Digital Marbling: Create Stunning Abstract Art in Procreate | Rich Armstrong | Skillshare

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Digital Marbling: Create Stunning Abstract Art in Procreate

teacher avatar Rich Armstrong, Multi-hyphenate Artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Digital Marbling Class Intro


    • 2.

      Procreate + The Liquify Tools


    • 3.

      Rich's Favorite Tools + Techniques


    • 4.

      Working With Color


    • 5.

      Adding Richness


    • 6.

      Making Your Colors Pop


    • 7.

      Mirrored Painting + Liquifying


    • 8.

      What's Next For Your Pieces


    • 9.

      Start to End #1


    • 10.

      Start to End #2


    • 11.

      Start to End #3


    • 12.

      The End


    • 13.

      Bonus 1: Life-like Marbling


    • 14.

      Bonus 2: Gold & Glitter!


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About This Class

This class is all about digital marbling and how to create beautiful abstract pieces of art that may resemble Paper Marbling, Ebru, Suminagshi, Acrylic fluid pouring, Dirty Pouring, Bottle Cap Pouring, etc. that's what I love about this process in Procreate. You can mix styles and techniques, and go from liquid to dry canvas in milliseconds.

The class covers my favourite tools and techniques, and I show you everything – from the basics all the way to how to finish a piece in style. And of course, I cover a few Procreate tips and tricks as well.

Above: a few pieces I've created with the techniques shown in the class.

The best part about these beautiful messes is that you can create them in bed, on the couch, and in the train – with no paint, and without mess. And, you don't have to know anything about Procreate, or art, to take the class. All you need is an iPad and Procreate. An Apple pencil is optional.

If you're looking to create in a fun new way, or do something relaxing, come take the class. It's short and fun, and great for kids and adults.

Here is a quick outline of what we're going to cover:

  1. Exploring Procreate + The Liquify Tools
  2. Rich's Favourite Tools + Techniques
  3. Working With Colour
  4. Adding Richness
  5. Making Your Colours Pop
  6. Mirrored Painting + Liquifying
  7. What's Next For Your Pieces
  8. A few Start-to-finish Examples
  9. Bonus: Life-like Marbling

And if you want some sweet Digital Marbling goodies join the Tap Tap Kaboom fan club.

If you want to create some more awesome design and art pieces, check out these classes:

Meet Your Teacher

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Rich Armstrong

Multi-hyphenate Artist

Top Teacher

Hey! I'm a multi-hyphenate artist who's authored books, spoken at conferences, and taught thousands of students online. I simply love creating--no mater if it's painting murals, illustrating NFTs on Adobe Live, coding websites, or designing merch. My art is bold and colourful and draws inspiration from childhood fantasies. I have ADHD but am not defined by it, dance terribly, and can touch my nose with my tongue.


I've studied multimedia design and graphic design. I've taught myself how to code. I've freelanced, worked for agencies and startups, and run my own product design studio. I'm a published author and a full-time artist. I used to go by the name TapTapKaboom--that's now a separate thing teaching people how to make w... See full profile

