Digital Traditional Procreate Illustrations

1. Welcome to Class: Hello, skill share. Let's illustrate traditionally, digitally together. As we're moving into a more and more digital world full of AI generated artwork, I think many are craving that tactile traditional art look. Even though working with paints, pencils, pastels, and all the other amazing art materials is great fun. There's a huge convenience of working digitally. With incredible digital brushes mimicking flowy watercolor washes, the powderiness of a pastel, or the scratchy texture of a colored pencil, we can now achieve similar results and procreate pretty Nato. In this class, I will be taking you through my process of picking digital brushes that have amazing traditional art textures and all of my tips and tricks for making digital artwork feel a little bit more hand drawn. Will also be drawing a few digital traditional mushrooms together to put together everything that we've learned in the class. Hello, everyone. I'm Kristina Hultkrantz, an illustrator and surface designer from Maria Fred Sweden. I work mainly as a surface designer, and I've had the pleasure of working with companies like Hobby Lobby, American Greetings, paintbrush studio fabrics to name a few. Welcome to my CheeryPink Studio. As much as I love working in my sketchbook and getting messy with paints and pastels and all of that, I still do very much like creating digitally. It's just so nice to not have the mess, and I'm also very keen on that undo button and layers and getting to recolor things in, like, 5 seconds. I adore Procreate, and I love discovering new brushes that can give me the same kind of feel that I am getting in my sketchbook when I have my fun Friday play days. This class is great for anyone who loves working digitally and would like to give their art a more traditional art feel. So let's get started. 2. Supplies and Class Project: If you'd like to follow along exactly as I am in this class, I will be using the iPad Pro with Apple Pencil and the program Procreate, but feel free to use a similar tablet and program if that's what you have. I'm sure that you can follow along. Quite well. In the class, I will be sharing my favorite procreate brushes, as well as sharing paid brushes that you can purchase on your own if you would like. If you're tempted, I am certainly tempted all the time. I even have a whole class called Get to know your Procreate brushes that I'd love for you to check out. It's really comprehensive, and I think it's my best class here on Skill Share. So check that out. 3. Why Work Traditionally Digitally: I just want to talk about a few reasons why working digitally rather than traditionally, could be right for you. The first one is to speed up your process. If you are usually working on paper and you find the process that's slowing you down and maybe you have a tighter deadline for a certain project, jumping in and working digitally could really speed up your process because I personally find working digitally faster. You also have all the tools an advantage of digital by being able to have different layers that you can test out colors. This is my second tip that you can test out different things rather than on paper, wasting paper or materials before you get started on a traditional project, possibly. You can jump in digitally, test out different colors, different looks, and then work traditionally. You have maybe a sketch finished and you can ability to move things around, have different things on different layers. You can test out compositions without having to redraw and redraw and redraw. That is one thing that makes working digitally really great. Also, if you are working with a client and they come back with changes, it's much easier to change a digital sketch and recolor something than having to start over from scratch. My third reason why working digitally, traditionally might be great for you is if you maybe work traditionally and then you want to do some adjustments digitally, and you're going to want to have brushes and things that mimic the same look that you have on paper. It's good to explore these brushes. So when you do want to retouch your traditional artwork that you have something similar and it really matches well. You don't see digital you don't see that discrepancy between your traditional mark making and your digital mark making. So that's it. So I hope that you are inspired to start working digitally, traditionally, depending on, yeah, if you want to speed up the process, if you just want to test, something out, or if you just like the convenience of having an undo or layers and stuff like that. 4. A Look at Other Artists: All right. In this section, before we jump into Procreate, I just want to show you a few other artists that I admire and their digital work. That has a very traditional feel. So let's jump into my computer, and I will show you some of my favorites. Alright, so this is going to be fun to look at other artists work. I want to start off with Rebecca Green because she's one of my favorite illustrators. And yes, she is known for her more traditional artwork. I would say she like, 95% of the time works traditional with gouache and colored pencils and neo colors and things like that. But like in this post, which is really detailed. She mentions that, she does preliminary sketches and I want to mention, like, Rebecca Green's blog is amazing. She shares so much of her process. I've learned so much from her and her other outlets of sharing her work. It's really amazing to get such a close look into her process. I find her really inspiring. Alright. So I will link this blog post so you can go check it out. This book Kafka and the Doll that Rebecca Green Illustrated is a great example of how you can use digital and traditional together. She shares her process extensively here with her inspiration and style testing. And you can tell that some are drawn on scraps a piece of paper, and then she jumps in digitally to really, like, flesh out the characters and, like, really design those quickly. And then she goes back to paper