that butterfly stone that needed doing and maybe a little bit on the ice cream stone, just they share a similar level of highlights. Now one thing I did do with this, I went a bit too far on the butterfly because now that shot has been affected. In theory it would be because that shadow is painted on, but I don't really like it. So look, I'm not going to bother with a layer mask for that. Instead I will come to my eraser. Soft air brush is selected right up, slice at fairly low. Now we'll just get rid of the highlight of that shadow like that. Okay, that is my composite image on right there. On that one composite image, you can see a whole load of stones, which are all generated using various different paint techniques, plus layer blend modes, plus masking. And then you can see the various images, all of which have been taken from one of 72 different images for you to practice with, along with a 15 stones that come with the course. You've seen how you can ink in those sketches. You've seen how you can block in the various different areas. And you've seen a whole load of different painting techniques plus a masterclass in using layer blend mode. Practically, we've learned how to use layer masks. You've learned how to edit a brush and write the controls while you're working on. You've also seen how to combine real-world images alike, that wood background, light, real-world stone textures which you see on the silhouette picture. And you've also seen how you can use various different adjustments like the hue, saturation, brightness, all the Gaussian blur or curves to change your images in all manner of different ways. So I hope you've enjoyed the course and let me just remind you, you can now create one of your own stones or use one of the 15 supplied and use one of the 72 different sketches and use the techniques on the course to create your own stones. Come up, Let's see some stones. Let's see what you can do. I wish you many hours of making stone artwork, which makes you happy. Speak to you later.