Transcripts
1. Intro to 3D Art: My name is Jane and I'm an illustrator and designer join me today while we create some 3D art. My goal is to make art simple and easy for everyone. I enjoy looking for the patterns and everything and finding fun shortcuts to achieve beautiful results. In this class, I'm going to show you how I create three-dimensional effects on the iPad using the Procreate app. There's something for everyone in this class. I start out with beginner techniques and build on these in each lesson introducing a more advanced techniques as we go. We're going to learn how to take a simple shape and using the basic concepts of lights and shadows, we'll give it depth dimension and realistic textures that will make it pop off the page. I'll discuss how I use layers, blend modes, clipping masks, and so many more great tools offered in Procreate. This class comes with a PDF guide to follow along with the lessons and I also provide you with a couple images so you can follow along with me. The iPad has changed the way I do art. It's like a big toolbox with all the paints, pens, and brushes you could possibly want, but portable and without the mass. It gives you this satisfying feeling of drawing or painting on a canvas but the added bonus of digital tools and techniques to easily create detailed and exciting effects. By the end of this class, you will be seeing your world through new eyes and reinventing your art with new ideas, fine textures and light effects, you'll be able to recreate some of your favorite realistic textures and probably imagining some new fantastical ones. This class will get you inspired and provide you the techniques to take your art to the next level, whether you create in your leisure time or in your professional life. This class will set you on your way to re-imagining them beautiful pieces of art you can create on the iPad in Procreate, join me in this class, and we'll have some fun imagining and creating beautiful eye popping three-dimensional art. I'll see you there.
2. Let's Get Setup: Let's get started by going over what you're going to need to get going on this class. I'm using an iPad Pro, first-generation 12.9 inch screen size with an Apple Pencil. You don't need the Apple Pencil to still be able to do most of these techniques. However, I highly recommend it to get the most out of this class. As the pencil allows much more detail, accuracy and the pressure settings allow the light touch needed in creating the dynamics of the textures. You'll also need the Procreate app, which is available in iTunes at the App store. This class is done using the current version of this time, which is 4.2. I do provide some of the images to work on for this class. You can find them under the your project tab in the attachment section. You can access these on your iPad by opening a web browser app and opening this class page on the Skillshare website. From here you can directly download the files for use on your iPad. Some of the lessons I encourage you to use your own line art or drawings done in procreate, as long as you have a transparent background, which is easy to do if we draw in the app itself. I want you to experience how easy this is to apply to your own art. I've also included in the attachments, a 12 page PDF reference to complement the lessons. Here you will find an image of the layer template for each lesson, as well as any important hex color values. These hex code numbers can be entered in the palette section under the value tab. I've also included the brushes I used for the texture demos. All the brushes I use are native to procreate, so you don't have to go find them anywhere else. Each lesson will build on the one before it. To walk you through all the possibilities, you can use these techniques for. One step at a time, you will find how easy it is to be able to add a little dimension into your art and make it pop off the page. We will start by exploring the basic idea of what makes a shape appear three-dimensional. Then we'll put these ideas into action with a basic shape of a circle. From there, I will show you how to take a piece of art and add some simple light and shadows to it. Next, we'll move on to a more complex shape, of a mandala. This one I will provide for you. I will walk through how to create the lights and shadows, and then we will move on to adding some texture to it. Once we have the basics, we're going to play with the pieces and see what we can come up with. I'll show you the power of just using the drop shadow by itself and then how to add a little text area and to create the look of etched glass. Each lesson is set up with a project to explore the different ways to use the techniques, and each technique will build on the one before it. Once we've done with the etched glass, we're going to have a little fun exploring how to create some shiny glitter. All the fun without the mess. Moving on, we'll explore how to add the 3D look just to the liner itself, and how we can use this in other procreate paintings we've created. Staying with a monochromatic art look. Next, we'll explore the look of embossing by adding texture to our dimensional liner. We'll explore using lettering and create a monogram that can be used in thank you notes or invitations. I want to show you that you can use this on art or lettering. You'll find the techniques are very versatile. What if you have a specific look you'd like to recreate? This is when a reference photo will go a long way. We'll explore how to use an image of a texture you may have taken a photo of or found online and create a palette from it and attempt to recreate the texture on our piece of art. Finally, I'll finish up with a few advanced ideas. We'll experiment with different metals looks such as silver and steel. There's so many places you can take these ideas. Once you have the basic techniques, the sky's the limit. Your iPad art will never be the same. Are you excited? Well, let's get going. Download your attachments and meet me in the first lesson. I'll see you there.
3. Shadow & Light: What makes an object appear three-dimensional? I approached my art from a very left brain perspective. I love working with geometry and math, and I have a very logic-based approach to my art. I like to deconstruct an idea and then put it back together like a puzzle. Objects appear to our eye as three-dimensional due to the play of light and shadow and how that object reflects back or doesn't reflect back the light source. I thought why can't I use the actual shape itself to create these on the canvas? Let's break this down. First, we need our light source, which I am going to place in the upper right-hand corner. That's where I'm going to keep our light source throughout this class so that we stay consistent. I'm not necessarily going to put it on the screen, but you can take for granted that there is always a light source coming from the upper right corner of our canvas. Now the light is going to shine down on our object at an angle so our object is going to reflect some of the light back. On the side of the light source, you're going to get a highlight that is going to be defined by the shape itself. The size of this highlight will also depend on the look that we're looking for. On the opposite side of the object, there'll be a shadow. It casts a shadow upon itself, and we call this the core shadow. You may be used to different terminology, but I'm just using terminology that's familiar to me and then I'll be using throughout this class. This shadow, again, is defined by the shape of the object. Then finally underneath it, we're going to have what we call a drop shadow or a cast shadow. This gives the illusion that the shape is sitting on a surface. It's no longer just a simple flat shape on a simple flat surface. You now have a look of a three-dimensional object. Now that you know what the parts are, in the next lesson, let's take a simple circle and turn it into a button.