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1. Digital Marbling Class Intro: Hey, I'm Rich Armstrong from Tap Tap Kaboom. I'm super pumped about this class. I show you how to make some beautiful abstract pieces of art full of movement, mood and irregularities, and all on your iPad using the Procreate app. You'll grasp how to make the most of procreates liquefied tool to go beyond creating a swirling mess by learning about a few of my favorite brushes and liquefy techniques. I show you everything from the basics all the way to how to finish a piece in style, and of course, I cover a few procreate tips and tricks along the way. The best part about these beautiful messes is that you can create them in bed, on the couch and in the train, all without the paints and without the mess. You don't have to know anything about procreate or art to take the class. All you need is an iPad and procreate, an Apple pencil is optional. For the class project, you'll be creating a few pieces with the techniques I showed you during the class. Here's a quick outline of what the class covers, exploring procreates and liquefied tools, my favorite tools and techniques, working with color, adding richness, making your colors pop, and mirrored painting and liquifying. If you're looking to create in a fun new way or do something relaxing, come take the class. It's short and it's super fun. Okay, see you in the next video. 2. Procreate + The Liquify Tools: Hey there, welcome to this class. I'm super happy you're here and I really think you're going to love learning and playing around with this digital modeling thing and procreate, I find the best thing to do when learning something new is to dive straight into it. So in this first lesson, what I'm going to show you is the basic tools I use but what I want you to do is to create a mess, play around, test all the different tools out, see how things work. Don't even try make something beautiful, just experiments. Once you've got procreates open, create a new Canvas and select from the pre-existing sizes or create your own custom size. There are a few things to consider here though, as your Canvas size increases, the total amounts of layers you can have decreases. You'll want extra layers later on, so you can add more paint and effects. The bigger your canvas, the smaller your brush size will be relative to the Canvas. The bigger your canvases, slower, everything runs, but it's not all bad. I like big canvases because I can print high-quality art and I can crop my pieces and retain a good level of detail. Also I can always tell it down if I need to, I've created my own custom size called A_2 here. This is a really good mixture between the amounts of layers, the print quality and the brush size on the canvas. The first thing I want you to do is to select a background color. There are two ways of doing this and I'm going to show you both. The first way, you tap on your layers and then tap background color and here you can choose your color fairly easily. What I like about this method is that once you've chosen it, it's pretty easy to then change it to another color. You can change it later on once you've done a bunch of artwork or you can change it really easily right now. The next method is by choosing a color at the top right. So perhaps we go for a blue like this and then you tap on your layers, type another layer and say full layer. Now, you can't really easily change this color. You would have to go to adjustments and hue saturation, brightness or something like that and you can change the hue, you can change the saturation and the brightness. So you can change it, but the reason why I like this is that when you're going about changing the colors of all your layers and all of your artwork later on, you can change this layer, but you cannot change the background color. So that's why I like using this layer as my background layer. The next thing I'm going to do is change this into a landscape mode so you can see more of what I'm doing, but you can choose to work in portrait or landscape, whatever you feel most comfortable in. The next thing I want you to do is choose your first paint color. Tap when your color swatch the top right and use the disk view or the classic view, or the value of you to choose a different color. I'm going to go for a blue or something similar to this color as my starting color, maybe a little bit darker. The next thing is to choose a brush. This can be really overwhelming and procreate. There are so many brushes to choose from, but this part in the process is a great time to try new brushes out. Play around, see how the brushes interact with each other, on top of each other. See how they work with pressure applied to them. Have fun here, experiments play around. So I'm going to go for a painting brush, perhaps something like this old brush and I'm going to start making some marks on the canvas. Like so and you can see as I reduce the pressure, it reduces the amount of paint being applied, and as I increase it, their is more paint. So when I increase my size, I just slide this slider upwards and it creates a bigger mark and if I slide it down, it make some brush smaller. Pretty self-explanatory there and the opacity slider is this one over here. There we go. I pretty much always keep that write-ups up. Then I'm going to select another color, perhaps white and just put some more paint on canvas, just a size and once you've got a fare amounts of paints on your canvas, it's time to liquefy. So you press this adjustments button and then select liquefy. This brings up our liquefy view. Really cool. I'm going to reposition this so it's in the center of the screen and these are all of our liquefied tools. I'm not going to cover all of them. I might cover my favorite ones. The first one, which is like the bread and butter tool, is this push tool. I'm going to decrease the distortion and the momentum's that you understand what they do, but later run, I'm going to adjust the size fairly easily. I'm going to adjust the pressure to a 100 percent just for now and then I want you to play around with this. This reminds me of toothpaste. Now, you're going to just your size fairly easily to make a bigger push or you could adjust your size to be really small so that you can work with a bunch of details. It's really fun. What I want you to do here is not focus on creating something beautiful. I want you to focus on playing around and experimenting with these different tools. Now, I've shown you the size slider. The next one is this precious slider. If I slide that all the way down to something like 30 percent, I'm pressing really hard here and you can see it's not that responsive and it's like it's stiff or something. If I slide it all the way up, it's really responsive. But what's really cool about this Apple pencil is that I can adjust the pressure just by pressing softly or by pressing harder. This is really cool. So I only keep the pressure all the way up to a 100 percent. I can alternate between using my pencil, which is pressure sensitive and I can use my finger, which is always going to be a 100 percent of the precious slider value. So this is going to be a 100 percent. If I slide this down to something like 40 percent, it's not going to be a value of 40 p pressure. So that's pretty cool. I like to keep that all the way to a 100 percent, so it means I can vary my pressure with my pencil and then just use my finger when I want to a really high value. The next slider is the distortion slider, which is pretty cool. If you start moving this about, you'll start to see it. It creates all these irregularities and is a lot of distortion happening over here. It creates some life blackness. It brings life into all pieces. It's a very important parts of the liquefy process. The next thing is the momentum slider. What this does is it makes some momentum. So if you just flick, you'll see that it carries across the canvas and this is really beautiful. It really feels like we're playing with liquid or working with paints in water when you've got the momentum slit up. So I always keep this at 100 percent, it means that even while I'm working here, this always going to be a little bit of momentum. It's powerful and when I've got the pressure up, it means that I can alternate between using my precious sensitive pencil and my finger and they want the momentum up. If I don't want any momentum, I can just stop and it's no more momentum, but most the time I can just flick and use my finger and there we go. It's a lot like liquid, the next tool I want to show you is this dwell right and it's pretty much the same as the dwell left, except that dwell right and the dwell left dwells left, decrease the distortion all the way to zero and the beginning and I'm just going to hold this down. You see that it makes a whirlpool, but I can move the whirlpool around, which is really cool. It's almost like a whisker or an egg beater or something like that and you can do some really cool stuff with it. Now, you'll see that there's also pressure and momentum on this brush. So if the momentum is all the way down, I can't flip it. Whereas if it's up, I can flick it and the whirlpool just carries across the canvas. The pressure, on the other hand, is, if I've got my pressure at a 100 percent, it spins at that speed. If I've got my pressure down low, It's going to spin a lot slower. So again, I normally like keeping that adds 100 percent and if I want to, I can just press really lightly with my pencil to spin slower and if I press harder and spins quicker. So that's really cool. Now the distortion is pretty cool when it comes to the 121112, right? Tools, check this out. So here I'm creating a whole bunch of mini whirlpools and this is something that you cannot tune real live really easily. I find this tool amazing.It's really fun to work with and what's really cool is that now I can go back to my staple push brush on my push tool and I can now start liquefying this again. Now, the pinch tool, you expand tool the crystals tool and the edge tool. I'm not going to show you that, I don't use them very often. So I want you to experiment with those, See if you can incorporate it into your workflow, into how you work, but I don't use them very much. So the next thing I'm going to show you is the adjust tool and it's gained something I don't use much for purpose. But if you slide this down to zero, it's going to show you the original canvas and if you slide it back up to 100 percent, it's going to show you all the liquefy effects that you've just done, but you can use it to adjust the strength of your liquefy effect and then you can carry on working just like that. You can go back to you adjust and adjusted again. So it's quite a nice tool, but I really like just playing around from 0-100 and seeing the effects that I've just played around with. Now, the reconstruct tool is much like the adjust tool. Again, it's an anti liquefied tool and instead of adjusting the entire canvas is just going to adjust it in one particular section. So if I want this section to go back to the original. There