Digital Painting in Procreate for Beginners

1. Presentation: Hi everyone and welcome to digital painting and Procreate for Beginners. My name is Maurizio De Angelis, and I'm an illustrator and painting instructor based in London, UK. I published several courses so far, but this one is specifically designed for beginners and new starters who want to learn the foundations of digital painting. In this class, we're going to explore six simple painting techniques using a drawing of a mushroom as a main subject. If you're not a fan of mushrooms, you can choose a different subject from the template provided in the Resources for this class. If you watch my other courses you already know there are always provide students with a drawing. And this is because it can be extremely challenging and a bit frustrating for beginners to follow along without a template. So let's have a look at what this class is about. Instead of starting from a basic illustration and ending up with a more realistic piece, the goal of this course is to learn a variety of styles and understand how to put them into practice. Let's imagine you have a subject already drawn and now you need to choose a style for your next illustration. What style would you use? You might go for a simple line drawing resembling some inking illustrations, or maybe you are more into a flat shading look because you want to create some stickers, or you want to add 2 or 3 tones of colour to get a Toon Shading effect. Beyond this, if you want to create something more realistic, you can use the Soft or Hard Blending Technique. In these two lessons In particular, I'll demonstrate how to get identical results using two very different techniques. It's a great way to show you that there isn't only one way to achieve something in painting, but there are several. So some of you might feel more comfortable using one technique or the other, and you still get the same result. Then for students who are interested in realistic painting and want to learn how to push the level of description to the next stage, you might go for this very detailed technique, which is not everyone's cup of tea or maybe it is. So let's find out together what you like, you have to find your own style and need time and practice to understand what works for you. I correlated each style with samples of my own illustrations or paintings to give you a better understanding of the techniques that I explained. My advice for you is to watch all the classes and learned each technique one at a time. If you are a beginner, this class will teach you the basics of digital painting and give you the confidence to embark on an artistic journey. Painting is not about the brush you use or the software you're working on. Painting is about practice and dedication. So let's get started. 2. Setting Up the Canvas: The first thing that we want to do before start painting is to import the drawing of the mushroom that I made available in the projects and resources section. So if we scroll down and click on projects and resources, we can find two files here. One is the mushroom, and this is what we're going to be using. The second drawing is for your class project at the end of this class. So if you want to download the drawing of the mushroom, you click on a, you click Download. Then you can see these downloading the file, then it's pretty fast. It is very small. Five and 12 is done, is going to be saved in the download folder in your iCloud Drive. So at this bond you can launch procreate. And once in the gallery, you can click Import and navigate to the download folder. And the file is going to be important. If we open up the Layers palette now we can see the background here and the drawing on a different layer. Before we move to the first technique of this class, I just want to let you know that if you go to my website, you can download for free a collection of 52 background papers that can be very useful for your projects. So if you go to my website or to my Instagram account, you can select online teaching courses and then click on Free Download. Once you're here, you can download these kind of background papers. And here you can see some examples. If you don't receive the download link scheme and in less than five minutes, give it some time and you will arrive. I promised that. So having said that, let's dive into the first technique. 3. Inking: Okay, We're going to start with this much room. The first thing that we want to do is to open up the Incan library and then select the technical pen. So if we click on the technical pen, we get into the brush studio and we can select resent old brush settings. So we are sure that we are all starting from the same point. So we have something like this. The thing that we want to do now is to go down to the Apple pencil tab. And there we said flow to 0. We have something like this. Now we want to go to the stroke path and we can possibly increase the streamline value to be around 15 percent. So we have more of a curvy line. We exceed the brush studio and we create a new layer. So this is the mushroom pencil drawing layer. If we want to rename it, we can click on the thumbnail and select Rename, and we can rename it into drawing. At the moment, we have this kind of strike. We want to reduce the brush size to around 15 percent. Now we have something like this, these brushes sensitive to pressure. So if we press more, we have a freakish stroke. And if you release, the line gets thinner and this is exactly what we are after. So we can delete these by selecting the family layer and do Claire. Now we're ready to ink this mushroom. I'm going to start from this side. And what I want to do is to modulate the pressure according to the mushroom features. So I want to press and release alone to drawing. What we don't want is a steady compact line, but something more dynamic aligned with some character. So we can press and release. And press and release. I have another course which is just about inking. So if you're interested in it, you can search for this course in my account. I'm going to define what is called the cap of the mushroom. You can see that I press and release. I don't want to make a continuous line, but I'm happy with the line to be a bit warbling with some thickness variation. So that's the goal of this process. So I carry on with my line work modulating the stroke according to curves and cavities. There's a bit of an insertion here. So I want to get like an organic line. Then I can finalize the stem, also called the stalk. Now I want to ink the margin, the edge that separates the cap from the gills. The gills are the sorts of a fin paper is structure, very fragile. They are under the cap. When you are not to convince about something you can undo by tapping with two fingers and redo, tapping with three fingers. Now I want to move to the vulva, which is this cap structure at the base of the mushroom. And there is partially or completely buried in the ground. So we expect that part to be slightly rough. Right? I think this is done. We can create a new layer, decrease the brush size by half, more or less, something around 6%, probably. Maybe a bit more, eight, probably a percent. We'll do the job. They want to in the gills. To give the illusion of different jealousy. You can make lines breaking up. So he's not going to be a continuous line. Also in this case. You can clearly see the difference in look between the gills and the cup. The guilds are more dynamic and light, while the cap is very present in the same. When you draw, paying something is always very important to think about the real thing, the real subject. Looking at these, I would imagine the gills, they are radiating from the center. There would be slightly inflated. So they have this kind of curvature. Obviously this is an illustration, so it's an interpretation of the real world. We are not after something photo-realistic, so we have some freedom and represent this Marshall as we like. So I carry on with this process until the end. I can jump on this side. So the motif that I tend to do, then I go back. I mean, it's a bit of a back and forth and that's a good thing so you can differentiate the Luke or what you're doing. Then I finalize the yields. We have something like this. We can move to this part which is called the ring. It's kind of a broken piece. So we want to make this line. We can press and release, press and release, and add some sort of short lines to simulate a jacket surface. We can do the same here. Are these short lines to give the illusion that something's going on here. Again, this is an interpretation. We can imagine bits and pieces coming from the surface texture, but also from the ground. Maybe some grass or some small particles are attached to the base of the mushroom. Maybe has been just paint is still wet. We can add some lines along the stem holds. And as I mentioned before, is good to draw away thinking and the reabsorption. So this stem has got this cylindrical shape. Finally round tools the base and I want to follow this fishes. Having said that, it's also important to find a balance and not too many, Jesus. Maybe for a beginner, it might be difficult to find this balance. And that will count with time and practice, and it's part of the process. So don't despair. And again, I can probably do something along this line on the cap of this mushroom. So you can see there are some lines in that, especially because here is when the tags, so we want to emphasize this aspect. Now I can hide the drawing so I can see it better. Maybe something like maybe I can delete these and have more like a circle. Again, I don't want to do too much, so I think that could be enough. And the first artwork is now done. In the next lesson, we're going to explore some illustrations done with the inking style. 