4. The Basic Steps - Simple Shape: The best way to learn something is to put it into action. How can we make this circle into a button? Let's use the ideas that we learned in the last lesson to create this basic flat circle that's on our Canvas and turn it into what appears to be a three-dimensional button. Let's jump on over to the iPad and get started. Here I have a square Canvas already setup and procreate and this is a neat feature. If you've already opened a Canvas but decided you wanted to change the size of it, you can do it in procreate now. You can drag it to whatever size you want, or you can punch in the numbers down here below. My go-to is always a 2400 square Canvas, that's what I like. That's a really neat feature you can use as well if you're already in the Canvas and want to switch it up. So now back to creating our button. I'm going to start by drawing a circle, so I'll just use black to start with and a basic pen and I'm going to draw my circle. Here's another really cool thing you can do in procreate. If you hold on to it with your pen, it smooths that out and if you hold down with your finger, it turns it into a perfect circle, then I can fill it and now I have a perfect circle in the middle of my Canvas. Next, we're going to setup our layers. We go into the layer section and we start duplicating and renaming them so that we're set to use them all the way that we have discussed in the previous lesson. I'll have this setup available in the download as a PDF so that you can get a better idea of what I've done here. But I'm just going to speed this part up and quickly show you what I'm doing, duplicating and renaming everything. It's very important that you rename everything appropriately because once you get working with these layers, it's very easy to get confused as to what the layer actually is. Once I have them all named, I turn them all off and go back and recolor the ones, one at a time. I'm going to start with the button and I'm going to choose a nice vibrant red and that will be the color of my button. I go in here and choose the recolor option. This little cross here will recolor whatever is on that layer. Now going back into my layer menu, I've done the button and I'm leaving my shadows as black, but I want my highlight to be white. Go in and choose the perfect white. I have one in my palette, and again, recolor. Wherever that crosses it's going to cover whatever is on that layer. My stencils, I should make them something completely different so that you don't confuse them with my design. I'm recoloring why stencils as yellow and I need two of those. I think everybody's in place there. So notice I have to drop shadows a short and along, I'll show you how that works as well. This is my standard layout for a basic shape. You'll see me using it again and again, so you'll become very familiar with it. There are two stencils, one for the highlight and one for the core shadow. They will get deleted once I've used them, so they should be placed right above each of the layers they're going to be used with. Let's briefly go over again what's going to happen here. Just as we discussed in the previous lesson, I'm going to keep my light source in my top right corner. I'm just going to draw it in here on a separate layer to give you a visual. The light will shine down and create a shadow on the lower left corner of my objects. Once again, a feel for how this whole process works. You can experiment with moving your light source on any part of the Canvas that you want. So let's get going on this. We're going to pick our stencil above our core shadow and since we want the shadow on the lower left, we're going to move this tensile to the upper right. I do this by just tapping on the screen in that exact right upper corner, just passed where the selection mark is. Once I'm happy with it, I go to the stencil and I select, then I moved to the core shadow layer and I choose Clear. Now it's removed everything but a very small part of my core shadow. I delete that stencil to get it out of my way. Now we're going to do the same with the highlight, but in the opposite direction. Now again, I'm on the stencil layer and I am tapping in the bottom-left corner until I see enough of the white. I tried to tap the same number on both corners. Go into your stencils, select, and go onto your highlight and clear. Now we have a crisp highlight and a crisp core shadow, and we want to blend them a little bit. On the highlight layer we go into the adjustments and we choose Gaussian Blur, and we drag our pencil across the screen, and that uses our blur. I'm going to go somewhere between 15 percent and 20 percent, not a whole lot, but just enough to blend the highlight into my button. This will all come with practice. You'll learn what it is you like the look of and what seems realistic to you. Now we're going to do the same thing to the core shadow, making sure we're on the core shadow layer, we're going to do the same Gaussian blur and I use about the same percentage so that it's balanced and equal. We're going to go ahead and do the drop shadow and don't worry, we're using the same method in every project. It'll make more sense each time that we do it. The drop shadow we're on the actual drop shadow layer. We want to move it to the bottom left corner. There's no stencil this time and you don't want to move it too far because you are just trying to create a nice crisp little shadow underneath. You're going to Gaussian blur it the same way you did for the highlight and the core shadow, and it's personal preference, probably around 20 percent again. Then we can work with the opacity if we find it too dark, you can take the opacity down a little bit as well. Now sometimes I work with one drop shadow and sometimes I do two. I call it a long and a short one or a crisp one and along one. We're going to work on the second drop shadow just to see if that makes a difference. What I do with that one is I tap it out a little bit further because I call it my long shadow, but it's going to be a lighter shadow. I will blur a little more than I did the first one. Go in here to my adjustments and I use the Gaussian blur and it's really about eyeballing this. You can put more blur in, but you can't take it out. If anything error on the lower side and then again, you want to move the opacity up and down and then make sure you're on the right layer there. I think I'm on the wrong layer, I'm on my short layer there. Turn them on and off, see how they look. Maybe you don't even want two drop shadows. It's all about personal preference and what makes sense to you. Now if that seems like it went a little fast, that's okay. We're going to keep on doing this in every project and you're really going to get the hang of this. The next one that I'm going to do is going to have a larger highlight and a larger core shadow. So I'm going to put all of these into a group. First I'm going to duplicate my base and drag it up to the top so it's out of the way. I'm going to select all the other layers and put them into a group and that way I can turn that group off, but I don't lose that particular project. Now we're going to do this again and I'm going to create all my layers the way that I had them before. I'm going to change my base color so that, we're working something different. I'm going to go blue this time. Now I'm just going to fast forward and skip all this duplicating and renaming and I already have my group all set up to go. Again here, I have my stencil and this time instead of tapping, I'm going to drag. See how I have the magnetic on in that blue line kept me in line and I want a much bigger shadow this time. That's why I did tap because tapping could take a long time. Again, I selected my stencil and I cleared it off of my core shadow layer. Again, I'm going to do this with the highlight on my stencil. I'm going to drag it down to the bottom left and I'm eyeballing it about the same. It's not exact, but eyeball it in. You should get pretty close. You're going to select on the layer, clear from your highlight, and then delete your stencils. See how much more I have here than I did in the last one. It's going to create a different look to my button. So again, on my highlight layer, I go into my Gaussian blur and then blurring it a little more because I've got a lot more highlight to work with here and then down to my core shadow. Take note of what you blurred on the top because it's a good idea to blur them both the same, but sometimes the core shadow needs a little bit more blurring because it's so dark. See how I have a lot more of a rounded look to my button now because I used bigger sections. You can use the blend mode to change the colors. Overlay is a really good one to use because it really works well with the color underneath. It only blends with the button itself, so you won't see any of the highlight or the shading outside the edges of the button. Now we're going to go with the drop shadow. Again, I'm dragging it and then I'm blurring it because it's a larger button, so I need a little bit more of a drop shadow so everything stays in relative proportion to each other. Does it have to be exact but pretty darn close? Now we can use the opacity to bring that drop shadow down a little. If I want a second drop shadow, it's there, just got to turn on, and then I can drag that one. So one I drag a short distance and one I drag along distance. The shorter one is going to be darker. Again, I'm blurring it until I like the look of it. Again, don't over blur, you can compensate by reducing the opacity and if you really need to go back in and blur some more. Now you've seen two different versions on how to make this button. One that's a little flatter and one that's a little more rounded. Play around with your layers, whether you want the to drop shadows or not, play around with your opacities and play around with your blend modes. It really isn't about right or wrong, it's what looks good to you. You can go in and change these up over and over again. Make sure that you're comfortable and familiar with this whole process because this is what we're going to use in all the lessons going forward. Each of the lessons are going to build on this technique. By the end of this class, you're going to have all kinds of ideas on what kind of three-dimensional art you'd like to create. In the next lesson, we're going to use a piece of art that has multiple shapes in it. So when you're ready, I'll meet you there.