we go, I just liquefy and this section like that and this is really powerful because it means that I can have this section over here that I really like and I can keep that as the liquefy section and in this section over here that I don't really like, I can make it back into the original canvas without having to adjust everything or at the same time. There's no distortions ladder here, but there are size, pressure and momentum sliders. Now, the last one that I want to show you is a reset and that just takes everything back to the beginning. So I hardly ever use this if I really want too, I can go out of the liquefy view and just undo, but this does give me a chance to show you how to undo when you're liquefying. Normally, there's a little undo and redo button. I'll show you that after this, but there is an unknown. So you have to use two fingers to undo and you just tap on the screen and it undoes, so you go back, if you want to or do you want to redo? You use three fingers and you tap on the screen. Now, once you finish liquefying, the easiest way to get out of it is to press the adjustments button again and from here, you can add more paint. So let's select and you can, perhaps I want something like a pink, or perhaps I want something like a blue and let's make it a bit more turquoise and I'm going to select a different brush null. So I'm going to artistic, use my acrylic brush and I'm going to apply some more paints to my canvas and this is really cool because I introduced a new color. I go to my liquefy view again,tap on my push brush, my push two and now I can incorporate this new color into my piece. Okay, so you do some liquefying like that. You play around. It's looking really good I mean, just look at this area over here it looking fantastic. We're happy again, but I don't know, actually maybe I made a mistake. So here's your little undo button. You can just tap that and you can tap that again if you want to keep on going backwards. You can also do forwards, but you can also use your two fingers here and three fingers just by tapping on the screen to do undoes and redoes. So like I said, what I want you to do at this stage of the class is to just put paints on Canvas, experimental different brushes, play around with some different colors and then explore the tools play around. Do not focus on creating something beautiful. Just have fun, learn how the tools work. 3. Rich's Favorite Tools + Techniques: In this lesson, I'm going to show you three styles and what tools and techniques are used to achieve them. The first thing I want you to do is, I want you to work in black and white so you can focus on practicing the styles I show you and not on creating masterpieces just yet. The first style, is what I like to call the Zebra style. What I'd like you to use is a brush in the painting group called normal. Once you've got that selected, change your brush size to something pretty big and make five lines on the left hand side of your Canvas. They can be wiggly or they can be pretty straight. Once you've done that, go into the liquefy view and turn down your distortion all the way to zero and your size can be something like that. Perhaps let's make it a little bit smaller. From here, I want you to go in and out and in and out. If too much of your lines are being affected, then decrease your size. Then do the same, in and out and in and out and every now and again do something weird. In and out and in and out and something weird. Then adjust your arcs. Sometimes you can do shallow arcs sometimes really long deep arcs and then something weird. In out in out, something weird. You just do this until you get all the way to the top of the lines that you made a bit earlier. Something like that looks a little bit messed up already. That's great. Now I want you to do the lines from the top to the bottom. In out in out something weird, and you just keep on doing this until you've done a lot of pushing of paint around. That looks really good so far, and you can see here that there's a stark contrast between the black and the white. It almost looks like a vector. It's really, really cool. Now the next thing I want you to do is increase your distortion and then increase your brush size and from here we are just going to be pulling out different elements. While we're pulling it, it's going to be distorting. We're not going to be doing a whole bunch of pushing around, we're just going to gently be pulling some of these elements out, and as we do, the distortion is going to work its magic and it's going to introduce some real nice irregularities. You'll see some big pockets of black and big pockets of white appearing. Something like that looks really good. That's the Zebra style. We haven't spent much time working on it. Now I'm going to show you the next style. Choose a brush called the Oriental brush. Again, it's in the painting group, and this style is what I like to call the Moody style. Tap on it and go to dynamics and you'll see that there's something called dilution. What I want you to do initially is to turn that all the way down and your brush size. Yeah, that looks about right. I want you to paint like a flame or something like that. Once you've done a shape like that, select a color and make a white, and then go back to your brushes and change the oriental brushed dilution down to about say, 50 percent. Then you'll see as you push really hard, there's not much paint being applied, and if you go really softly, there is. What I like about this is that it kind of blurs what's underneath and it picks up the paint that is underneath the paintbrush. Something like that looks really nice already. It's quite moody. But then when you go and liquefy it, what I want you to do is focus on the edges, turn your distortion up and your size can be something like that, and try just pull the edges outs and then push them back in, and then do some twirling up and down and then pull and push on the edges, and then again where black meets white. You get something that's really milky and cloudy and really moody in my opinion. I love this style, and you do the same through out the paint that you've applied to the Canvas. What I like to do here is remove all evidence of an actual brushstroke. I want it to look like rivulets and rivers, I want it to look like liquid and just mood. Where there are pieces of brushstroke left over, just try and remove it. Decrease your size where needed and do some flicking in and out. Something like that looks really, really good. Now, the next thing I want to show you with this style is using the smudge tool. With the smudge tool, you can select a bunch of different brushes to use as your smudge tool. But my opinion, the Stucco brush underneath the artistic group is amazing for smudging. Smudging works really, really nicely. You can adjust your size pretty easily. It's just like a paintbrush except it does some smudging. When you smudge using this moody style, it does wonders. Check this out when we go and liquefy this part now, you'll see that it works really well with what I've already put down. For now, what's even cooler is that I can do some painting and smudging at the same time. I'm going select my black color, and then I'm going to do some painting, and then smudging with my finger. The way that I've set this up, is by going to my actions, then going to my preferences, and tapping on gesture controls. If you select smudge, you can turn this on and when you touch your screen, it activates the smudge tool. You can set up a bunch of other gesture controls here. I'm not going to go through all of them. You can customize Procreate to be how you like it. Check that out. Do some playing, do some exploring, it's really powerful. I've done some more smudging, now I can do some more liquefying. It starts to create these really moody, cloudy kind of liquefy effects. Now again, what I like to do is that, I like to keep on adding more and more paint and then liquefying, adding more paint, liquefying, adding more paint and liquefying. I'd encourage you to just add a couple more layers. Play around with this moody effects and try and find some areas that you really, really like. Something like that looks great. But at other times, you might find something that just, wow, it blows your way. Remember to get rid of all evidence of a brush stroke, you don't want it. The next style that I'm going to show you is called the Inky style. There are two particular brushes I like to use for this style. The first one is Spray paint and I used the Fat Nozzle. The other one is Airbrushing and I use the soft brush. I'm going to show you the Spray paint, the Fat Nozzle, because the effect really comes alive when you use it. Press pretty softly to get kind of a light gray or light color and then press dark to get these real big splatters and flex. You want to work with a white to black gradients even though there is splats and this is where the magic starts to happen. Once you've got something like that, go ahead and liquefy it, and then here turn up the distortion, and the size can be roughly that. Then you just start flickering in, use your finger if you want to. Start playing around like this, and it really feels and looks like ink on water, magical. Then try and pull some of these gray gradient bits out. You can focus on some of the other areas and where you want use a bit of twirling. If I zoom in here a little bit, you can create something really, really cool. Again, you can just push it going in and out and in and out and doing something weird. Those are three of my favorite styles and the different tools and techniques I use to achieve them. What I want you to do now is to create three different black and white pieces. One Zebra style, one Moody style, and one Inky style. Use the full width and height of a Canvas. Remember, don't try and create something perfect or beautiful. Make a mess, have fun and focus on the actual tools and techniques that I've shown you in this lesson. 