and, like, flips back and forth so that yeah, she gets that quickness of, like, probably being able to design characters and change head sizes and move legs and things like that without having to redraw that 100 times and then jumps to paper again to test out the style and the textures and then jumps back and forth until she found what she was doing. In this project, if you read it, she took so long figuring out the style that her deadline was approaching. So she decided to do all of the finals in Procreate. So here she did painting. Studies, and I think these are beautiful. But I really like how the finals did turn out. And yeah, here is the traditional work that she was creating, I assume on her paper, and this is what happened when it looks how it looks in the final version, which is just so interesting to see the difference, but also like, the sameness. It's just a little bit crisper, but it still has all those elements of the scratchy, hand drawn colored pencil lines and that textured feel of drawing with a really thick colored pencil. So yeah, let me just show a little bit more of the finals. Yeah, these are all done digitally in Procreate. I'm pretty sure she's mentioned somewhere that she uses vivi brushes. I've never used those but before, but I'm sure they're great. I will link those as well somewhere. About this class section. Yeah, I just love the texture of this. I love that she uses a cream as if she's working on ivory paper or, like, off white paper, and just using all of the textures that she had in her original artwork, just cleaning it up, keeping some of the texture, and I'm sure that she was able to work much quicker because, yeah, you can you don't have to redraw stuff, you just move stuff around until it looks good. Digital is amazing. So yeah, that's the first artist that I wanted to showcase. Then we have an artist called Jarvis. He's from England. And I have heard in interviews that he from this book, the boy with the flowers in his hair, he worked digitally, which is amazing because this looks like and this looks hand painted. But supposedly, it's not. So he found some really excellent brushes to work with. I have no idea what digital brushes he uses. But you can tell that he has previously worked a lot with traditional Media, so then he could mimic what he was creating on paper digitally. And I think maybe that's key in this class is that you should have had some experience working with traditional media so that you can mimic what you like on paper in your digital procreate files. Like these ones, his previous books, I assume they were done with traditional media, but I'm not sure. He also has a book, his newest books, the Bear and bird series that are also digitally created. And again, he has, like, Rebecca did with that cream paper that almost is like a first step to get it, like, not so white, digitally crisp, gives that, like, paper look. And then his digital brushes that he uses look like they look like a dry ink brush, and I don't even know what. They just look like gorgeous ink smudges. I love this brush. I'll just show you a couple more examples of his work. It's just really darling, and sweet in the textures. Like all this in the background. It looks like some kind of watercolor and inks and things like that. It's just amazing. Here again. So cute. Alright. Next up, I want to show Julia Sada a Sada work. And I know from also reading lots of interviews with her that she has previously worked with ink and watercolor, and, like, her style is, like, painstakingly detailed. So I know that her book, where is it? The one that she did about Frankenstein and Mary Shelley. That one was done with traditional media. But then she's moved on to Photoshop. So she took her style that was like a painstakingly detailed ink outline drawings and filling with watercolor washes, and she moved that into Photoshop. Again, I assume for convenience and to make it quicker. So this is her newest book, right? The Queen in the Cave. And she's mimicked that digital or that traditional watercolor feel or her works that she created before. And again, like I can only imagine how much time she saves. It's just so amazing to be able to move things around and test compositions and not have to redraw everything. Her work is amazing. It has this tactile feel. It feels really lush. It doesn't feel so flat because there's that variation in the color. These watercolor digital brushes are amazing. It'd be funny, too. Whoops. I I I hope that I'm correct. Um, but that's I've been doing a lot of reading interviews, and there's also images of her drawing in Photoshop. So I feel safe, saying hanging bats, like, yeah, girl, the queen in the cave. I know that you know this one was done digitally. Yeah, so that's pretty interesting. And the last up I just wanted to mention Alex T Smith, who is a really huge illustrator. And I know that he works. He likes working on paper first. Let's bring up an example of his work, like doing all the lines in pencil or ink, and then he will It's not loading. Why is it so pixelated? There we go. And then he'll do the color digitally. So that's something you can think about, too. Like if you feel more comfortable doing your sketches on paper, if that just feels better to you and then doing all the coloring in Procreate or Photoshop, something you can do. So that's all the artists that I wanted to showcase in this class. I hope that you're inspired by some of their work, like I am. Okay, let's move on to the next section. 