5. Using Your Art - Multiple Shapes: Now that we've achieved a three-dimensional look on one single shape, let's see what we can do with multiple shapes on the same canvas. Let's take a painting that we've already done in procreate and create a three-dimensional look using our highlights and shadows. You may recognize this piece from my turning your sketches into whimsical art class. It's done with a lot of watercolor brush. You can see if I change the background it does affect the color of my art. I'm also going to show you how to create a solid background behind just the pieces that you want to create the shadows and highlights on. We're going to start by using our selection tool and we're going to select the artwork that we want to work with. You can start by trying to select each of the objects that you want to work with. But when you're working with a piece of art like this with lots of different shapes, an easier way to do it is just to select the background. With your selection tool on, make sure it's on automatic and just select the background. Now you'll see because my artwork isn't perfectly opaque, some of the background selection is creeping into the artwork. Use your slider, just slide your pencil back and forth until you're happy with the amount of background that is selected and it's not encroaching too much on your artwork. Once you're happy with your selection, we need to choose the inverse because we want the artwork selected, not the background. We do that by going down here and choosing invert and now we just have the artwork selected. Next, you're going to create a new layer and you're going to fill that layer. Now you have a completely opaque version of your artwork. All the shapes are filled in with a solid color and now we can work with them to create a three-dimensional version of your artwork. Now we're ready to follow the same steps that we used in the previous lesson that took us from a plane circle on the canvas to a three-dimensional button. You're going to duplicate and recover the layer so you get your highlight layer, your core shadow, your drop shadow in two stencils, and in addition to it this time, I'm also going to have a background layer for the art that is a solid-colored white that's going to lie directly behind my watercolor art. What this is going to do is make sure that my watercolors stays the same color no matter what background color I choose to change up. This will be the same no matter what brushes, doesn't have to be watercolor brush. There's a lot of brushes and procreate that have a semi-translucent look to them. You'll want to do this with any artwork that you use a brush like that. I cover more about that in the class, turning your sketches into whimsical art so you can check that one out if you want to learn more about that. Let's just skip ahead. I have all my layers ready to go, turning them all off except for the flower and flower backing. Then I go to my background and I can change the color of my background now and it doesn't directly affect the colors of my flowers because I have that backing in place and now we're ready to work with the rest of our layers. Turn on your Layer menu and we're going to go to the layers that we're working with are this stencil and the highlight will turn both of those on. Select the stencil layer at the top and then transform tool. Your light again is in the upper right, we want to top on the lower left. We're not going to top very many times, maybe five or six times because your artwork is much smaller now. You can't overtake it with too much highlight. Select the stencil go to your highlight, and then you're going to choose the clear option then remember to delete your stencil. When you're first starting out, it might be easier to change your background color while you're doing the highlight because it's white and your background is white. But once he gets a feel for it, it'll make more sense. Moving on to our stencil for our core shadow, now we want to tap in the upper right. Again, I'm only tapping five or six times both the same that I did for the highlight then I'm going to go in and select this stencil, and I'm going to go into my core shadow layer and choose clear. Then again, remember to delete your stencil by sliding it to the left and then choosing delete. Our next step is to do the Gaussian blur. Choose your highlight layer, adjustments in Gaussian blur, and slide your pencils slightly to the right and maybe 10 percent, you can always do more later. Go back and choose your core shadow and Gaussian blur again, and slide your pencil slightly to the right about 10 percent again. These percentages aren't always going to be the same for the highlight in the core shadow. You'll use your judgment as you go. But again, you can always do more, but you can't take it away. Now let's try some blend modes. In the highlight, I'm going to try the overlay and then in the core shadow, I think I'm going to try the overlay as well. Overlays nice because it picks up on the colors of the art underneath and creates the shadow as a darker version of the color that's already on the screen. Zoom in to your artwork while you're doing this because it's a lot easier to see when you have it close up and then once you've chosen your blend mode, you can play around with the opacity and that changes the intensity of the highlight and shadow. Now we're going to work with the drop shadow next and I'm going to show you. In this case, I actually don't like the drop shadow with this piece of art, but I'm going to show you why. Choosing our drop shadow, we're going to tap in the lower left and shift it maybe three times, four times at the very most, I don't want very much of a drop shadow on my very small items. Now, I'm going to use the Gaussian blur and blur just slightly and see how it takes away from the definition of my art. What's happening in this particular piece is there a lot of small shapes that are divided up by spaces. The spaces are where the liner used to be when I initially drew it, and I've removed the line art. The drop shadow is filling in those spaces with this gray blur. In this instance, I'm going to leave the drop shadow off. You'll see there times that you don't want to use it. There's so much going on on my canvas already with all the small shapes and the beautiful colors that I think the highlight in the core shadow do the trick in creating a beautiful dimensional look to this piece of art. Again, use your own judgment as to what you feel looks good with your art and in the next lesson, let's try a three dimensional geometric Mandela. I'll see you there.
6. 3D Mandala Part 1- Complex Shapes: Now we're going to use these techniques to create a three-dimensional Mandala. Just a reminder, in the Attachments section, you'll find the PDF that has each of these projects later with the layers that I use and the colors that I use. I've also included a PNG image of this Mandela so that you can follow along with me in this lesson. Just create a new Canvas, import the image into it, it'll come in on its own layer, and then we can get started. I've gone ahead and got mine setup. I have the original here already locked so that I don't change it, and then I have all my layers setup in a group. I like to have these all arranged in a group. Then I can duplicate the group and keep one to the side so that I always have a fresh one to play around with and create new ideas with. Making sure a base layer is the only one that's turned on, let's choose a color. I'm going to go with green this time, so we go over to our adjustments, choose re-color, and move that little X onto our Mandela. It'll turn green. That's the color we're going to work with this time around. Now I'm going to take my stencil and I haven't colored them yet, I'm going to move one stencil above the Highlight, and I'm going to go in and make that one a nice pink, a salmon pink. I always want to pick something that I'm not using in my projects so that I know that's the stencil. The other stencil, I'm going to move above the core shadow and then going to color that one as well. I could have these pre-colored as well, but I never quite know what color I'm going to use as my base, so I like to pick something completely different than the base color. Now, we're going to start with the highlight, but this time I'm going to change my background color a bit so that you can tell the difference. You can see there the white highlight. It's often good to change your background color when you're working with a highlight because it's easier to see it. But again, like I said, once you get used to it, you may not feel you need to change your background color. Here we have the stencil, we're on the stencil layer and I'm moving it to the bottom left because remember our light source is in the top right. I'm doing about 20 taps here in the bottom left corner, so I get a nice thin white strip of highlight. I go in and I select my stencil, and then I go in and I clear from my highlight layer. Then I go ahead and slide and delete my stencil layer, and I'm left with this nice thin strip of highlight. Now I'm going to go in and turn on this stencil and core shadow layers and do the same thing in reverse. I take my stencil layer and in the top right-hand corner, I'm going to tap 20 times again, so that I get a nice dark thin strip for my core shadow on the lower left side. Now I go in and select my stencil, and I go in and clear off of the core shadow and delete this stencil layer. Now I have both a core shadow and a highlight. I go back to my highlight layer and we do the Gaussian blur, go into adjustments, choose Gaussian blur, and I'm going to blur it around the 10-15 percent mark, and then I'm going to go back into my layers, choose my core shadow, go back into adjustments and Gaussian blur, and slide my pencil across again usually about 10 percent on that one. Now I have a highlight and I have a core shadow, and I'm going to change my blend modes to the overlay. I like to switch them to the overlay it gives a crisper shadow. It blends it into the color that's already there. You can experiment with other blend modes. I will often use soft light or sometimes I'll leave it as normal and then just play around with the opacity. I'm going to change my background back to white. I added it as an off gray so that I could see the white highlight, and now I want to work with my drop shadow, so I want it white again. Go to your drop shadow layer, turn it on, use the transform tool and tap on the bottom left corner, about maybe five times and then use your Gaussian blur and blur it may be about 10-15 percent, and then I'm going to lower the opacity. I find with a drop shadow, I always have to lower the opacity quite a bit, and thus I want a really dark, crisp shadow. Just like with the button, that's a very narrow highlight and narrow core shadow. Now I'm going to show you one that has a larger highlight in a larger core shadow, so it gives it a much more rounded and deeper, three-dimensional look. I've reset this now. I've kept the drop shadow the same, you can see it there, but I've reset the stencils and the highlights as new. I go to this stencil on the highlight layer, and I want to be able to move it around here, and I'm just going to shift it this time not tapping because I want a much larger highlight. I want a much larger area there, you can see it a little better when I turn the background off. I want a nice thick highlight on the upper right corner, I select stencil and I clear it off my highlight layer and then delete my stencil. Now I'm going to go down and do the same thing with the core shadow. Again, I'm just eyeballing. I don't have any measurement tools when I slide it like this, I'm just going to select this stencil for the core shadow, and they're going to shift it to the upper right. About the same, I want a nice thick dark core shadow there on the lower left, select this stencil and clear from the core shadow and then delete your stencil. Now I have a larger highlight section and a larger core shadow section. Again, I'm going to use Gaussian blur on both of those layers, so I start with the highlight and I blur it, and then I go to the core shadow and I blur that one as well. This time I'm going a little bit higher because these sections are a little bit larger. Now I'm going to turn my background back on, and then I'm going to change my blend modes to overlay. Then I'm going to bring my opacity down a little bit on both of those. When you use the overlay, it's like increasing your contrast, your darks get darker, your lights get lighter, your colors are going to be a little more intense. In this case, there's a more intense green when you use the dark overlay, I'd like to bring down the opacity on that. Now when you use the Gaussian blur on your highlight and your core shadow, they are going to blur over the edges of your design. Sometimes this is what you want it to look like, but if for some reason you do not, and I'm just going to change the background color here so you can see how the highlight reflects onto the background surface, if you don't want that effect, here's how to get rid of it. Select your base layer and then invert the selection, then go up to your highlight and choose clear. Now it's gotten rid of everything that went over the edge of the design. Sometimes you want it to look like it's reflecting onto the background, but other times, depending on your color of your background, that's not really going to look too realistic. Depending on what color your background is and what color you've chosen for your base, everything is going to respond a little bit different and you're going to see it a little bit different. It's good to know all these little tricks so that you can create the design and the look that you're going for. The best way to learn something is through repetition and practice. This is a third different shape that we've used this technique for, and we keep going through the same process with a few tweaks here and there, but you're learning as you go. In the next lesson, we're going to start to explore texture. By adding texture into our three-dimensional shapes, we can bring in photo realism, or we can play around with some really unique special effects. Practice with these techniques, make sure you're comfortable with them. Try them out on your own shapes and try them out on your own art, and see how that works for you. When you're comfortable with the techniques and you're ready to move forward into the texture, I'll see you in the next lesson.