4. Working With Color: In this video, I'm going to show you how I work with color. We're going to go over some basics. I'm going to show you some tips and tricks, and then I'm going to show you how to introduce color after color after color into a particular artwork. The first thing I do is choose a background color. In Procreate, there are a few ways to choose colors. One is this disk where you can change the hue in this outer ring, and then your brightness, and saturation in the inner ring. I'm not the biggest fan of it. Then this is classic way, which I'm a big fan of. You've got your hue, you've got your saturation and brightness sliders, or you can just go around here. Then you've got your value sliders, which I also really enjoy because it's got the red, green and blue sliders as well as the HSB sliders. Then your pallets. Now pallet is something that you may have seen over here. You can just save and easily access a bunch of colors. So if you want to create a new palette, you can press the plus icon, or you can choose this one to be a default palette, and then you can access it on any one of these colored panels. Now when you've selected a color pallet and you want to save a color, perhaps you've chosen something like really light red, you just tap the square and you can access it later on. Really, really cool. If you don't like it, just hold it down and delete it, and then it's gone. So now back to choosing our background color. I'm going to go for a blue, a really dark blue. What I tend to do is I tend to start dark, the dark background, and then work my way lighter. So let's go to my layer and Fill Layer, I'm going to create a new one, and start brushing on top of this. The color that I'm going to choose here is going to be, let's go for a pink, quite a dark pink or red, and then the brush I'm going to use is the oriental brush. I may be creating a moody piece, and I want to start with the dilution all the way down at zero. Then I'm going to create some ready like flowing movements on my canvas, and this is just going to be my base layer of paint, and then liquefy this. Increase the distortion with the brush size about that, and then focus on the edges of the brush strokes that I just put down. I'm going to have to be really, really careful here. I can have some fun be quite free in what I do, try just call in some different colors. Make some mood. There we go. It's starting to take shape already. Are there any brush strokes that we need to get out the way? It doesn't really look like it. So that's a really good start. What I'm going to do next is I'm going to choose another color to work with, and perhaps something a little bit lighter, but still red pink color. I'm going to put this down, but I'm going to bring up my dilution to somewhere around 40 or 50 percent. This is so that the paint beneath it starts to come through, and it starts to make these blurry patches. I get these two colors, but in between these two colors I get a range of different colors, like a bunch of gradients, which I find really, really cool. Here you can go outside of the actual canvas bounds. Makes for some nice liquefying, creates a lot of flow and momentum, and that's what I'm going to for. Then I'm going to liquefy that, and just focus on these edges, and here there's some really nice cloudy irregularities coming out. Down here is looking really nice. Okay. There I undid, so i wonder weather I can. I can't. Sometimes that happens you can not just snaps back to a previous period, but luckily, I didn't do too much work before it did that. So I'll just keep on liquefying this really nice irregularities and cloudy moody area starting to appear. That looks pretty good. I could do a lot more work here, but I'm pretty happy at this stage. So what I'm going to do is add a new color. Now the colors that you start adding, you've got to think. Well, are they going to work together? Are they going to be like, really contrary to each other? And they're going to be almost opposite? What are you going for? Are you trying to make a piece really similar looking? Are you going to make it like a rainbow? Are you going for a lot of like really psychedelic colors, or are you going to keep it muted? So play around with what colors you add and what a look you're going for. What I'm going to do here is I'm going to add a little bit of yellow. I think it needs some pop, some brightness, and this yellow looks pretty good. I'm going to make it a little bit brighter, closer to white, and then I'm going to go to dilution setting on my brush and just reduce it slightly so I can add some more of this yellow. Perhaps I'm going to bring that down or up a little bit already. If you're ready scared of messing up what you've just done, what you can do is you can slide left on a layer and duplicate it. This way you've got an original and a new one, and if you mess up the top one, hey, you can delete that slide left, and then delete it, and then you can go back to your original layer, and work with one. Let me add a little bit more here and there, and then liquefy. You can start to see all the different colors that are coming into my composition, even though I've only worked with three colors, because of the orientals ability to take the paint that was underneath and bring it to the top, and mix the two colors together, and get some really, really interesting colors, but they're all working together. So they're like all on my side. There's even some green over here. I mean, that's just lovely. So what you've got to start looking for is areas that are working, in, areas that aren't working. The areas that aren't working well, just pop whole bunch more paint on there and rework it. The areas that are working, well, don't pop paint on it, or do some more work and see why it's working, and then try to replicate that. But beauty is quite hard to master, sometimes it just appears and you're like, wow, where did you come from? Other times you're searching for beauty, you're trying to create it and it's just not working. So sometimes it happens and then sometimes it does not. So that's looking really, really good. I think. What I'm going to do next is just add a little bit of white, and I think that I will be done for a little bit. Bring up the dilution, and what I like about white it is that it just really brings in some milkiness to a piece. Perhaps I can put some up here. Here we go. This is looking really nice. Really really nice. Dropped this smokiness, I think it works wonders for a piece. A bit of white always does a really good job. Look at that. So my favorite area, but for now, I'm going to keep it. Let's make this a little bit bigger. That's looking really, really good. Look at those colors there. Super cool. You can see here, if you zoom in and focus on the details, you can get some really nice detailed work that you probably can't see if you zoom out. But if you're going to be printing this at a massive size, you're probably going to want to spend some time on the details. Another thing I like doing is doing some twirling with a distortion at 100 percent, and this makes for some nice effects here, and there. I don't like these to be too big, and then I also just like to do little bit of pushing round after I have done some twirling, and perhaps do a little bit more down here. I don't really have a preference between twirl left or twirl right, but it works really nicely when you've got some white and a darker color underneath. Almost looks like a jellyfish there. This area. That looks so good. So I think this is looking really nice. This looks like a weird starfish or something. So what I'm going to do now is I'm going to try to pick another color, and I can't remember what color I had. I didn't save the color. So there are a few ways to pick and go back to colors that you've had again. The one way is just to hold this down and it selects your previous color, and this way you can switch between two colors really, really quickly. The other way is what I've said up as I press the square, and I can then select any color in my Canvas. This is pretty powerful. It means I can select the color that I have really used, but because of the mixture that's happened then I can use it. So I'm going to decrease the dilution. Just pop that in right there. Now another thing that's really cool is, perhaps I want something like this color and I want to just pop that in there. Maybe that works, maybe it doesn't. I don't think it works, but it's a pretty cool way to experiment with just popping a bunch of color into an area. So I'm going to undo. Now what I didn't show you was how to set up this Eyedropper tool. It's really, really easy. So you tap your "Actions" button, you go to the Preferences, and then Gesture Controls, and then under the Eyedropper section, you just going to set up this little thing on. Then just like that, when you tap this button, you'll get your Eyedropper. Ready, really cool. Let me just finish off liquefying here, and then we'll be done with this lesson. Still a bit of brushstrokes over here. We're ready. So I think that's looking really really good. Yeah, I'm happy with that is a sweet mix of colors on the Canvas and it's looking good. 5. Adding Richness: In this lesson, what I want to show you is how to add richness and bring about some life into your pieces. You may be thinking, "well, I quite like the piece as it is." Well, that's cool. But what I want to show you is my preference. I want to show you how to make it look a little bit more grungy, a little bit more real. Like you've been messing around with ink on water. You've made a mistake here and there you've splattered a bit of paint. Perhaps you've drying, you've smudged it. All these kind of things. I think add a lot of life, a lot of energy, a lot of grunge, a lot of art into a piece. There's a lot of descriptive words there, but cool, let's do this. Here's one of my recent pieces. It's looking pretty good. Now, the first thing I want to do is add a new layer. Here we're going to add some manual noise with a brush. I'm going to go and select white as my color, and then there's a whole bunch of different noise brushes you can choose from. But my favorite is found on the spray paints and it's the splatter spray paint, and here I'm just going to spray a little bit. That's quite small. I'm going to bring the size up quite a bit, and here what I'm going to look for is places that have a bit of white paint, and I'm just going to add a little bit of the splatter here and there. Maybe bring the size down a little bit, and if I do a little bit of a mistake over there. What I can do is just use my smudge tool to smudge it, and this adds a lot of grain and a lot of texture into a piece. I would suggest adjusting the size as you go. You don't want it to be the same size all the time. Perhaps I don't need it over there. Let me go here and a little bit over here, and then once you've done it with one color. You can easily do it again with multiple colors that exist in your canvas, and if you want the noise to appear less opaque, then just press "Softer." It's looking pretty good. The next thing I'm going to do is select a new color to do this technique with, and just do a little bit more splattering, and you can already see that it starts to take on a new kind of life. Starts to look quite a bit more grungy and bit more authentic, I think, and these are all just with brushes that exist by default in Procreate, and where the white went on to the blue, now the blue can go into the white. It's almost like there's a meeting and a bit of argy-bargy going on. In places like this where there's a lot of different lines. It works really well, and sometimes you'll be doing this and you won't notice it or, someone that you show it to won't notice it, but that's completely okay. It's just this authentic thing that you want to add, and sometimes just somebody noticing it subconsciously makes all the difference. Some really nice colors in this piece. That's the blue, and now you can do this with however many different colors you want. It just adds a lot of grain, and a lot of noise, a lot of texture into a piece. The next thing I want to show you is pretty similar, but instead of the splatter, we're