4. Inking SAMPLES: Okay, Now that we've finished inking our mushroom, I want to show you a few kinds of artworks done with the inking technique. We're going to start looking at this 1 first. I've done this for another course which is called Procreate learn 15 easy painting techniques. You can see that I've done the drawing first, and here is a very fast time-lapse video. Then I, in the drawing, here you can see all the different kinds of plants and flowers that I made, following more or less the same technique explained for the mushroom. So we have a thicker line as an outline and a thinner line for the internal details. Again, a bit of a time-lapse. If you want to learn a variety of techniques in Procreate, go and check these course as is packed with Procreate staff. Now we have these, which is a strip that is part of another course that I published some time ago called Inc. a medieval ornament in Procreate 5 x. Again, I made the drawing fast. So this is a pencil and drawing. And then following the Technique explaining that cause I met the silhouette first and all the relevant details. So if you want to understand how I made it, you can then check that out. Now we can see another inking style. This is more artistic and as more character and you require some practice. This is a Greek horse from the Parthenon in Asians, probably one of the marble sculptures that survived from that time. You can see these kinds of sculptures in many major city museums, like the British Museum in London or the Metropolitan Museum in New York, and obviously in the National Archaeological Museum of agents. Now we have this totally different technique. I would say that this style was very famous in the eighties and nineties, mostly before digital art. If you want to explore more about this technique, you can search for scratch board and you will see many results coming up. You can see that you can ink in black, but then you scratch the surface and remove the ink, experiencing the paper underneath. And within the digital scenario, you can simply paint in white. Use the eraser tool. So the white lines, whether they are painted, are not out there to simulate the lights. So it's all about balancing the black and white stripes. And that is what makes these techniques particularly tricky. But again, constant practice makes things easier. Then we have these, we have some background here. But if I hide the background, we're going to basically lose the white ink. And if I turn it back on, we can appreciate the work that I've done in white. This is a bit of a complex drawing, I would say. But if we move closer, we can actually see there's not that detailed. So it's all about finding an effect that can work. Okay, Now we get into the line-drawing car works. I did this for a coloring book that I supposed to work on, but then the publisher change their mind, which is very common in this business. These are from Villa fantasy 9 grow, which is a beautiful villa in the heart of the city center. While there are some rifles, frescoes and other important Italian artists, this is a young Raphael himself. This is mercury with a bit of a fruity pattern in the back that I made. You can see that this technique works perfectly well for very simple and straightforward line art. And talking about line art, I published a coloring book about Rome that is called the colors of Rome, that can be found on Amazon, UK, or in Italy if you're interested. I miss the CD where I was born and grew up and in my opinion, is one of the most beautiful cities in the world, to be honest. You can see here all the famous Roman places like billet or ammonia. Some Caravaggio's paintings in the church of Santa Maria del Popolo. This is Travis fountain or Fontana, the grave in Italiano. You can see the old Italian lira coins, which was the national currency that was then replaced by the Euro, believe it or not. But there is an average of 25 thousand Euros thrown into the fountain pair week. Yes, Bear Lake. This is still relevant. Tina, which is famous for the presence of cats. And also there are many other famous places and monuments like the book in a library tab. Again, this is a very simple style which is Pat for if you want to create some line art. And then our traditional illustration that was done with some real ink. There are eight different styles. Here is some crosshatching, a halftone effect, typically in the printed media. These to some pointillism and that different version of hatching which is not crossing this time. And he is following more of the volumes and some cutout effect. So that was the story about inking. So you can see that there's a big variety of styles and techniques. And it's now up to you to understand which one you like, but most importantly to practice. In the next lesson, we're going to explore the flat shading technique. 5. Flat Shading: Right, So now we have this mushroom, we have two layers, the inner details and the outline. At this point we can rename these two layers, but renaming is a bit time-consuming because we're going to have many, many layers. An alternative is to swipe, right? And we have them both selected. And we can group them. You can now open and close the group using the arrow here. Then you click on the family and select Rename. Here we can call this layer ink. We're going to use this illustration as a starting point for the next one. We can swipe left this time and click on duplicate. This function obviously duplicates the group BY you can't see it now because they are sitting one on top of the ADA to move it, we want to select the move tool. We can activate snapping and magnetics that constrain the movement. And then you can move it to the right. Now to avoid confusion, you make sense to rename the group and what we can type flat colors or just flat. Inside of this group, we want to create a new layer, press and hold and move it down. If the layer escapes from the group, like in this case, you can simply drag it back inside and place it where you want. Now it's time for creating a palette into several colors. We want to start from the camp. So we pick a reddish orange color. Here. We want to be around this area. So it's not too saturated, not too wide, not to neutral or not to black. We are in the mid-tone area colour. So we probably want to go something around this value. Maybe a little bit more red. This time we can switch to a hard brush. Click on the Brush, reset the settings so we are starting off from the same point. Again, reduce flower to 0. If you instead said this value to the maximum and the strike is influenced by pressure. And that's not something that we want. We want a full opaque flat stroke. So back to 0. With this brush and color selected, we put down the first swatch. Now we want to think about at the yields color normally to reflect its delicacy. Yields are quite pale, quite bright. So I wouldn't lie towards the yellow spectrum and go for a bright color and not too saturated, which means not too intense not to reach in color. And on the same layer, we can put down this color. Now, here again, normally we can find that bright color near the widest spectrum. So I would probably change the callous, lively space similar. Then we want to create the swatch for the ring. In this case, we can opt for something rendition time, maybe something like this. We can see there's very similar to the color of the cap, but our touch brighter. Then finally, the color of the base, which I imagined be quite dark, similar to the color of the ground. So starting from here, we're going to focus on the cap first, I'll create a new layer. Select the color by pressing and holding. And I'll switch back to the technical pen and increase the brush size. And what I can do is to do the perimeter fast. You could also do this with an air brush. It doesn't have to be a technical pen. But the main difference between these two brushes is that the technical pen tape is off according to pressure and the air brush doesn't. So it's going to be easier to use the technical pen when you need a smaller size and you don't want to physically reduce the brush size. So that's really the main difference. For example, here, painting with the second group pen is quite useful as the stroke gets thinner by reducing the pressure you apply. And you have less chances that the color will bleed out the margins. So I close the shape. I can drag and drop the color swatch into the closed perimeter and without releasing new slide to the right and activate the color dropped threshold, if it's like too much, the entire document will be filled. But at the same time, if I don't activate the color drop threshold, there might be chances that the feeling will leave some empty pixels. So it's good to use this function every time. So you are sure that you have a completely filled area, then you can obviously touch up here in there if you need. Now we want to create