7. 3D Mandala Part 2 - Adding Texture: Now that we've learned how to create a dimensional shape using highlights, core shadows, and drop shadows, let's take it to the next level and start adding in some texture for photorealism and some special effects. Let's pick up right where we left off in the last lesson with our green mandala. I have all the layers still here with the shadows and the highlights. I'm going to add in two more layers, I'll label them as I do it. One is going to be texture light and one is going to be texture dark. They're both going to sit right above the layer named base layer, which is where my original green mandala is sitting. The reason I want them right above this is because I'm going to turn them into clipping masks that are going to clip to the base layer. Here all you have to do is touch them, and choose the clipping mask on the left-hand side. The little down arrow will show up to show you that it's clipped to the layer underneath it. I'll explain more about these as we use them. Let's get started on our texture. I've chosen a light gray, and I'm choosing the rusted decay out of the industrial brush folder that comes with procreate. Again, you can find all of this in the PDF in the attachments section. Now let's start painting some light texture into our design. I'm on the light texture layer, as you can see here in the layer section. I like to play around with the blend modes as I'm painting, because each blend mode is going to react differently with the color underneath it. You can get so many different looks with the same texture simply by changing up the blend modes. Continue to paint using a light touch. The nice thing about it being on its own layer is if you really don't like what you've done, you can always delete it, or clear the layer and start again. I've changed up the background so you can see how the clipping mask works. The clipping mask allows whatever I'm painting on this layer to only take effect on the layer underneath it. This texture is only showing up on the mandala itself and not anywhere underneath it. Technically it's clipped to that layer, and you will only see it show up on anything that's on that specific layer. That's very handy when I'm painting texture onto my mandala's. Now I'm going to go ahead and do the dark texture the same way, it is also clipped to the mandala layer. I've chosen a dark gray and the same brush as before. You can mix up different color, you don't have to use the grays. You could use a darker version or a contrasting version to go with your design. I like to use the grays and then play around with the blend modes, because they blended into the color that I'm already working with. You'll see in some lessons coming up how we use contrasting colors to create some really special effects. Go ahead and continue to paint and just use a light touch, too dark there. Just use a nice light touch because you're just trying to enhance the look, and you're trying to complement the light texture that you already have on there. I currently have my texture layers with the dark one on top and the light one underneath, but they're both clipped down to the base. You can move them around and you can add in more layers of texture if you'd like to, just to see if it makes any difference. Often it won't, but you never know with blend modes what you're going to get. Also, I have the core shadow and the highlight on top. They're actually blending down into my texture as well, and holding that three-dimensional look. You can change up your background because sometimes the background can enhance your design. You're not necessarily going to affect the texture and the color because you have a nice solid mandala base in-between your background and all of your texture and highlights. But sometimes changing up that background can really help define the look of your design. I also enjoy playing around with the blend modes on each of the layers. I can do this for hours at a time. The thing with the blend modes is the more you use them, the better you understand them. But they still will surprise you sometimes when you mix and match the different blend modes with the different layers. I usually end up with the coolest designs by accident. You can also change up the base layer of your mandala, and this can completely change your look. Because blend modes react different to dark colors and light colors. If I go in here and I choose, let's say, a nice turquoise instead of the green, and I recolor it. Use my little X there to move it to the base, making sure I was on my base layer. Now I have a completely different design and the texture reacts a little bit differently. This is one of the reasons why I like to stay in the gray family. For my texture dark I did a darker gray, and the texture light I did a lighter gray. If I had gone with the greens, a light green, and dark green, then I change my base color, and now I have green textures blending into the blue. Which can create a nice effect, but the grays stay within the color family, and they give you more options to change up your base color. Finally, it's fun to put some texture into your background as well. I'm going to add a layer in here down at the bottom outside of the group. I'm going to start by picking, say, a medium gray. I'm going to go in and choose the heavy metal brush, which is also in the industrial brush folder that comes with procreate. I'm going to start painting all over my Canvas. Now because this layer is underneath the group, it's not going to affect anything that's in the group. It's going to work under the group. It's only going to react with anything underneath it, which right now is just the background layer. I can go through and change up my background color. I can go through and change up the blend modes of the texture I just put on, and see if I can find the look that I want. I'm going for a slit slab look here, and once I find the combination I'm looking for, I can start to paint in more texture as well. The beauty of working in layers is you can get so many different looks from just one piece of art. Play around with that, change up your colors, change up your texture brushes, and change up your blend modes and see how many different variations you can come up with. When you feel comfortable with that, you can meet me in the next lesson where we're going to learn more about what the drop shadow can do. I'll see you there.