going to go with the flicks and when you go back to using white, and then now what you do is just apply some paints, but you don't want to keep it like this because this looks really artificial. You want to just smudge it, like that. You want to get rid of them. But in so doing, you don't want to be so fastidious about getting rid of them, that you actually get rid of every single one. What you want to do is giving to them and make these smudge marks. Now smudge marks are really cool I think. But to have these leftover flicks and stuff, that's even cooler. That's just a little bit, and you can keep on adding smudge marks here and there, it works really nicely if you do a whole bunch of smudge marks by particular color. Do white smudge marks by white. Because then it looks like you actually smudged the white, and some more over here. That's great, and some more over here. Perhaps just a little bit more over here. Now you've added a bit of grunge to it, added a bit of a life to it using these smudgies. I quite like that name smudgies. All right. Now you want to pick a new color. I'm going to pick this pinky color and do the same thing. Sometimes I may be a little bit too much, so you might just need to work some of it out, just push it up a little bit, bring some of the nothingness back into it. Don't want it to be too intense, and hey, if it really is too intense, you can use your eraser tool or you can press this "n" and just drop the opacity, so it's not so intense. Perhaps in this case, going for something like 50 might be a good idea. Now the next thing I want to do is a blanket cover-all thing that I do for all of my pieces just to give it a lot of texture and life, bring a lot of richness into it. I'll go for a white color and then fold this layer, like that, and you may be thinking, "Okay, you just put white on top of everything." Yes, Just hold on. I then go to adjustments and noise. Now what I'm going to do here is I'm going to add a whole bunch of noise, and what I'd like to do is normally have noise between 40 and 50 percent, and you can see here that it's a bunch of colored blocks. Now the reason why I added it to a separate layer, this layer 5 is so that I can go to my adjustments and then I can decrease the saturation. It's just black and white because I don't really want a whole bunch of extra colors in my artwork. I then go to my layers, tap the n, and then I go and select the linear burn, all multiply. I'm really zoomed in at the moment, so that's go out of here, and perhaps here, you can see what happens when I select linear burn, makes it darker. I go for color burn and also works really well, but I've found that linear burn has the best effects. It does make it a little bit darker, but we'll cover that in the next lesson. Multiply also does work, but linear burn is fantastic and this adds a grain across your entire piece, which is really nice. To have a quick preview of what we've done, we started with a piece. We added a bunch of noise with the noise brush, which added some richness and texture to it. Then we added some smudgies which gave it a look of grunge, and then we added some blanket noise with a new layer, and that's what I think adds a lot of richness, texture, and life into a piece. 6. Making Your Colors Pop: In this lesson, I'm going to show you how I make my colors pop. Because even though this may look dreamy or grungy or lifelike and there's a bunch of richness in it, I think that what I have to offer you in this video, or just make your pieces come alive, brings a lot of color, a lot of life into them. Let's get going. The first thing I like to do is on top of all of these other layers, add a new layer. I'm going to change the blend mode to contrast overlay. In my brushes, I'm going to select spray paints and fat nozzle. Then, what I do is I select a color that is existing in the canvas. Then I start to paint here and there with this fat nozzle spray paint, but just lightly. You'll see that it just starts to give some elements a slightly different color. It's beautiful. You don't want to go too much. Because then wow! Man, that looks really weird. We'll undo there. What this is actually doing is it's painting a bunch of paint. If I do the same thing here, I'm adding a bunch of paint, but just at a light opaqueness. When I change my blend mode to overlay. It just does really well with the color, magic. You don't have to add it everywhere, but just here and there and not a lot. You don't want to add this new color everywhere, because you want the colors to shift and change all over the show. You want the colors to really pop. Just a little bit. Then when you've done just a little bitting of that, then select a new color. I'm going to go and select this yellow, bright yellow if possible. There we go. Then, do the same thing in different places. This just brings a lot of life into your piece. Love is part of the process. It's magical. Some areas might need it more than others. After a while, some areas might actually look quite boring, like this part over here. Then this looks really nice. I mean, so far. Previously that looks quite dull. Then when you add this overlay effect, looks stunning. The next thing I do is add another overlay layer, and I'm going to choose white as my color now. White is just a brightener and lightener. If you use it too much, it just does that, it looks terrible. I'm going to press really lightly and just brighten up a couple of different areas and work super nicely. I really like using the spray paint fat nozzle because it adds all of these flex, it adds texture. It's also got a really nice gradient effect that blends the different colors together. That's looking really nice. The next thing I want to show you is a really easy sneaky way of doing the exact same thing. But instead of using the fat nozzle, you go to luminance and you select this thing called nebulae, which is a bunch of stars. Make sure it's not too huge or too small. Then, once you do this, you can just start adding a couple of different nebulae's here and there. If it's too intense, which you can do, is just drop the opacity. But what I've just seen is that it's still on normal blend mode. I'm going to take that to overlay. I really like this. It's quick, it's cheesy, but it adds a whole bunch of different colors in really nice ways. What's left to do now once we've got this amazing overlay effect, check this out, away from this comparatively dull piece to this really bright and rich piece is looking magical, dreamy, fantastic. Remember in the first lesson how we chose to use a layer as a background? Now, you get to see why. What I want to do now is I want to actually duplicate all of these layers and I want to cover them all. But, I can't really do that unless I group all of them. What I do is I select one layer and then slide to the right on all of them. I group them. Then, I tap this group and I flattened it all into one layer. Then just to be safe, I slide to the left, I duplicate it. Now I've got something to play with. I hide the original. This is really important to, it means that what we do on this layer, we can compare to the layer before it. The final touch in terms of color is going to adjustments and either using color balance or curves. Color balance, in my opinion, is exactly the same as curves. It's just a little bit easier to use, but not as powerful. I'm going to go for curves. You check our color balance by yourself. What composite means is that I'm applying this change to all of the colors at the same time. This little thing, down here, it could be called a color graph or a histogram or something like that. It ranges from the dark colors all the way to the light colors. It says this is how much color is at this point, and this is how much color is at this point. How much color is made up of red, green, and blue values. At the darkest point, if I were to increase the amount of colors, it goes white. At the lightest points effect to decrease the amount of color, it goes dark. What I like to do here is I like to make the darks slightly darker normally. You can play around. Then I can make the lights slightly lighter. You can add as many points as you like, change the values, go wild. Now you can see when I preview this, it just adds a little bit of pop, a little bit of, looks quite nice. Then we can do the same thing for each of the color channels. I'm going to start with red. What I'd like to do is just see what happens when I decrease and increase the amounts of color. Perhaps here we can maybe just decrease the amount of red around these outlying areas. Turn and see if that works. I think something like that looks pretty good. I've just made it a little bit redder, green. What happens while, that makes it really pink, so maybe I want to just add a little bit more green in there, the yellow starts to come through a little bit more. There's some nice greens coming through there. That looks pretty good. I like this area over here. I'm going to decrease this slightly. Let's preview that. It's still looking pretty good. Then blue, this makes it really yellow. It's like fire. What happens here? It makes it a lot bluer. Here I'd just like to play around until I get something that I really like. Something like that looks pretty good. Now every single time I do this, it's going to be different. I'd recommend playing around, seeing what works. Sometimes just having something different. It just looks better, but in the end that's actually not better. But in this case, I think it looks quite a bit better than the original that we did have. Let's have a look. It just pops a little bit. This is the final touch that I'd recommend putting on all of your pieces. Just flatten the layer and then apply some color changes. 