a new layer. Actually place it underneath this. Now we select the second color. Because I placed this new layer underneath the cap. I can basically paint without worrying too much about the margins. But then when I reach the stem, I have to be careful. Obviously. When it comes to filling, you can create a perimeter as we did before, or you can actually paint manually. And this is because maybe you enjoy painting or relaxes you. Things really set in stone. In fact, I actually encourage you to find your own way. One thing important to take into account, and this is normally something I say mitosis is that you don't need to rush. You don't need to necessarily find the quickest way possible to do something. Maybe you watch videos of some really experienced artists doing something super fast and super smart, but you're going to get there with time. So take your time. You probably here to learn. So don't be harsh on yourself because sometimes actually most of the times, painting is a be upsetting and you can get easily frustrated. And this is the same even for experienced artists. Now, here, I want to pay particularly attention to the little corners and cavities. So I want to be quite precise. And again, you can color drop if you prefer. A new layer. Select the third color. This time I can create the perimeter and then color drop to make things faster, which is not a contradiction to what I said before, but because I don't want this lesson to be too long as a pension can drop quickly. I feel that I want this spot to be a bit brighter. So what I can do is to use the calves that are on the adjustments. I select the layer and the fine with the car from around the mean to, and I put it around. You can see that it gets brighter. Now, I want to select this color and replace the one that is in the palette. Once again, new layer, select the fourth color, will do the perimeter first, and then collateral. Do the color drop, activate the color drop threshold and then touch on. Actually I can see and be over bleeding here. So I can quickly use the eraser tool and fix these. Finally, the last layer for the element at the base of the mushroom, I'm going to select the darkest color. So you can see this is quite dark. Again, you can pay until you can use the color drop or both of them. Again, I feel this is a bit too dark, so I can use the calves and Amanda Sharp, which is by default a straight diagonal line, also known as linear. And if I drag the curve up or down and have a brighter or darker, changing color is very common. You can create a set of colors, but then you realize that you want to change them. And maybe when you change one color, you want to amend the element that is next to it. And finally, the color of the gales. I wanted to make them brighter so we follow the same steps. So you can amend the colors until you have been. Because now the only change we can get rid of the palate lay itself and recreate them. So L1 to rename this layer into pilot. And this is it. This style is indeed an illustration style and ink outline and a flat color. You can be extremely creative only with these two simple ingredients. But most of the time, something that is visually simple does not mean they simple to make quite the opposite, Billy. In the next lesson, we're going to take a look at some illustrations done with a flat shading technique. 6. Flat Shading SAMPLES: Okay, Now it's time for the flat shading samples. We have here, the same strip there you saw in the previous lesson. And in this case we can simply add a colored background. And we can also add some texture if you like. You can try to add a second color. And we can see these, right? And being next to this sort of pale yellow, cream color, you'll see, you can see that a flat color illustration, even if we use some texture or we can invert the colors. So what is empty is now filled, is like a negative shape. So you can definitely play around and see what you come up with. Another example is this ornament. I did these with a pen on paper. Then I scanned it or you can take a picture with your phone and then a color these up in procreates. If you like these kinds of ornaments, you can search for William Morris, which was a very famous British artist and printmaker. And you discover an entire universe or beautiful ornaments and wallpapers. So this is a very simple design and you can see some dark colors next to sunlight at once. Once you have a design like this one, you can try using just one color but with different tones, like in this case. And I'll also play some watercolor texture, paper effect. The same principle for this drawing here. The only difference is that I made these in Procreate and know on paper. You can see a time-lapse here using Procreate function to record the screen. To be honest, I normally tend to make a drawing on paper because I'm a big fan of the pencil and then I digitalize it. And this is my way of working. And don't be afraid to mix the workflows as you have to find your own way. Once you have a drawing like this, you can use the flat shading technique. You can get something like this. You can be creative and playing with colors. We stayed using the inking technique explained before, and then we can apply different colors. We can then change the color using the hue and saturation. I mean, it's then up to you and try to do what you have in mind. And again, once you have this, you can create a module for a pattern, like in this case. You can create a wallpaper, but also if you watch my course, learn three watercolor techniques in Procreate, there's a lesson which is about creating some physical products with the design that we created. So like you can create pillows and cushions and mugs and diaries. And you can also learn how to achieve convincing watercolor artworks after all. Now some traditional art, you can see this fella here. This is something that ID with a pencil on a bit of a Fieger paper. And then I use a black pen and painted the background with some acrylic color. You can spot the date here, something that I did, yes. When do one years ago, I think is still relevant in terms of style can be something that you did yesterday or ten months ago, or 10, 20 years ago. At the end of the day, we still studying massive pieces. There are 500 years old, if not older. So you can see the pencil here. Then I made the pen drawing, hand painted the background with some drops of force. Her. The same thing is applied to this drawing. This is a bit of a more than copy of a classical painting from chess or a disaster, which was one of the lunar disk, meaning that was an artist strongly influenced by Leonardo da Vinci. The painting is called the lead h01 you, or lead II and sworn. And this was a recurrent subject during the Italian Renaissance. Same thing as before, where I made a pencil drawing first and then are the figure outline with a black pencil with a color background to achieve a flat look. And acrylic colors are probably the best colors if you want to get a background like this, right, so that was an overview of the flat shading technique. In the next lesson, we're going to implement some additional colors and get what is called a tune shading effect. 7. Toon Shading: Okay, Now we're going to focus on this palette here. We select the first color. And we want to move from white to black. But we want to move along a curve, something along this line here. We want to create something darker. So I would go down a little bit here. Are these color. Again, not too dark, back considerably darker. Then I am reselect the mid-tone color. And this time I want to go right down, something like this. And again, not too wide, back, considerably brighter. Now I can do the same. So I want to go darker. And again, it doesn't have to be exactly in the same region, but roughly around the same intensity. So we select the swatch again. Here we have t is already quite bright color. So here is very bright. We can see these are very similar, but not the same. Then I can go darker. It's very similar, almost the same as still a bit different. Then again making it brighter. And the very last Scala foot, this is something very close to white. Now these, we want to go darker. This is starting already from a quiet dark starting point. Again. Now prize have em again. And then the last pallet. As for the previous camera, we already have a dark tone to start from. So we put this down. This is almost black. And again, these then lastly this color. Now just want to rearrange the palate and be better so I can quickly use the selection tool. I can turn off magnetics and snapping, otherwise be cheeky. I can now switch to black and label the colors. We can set the mid-term 2, 3, this 1221, and then 45. So the midtown number three is the column in the middle and it's the first one that we put down. Okay, now I want to move the palette in a better spot. Maybe here, I select the flat layer, swipe left and duplicate. I can reactivate magnetics and snapping. Hey, move the group around here. So we have 1, 2, and 3. We're going to rename this layer into vector, which is not really a correct name for that, but the style we're going to use for this illustration resembles a vector style. At this point, you can rename them if you want. But for me it's a bit of a waste of time. But if you are a beginner, there will be chances that you