8. Glass Etching - Power of the Drop Shadow: Now we understand how to use our tools, highlights, core shadows, drop shadows and we also know how to add in texture. Now we can start to play around with creating specific effects. In this lesson, we're going to start by looking at the drop shadow and what looks we can get by just using that. Then we're going to move more into using textures and achieve the look of etched glass. Let's jump on over to the iPad and we're going to start with this design. This one is just a liner with some thicker lines in it, no large fills on it. I have not included this one in the attachments because I want you to use one of your line drawings. It can be anything from a simple flower, to a complex design like this. The setup for this one is very simple. I have my original mandala, which I'm going to call, original. I'm going to keep a copy of it locked down underneath, then I have one layer that I call the drop shadow, which is exactly the same image, just named drop shadow. There's no highlight, no core shadow, and no stencils on this one, very simple setup. I'm going to show you a very simple technique and gives you a very simple effect by only using the drop shadow. Select your drop shadow layer and go to the transform tool and you're going to tap in the lower left corner, maybe about five or six times at the very most. Then you're going to go into your adjustments and you're going to Gaussian blur. Now it looks like it's just darkening the lines, but if you can see it close up, you're going to see that it's creating a shadow behind your line art. If you've ever painted on glass, whether it's on a window or a glass object, it creates a bit of a shadow behind the paint. I started doing this early on when I was doing my line art and I wanted to play around with creating a drop shadow behind it and I got a lot of comments about how it looked just like it was painted on glass. It's a very easy way to create a really cool effect. All you're doing is using a drop shadow. Now where can we take this? Well, if you've ever seen etching on glass, sometimes it just looks like someone painted on it, but sometimes there's texture involved. I don't do glass etching myself, but I love the look of it. Let's see what we can do with that. I can change my original layer to a creamy color, so I'm going to go in here and do a re-color. I duplicated the layer because I wanted to leave my black one alone and I just recolored the layer to an off white. Now my drop shadow is still there, I can change my background color because I wanted to contrast with the white a little bit and you can see it a little better. Here is the line art all done in a slight off white color and my drop shadow is still right behind it. Now that we have the off white, we could leave it just like that and it would be like a smooth edging, but I want to add some texture so let's add another layer above that off white original and I'm going to clip it down to the original layer. Everything that you want to be clipped has to be right above the layer that you're going to clip it to. We're going to label it texture and then we're going to go in and choose just a slightly darker color than what I'm already using for the mandala. Not very much so, I don't want the texture to be pronounced. I want it to be very subtle. Next I'm going to go into my brush library and I'm going to go into touch ups and choose my noise brush. There's many different brushes you could use for this, but this is the one I'm going to try right now. Now that I'm on my layer that's clipped to my mandala, I'm going to add a very subtle, soft touch of texture just to give this paint a little bit of texture to it. It's so subtle you might not pick it up through the camera, but experiment on your own. You can even make the texture color a little bit darker if you need to, and then use the blend modes. There's lots of ways to do this, but you're looking for a very subtle texture that you're adding in and all you have underneath is your drop shadow. I'm going to go in here and I'm going to experiment with the different blend modes. Again, you never really know what you're going to get when you take two colors and blend them together with the blend modes, you can get some really nice effects, but you really have to go in and play around with them. I'm also going to add another layer of texture because I want to see if I can get some dimension going here with two different textures. I'm going to go into spray paints and I'm going to choose this splatter, it's a very fine splatter. I'm going to use the same color but I'm on a different layer now, and it is also clipped to the mandala. Now you might be seeing a little bit more because the texture on this one is a little bit bigger. Play around with that, try different brushes out with very subtle textures and try changing up your color a little bit and you can come up with some really cool effects. You're looking for a very subtle look of etching on glass. You may be surprised how many directions you can take this one and in the next class we're going to take it a little further and we're going to actually create some glitter on our mandala's. When you're comfortable with this, join me in the next lesson and we'll get our sparkle on.
9. Glitter - Texture with Blend Modes: Now you've done all the hard work to learn the techniques. Let's use it to have some fun. In this lesson, we're going to use the texture and the blend modes to create the look of silver glitter. So we're going to start with this mandala that I have given you the image for in the attachments and that we've used before. I have my previous projects above it and I'm just going to do a simple few layers here. I'm going to do a drop shadow and a texture layer. We're not going to do the highlight in the core shadow in this lesson because I really want to focus on the texture and the blend modes. First I'm just going to create this drop shadow, because I want to show you many different ways that you can create a three-dimensional or realistic object that you don't always have to be using all the different techniques at the same time. So my original layer, now lying above my drop shadow, I want to recolor that to a light gray. I go in and I recolor and drag my little x to the mandala and I get my light gray mandala. Now I'm going to create a new empty layer. I'm going to name it texture, and this is where we're going to start creating the texture. Under the brushes, I'm in the touch-up folders, and I've chosen my splatter brush. I also need to make this layer a clipping mask, so I touch it, choose clipping mask, and now it is clipped to my original. I want to go in and choose just a slightly darker gray than the one I'm using for the base mandala, and I can start painting. I'm on my clipping mask texture layer and you can see I might need to go a little darker. So I just erase what I did there and I'm going to use a little bit darker gray, there you can see, not a lot darker, just a little bit. Now I can see some other green. Again, I'm working on my clipping mask layer of texture with the splatter brush. Just enough light touch again, you just want to see some of it. If I zoom in you'll see some of the splatter. You can experiment with different texture brushes. I like the spider brush for this one. Next, I'm going to create a new layer and I'm going to make it a clipping mask, and I'm going to label it texture as well. This one, I'm going to choose the blend mode of going to lighten and I'm going to choose Add. Now I'm going to use the same color, same brush, but I'm on my new layer with the new blend mode, and I'm just going to lightly put some more texture onto my mandala. It might be a little hard to see here because my background is white, but it is adding some light into the design. I think I'm going to go back in and tweak my mandala a little bit. I'm going to lower the opacity on my drop shadow, so I'm just going to go in here and bring this down a little, make it a little less intense, and I'm going to recolor my original, I think it's too light. I'm going to go in and use a medium gray, go in and recolor. Now, it's recoloring my background, I want it on the mandala. Use the little cross to put it on your mandala. Now it is a medium gray color which shows up the glitter a lot better. Again, the nice thing of having the layers is you can recolor each layer to get the look that you're looking for, because sometimes the colors don't work the first time around, doesn't mean you have to start all over, it just means you recolor. We're going to add a little bit of dark colored texture in now. I did like what I had there, it was pretty glittery, but now I can add even more dimension if I add in some more dark gray into my normal layer texture, not my Add Layer texture. My Add Layer is going to brighten. Almost any color I use is just going to brighten up, that's what the Blend Mode Add does. You can't get a dark color to work on that, it just turns it into a bright color, which is what we're looking for for sparkle. Keep playing around with that. I can change my background so that it really stands out. Experiment with different colors. You can try getting a gold glitter with yellows and gold colors, or some copper glitter with some bronzes and copper colors. See what you can come up with. You get the idea now how to create that glitter effect. Once you've had lots of fun with that, I'll see you in the next lesson where we're going to try some more three-dimensional painted effects.