7. Mirrored Painting + Liquifying: Guys, the fact that I'm drawing on an iPad, which is a computer and glass and I'm filming this with an iPhone and a Canon camera and I've uploaded it to the Internet for you guys to watch. This is just mind-blowing. This is just the digital world, it's amazing. What I'm going to show you in this video is also part of the digital world and it's freaking cool. Check this out and bear with me while I set it up. What you're going to do is, go to Actions. Make sure on this Canvas tab. Turn the Drawing Guide on and you'll see a bunch of squares. Fine enter the Drawing Guide, go to Symmetry, turn up the thickness so you can actually see the symmetry. Tern on Capacity and then tap Done. Now watch this, as I draw on one side it draws on the other. Now that is super rad, you cannot do that in real life. Now, if you go and edit the Drawing Guide again and turn on Rotational Symmetry, what this does is, as I draw the top, it draws at the bottom and as I come towards the middle, so you get some really nice effects with this. Now what I've got to tell you is that if you add a new layer, the assistant drawing is not going to happen on that layer so you'll see here, that it's not drawing on the other layer. A bit of a bug. But what we can do is we can go in a Drawing Guide and everything will come back to this layer. There we go, now it does draw on that side. Great, but now when we edit the Drawing Guide and we can go for a horizontal. That means as I draw on top, it'll come through the bottom and Quadrant and Radial. Let's go for quadrants and that's pretty nice. I'm going to hide that so it's a little bit clearer what we're actually doing here. Pretty cool. Now, if I create a new layer and tap on my edit Drawing Guide and I turn it into Radial. That means it's like a pizza. I'm going to draw a little bit of pizza here, here, perhaps like a pineapple there. You can make some really cool stuff. Now, this might be mind-blowing, this might be super exciting for you but just hold your horses. Check this out. What I'm going to do here is I'm going to turn on, maybe those two layer and I'm going to re-organize this. I'm going to tap on this and merge down. Okay, now, I'm going to liquify. Tap on the Adjustments button, hit Liquify. Now, let's have some fun. Perhaps you can even practice our technique here. In out, something weird. I mean, this is just off the hook. I mean, come on. This is going to be therapeutic like you cannot believe. Look at that. It looks amazing, right? Perhaps when we try this, yeah, that looks fantastic. Okay, let's go back to Push. Let's turn up the distortion. What's cool about this is that because there's distortion is going to be different in every single segment. Even if you drew the exact same strokes in each of the segments and then you now push it with a bit of distortion is going to be different in every single segment. This is what's really cool about working with liquify with assisted drawing technique. Doesn't that just look amazing? If you do want to turn off the assisted drawing thing, tap on this guide and instead of just turning off the Drawing Guide, you can't edit the Drawing Guide anymore, first go hit at the Drawing Guide, turn Assisted Drawing off, Press Done and then turn off the Drawing Guide. Then what will happen is that it'll just draw right there. I want you to play around with this experiment with it, add some more paints, go for the zebra, the inky, the movie technique. Whatever you want. Again, don't try make something beautiful the first time you do this. It's going to be a mess. Just have fun playing around with the tools and see what you make. 8. What's Next For Your Pieces: What's great about this modeling process is that, from here you can crop it, you can print it, you can bring it into other apps, you can use it as part of designs and drop it into mockups, it's really versatile. Or this could be, where it ends up and where it stays. But let me show you how to export your artwork in Procreate. It's really easy when you're in an actual piece. You tap on the actions button, tap on the share button, and then from here, you can share PSD, if you want to take it into Photoshop, or a JPEG, whatever you want, and you can save the image. If you want to save it into your iPad, you can save it to iCloud, Dropbox, you can transfer to other devices in your network, whatever you want. That's a really easy way of sharing it while you're in your canvas. When you're in your gallery, it's a little bit different. What you can do then is say select, and what you can do is you can preview, or tap on a few of these artworks to preview, and you can just slide between them, which I find to be quite useful, or you can tap share, and again, PSD, PDF, JPEG, whatever you want, and you just tap on that. It may take a little bit of time if you're exporting PSDs, especially three of them, buts it's worth it. You can take it into Photoshop, you can start putting them into mockups, using it as part of your design in another project. That's really easy. Once you're done sharing or previewing, just tap that X button. Now that you know how to export your pieces, please share them by creating a project on SkillShare. I love to see what you create, and if you want to share them on social platforms, mention me, I'm @taptapkaboom, or use the #taptapkaboomstudent. This is the official end of the class. There are few videos after this where I go through a complete start to finish process. Please leave a review of the class, and be sure to follow me and sign up for updates on To end off, I'd like to suggest that you follow the rules that I put in place, and break them, and most importantly, have fun. Play, experiment, explore, and do not only do what's easy. Next up, are a few start to finish videos. 9. Start to End #1: This is the first start to finish piece. I'm going to select the background color. Perhaps I'll go with a bright-ish blue this time. Something like that. For layer, creates a new layer and then start with, perhaps a light yellow color. Then the brush I'm going to use is painting and the normal brush. I'm going to start with the zebra technique and see how it goes from there. Doesn't really look like a zebra. I've never seen a blue and yellow zebra. But it's just the name of the technique. Actually, seeing a blue and yellow zebra would be pretty cool. That looks pretty good. I'm going to liquefy it and start with some pushing in and out and doing something weird. It's already looking pretty good. Then from top to bottom, it's looking good. Once I've done that, I can bring up the distortion and the size and just bring out some of these pockets of yellow and pockets of blue. Obviously make it look a little bit more like liquid. I like how it stretches these parts on the side. It's pretty cool. Then these parts here are really good. All these lines almost like a tree or something like that. Then we got some big nice pockets here looking good. I'm just getting things to go in and around and really trying to not have these straight lines everywhere. That looks pretty good. Nice. What I'm going do next is select a different color to work with. I'm going to go slightly towards orange here, maybe make it a little bit more bright, a little bit more colorful. I'm going to start painting again. But now the background that I'm painting on is this liquefied layer. This means when I do my liquifying with this orange, I'm going to re-liquify the stuff behind it. This provides a really nice background for this orange layer or this paint. I'm putting on the canvas now. I go in and liquify this. Again turned down the distortion, turned on the size, and start liquifying. You start to see some really cool things going on here. There's a lot of detail when you zoom in. Just look at that. You've got your orange stripe, so your orange paint, but between them, instead of just one color, you've got two colors and a bunch of different swirls and thicknesses to run cool. Move this up a little bit, go from top to bottom now. This is looking great. Then the distortion again to size up again. Maybe just increase the size quite a bit. It almost looks like a map showing where the mountains are. That's looking really good. We got some detailed areas, we got some really big colorful areas. That looks fantastic. I'm going to stick with these three colors. I'm going to do some overlaying now like so. I'll select something like a brighter orange to do some overlaying with and then go from my spray paint, fat nozzle brush and not press too lightly and not too hard. You just make the orange in sections, the yellow one will also change to be a bit more yellow. Maybe there will be some green as well. The blue will also get a bit darker and get richer. You start to see here there's different pockets of detail is exactly what I wanted. I want to change everything. I just want to change different parts of the piece. There's a bit of like a shift and a change throughout the piece. Next up is this yellow. Let's see what this does, makes everything yellow. Perhaps I don't want too much of that so I'm going to decrease my capacity, make the brush a little bit bigger and just go really lightly. Over a couple of places, you see how the blue turns almost into a really light blue. I'm pressing really lightly here. Then we can do the same here. Then blue, so I'm going to go for a blue like this. This should also make things perhaps a little bit more purple. Darker blue. Just print some more variations into the piece. What does it do to the orange? I really like what's happening here. These colors are great, and how then it shifts into more greens and yellows. It's almost like your eye is trying to figure out what's going on and can't quite make it out just because there's all these shifts of color going on. Really nice. Then one more layer and let's go for white. Pump it up, pump up the opacity. Just press really lightly here. No, I don't really think that's working, so I'm going to delete that. That's great. Then I want to add a little bit of fleck here and there so am going to use my splatter brush. Then in these big sections, I'm going to get some orange. Something like that. Then here too. Then I'll change it to yellow color. There we go. Then I'll change yellow in here too and then back to orange. It's looking pretty good. Just a little bit of texture here and there. Maybe a little bit over here. Perhaps just a little bit more in this pocket over here, that's a little bit too much. That's looking pretty good. What I'm going to do next is I'm going to do some smudging, get flicks out and I'm going to select orange and just do some flicking and smudging. That's looking pretty good. I like that. Now, the next thing is to add a blanket noise layer. Fill that. Add a little bit of noise, so I'm going to go for something like that and adjust the saturation and then make it into a Linear Burn layer. This means that when I zoom in you can see the grain and it just adds a bit of texture, richness to the piece. That's looking really good. I like it. It's got a lot of detail. It's got a lot of special places, there are some big pieces of color. The colors are working really nicely with each other. There's also a lot of detail places of color. It's looking great, but I think that the colors could be enhanced quite a bit now. What I'm going to do is I'm going to select all my layers, I'm going to group them and see if I can duplicate that. No, I can't do that. What I'm going to do is I'm going to select this layer and merged down, and then try that again. There we go. What this allows me to do is it allows me to have a backup group. With this group, I can then flatten it and then color it all. I've got my backup and I can play around with the colors. I've showed you how to work with curves. Now, I'm going to show you how to work with color balance. I'm going to go for my highlights first, just because it was selected and just see what this does. This makes it a lot more red or a lot more orange, which I think looks really good. Magenta versus green. Some really psychedelic colors or luminous colors coming out here, which may look pretty cool. The more yellow or more blue. I think I like the more blue. Let's preview that. I had some pop. Midtones, nothing much is changing there, maybe a little bit more orange. I'm going to go for a cyan because there's a couple of areas here with the cyan really works well. Over