feel overwhelmed by the number of layers. So if that would make things clever, feel free to rename the layers, right? I want to create a new layer on top of each element. Then select the family and do clipping mask. You will see an arrow pointing down. The clipping mask is one of the most useful function in digital painting. And I'm going to show you why. Basically a clique, no mass doesn't allow you to find outside of the shape underneath, as you can see. In fact, if I unclip the mask, you see the actual painting layer is kindled that you cut out everything that is not contained by the layer underneath. And we can clear this up. I also want to move the palette. And hide the flat version so we can entirely focused on what we doing. Alright, open up the group, select the first clipping mask layer related to the cab, and select color number four. So we want to go darker. At this point. We want to think in a three-dimensional way. So I want to make the side darker. So we have to imagine the light is coming from the upper left side, is coming from here. So we're going to have the light on this side and shadow on the other side. In photography, this is called a Rembrandt lighting, which is a standard and very popular lighting technique. According to this principle, I can basically do this. Probably increase the brush size and notch. I want to follow the spherical shape of the cap and create a closed shape. What I'm doing is not visible because I'm painting outside of the cup shape. But if you unclick the layer, you would see it, then I can call it drop this with this color. I also want to paint the margin of the cap. I mentioned that we need to think in a three-dimensional way. We need to think about the real mushroom. And in a real scene, we would have decide turning a little bit, curving towards the gills and that would be in the shade. Maybe also these is going to be in the dark. Now we can select the second clipping mask related to the gills and pink color number four. With this color, I want to follow the gill structure. I would start from the center. So from the top of the stem and the spokes of a bicycle wheel, they would radiate and reach the outer edge. This power will be mainly in the dark to be honest. But we shouldn't forget that any illustration is interpretation of reality. So we have some kind of freedom and we should also consider, after something photo-realistic. What we want to do is to just under the age of the car, like if the prominent edge would cast a shadow on the gills. These can be also called contact shadow. When this is done, again when we radiate towards the center, but we'll leave the middle path and tasks so we are not joining the ends. And these will give an effect of roundness. We call the style vector, but it would be more correct to rename it into cell shading or tune shading. Cell or tune shading comes from the 3D computer graphics, where a shading gradient is replaced with flat colors. So instead of having a nice and progressive passage of towns, there is a clear step from one color to another. And I think this is enough for now. But now we select the clipping mask relate to the stem. Pick the fourth color. Roughly along the same line of the cap shadow. We define this area to be in the shade. Then can also break up and simulate a passage of time. I want to also make it a bit darker here behind the ring as there would be some sort of Castile contact shadow. Same thing around the gills. It would look weird if something didn't happen here. If he was 100 percent clean, you've done makes sense. And also a little bit here because we want to enhance the fact that this is a cylindrical shape. So commas are used to define shadows, but also to define texture and details. Now we can paint the green part, the caliph sanguine and incredibly popular Cal app from the Italian Renaissance. Write select the fourth color. And again, following this line and we can go down here and slightly curve towards the end. Why is that? Because I'm imagining this part to be yes, cylindrical but also a bit spherical near the base. Once again, I can break up this line and follow a little bit. Maybe the lines that we made in Black, Sunday, the Sun texture mixed with some shadows. The goal is to find a balance between the elements. For instance, we don't want to put too many details in the lighter areas as you would flatten the work. And at the same time, we have to control the amount of shadows. It's a matter of balance and this is something that you gain with the experience and practice. And I can add some shadow projected onto the ring from the pace. As I imagined this a bit of an extrusion. There are kind of step or some thickness, so a shadow will make things clearer and logical. Then the last bit, I'll make sure I select the right name as an extremely common mistake is to paint on the wrong layer. Again, I want to follow the shaded areas, but because the spot is, I want to go to that. I'm going to break up this line, maybe following some features like heavy z zoo elements coming from the picture. And I think this is fine. What I want to do now is to break up the color on the cap of the mushroom. So I can pick the color directly from here. Make sure you're on the correct layer. And I'm going to start making these lines is not too different from what we've done so far, right? Well, we want to do now is to go to the other side of the spectrum. We want to go lighter. We're going to create a new layer for each element. So new layer, new layer. When you create a new layer between the layer they use select and a clipping mask. The new layer is automatically clipped. Now we select color number 2. We are on this layer. And here we want to keep this color has the neutral base, the meat Tom base. And we want to make a lighter area. We want to make some fun ideas, a bit of imagination. You can see that the same physical mushroom cap is some bumps and bids. So the line would be a, b will blink. We can add straight away a bit of bringing up. And I think this is fine. Now we can move to the yields. We select color number 2. Let's do much light down here, but we kinda, we can focus on the areas that we left unpainted. We don't want to do here because it's mainly in the dark. That's fine. I suppose. Now the stem, select the color. And I'm going to make some lines here. I would probably need to move the layer to be on top so I can paint a B also in the dark color gives my incredibly visible by it places. It's also important to deal with sub2 elements in a way that balance is also achieved by modulating small difference in terms of value. Now we select the clipping mask for the ring, select the related color. And again, you want to create some lines to simulate the file. There is a brighter area. We want to also describe some surface status. I can actually move this layer on top as well, and I think it makes more sense. And lastly, we can select the correct clipping mask layer. Let's place this here. And here we want to focus mainly on the lines for living the surface details. Again, we don't want to overdo it also, we don't want to put this kinda wait, does not belong. Something like this, I think is fine. And we have completed the second column. We can see that the base color. Now I feel I want to extend this dark tone a little bit more, as I mentioned before, is a matter of balance. And so you start to refine, to come back. As we did for the palette. The same for the scanner. Procreate as a layer limit. And the number of layers available is different from iPad to hybrid, according to de models, but also according to the size and resolution of a document. Now we want to create a new set of layers for the brightest colors. If you run out of layers available, you can watch the beginning of the next lesson for know the steps and then come back here. So we create the clipping mask layers. We select the brightest color for the mushroom cap, and it's greedy for the previous color, we want to create a NOT Q regular area considering the bumpiness of the surface. Something like this is fine. And then some breakout. And also want to add the sprite time along the edge of the cup as you reinforce the idea that this part is flipping is revolving. Now we move to the gills and here there's no, not really. Just a few strokes to have some caliber variations, but not too many, just a tiny bit. Now the stem is almost imperceptible, but just a tiny splash of light wouldn't hurt. The same treatment as above. We want to be around this area. Maybe the colon is, would be catching some highlights. And the very last thing is to be this. And once again, this very short lines. Now we can stop here. Some of you might have already run out of layers, but if you didn't feel free to speed up this process as you start to different from the previous stages. So I'll do that taking into account the spherical shape of it. As we did for the first die, we start from the stem and spread out. I'd be on the inside and on the fields. Finally, the base. I feel this might be too dark for my taste. So instead of changing colors, we'll be using the calves. I can reduce delay opacity and then replace the related Kayla. And this is it. I'm pretty pleased with the result. It's fun, it's light, it's convincing. So let's have a look at some wax in this style. 