10. Painted Outlines - Working With Line Art: In this lesson, we're going to create three-dimensional line art. We're going to use only a line art to create a piece of art. This look was inspired by the paint that you can use that sits up on the surface. It's either you use on fabric to write your names or you can use it to outline your art as I've done here. This technique also works really well for a monochromatic art pieces. If you want to accentuate gesture line art using only one color. In this lesson, I'm going to have you use one of your own pieces of art. Any piece of line art would work that you've drawn in Procreate or Scandium as a PNG, I'm going to be using one of my more complex Mandala's because I want you to see that this works on simple line art as well as more detailed work. To begin with. I have everything set up as I usually do in my groups with all of my highlights, core shadows, and Stencils. Again, you can find all this information in the PDF that's in the attachments section. I'm going to start by selecting my bass or my original, and I'm going to recolor it to a nice creamy beige color. Now blends in with my background. Maybe to see this better, we are going to change the background color for now to make it easier to work with the design. I am going to change it to something darker. There a nice mid gray will do the trick, and now we'll start on our layer. Just like we did for our 3D button, we're going to start with our Stencil and our highlight. On our Stencil layer, we are going to tap on the lower left corner, so the highlights shows up on the upper right. Only two or three taps, maybe four at the very most, it depends on how thick your line art is. I've probably only got about three here because my line art is quite thin and you don't want to overdo it. I go in and then I select my Stencil and I clear from my highlight. Then I delete my Stencil. Now moving on to the Stencil and the core shadow, I choose my Stencil layer and I'm now going to be tapping on the upper right so that the core shadow will show up on the lower left. Again, maybe 2, 3 times the same as I did for the Highlight. Select your Stencil, and then clear for the core shadow, and then make sure I delete my Stencil. My core shadow and my Highlight are now in place. The next thing I'm going to do is I'm going to do a Gaussian Blur on my highlight, choose my highlight layer. Now, I have to be careful here because I don't have a lot to work with. The Gaussian Blur is going to be minimal. I think I'm going to take it, see if I go too far, it disappears. I'm going to take it about five percent and now go into the Blend modes and I'm going to choose Contrast and Overlay. Right after that, I'm just going to get the Blend mode going. Now, I'm going to Gaussian Blur, my Core Shadow. Make sure you're on your Core Shadow layer, and I am not, so onto my Core Shadow layer I go and now I'm going to Guassian Blur it. There we go. You always have to make sure you're on the right layer. Again, about five percent. Play around with it. Maybe you might need a little bit more because it's darker and then I can lower the opacity if I need to. But if I go too far with the Blur, it just blurs it right out, it disappears. I'm going to go right in and play around with Blend modes. I usually use Overlay and my Contrast tab, but I'm playing around here. I might leave it at normal. I might also put my Highlight back to normal. The thing with a Blend modes is I'm working in one color. They do affect differently when you're working in monochromatic tones, but you'll only know by experimenting. Now we're going to work with our Drop Shadow. In this case I have two Drop Shadows. One is my regular Drop Shadow and that's the one I'm doing right now, and I will tap maybe two, three times, maybe four in the bottom left-hand corner and then I will Gaussian Blur it the way I normally do and not very much. I'm just trying to diffuse it and then I can also use the opacity later if I find it's too strong. The second Drop Shadow that I'm working with is a Crisp Drop Shadow. This one, I want to define the line art. Because you're working in one color, you've got to make the line art stand out from the base. If you're working with a three-dimensional line, you don't need to tap it very far. In fact, maybe once, twice at the very most, and then you're going to blur it. What's going to happen is it's going to show up on both sides of your mind because you need that definition against the same color. You can add as many drop shadows as you want because you might find that you need it to be more gradual and it's not doing the trick for you. I'm going to take my Crisp Drop Shadow down really far. I really just wanted to define the very edges of my line art. Again, when you're working with a monochromatic color, the Drop Shadow was very important. That's why I've got two of them on the go here. Then I'm going to move back up to my Core Shadow and play again with the Blend modes. Because it's blending with everything that's underneath, including my Drop Shadows. It will change based on what I have underneath it and how many of the Drop Shadows are in play. This is a constant back and forth that goes on between the layers, the blend modes, the colors you're using. You have to be aware that when you're blending, it's blending with everything that's visible underneath that layer. Next I'm going to go back in and change up my background and you can play around with a few background colors here. I'm trying to stay as close as I can to my original color of my Mandala, but you may want to go just a touch darker. You'll only know by playing around with them and seeing what you like. Experiment with some light colors, experiment with some medium colors, some mid beiges or some mid grays, and then experiment with re-coloring your base as well to correspond with whatever you've chosen for your background. You may have to change up some of the blend modes and some of the opacities depending on whether you're working with a light color or a dark color. This is all a little tweaking that goes on and eventually you will land on a design that you love. Now that you know how to work with three-dimensional line art, let's find another way to incorporate that into our art work. This is a piece that I created on Procreate and I did the fills as a watercolor parchment look. I wanted to bring the line art into the piece with a three-dimensional painted look. This one is already done, but I'm going to walk you through the layers just to show you what I have done here. If I go back to the line art, this is the original line art that I created. Then I go into my group where I painted it. That group is just the painted fills that I created again in Procreate. Then my final group is my line art. It's up here at the top. If I turn that on, you can see it there. That's just what we did with the other mandala. It's a three-dimensional look to my line art. Then I added this layer of texture, which you can't see at the moment because my background is white. I'm going to go to a little bit darker gray and see if it'll show up. Still not really showing up, oh, better turn it on. There. If I turn it on and still not showing. You can't really see it on the camera. I'm just going to put it back to normal, and you can see that I created a background texture for this as well. If I go a little darker gray, you can see it better in the camera. Now if I turn the blend mode back to Add which is where I want it there, it creates the effect that I'm looking for. I'm going for a cement slab that I've painted this design on, and this gray that I have here, this layer, that's supposed to protect the watercolor in the line art from the texture underneath it. You can do that in any color, the gray works for me, and I like to brighten it up a little with one of these blend modes. The Lighten does the trick. Normal is a little dark, so Lighten works. Again, the solid color in-between that in my texture protects my painted work from the texture background. This is how the finished piece turned out. You can see it's a great for highlighting art that you're working on, and it also works really good with monochromatic art pieces as well. Have some fun with that, get the feel for it, practice it, and in the next lesson, we're going to do some more monochromatic art with paper embossing. I'll see you there.
11. Embossing - Monochromatic Techniques: Now let's build on what we did in the last lesson, staying with a monochromatic art look, and we're going to add in some texture this time. Let's see if we can get the look of paper embossing. This one is really fun to use with lettering. If you wanted to create a monogram for wedding invitations or thank you notes, this one works really well. Let's head on over to the iPad. I brought in a PNG image of the letters M and R for a monogram type look. You can do this for your own hand lettering if you want to letter one yourself in Procreate, or you can use any program or app that you can do text in as long as you save it as a PNG with a transparent background. I have included this image as a PNG in the attachments, if you'd like to use it to follow along. Let's get started by changing the background color. Currently I have it as white and I'd like to choose something that's like an ivory or an off-white, that I'd use and an invitation with a monogram lettering on it. Now I have my group all setup already with all of my layers. Again, you'll see this in the PDF that goes with this lesson, and I'm going to recolor my base. I'm going to recolor it something just a little bit darker than my background. There's a lot of similarities here to the last lesson, except now that we're using lettering. Then I go back into my layers and I see I'm actually missing my stencils. I'm going to quickly create those stencils. Now, I have the stencils ready to go and I have them colored in something different than the rest of my design. We're going to start with our core shadows stencil today. I'm going to hit the Transform. I want to tap it up into the upper right because I want the core shadow to show up on the bottom left. Now I select my stencil and I clear from my core shadow. Then I delete my stencil and now I'm going to go back up and do the highlight. Sometimes I do highlight first, sometimes I do core shadow first. I'm one of those mix it up type people. I'm choosing the stencil above my highlight, now I'm tapping in the lower left because I want the highlight to show in the upper right. Select my stencil, clear from my highlight. In my instance here I think I tapped it about five or six times, so you don't want to tap very much because you're working with very narrow letters, and you don't need very much highlight or core shadow or it will overtake the letter itself. Now I'm doing the Gaussian blur on the highlight, and I only do about seven percent. If you blurred too far, the whole thing will just disappear. I'm going to go ahead and choose my blend mode of overlay for the highlight, and then move on to my core shadow, and then going again to in adjustments, Gaussian blur, drag it across maybe seven percent at the very most, and then I move back in here and I'm going to choose overlay for that one as well, and it seems to work quite nicely with these colors. I'm going to play around with my opacity, bringing it down just a little. I'm looking for a very subtle look, that's what embossing is, is a very subtle difference between your letters and your background. Let's move on to the drop shadow. I have a layer here from my texture, I'm not going to use that yet. Here I'm calling it my under shadow. Now a drop shadow is often off to one side, but the under shadow is what I've called it, and I'm using it as a shadow that is underneath the entire letter. This shadow will define the letters so they look like they've been raised up from the surface. I go back into my original and I select it and go back into my under shadow and clear it. What I'm trying to do is get rid of any of the under shadow that lies directly behind the letters and only allows it to define around the edges of the letters. I like to do this clean up when I'm working with monochromatic colors because I like to control what my colors are when I get into the blend modes. That creates a nice smooth embossing look, but I want texture in my embossing. Let's go to the texture layer and then I'm going to choose the same color as I have for my background, and then I'm going to go in and choose out of the touch ups folder in the Brush menu, I'm going to choose Noise brush, this one comes with procreate. Then back into the texture there, make sure it's turned on and I'm going to change the blend mode to multiply. This gives me a very subtle texture because the color multiplies itself only where the texture and lands on the Canvas. It's a very subtle textured background. I'm going to make sure that the entire Canvas is covered with it. Now it's so subtle the camera might not be picking this up, but I will give you a close-up. Now the texture is only on the background at the moment and the letters are nice and smooth. I'm going to drag that texture up to the top. Now, on multiply, it affects everything on the Canvas. There's many different looks you can go with a monochromatic, you can use a lighter shade for the letters and a darker one for the background. You can use a more pronounced texture in the background, or you can use a very subtle texture like we did. You don't have to go with an off-white, you can do this in any color. Play around with that in experiment. We can use this with any liner that we do. I'm going to show you an example that I already have done here. I took this black and white window that I drew in procreate and turn it into a paper embossed piece of art. Let me turn off these layers and explain what I did here. I took this original which is transparent background because I did draw it in procreate and I filled it. I have a layer here that's called beige fail. All the liner is filled with a very light beige color. That's something I cover in my coloring liner class, you can see more of it there. The next thing I have here is my highlight and my cast shadow. I normally have my highlight on top, doesn't really matter, it's personal preference. I have those two plus the beige fill to give you a basic three-dimensional look. Then the next thing I want to show you is actually down here I have my background texture, that texture only applies to the background and nothing above it. Then I treated the line art separately up at the top here. I created a beige liner which is separate from the beige fill, and I also created a liner texture that went over top of the beige line art. In this instance my liner and my fills are treated separately to create even more dimension in my embossing look. Basically the fills stand up out of the background texture and the liner is pressed into the background texture. My liner texture and my beige liner up at the top here, they're both overlay, so they actually pick up the texture of the background texture. You can see how much fun you can have with this in even more complex designs by working both with the fills and the liner to create even more dimension. Go ahead and have fun with that, experiment, play around with it, and when you feel comfortable with that, you can join me in the next lesson where we're going to use a reference photo to create a specific texture we're looking for in our three-dimensional art. I'll see you there.