there, magenta or green, biggest fan of the green, so a little bit towards magenta. I'm going to just keep that in the middle. Then the shadows. Don't expect too much to change here. That's fine. Whoa that changes everything a lot. Preview just brings it out a little bit, just makes it a little bit more luminous. That's fantastic. Then with curves, I just want to go to my composite and make the darks a little darker and the lights a little brighter and see what happens there. It just makes it pop a little bit. That's the only thing I'll do with curves. There's our piece, I think it might work quite nicely as a portrait piece. Perhaps this way, perhaps that way. It does look pretty good as a landscape piece too. That is the first start-to-finish process that I'm going to show you. There's two more after this. 10. Start to End #2: For this piece, I want to stay in black and whites and I'm going to be working in the moody style. Where is this painting, oriental brush? I'm going to decrease the dilution from the get-go. I'm just start making some marks here. I normally start with something quite circular and going to liquefy that. I'm just moving the edges around, and then just flicking it in and out, just trying to get some of this irregularity out, already. Starting to look fairly interesting. Then I'll go for white, I think that was the last color that I used. That's cool. Then just do some more blurring here and then I'll liquefy this. Already. Change my brush. Liquefy this. You can see I'm just adding a layer on top the layer. Just trying to get a different vibe going here. All right, and then I'm going to add some more black down here. Then perhaps I can do some smudging to see how this works. Liquefy this. I'm going to add some some more black just over here. That's great. Then some white just in the middle. I'm going to just focus on the edges here, pulling it out. You can see the really nice smokiness that's coming out here. I think I want to add some more white over here. So there we go. Then let's liquefy it. Looks like there's a hand reaching and it's quite nice. I think we can work with that. It looks pretty good. There's some interesting irregularities. Yeah, it's cool. But I do want to do is just move this to slightly to the center again. Like that or like that, looks pretty good. Then I want to add some noise. Let's go to spray paint and splatter. Let's see what size we are at, already. On this black and white piece this noise is just beautiful. Love it. It looks really grungy, really emotional and moody. There's some brilliant grain over here, looks really good. Then I wonder if it's going to look, and then get over here. I think it will. There's going to be areas where perhaps I don't want so I'm going to use my eraser, just to erase most of that. I can always just use some smudging as well. That's looking really good. Perhaps I can add a little bit more over here. Then I'm going to switch it up again and just add little bit of a white noise to the lack bits. That's looking really good. I'm going to switch back to black and then I'm going to create a new layer, and this is going to be for splatters or our flicks. Here this looks really good. There's a whole bunch of smudges. Looks pretty good. I'm going to add a new layer, and for this one, I'm going to go to inking and use some dry ink. Here I'm just going to add my own little dots that I can smudge, and my own little dots. Just to add some real like this is what I want my piece kind of marks, marks made by me. Totally non-random. That's just a nice touch you don't have to do this. I can smudge some of them if I want to. The style looks really good. What you may have noticed is that I haven't created a layer that has a blend mode of overlay and that's because this is a black and white piece. I could, if I really wanted to. What I still got to do is add some noise to this piece. But this is where I break my rule. I'm not going to add noise as a separate layer. I'm actually going to add it to layer one just because it's black and white and I can. I'm going to go and introduce some noise here, again, 50% or so. But I don't want colored noise. I don't know if you can see that, but I'm going to go and reduce it again like so. I'm just smudging there, probably smudging again. Can I zoom in a little bit? We needed that. This is a final piece. What I can do now is I can change the intensity or the contrast. What I can show you here is just grouping all of these elements and then swiping and duplicating an entire group this time, and this has beneficial because it means that, hey, we've still got all of our layers. We can hide those and then this group we can flatten. From here we can go and use curves. Go for the composite one. I'm not quite sure if you want to make that dark, but I can definitely make this a bit lighter and this a little bit darker. That just brings about some contrast which looks pretty nice. There we go. That is a black and white moody piece. It may look like some kind of wood, a gemstone, a river. I really like these three or four fingers just coming in and grabbing whatever it is. It's an abstract piece, but hey, it may remind you of something else. 11. Start to End #3: In the last of these, from start to finish videos, I'm going to be trying something a little bit different. I'm going to be using the assistant drawing technique and a little bit of the movie technique, but with color. My background color with good old blue, or perhaps I can make it a little bit more purple this time. Just to make things interesting. Fill the layer, and then I'm going to start with something actually quite bright, this time, a white. Then I'm going to turn on my drawing guide. Let's go for symmetry, put the thickness and capacity up and we're going to go for radial and put on rotational symmetry. Let's go for oriental brush, drop that dilution just a little bit, and from here. Looks pretty interesting. Maybe like a swan. Then we're going to add some more on this purple color. I'm going to increase my dilution. We just try to bring in some of this over here. Looks like a flower. Great. Let's do some liquefying. Right now this looks like an absolute horrible mess to me. But I will persist. This is our starting black. I'm going to pick a new color now, perhaps I really like. Interesting blue. Yeah. That looks good. Then what I want to do is I'm going to edit my drawing guide and turn assisted drawing off. I've still got my little grids, which is great. But now. I'm just going to add some really interesting colors, and you can see how this blue plus purple plus white, now, it's making some really cool colors. Now, let's go and liquefy this. Again, this reminds me of toothpaste over here. I don't know what it is, but there's modeling technique. It reminds me of toothpaste, it's pretty weird. These colors are producing something really interesting, especially with a background of the really twirly wily mud effect. Is looking good. Do some twirling over here. There's something beginning to work out. Perhaps we can focus on some details. Maybe make the size a little bit smaller. Signed to become interesting, I'm going to add some red. What kind of red? Orangey red, pinky red, or it can red like that a pink, marble red. See how this works. Drop the dilution a little bit. Let's liquefy this. [inaudible]. This area here is pretty interesting. Sign to find some weird interesting irregularities here. This blue, it's working really well with this red over here. Looking awesome. Now perhaps what I can do is add some white in here just to bring about smokiness. That helped a lot. That's going to look pretty cool. Now, let's edit the drawing guide. Assistant drawing is on and gain. Let's go in and liquefy. What I'm going to do here is just to my size down the distortion down. Let's just see what happens here. Is pretty interesting. To the naked eye, you maybe like, is it assisted? Is it a pizza slice, is it a pizza? But then you may be like, but it's not quite symmetrical. It's little bit off putting. Perhaps we can turn off the drawing guide, and normal grid. How does that look. It looks weird. I think I might have to add a little bit more color here. Let me add some this purple or something like that. Let's try that. I'm just trying to get this guy to flow all the way along through our show. Then what I'm going to do is pump up the size and just do some mass moving just to create some interest and then to see twirling apart of their push that around again. The next thing I want to do is I want to start adding some detail, some texture. I'm going to do that with my white, and of course spray paints, my splatter. Then I'm going to go for this really dark purple. Then have it as our background color. I think that will just help. Few things out. It may even be wise to add this color back in. Perhaps we can do that after we add some of these spray paint flecks and splatter. I'm liking this a lot. I already feel like that's holding. Looks good. My bottom layer, I'm going to go back to my painting and oriental brush, and I'm going to add one or two little pieces of the dark purple line. Let's see what effect this does. I think that really helps. Seems like we needed some dark. Looks pretty good. Looks a bit better, I think. We go back to doing my spray painting and I'm going to do a little bit of smudging here, and then reintroduce spray paints over there, and then I'm going to select this color, and do some spray painting on top of the dark here. Fantastic. A little bit more over here. Then select this red color and see if we can add a little bit of it to the white. That's starting to look quite interesting, I think. It's been a worthwhile experiment. Now, for the next thing, we're going to add a little bit of smudges. Let's get our flux out. Just quite a bit that I have to smudge there. I don't want to add too much. I'll add a little bit of blue here and there. It's looking pretty good. Now, we can actually go and get our overlay layer. This is probably one of my favorite parts. Use the fat nozzle again. I'm just done working with some of these colors. That just looks really good. I like it. Things are looking a little bit blue here. I'm going to grab my orange brush. I'll just bring in a little bit of pink, I reckon. That's starting to look really interesting, really nice. The colors are just coming alive. That's great. I'm going to add another overlay layer, and it's going to be white. But this time perhaps I can try something a little bit different. Perhaps I can try using an air brush or perhaps an artistic acrylic brush. Let me try that. That's looking pretty cool, I reckon. Brings out some real nice little light areas in the painting. What about this section over here? That looks very nice. I'm just going to smudge that a little bit around there. Bring out some nice stuff there. It's looking really good. Anywhere else calling out for a makeover. I already like that section. I'm just going to try replicate that over here. It looks like a real nice glow, something's happening there. As far as an experimental piece, this is looking pretty