8. Toon Shading SAMPLES: Okay, Now we're going to have a look at some tune shading examples. We can start from this plan here. This is from my course, Procreate learn 15 easy painting techniques. You can see a time-lapse here in our identity by if you want to learn more about this, you can find these scores in my account. This is another example, goo, well be another kind of mushroom or a car or tentacles like structure. It's a bit more regular, similar to vector art factor is a format coming from Illustrator. The more modern affinity. Then again, if I hide the thinner lines, you have a simple line these, and as usual it's up to you if you prefer one method over the other. This is another illustration that I did. If I hide the background and the shading, you can see the ink out work. So it's not too dissimilar from the mushroom we did. We can identify three times the dark, the midtone, and the lighter tone. So this is the outline and the details. And the illustration is based on a drawing that I did on paper with a pen. You can see a time-lapse here that I post on my Instagram account. And as we did before with the war payback, once again, we can create a pattern from a drawing and play around with colors in order to get repetitions. These time, you can see that the result is more engaging, it's more colorful, and you can also perceive a hint of volumes. There's some shadows as well. Then you can change colors and create some physical product for yourself or even settling to others. And the last sample, our skull, this style is very similar to the one adopted for our mushroom. You can see that we have the skull ink. You can hide the background also and change the color using hue and saturation and slide and choose what you like or what your clients like there is not necessarily what you like, actually isn't about what you like. Right? There was an overview of tune shading. In the next lesson, we're going to create something more realistic. And you will see that things start to get a little bit more complex, but don't be afraid, I will break it down for you. So let's dive into soft shading. 9. Soft Blending: Okay, Now we are ready for the fourth illustration. The first thing that we want to do is to go to Canvas and then Canvas information. Here we can see how many layers we have. The maximum layers according to this size is 57. I used 38, and I have 19 layers available, so they're not too many. So we want to go back to the gallery. I swipe left and hit Duplicate. Now we have a safe copy and that's very important. We just want to rename the first document and we can add original to the title. Then we open up the duplicated document. And we want to reuse this mushroom here for this lesson. So we can simply move it here using the move tool. Here, we can get rid of these and get rid of the ink as we don't need them. Then we have the drawing. And we can actually delete all this. And we can rename the group into soft blended, which is not really the name of a technique or a style, but more the name of a brush we're going to use. Starting from here. We can also merge these two layers. So we are more layers available and we want to use this matching tool, also called the blending tool. The blending tool with a phenomenal tool, and it's used to mix colors together. There are plenty of brushes available, but we're going to start from the basics. So we want to use the soft blend. We click on the Brush, reset all brushed settings, and now we're good to go. Right? Why is this matching tool? I have many horses where I show how to use this tool. So if I create a new layer and choose a color can be any color. I switched to the solid airbrush. So I put down this color and then I choose another one. It can be on the same layer or onto a new one. I would use this margin to blend these two colors together. So if I select the soft brush and reduce probably the brush size, I can basically paint over this edge here. But instead of adding color and blending, I'm blurring and shifting pixels around. Here. It's not the easiest tool to use, but nothing is really easy when it comes to painting. So we need to learn, we need some practice, and then we can get better at it. So there's no other way. So we can delete these layers. Right? I select the dark is layer four, the cap. I double-check, I've called the soft blend for this magic tool. I always tend to keep the opacity of the brush lower than 100 percent just because there wasn't as much control as possible. And then I can start smudging the margins. We're going to use some small details here, but that's okay. There's another technique for keeping them where you want to do is to apply a degree of pressure and be able to modulate these pressure according to the amount of blending that you want. Now you select the second dark as layer blend call this area. I cannot show you that as soon as you get familiar with the pressure modulation is extremely easy to govern these tool. Again, if this is the first time you ever use it, don't get too upset if you're struggling with it, that's completely normal. You want to try and try again in the following days and your brain would probably say, yes, Actually, that's easy, I can do that. And by the way, this is a very important tool to learn. If you want to get into digital painting. Now you can select this layer. And then finally I insulate these layer and I'm blending this out. And again, I can do this. Okay, so when everything is done, what you can do is to merge the layers together. So you would pinch them. So you have the base color and managed layers. When it's one way only you can continue blending. Maybe you want to increase the brush size as it might be more effective. Again, you have to modulate the pressure. But I think this is fine. This could be enough for what I want to achieve, right? So we have the first one now, if you blend each layer individually, you going to make a better job for sure. So isolate the dark as layer of the gills and start blending. I can reduce the brush size to be a piece molar and then basically treat this area as we did for the cart. Now I can move to this layer. Maybe he is easier if I follow the direction of the gills. Okay, let's try to hide this layer. If you really spend some good time and let all the brush strokes together is going to look really good. But because I don't want the lesson to be too long, I just want to explain you the principle. On the other hand, if you planning on having the ink layer as part of the illustration, you might want to unhide this as you want to see the final product and how it comes along, if that makes sense. Now, I can quickly as much these strikes. To be honest, most of the description is given by the aim rather than buying the color. Now I can merge these layers together by pinching them. One is merge and blend again a little bit. So you have something like this. As I said before, if you spend more time on it, you're going to get something quite nice and smooth and nicely shaded. But I think this could be enough. Now we can move to the stamp this time. Let's try to merge the layers together at first and see if there's a big difference. Then I stop blending. For sure is going to be faster. But in my opinion, new and modern control if you blend one layer at a time, but it's good to have options on the table, n choose 1 when he means. Okay, now I just want to show you a bit of a trach and what is it? So we have these base layer and then we have these dark layer. If you select this, you can go to adjustments. And then layer, then in the middle of the composition you can smile, right, to increase the level of blurriness. So it's the same principle of the color drop threshold. If we go close out as light, right? You can see that this area is going to be blurred. You can control the level of blurriness by sliding left and right. To be honest, I don't use this technique if I want to blend something. But once again, it's good to have some options. For the sake of consistency, I'm going to apply this effect to the remaining layers. Now, I can merge these layers together. Hence, matching a peak minorly wouldn't hurt someone's can argue that you lose some details. But on the other hand, you get something very nicely shaded with some kind of minimal effort, and it all depends on what you are after. Lastly, we want to try and merge these layers fast, solid pinch them. And using the Gaussian Blur, we can lay this out and see if there's a substantial difference. And then probably blend manually and B, when he was much and blend colors together, you lose a bit of the highlights. And this is because the brightest pixels mix with the less brighter, so luminosity decreases is lively. A good solution is to create a new layer on top of everything. We can use the air brush, choose maybe something off-white, and then I want to paint where I feel that would be the strongest slides. So here, here, and maybe here. At this point you can use this matching tool or the Gaussian blur filter. So basically we have some light cascading here. It's not too evident by instead. And this is it. We have now the fourth illustrations down. In the next lesson, we're going to learn how to use the heart blending technique. And at the end of it, I'll show you both samples for soft and hard blending style. 