12. Copper Patina - Reference Photo: Now, what if you have a specific texture that you'd like to recreate on the three-dimensional art. I love copper and I love that copper patina look that beautiful turquoise that shows up with age. I'm going to show you in this lesson. How we can use a reference photo to recreate some of our favorite textures. So here I've brought our reference photo into my procreate project, I've placed it off to the side so I can use it for reference and in my layer section it's down at the bottom. So the first thing I want to do is create a palette for my reference photo, so that I have colors to work with. If I hold my finger down, I get my color picker and I'm going to go in here and create a new palette with this plus sign and I'm going to name it patina so that I know what this pilot was made for. Then I'll have to do is tap a square and the color will drop in. Again, I'll use my color picker to find another color and drop it in with my pencil. As I use the color picker, you can see the color changing on the top half of the circle that's the color that it's finding. So I want to get a range of greens, I want to get a range of the copper's. You can use as many colors as you want, or as few as you want, as long as you get a couple colors from your reference photo, you can actually work with those colors and create darker and lighter shades within those ranges. Once you're happy with your palette, we can move into working on our project. Here I already have my group set up with all my layers set to go. You're probably getting very familiar with this setup, now after all the projects we've worked on. So for the first thing I'm going to do is recolor my base. On my base layer, I go in and choose re-color, and I've chosen a nice bright turquoise to start with, but I can always change that later. Now I'm going to bring us stencil up above my highlight ,and stencil up above my top shadow. Then I recolor the stencils, I'm going to choose a nice bright purple. The purple really stands out, so I know it won't be part of the design. So both stencils need to be recolored and then I can get started on my highlight. I choose my stencil above my highlight, I choose the transform tool no need to bring this down so I can reach all sides and turn off anything that I don't want. I'm going to turn off my background so that I can see the white of my highlight. Moving this, I'm not tapping this time, I'm going to drag it because I want a large section of highlight and I'm going to select the stencils and clear off of my highlight layer then I delete my stencil. I'm going to do the same thing with my top shadow, my core shadow, I named them a little bit different sometimes. I'm going to drag this stencil a little bit towards the upper right, just to both the same as what I did before, I'm just eyeballing it, select this stencil, and then go into top shadow and clear. Delete this stencil and now I have my highlight and my top shadow I'm going to blur both of them, both the same amount. Again, I'm going around 15 percent, maybe a little bit less and I'm going to go straight in and change the blend mode to overlay. This is probably becoming very familiar to you now, and that's good. Practices, how we learn how to do this, it should become second nature if you're going to start playing around with these and make a lot of them. You'll understand the highlights, the core shadows, how to use the stencils, and we get our three-dimensional object. Finally, I'm going to work on the drop shadow, the last part of the first step and I'm going to tap on this one because I don't want it to come out too far and then I'm going to Gaussian blur it probably about 15 percent and I'm going to move the opacity down slightly. Remember I don't have a background on right now. The next thing, I want to work on is my texture. The most important part here, is that I choose clipping mask for both of these layers, they need to be clipped to the base layer. So that the texture only shows up on my Mandela, I'm going to go in and choose probably these olive color and I'm right away, you're going to go in and choose my blend mode to be multiply, I go into my brushes, I want the industrial folder with the rusted decay, and then I start to paint my texture in. So this texture layer, I call my dark texture layer, I've chosen the blend, multiply, which is a darkening blend and I want all the colors on this one too dark in the areas of my Mandela. I can use whatever colors I want, on this layer just to mix it up a little bit so the multiply is taking its effect and I can use an assortment of colors to create my rusted look. Now you're probably saying, but you're doing it backwards because copper starts with a copper color and then the patina goes on top. But in order to get the look that I want, I have to start with the turquoise color and then place the copper on top. I want a little bit of a lighter shade for this turquoise so I'm going to go ahead and play around with my sliders so I get a little bit of a brighter turquoise than I had before. Going into my texture light layer now, I'm going to use the same brush and lightly put some more texture on. Now I play around with a blend modes as I go, if I leave this one on normal, you can see the actual bright turquoise going on. I like the way that's looking the reference photos helping me, but I am missing some copper color now. I'm going to go back in and choose the copper, I'm going to stay on my light texture layer, you can create more texture layers if you want to work with colors individually. But I'm okay putting it in with the light turquoise for now. If you ever put a color in and you decide that you don't like how much you put in, you can go into the Eraser tool and use the same brush to take it out with the same texture. That's a nice thing and procreate is all the brushes are available to you in the Eraser tool as well. So let's see, we're going to go through here, I'm going to turn layers on and off and play with the blend modes to see if I can get the look that I want. What works for one piece doesn't always work for another. The overlay seems to be a little on the bright side, it's enhancing the colors a little too much for me. You'll find as you do this, there doesn't seem to be a set formula. The blend modes will react differently, depending on what variations of colors you use, in what order you put them on and what order you leave the layers in. But what I find the fun part is, it's as a different experience every time you do it and you can play around with it for hours and end up with some really beautiful pieces. The fun of this is that nothing ever comes out the same way twice every time you go to do this, you're going to get a different look and a different experience. Understanding how the blend modes work and how the textures work with each other just comes with practice. So don't get frustrated and don't get to set on what you needed to look like. Because sometimes you can end up with something even more beautiful than you could have imagined. Meet me in the next lesson where I'll show you a few more tips and tricks I have working with metal textures.