good. I don't happy to have that as my wallpaper or background on my iPad. What's next is adding a new layer and giving it some noise. [inaudible] layer, then we're going to go to noise. It's about 50 percent. Looks good. Then drop saturation, and then trained to multiply or Linear Burn. Let's see what would happen if a wasn't Linear Burn and it was lighten. Well, screen add color dodge. Dark in Linear Burn. Linear Burn is definitely the one color burns pretty good. Now, the new bottom's great. I like it. We've got a couple of layers. Now, I'm going to go and change the colors. Let's group all of this. Then what I'm going to do is flatten it. Create a duplicate. Then let's work with colors. Curves, or perhaps I can use color balance in this instance. I'm going to adjust my highlights. More red. That looks really good. More purple, more green. I'm going to go a little more green. Yellow or blue. I'm talking about that one or that one. I reckon that looks better. Mid tones. This is where the bulk of the changes are going to be. I think I like it when there's a bit more blue there. Now, highlight two port reds out in the mid tones. We bought the science or the blues out. It's getting really interesting. This is tricky. I think I prefer just a little bit to the green, and nothing much there. Shadows. I think I prefer pink. No change there. Magenta or green. I think I prefer a little bit more magenta. The colors are really working well here. Yellow or blue, I don't think I see anything happening there at all. That's great. Then one more thing that course office is composite. I'm going to just drop dark a little bit and increase the bright a little bit. Might be too much. Perhaps we don't have to do that. But it does add something, doesn't it? There we go. It's a slight difference. That is our final piece. It looks really psychedelic now. In comparison, this looks really planned. I like it. That's the final piece that I'm going to show you from start to finish. I hope you've learned a lot just by watching these three videos. 12. The End: This is the real end of the class, thank you for taking it. I hope you've had fun. There's so much more to explore though, so I encourage you to play an experiment a lot more. But be careful, you may end up like me seeing marble squares every time you close your eyes. But I suppose it isn't the worst thing in the world. Bye and see you soon. 13. Bonus 1: Life-like Marbling: What I'm going to show you in this bonus video is how to get a really lifelike marbling technique going. I'm going to show you a tool that I've really started exploring and I couldn't help leaving it out of the class. I've got this pinky background and I've got like a duck egg blue paint color, and you go to painting and use my normal brush, then really just put some paint on canvas in no particular way or order,and you should be pretty familiar with doing this by now. I've absolutely loved what you guys have created so far. The projects have been amazing. The next color I'm going to go for is a darker blue, yeah that looks good. Again, just really applying some paint to the canvas and with three colors should be pretty good.I'm going to liquefy,and I'm going to start with my Porsche. The reason I'm going portrait is when I start doing some twirling after the initial liquefying and you understand why I've chosen portrait? Take your distortion down and the size of the brush. It can be about that. Then just do some normal in and outing with doing something weird and man, there's just been some amazing student projects. You guys are freaking awesome. I've loved looking at them. I love where you've started to take them. You started to make the technique your own super, cool. Okay, a bunch of horizontal. Now let's do some vertical. These colors are really working well together. Okay, you probably know how to do something like that and It looks really good. We could do some distorting and would work really well. But instead of doing that, I want you to use the twirl tool and then again, bring down your distortion and your size. You can play around with the size, but something like that would be good and then start from the left and work towards the right and what we're going to do is we're not going to dwell in one place, but we're going to drag across almost like a smudge,and you can see that we're going to take this little piece of pink all the way from the left, all the way to the right and It creates a drawing out, a stroke from left to right. Then if we zoom in here,you do it just below it, you can see there's a bunch of blue that we're bringing across from the left all the way to the right. It's never going to be perfect because we're humans,and that's part of the process. That's why I really like this liquefy technique, that's starting to look pretty good, and then let's go above. You can see this pink guy that we're drawing from the left to the right, there we go. You just do it over and over and over,and you can experiment with the size of the twirl or the size of the brush, fantastic. That's looking pretty good so far. You could leave it at this or you could use your twirl lift again, no distortion and make the brush size a little bit smaller. Then go from the right to the left, and then go in-between the previous brushstrokes. There we go, you can see how this is starting to really mimic a traditional marble style of art work, looks really cool. If you want to make a good down a little bit, just slow down. If you want to make it go up, go little bit faster. If we go down,you can see I'm holding down and going a bit slower. If I go fast, you can see how I can make it go up. That's why I'm using portraits. I can go from left to right pretty easily and I don't know these long stretches, but, if you want to try landscape, fantastic. We could leave it at this and we could do some distortion. But what I want you to try is this expand tool. Originally I said, no, ''I don't really use this.'' But for this, man it and works like a charm. Don't go for something too big, perhaps 9 percent, try that. You just find a certain place and press down, and what this does is it mimics like water droplets or some kind of irregularity within this process and really pushes out a whole bunch of the colors around an area. You can do those for wherever you feel like it. I find that really cool and again, it mimics the traditional marbling process. We've got a couple of these little dotty things you can adjust your size if you really want to create something bigger, something like that, or if you want to go really,really small. Again, you can spend hours just adding these finer details to your piece. Once you've got a couple of these little dots that mimic water splats or some irregularity within your piece. Then I'd go towards push, bring up the distortion and bring up the size. Then do some general pushing and pulling just to make it a little bit more irregular. Bring out some of this distortion, make these things not so perfect, and there we go.There is your piece. It looks a lot more familiar, a lot more like a real life marbling piece,and then here you can start playing with the color. You can start adding some richness and grain, all kinds of things that I've already showed you in the class. Have fun with this new technique. Upload some more projects. Mention me on social media and enjoy. 14. Bonus 2: Gold & Glitter!: I've been asked to provide some help and assistance for making glittering gold in marbling. That's what we're going to try get into today. Let's see how it goes. The first thing I want to do is I want to create a new layer, and you'll see that my Layer 1 is full on blue, and then on this layer I'm going to select a really bright green. It's going to be epicly green, so that we know that it's not really the color that we want, but it's going to be like a mosque or something like that. Then the brush that I'm going to use is in inking syrup to really nice flat brush. Let's do some marbling, so I lay my ink and this is going to be on Layer 2. Now, if you've done some marbling already, so perhaps we've done some marbling, like so, that's done, and then we've created another layer. Here we can go for an equally brighten hectic color, like pink, and then we can lay some paints again. If you want to marble both of these layers, you can then select both of them like that, or even all three of them and then go and liquefy them, and you'll be able to liquefy all of them together, but keep them as separate layers, which is pretty cool. Now, we've got these Layer 3, Layer 2, Layer 1. I'm going to create a new layer, and here what we're going to do is we're going to start creating our gold effect. Now, a really easy thing to do is just go find some gold photos or gold textures, and you can go and add or insert a photo, and perhaps we'll try something like this. That's done, and then we just tap on that and tap on clipping mask and bam, and there we go. We have our gold effect, and that's pretty easy. Now you can use a glitter foil photo or a gold foil photo, whatever gold photo you like. But now if you're like, I don't want to use a photo, I want to try and make it look legitimately gold and procreate. Well, it's not going to look as good as this, but we can give it a go. I'm going to add a new layer. I'm going to hide this one and I'm going to select clipping mask. Then I'm going to choose a gold color, so I've got a couple of gold down here. You'll see that the values are like so, and then my brush, I'm going to select a spray paints and go for a medium nozzle brush, and what we can do here is just start doing a better spray painting. This is pretty cool because you get to paints and you're not really going outside of the lines, and then we're going to select a lighter gold a color and in the middle, something like that. Perhaps we can just hold that down to switch back to this gold color. You might have to play around here to see what you really want, what you like. Then once you're happy, create a new layer and then select white, and then drag that in and just change the color again. Drag that in, like so. It's all white, and then we're going to create some noise. Just slide across here and you'll see that it's colorful noise. What we're going to do then is we're going to go to hue saturation and brightness drop-down the saturation, so it's black and white noise, and then let's zoom back out again. There we go. Then we're going to change our blend mode to darker color maybe, or darken, or multiply, maybe even color burn. Maybe, let's go for linear burn. That looks pretty good. That adds a little bit of a glittering effects or some texture. There we go. That is your gold affects. I think there's still a lot of room to play with this. I think it's quite fun, and what's really cool is that you've got your noise, you've got your gold layers, but now you can still select your other layers beneath that and then you can go and marble those again, which means this is really, really flexible. Pretty cool. There we go. That is how I would go about adding some gold and glitter into my marbling pieces.