10. Hard Blending: Okay, now we have this mushroom here and the rest of them there. We can merge them together as we don't have enough available layers. So what we want to copy this mushroom in the middle there and under we do it. So we click on this document. We select the flat group layer, which is this one. We open the group and we swipe to select them all. You trap them in the middle of the document without releasing them. With the other hand, you click on gallery. You select the document where you want to move this layer is to open up the Layers palette and you drop them there. For some reason I'm not able to copy the entire group following the same technique. You might try it. Maybe it's just a bug for me, but it doesn't work. And because of this, I need to reselect the more Every create a group. I want to move this group here in the fifth place. And then we can rename these into hard blended. Again, this is not the name of a style or technique, is more than name of the brush that we're going to use. So the heartland brushes under airbrushing. And it's this one here. And what does he do? If I create a new layer on top of everything and select a color, it can be any color. The heart blender brush behaves like a normal heart airbrush, but also as, as much into when you apply less pressure. So I'm painting, pressing quite a bit. When I release the tools, which is 2, this munging tool, as you can clearly see here. Basically it's two tools into one. It's useful and shaky at the same time. But when you get used to it, it becomes extremely handy because now I'm not applying much pressure and I can blend this out. But then if I apply more pressure, color will be flowing. Okay, we can get rid of this. Let's move the palette here. We start from the CCAP as usual, from the dark Haskalah. So I'll create a new layer and equilibrium mollusk problem to follow the same dynamic. And also the final result won't be too different from the soft blended mushroom. But as we talk about having options, this technique is totally different from the previous one. So it's up to you if you want to use one technique or the other. So different techniques, same results. So I start from here and I'm applying a good amount of pressure, and then I'm going to release and get this gradient here. Again, it might be a bit difficult fast, but I can reassure you is not that difficult and you can do it. Now I want to do the edge one way and pressing and coming back and release with the PO practice is going to control the force you apply on the iPad screen. I want you to able to control this brush. You realize there is incredibly useful and faster compared to the two steps, painting and blending workflow. Then I can create a new layer. And big color number 2. So we are on the brightest spectrum and I are this color. Putting pressure and release. You can actually see how fast A's. Then if I want to extend this brighter area, I just need to apply some pressure and then release again. Now I can grab the brightest color for the camp, create a new layer and a clipping mask. And then I want to recreate the same effect. And I simply do this. You might have noticed that I skipped one color calendar before, so I can quickly create a new layer and then paint with this color. And I think that's fine. Now we can move to the yields. So I'll go to the relevant layer, create a new one, the clipping mask. I'll select the second column and pressing, pressing. And now I can smudge just a tiny bit of pressure. Now I can reduce the brush size, is willing to do what I did for the previous mushrooms. I want to formulate the yields and be more descriptive. Right? I can create a new layer and a clipping mask. Select the darkest tone for the gills. And again, again reinforce this. You may experience some deeming when you pay into like if you decrease the screen brightness, like an shopping luminosity. And I suppose this is due to the I band may be getting to warn or overworking. I think this is done. I can create a new layer, choose the Scala. As we said before, this is not incredibly reasonable just to be consistent, we want to add just a few lines. At this stage you can see these are quite similar. We use two very different things. I start from the dock has side and create these kind of upbeat on the other side. And lastly, just behind the fetus. The doc has to do more or less the same thing. Okay, let's move on to the new one. New layer clipping mask. I want to increase the brush size. I start from the darker side and then I release. Nice and it's important. We move to the dock is brown. Then again, new layer clipping mask. I want to reduce the brush size as I will describe these more carefully. And lastly, the brightest color for this tool. You can see that I'm kind of randomly applying different amounts of pressure as I want the light to scatter, phase and create a bit of texture. Finally, the base of the mushroom, the Stein from number 4, the second darkest color. And again I have these maybe down here. New layer clipping mask, reinforced and darker tones of this part of the mushroom. And then the last column, the brightest one. Here we go. This is it. You can't really see much difference to be honest. And once again, we use a totally different approach and technique. And inside that one technique does not exclude another one. So if I merge these layers together, I can switch to the actual smudging tool and blend. Now, as we did before for the highlights, we can create a new layer. I can probably sample the color from here. And then on these and get the same effect. And we can also use a bit of a goal. If you've seen that you need an overall HL7 is the fifth illustration. In the next lesson, we're going to explore some illustrations done with both soft and blending technique. 11. Blending SAMPLES: Okay, The artworks shown here include both soft and hard landing samples. And this is because as we said before, these two techniques are very similar in terms of results. So I wanted to put them together as they normally interchange the two techniques. So it's a bit hard to say what is what? So let's start from this. These are some medical illustrations I did for a couple of jobs some time ago now, medical illustration is a very big part of my work. I did more than 3000 illustration so far. And the style here is very fair. You can read the illustrations pretty well. He's not photo-realistic, is not 3D. And in medical illustration is very important that things are portrayed that represented in a very clear and concise way. We can see here the bones of the wrist. This is the knee joint. You can see the patella, which is the moving beat of your knee that is flipped to show the cartilage, some spinal cords and the fields. This is another job that I did for a well-known dental product brand. So you can see here some procedure in order to have a correct oral hygiene practice, which is very important. If we want to push the realism a bit more, but not too much. We have the spoken here, probably hunting some poor things. This was for a publication from some years ago here in the UK. We also have this butterfly. You can see that the tones are nicely inconsistently shaded. You can read the illustrations pretty well without being too realistic or even photorealistic. So you can see that she just laid an egg there. So this is much simpler. This drawing and the next one are both coming from Procreate learn 15 ECM painting technique. You can see the ink and the soft shading here. This is the first lesson of that course. So if you want to know more, you can find it there. If you want to push it a description. And the more you can paint a fat blind like in this case. Again, these processes entirely explained in there 15 easy painting techniques course. We can still see the ink, but this time the shading is more complex and full of surface details. And I managed to push the level of details forward back, keeping a non-photorealistic look. So a more illustrative style. Now another flower. These as a more realistic look in terms of rendering, but also in terms of character and aptitude. You can see there's a bit more serious than the previous one. You can watch a time-lapse video here that is coming from my Instagram account. And you can also check our buildup, this illustration. Now some portraits I have these phase. I stopped her from these I, and then I extend the painting to the whole phase. Again, you can see a video here. I played around with some chiaroscuro, and this is a very classical Italian color palette. You think of Caravaggio, our final bill gene or organs INO. As I mentioned before, I was born and raised in Rome and studied art between there and Florence. So it was literally surrounded by the most beautiful and celebrated ours. And in fact, Italian art is made true and profound passion. Same thing as before. This was actually my very first drawing that I did with Procreate when I bought the iPad. Again, this is a very classical image. You can see that I made a drawing first and then I painted it. I can hide the background. Remember that you can download these kinds of papers from my work site for free. And he actually works also against a white background. Another example here, this time in black and white. And this is to show you that you can get a different look using the same technique. The style is typical from sand cast drawing. There are some art schools that teach specifically the style, so