13. Silver and Steel - Advanced Techniques: One of the things on my list that I loved learn is metal smithing. Seeing is that's probably not going to happen anytime soon, I love to do it on the iPad instead. Last lesson I showed you how I do the copper patina and in this lesson, I want to show you how I create the appearance of silver and of steel. These work really well as a Mendela framework and they would also look beautiful if you were doing them with a lettering design. Let's jump back onto the iPad and I'm going to use one of my Mendela line art designs. But I want you to use any of your own liner designs. Or perhaps you would like to try this on lettering. Bringing your design on its own layer as a PNG image. Up until now we've had a set format we follow. But in this lesson, I'm going to show you a few different techniques to achieve some of these looks. I've gone ahead and set this up. Again, you can find this in the PDF for this lesson, but I have a white line art on the top layer, a light gray and the middle layer and then I'm putting a new layer in the middle and I'm going to call it airbrushing. There's nothing on this layer yet. I've temporarily changed my background so that you can see the white liner quite clearly. This white liner is simply recolored liner. That's all it is. I haven't done anything to it yet. I'm going to rename the layer, white overlay, and I'm actually going to change the blend mode to overlay. Again, I haven't done anything to it other than just recolor it from the original liner and the recolored gray line art. I'm just going to call that gray liner. That's pretty much the same thing as my base. I'm going to duplicate the liner one more time from the original. It's the black liner. I'm placing it above my gray line art and underneath my airbrushed layer and I'm going to name it shading. What we're going to do with this, turn it on and use the transform tool. We're going to tap three times in the top right corner. Then they're going to go into adjustments using my Gaussian blur, I'm just going to blur it slightly around 5 percent would work well. In the other lessons, we assume that our light source was always coming from the upper right. In this lesson, I'm going to work more from a direct light source, one that's more overhead. The purpose of the shading layer is to just define my line art from the background. It could've easily just tapped it to the bottom left as easily as to the top right, it's only three tabs. If I change my white overlay to a normal blend, you can actually see that little bit of an edge. That's part of what that shading layer does. Now we're going to go to the airbrushed layer and there's nothing on it right now, I'm going to go into my airbrushing folder and choose the medium airbrushed. Then I go into the airbrushed layer itself and in the blend modes I'm going to choose overlay, I'm using the same gray color as the original gray line art layer and now I'm going to show you here as I started to paint [inaudible] it's all over the canvas. I'm going to go back into my layers. I can't do a clipping mask here because I need that shading layer in between. I'm just going to change up my background here to see if that helps with the visibility. But I need that shading layer in between. I'm going to have to do this the old-fashioned way because I can't clip the air brush layer to the gray liner. I have to go into gray liner select it, go back up to the airbrushed layer and with the selection still on, I start to paint. I want it to react with that shading layer, but I wanted to paint where the gray liner is. That's how you do it. That's the way I used to do it. You select the layer, leave the selection on and then open up a new layer and paint on that. That's what we're doing here with this airbrushed. The air brush is very sensitive with the pencil. Just don't go crazy flat out with it. Touch it in certain areas you want that nice silver glow. You have that nice silver glow shows up, in some areas and I overdid it there. You don't want to overdo it and end up with white silver. You want to catch the light on the silver. This is where your [inaudible] comes in and you just use a nice light touch. Now if I leave it like this, I am going to get a very white and smooth silver look. I'm going to add a new layer above the airbrushed layer and I'm going to call it texture. If I leave it nice and smooth, it's pretty, but it almost looks more like stainless steel. I'm going to go into my touch ups folder and use my splatter brush. I go to my texture layer and with my selection still on because I only want the texture on top of the liner. Let's say you lost your selection, here's how you get it back. You just literally hold the selection down in your last selection will pop up automatically. Now I can go back in with my text airbrush, and I'm using the same medium gray as I did before because this is going on top of the airbrushing. It's adding some texture back into your design. It's breaking up the light that the airbrushed put on the silver to begin with. That gives it a little bit of an end ticking look. If you want a lot of end ticking, you probably want to change up the color of your texture brush. This is another instance where a reference photo would probably help if you have a specific look that you're trying to achieve. You can keep that little photo in the upper corner and use the colors and use it as inspiration for where you put your texturing. Even though I'm giving you lots of shortcuts on how to create photo realism. It does take time and it does take a soft hand to create some of these beautiful textures. You'll notice in this one it was different in the fact that we didn't create a highlight and core shadow the way that we did and all the other projects. Your highlight is your top white overlay layer and it's full on liner. Then your shading is also full online art, slightly blurred, but it has to go in between your textures, your airbrushing, and your liner. A little bit of a different setup and you can still achieve some beautiful effects with it, bringing some reference photos and that'll help you get the look that you're looking for of multiple metal. That was just a silver that I showed you. But you can also play around with different metals and different, end ticking looks. You can see in this example, I've used the same framework that I did for this sterling silver, but I've made it more of an oxidized steel look. I'm not running through the demo of this one, but I am going to show you the layers that I use. Everything that I've used in this we have covered in the course. You can see here, my top layer, instead of a white overlay, I've done a light beige line art overlay, just like we did for the sterling silver, but in beige. Then I have my two texture layers, both with a blend modes on. Then I have my shadow layer that we just used in the silver example and then below that I have a drop shadow crisp, which we've used in previous lessons. You see you can mix and match these techniques and come up with some really fun designs. Once you work on the framework, then you can also work on the background in the fills in the lower half of the layer section, you can see in a group that I've also created some solid color backgrounds for the Mendela itself. I've also created a textured background for the Mendela. That textured background is in a multiply blend mode so that when I turn on the solid color, I can add some texture and blend it down into the color. There's so many dimensions you can add to your artwork, and there's so many combinations that you can use. It's endless, infinite, creative, fun. Join me in the last lesson and we'll wrap this up. I'll share some inspiring ideas and examples of how you might like to use these techniques in your creative art. I'll see you there.
14. Let's Get Inspired - Share Your Project: Now you have all the tools and techniques you need to create some beautiful three-dimensional art. Start symbol, use basic shapes to begin with. Try some simple liner drawings and try working with some of the art that you've already created and procreate, be willing to make lots of mistakes. Often my most favorite designs, have come by accident. Always heading down one direction and they ended up somewhere else. Pick a technique, play around with it, get to know it forward, backward, inside, out, and you'll be amazed at how much you can do with it. Don't try to do it all at once. Your friend will get discouraged if you don't take it one step at a time. Often we get excited, we want to get in there, we want to try everything and see if it works for us. But if we go slowly and have some patience and practice, practice, practice, you will be rewarded with some beautiful designs. You'll start to observe the world around you differently now, you'll see what makes things pop, you'll see how the light plays on textures and on shapes. In your real life, you will learn a lot about what makes something three-dimensional simply by observing the things around you. Use your reference photos. If you see a texture you really like or something else around you, take a picture of it or find one online. Really ask yourself, what it is about this that caught your eye? Pick the colors out of it, watch how the shadows fall, you will start to observe things differently. Now it's your turn to create a project. Choose a technique that you want to work on, find the design you want to use it on, and share with us in the project section how it worked out for you. Share with us how you're using this design. There are so many ways you can use your designs now. You can use them as wall, you can put them on a Canvas, or you can create a poster out of them, you can put them on products, on print, on demand, you can create your own thank you notes or wedding invitations, and you can even create your own three-dimensional procreate brushes. There's so many things you can put these beautiful three-dimensional designs on for your own enjoyment or for those of your friends and family. Thanks so much for joining me in this class. Have some fun with it. If you want to tag me on social media, it's JSP create. I'd love to see what you're working on. Enjoy creating and I'll see you next time.
Jane Snedden Peever, Living the Creative Life