strong contrast and shadows. And finally, this vintage postcard. You can see there is realistic but maintains an illustrative look. You can see a bit to here. So it just a few lines in the correct place that can give the illusion of realism. Same for the flower, the shell. And the pair. Now, moving on to the traditional artworks, we have these two paintings here. These are both oil paintings. And you can see that I made them with a kind of soft shaded chiaroscuro. This is a Tibetan woman that I paint them in terms of indigo, which is a kind of blew. The paints that I use are Museveni, which are very, very high Policy fellows, but fairly expensive. This is another example that is part of the same painting. It's a Tibetan mask. And because these types of masks are made that word, I want to recreate your wooden surface with its typical reflections when it's polished. So again, you can see that this is not hyper-realistic as I didn't describe the surface by his more on the realistic side as I describe the volumes. And then there's this kind of abstract background that I made with an innocence stake taping the end of a into the color and they're made these dots. And this is another example and other Tibetan mask, it's a mythical animal. In this painting I wanted to recreate the mask. It's an oil on canvas. You can probably see the canvas texture. I wanted to simulate the reflection of light against the surface has again, it was probably shining. And this is, you can see that there's a big variety of rendering. We started from something nicely shaded and we increase the level of description in some cases without getting into the realistic or photo-realistic look, our technique that will be explained in the next lesson. 12. Realistic - Part 1: Okay, In this lesson we want to create a realistic mushroom and we want to place it here. So the first thing that we want to do is to duplicate this. So we have a safe copy, which is always a wise option. So we can grab these mushroom and copy over to the other document. But we cannot select entire group, but only the layers. So we move them over here. Go back to the gallery, select the other document, open up the Layers palette, and drop the layers here. At this point, we can create a new group Moving to the sixth. So starting from here, because this mushroom is going to be realistic, we don't need the blacking lines. We can hide them with Ambassador. We can delete them so we can save some layers. And because now the black lines are gone, we need to clean up the shapes so we can grab the color from the cap switch to the technical pen. We can increase the streamline. And we want to make sure that flower, it's set to 0. And following the same principle we used before, we're going to clean up the individual parts. I'm going to speed up this process as is very straightforward. So this is going to be our starting point. And what we want to use for the 60 illustration is a new technique that I call low opacity. This is not a formal name, but I just named in this way. And I'm going to show you why let me hide this will keep the palate and we still have the light coming from the same spot. So what is the capacity technique? Basically, if I create a new layer and select the most basic brush in the brush Gallery, which is the hard brush. You can see here that the capacity is really, really low. And if I set it back to 100 percent, you can see the difference. But the goal of this technique is to go down to 25 percent or even lower. And now as you can see, I can create some shading by simply adding up the painting strokes one on top of the others. And that's a way of building up tones and colors. Now I can change color and are the price at tone and get a gradient. And this principle is not different. If you were using some traditional all your paints, watercolor, or even cranes. You can even low with you pass it even more to have more control. Generally speaking, this is the approach that we're going to be taking for this last illustration. So we can get rid of this now. We're going to focus on the base of the mushroom. I want to move the palette a little bit closer. Now I create a new layer with a clipping mask. So we start from color number 5, which is the darkest one. The opacity of the brush is about 15 percent. And the first thing that I want to do is to define the main shadow. And because the light is coming from this side, this is the area that we receive light. So this side would be in the shade and older to Kayla, you have to release the pen so he's not coloring. You can see that you can go over and over the same spot many, many times. So I want to make it dark. Now I'm going to change color and we're going to work on the same layer. Then I can jump to column number two and I can on these colors. So I'll make it bigger to be more visible. As you can see, I'm tapping on the screen and cannot randomly applying some very short brush strokes like dots of something. And I knew this for several reasons. The surface of this part of the motion is not polished, but it's very spongy and RAF, so the light is scattered around. And also these topping kind of technique and similarly also the texture. Now I can go.com selecting column number 4 and carry on with this darker. I want to break up what I've done so far and define the margin between the two pods. Again, if you see a luminosity is sometimes it's because of the eye. That can be annoying. Now I switched to the brightest color and add some lighter parts. You want to adjust the brush size and you according to your needs. And I'm going to start defining the lighter areas, keeping in mind that the light is coming from the left-hand side. So this could be enough of solid start for sure. Obviously, if you plugged in to see the illustration, these clays, you might need more description. But for what we're doing here, I believe this level of description is enough. At this point, we can use this matching tool or use the Gaussian blur filter. But let's try to duplicate this layer and hide the layer underneath. So let's use the Gaussian blur filter up to a certain value when it looks nice. Then we can show the layer, maybe putting it on top and use this margin to using a medium brush and three the area manually. So to achieve a good degree of realism, it's important to combine techniques and elements together to fuse them into something organic and random. At the same time, it's that beautiful balance of chaos and order present nature. Or the magnificent patterns and motifs that characterize the species. And some of them are truly breathtaking. So this could be enough. I think I've achieved that convincing level of realism. Now we can move to the stem and we're going to pay in this part following the same procedure. I start from color number 4. Increase the brush size and approach this part by defining the main shadow fast, releasing the pen. Otherwise, colors don't adapt. Some shadows here. Around this area here. Moving to a brighter color, we won't be of a spray kind of effect. I'm choosing a dark and again, you want to follow some specific features. Like in this guy is that I'm defining a cast shadow against the stem. So we still defining the main shadow area. Reducing again. And now I switched to a private college. And again with the same caching method. I'm going to describe this. And as I mentioned early on when new pain realistically what helps a lot is to imagine to have in mind the real subject, the real theme that you painting. So in this case, I would imagine a mushroom clearly trying to imagine touching it. So probably the surface is rough. There could be some small particles attach from the ground. So in a way I wanted to translate all those feelings into shapes. Now going back to a dark and I want to do the same thing that I just did. As mentioned many times. So I'm tapping on the screen rather than coloring using a continuous line. Now, as we did before, we can duplicate this layer and you can see days getting more visible. We can hide the top player. We select the lower layer, this layer until it's nicely bled. We still see some description. Now we can show these layers and as we did before, we can do the blending mode. And I do this until the end. So using the realistic technique is very time-consuming and that's absolutely fine. There's nothing wrong with spending a lot of time on a piece. We don't necessarily mean to find the quickest way possible. And if you're here to learn, you need time. Right? So we have something like this. Now we can add another round of details, a lot of back and forth between painting and blending. So we are adding colors every time. And this workflow increase the level of descriptions and the complexity of the shape we painting. I can use this munging tool this time. Okay, now we have these two layers, 12 and now we have these one. At this point, we can probably manage them and create a new layer and a clipping mask for both of them. In this lesson, we're just going to concentrate on these two elements. Because if we also had to do the mushroom as a whole, it will be an extremely long and tiring class, and it's already long enough. Now again, change brush and choose a soft brush, which is a very basic brush like the hard brush, but with a softer edge, I can choose a darker color. Adjust the brush size and set down your pants again. And with this color, I'm going to reinforce the shadows of these two parts because I'm on a separate layer. It's nice and easy into art such as shadow. We can do exactly the same for the price that he can be on the same line that we switched to the other layer and do the same. Now we are ready for an additional layer of details. We can create delays and the clipping mask as usual. And in order to show you the older techniques explained, I in fact, interchangeable, meaning that you can mix and match them as you lie. If I choose a medium blend brush upon to add some darker spots over this surface. So I paint by pressing and blending when I release. On the darker side, which I believe is now incredibly visible on the screen. Cast shadow here. College and the light is coming from here. So we want to make it brighter on the opposite side. So I'm going to move description flowers. So you can see that this is realistic, but at the same time. And that's something that I appreciated, particularly as a style. I think that's definitely a good result for the low willpower. And we're going to use exactly the same method. So always be dissolves lively otherwise these class gets too long. So I add the darker color for the cavities, bolts and bits. Then I switched to the brighter color and go around the margins on those cavities in base. I'm going to select the dark is style is almost black. And I'm going to reinforce some areas. Now. We have these layers. We can play and be with the Gaussian Blur to smooth this out slightly. And I'll do the same for the stalk. And now a bit of fun. We can create two layers, clipping, mask them, and set them to multiply. I just want to show you first I can go down to spray paints and choose flicks. I loved the flex brush. Flicks create something like this, which is really, really cool. So I want to create something smaller, something not transparent. And we can get rid of this. And here with our dark in color, which creates a sort of noisy layer, these ideal for what we're doing. So I'll do the same for these lay here. And now the brightest. So I create two additional layers. We relate a clipping mask, but this time we said the layer mode to screen. And if we pick one of the brighter color, you can go even brighter. We can start painting on the lighter side of the mushroom. As usual, we don't want to overdo. And it's very tempting to be honest because using these brushes very satisfying. It might be triggering something in our brains. We have to control the brush, not be controlled by the brush. Now I've been over spray paint on the base of the mushroom as well. Then I can once again, Gaussian blur the spray paints of B. Not too much. So I can do the same for the dock is false. And now apply some Gaussian blur to the base spray paint layers. And this is it. This could be our realistic mushroom. If I now hide the palate and show the heart blended mushroom, you can clearly see the difference. Obviously you can keep on doing, keep adding detail and painting a DU, happy with the result you get. But for the objective of this class, I believe that this result is more than enough. In the next bed up lesson, I'll be painting the remaining parts and complete the mushroom. I won't be talking over the process as I've already explained the process in this lesson. Once again, you can watch it as low as pd flu-like or even faster. That's up to you. 13. Realistic - Part 2: This is the second part of the realistic class. It's a sped up painting version of the remaining parts of the mushroom. It goes twice as fast. So if you want to watch it and normal speed, you can change the speed settings, clicking on the play button. The choice of having this path as a time-lapse is because otherwise the entire class would be extremely long. As I explained already out to approach and achieve a realistic look. I won't be talking over the process for the remaining bits. Take a look at this. If you want to understand our complete the whole mushroom and see you in the next lesson where we explore some realistic samples. And this is really thick machine completed. You can see that following this technique, the previous methods, It's all about adding layers of color, one on the top of the others, also called glazing in traditional paintings. In the next lesson, we're going to take an overview look of some realistic illustrations or paintings. 14. Realistic SAMPLES: Okay, Now we're going to have a look at some realistic and also photorealistic samples. In some cases. We're going to start with this painting here. This is the result of a because that I published called pain, like an old master with Photoshop and Procreate. It's a course packed with Procreate and Photoshop tips where I explain the entire process of creating something like this. You can see that the description here is much higher than the previous samples. You can see that the beard and all the details in this course, I also teach out to make a drawing following three main techniques. You can see a time-lapse here. And y is called the grid technique. This is another example of some realistic painting. You can actually see some texture coming from the ovary imposed paper that I used. I did this in Photoshop. But once you learn a method, you can use any painting software. I made a course on our perceived realistic hair. So if you're interested, you can check my calls called learn how to easily paint hair in Photoshop. And again, you can watch it and then simply adapt what you learn to procreate. Now, some architecture illustration, this is a reconstruction of an internal wall inside of the Colosseum in Rome. Obviously today, if you go inside of the college view, you can see some bare concrete, but backing time, it was all painted and decorated. Now some statue cast. You can compare this illustration and the following one with the previous chapter assemble and you can clearly see a difference in details. For these two illustrations, I took inspiration from a sculpture from Antonio's ANOVA, the bust of Napoleon Canada was the most celebrated neoclassical artists in Europe of his time, as he was incredibly talented. You can see there are some surface leaders. And the difference between realistic and fought realistic painting is mainly given by the surface description. So you don't just pay in the overall volumes as we have seen in the previous technique, but also, and especially we paying what's going on over the surface. The same thing applies to this. If we go really, really close, you can see that I did try to emulate the marble surface. Now these, this is a Japanese mass from the Metropolitan Museum of Art in New York. The original mask is made of iron per my version is lovely, warmer and soft. So you can see that I made a drawing using the greed. And here is a fast time-lapse of this process. I only painted one side of this mask is I used the symmetry function inside procreate. And now we get into some naturalistic illustration. This is a CT Ronnie regardless or simply a caterpillar for the majority of us. I made this illustration some years ago. And you can see that I did try to describe the scheme details and texture. You can also see the steps here. I started from the head and move down. I kept the leaf and painted as I wanted the focus to be on the caterpillar only. And the same applies to this piece over here. This is probably the most photorealistic paintings I ever made. This is not a fighter who are 3D render. This is a photorealistic digital painting. And you can see that I have managed to push the realism a lot more compared to the other works. These technique is very time-consuming, but if you are into federalism, he can give you a lot of gratification. Are also play with a bit of blurriness because I wanted to focus to be here where there's this flash of light. 15. Class Project: Right, So we have completed this class and now there is a class project where you can put into practice what you learned. The first thing that we want to do is to download and important to procreate the five class project drawing template. Here we have a variety of elements. So the class is about choosing one of the subjects who all of them, if you'd like to practice, and also choose one of the techniques explained in the course. For instance, you can choose this now and use the flat shading technique or the pair and go for the realistic style. The choice is yours. Whether you choose one of them or all of them. Feel free to post your artworks in the class project session so I can review them. And also they can be admired and lived by the community. Or if you have Instagram, feel free to tag me so I can repost them as I would love to see what you come up with. And here we are at the end of this class, I will leave you with a time-lapse video of the drawing template that I provided. And this is just for showing you the way I did it. Now it's time for me to say thank you very much for joining the class. I hope you found it interesting and useful and learn these basic techniques that can be a solid foundation for your ongoing learning. Feel free to get in touch with me here on Skillshare. Make sure you post your words into classic gallery. You can also send me questions or reach out on Instagram or Twitter. I wish you all the best and see you next time. Goodbye. 16. Drawing Template Timelapse: Hi. Okay. Hi.