5. My Favorite Traditional Looking Brushes: We're finally jumping into Procreate, and this time, we're going to be looking at my favorite Procreate traditional digital brushes. I'm going to be sharing with you the ones from within Procreate that I really like, as well as my favorite paid brushes from amazing brush makers. Alright, at my desk now. I just want to quickly show you that I like working on a table. What are these called? I like working on a table easel while I'm working on my iPad, so I'm gonna cause this it's difficult to show. So that I'm not working like ruining my neck looking down all the time all day. So that's just like an extra quick tip before we jump into this actual section. Okay. It also makes me feel like a real artist like I'm working on a canvas rather than, you know, like, drawing over. It's like, a little bit more it was a little bit nicer for my back and neck. Now, we're in Procreate, and we're going to talk about brushes. I want to, of course, show you my favorite procreate brushes first because you do not need to buy tons of brush packs, even though it's really fun. And I also really like that I can support other digital artists by buying their brushes, and some of them are really, really good, too. But anyways, we're going to start with what Procrea has to offer, and they have great brushes to start with. So I want to show you like, I have to go I've bought too many brush packs, but once you get started, you can't stop. So, I want to mention I really love the H. Let's pick a good color. This nice greeny blue. The HB pencil is a classic. Like if you just want pencil lines, like, to do a sketch, pretty good. Also, if you want to get, like, that colored pencil look, we also have the 66b pencil, which also is a little bit thicker. Like if we were looking at Rebecca Green's artwork, like, creating those really sick lines of her characters and stuff, you know, or Jarvis, his work was more like some kind of inky pen. So, yeah. I also remember that you can up the size and decrease the size depending on, like, the quality of line. So I didn't have this one in my duplicate. The Banobo chalk is pretty good, too, if you want, like, a classic pastel look to do, like, the shape of items. So that one's pretty good. Let's see what we have in my little favorites. Do I have the chalk? No, so I'll move those over too. Sketching. So I swipe to the left and then I'm going to duplicate. And these two that I've duplicated the whoops, swipe to the right to highlight them, and then just pull them. God. And then we pull them, and we go up to my little group here, fabes I've called them, and we drop those in. So I have my two pencils, the HB pencil, and the six B pencil, and we have a chalk. Now we move over. We have inking brushes, and pretty much the only one that I really like in here is the dry ink, that one I use all the time. That's become like my classic brush because I really like when you fill stuff in, there's, like, little it's not perfectly filled. There's little speckles in it, and that can also be reduced and be a nice outliner. So I really like that one. And then in this one, as well, we have this thylacine. I think that's also really neat to get some paint brushy strokes. I have that one. But I mean, you just go through all of these and pick out the ones that are interesting to you. Like, this one might be good. Like, this kind of gives that feel of what Jarvis' work was maybe. But I think I already have those in my. Let's see, drawing, were there any of these? Like, I know I like evolve, I think. That's also like to get a really scratchy outlines kind of like working with oil pastel, eagle hawk. Yeah, again, it's like, yeah, maybe something like that for the Jarvis lines if that was something that you liked. But there's so many. So you just kind of have to figure out what you like or what kind of look you're going for and then pick the brushes from there. Just go through every single brush that they have. Again, I would love to showcase my other class, get to know your digital brushes because that one I really go through extensively brushes and how I choose them rather than doing that in this class again. Okay, so what else do we have? And then we have charcoals. So these are really great. Let's remove all that. So let's see. What do we like in here? That's pretty good. Four B compressed. What's a little darker, six B compressed. That's pretty good, too. Vine charcoal. Oh, that's nice and smudgy. I like all of these. That one's a little bit more I don't know. Carb and stick. No, I don't like that. I love all those other ones. Charcoal roll. Uh, is that okay? Block. I don't think I'm gonna like that. But all of those pastel ones I love, but I feel like we don't need all of them. I really like this one. Maybe. I can't decide. What was that? 02, three, one, two, three? What was that one? That one felt pretty good. Then the vine charcoal. Yeah. Maybe take those for now. What was it? This one's really good? No, I prefer this one. Okay, so it was these two, the vine and the 60 that I preferred. And I'm just doing this quickly. Duplicate. Okay, so we'll have something to work with. So I'll bring those over to my favorites folder. So we have those. So now we have like sketching brush. We have some pastels to do some nice shapes and backgrounds. We have dry ink brushes, and we have some fun here's an ink out I don't even know where that one's It's more, like, painterly. That's interesting. Is that down here in the paints, painting? Yeah, we haven't gotten there. So yeah, there's all these to go through with paints, but I almost I almost don't want to. Yeah, like, a painting brush. Not really into that. They're a little bit too smudgy. Can't get around that. Maybe here's guash. That does not look like quash. All right. So those are my favorite brushes in the Procreate set. Let's go back to them. I love HB pencil, six B pencil, the six B compressed charcoal, the vine charcoal, the Bobo chalk, dry ink, Ica evolve, artist crayon. Looks like this also has that, like, pastel color. No texture, I mean, Eagle hawk to give, like a little bit of painty texture, sticks. Again, like, paint texture and thylacine to get some stripy action. So again, just go through and see what appeals to you. And yeah, we got to move on because we have so many brushes to show. The next person that I want to showcase is Shelley Laslo. She has amazing brushes. I have I think I've purchased every single one of her packs, and I think they most mimic the textures that I like the most. Out of all of her packs, I have several of them. These are the ones that I like. So these aren't from one pack. They are, unfortunately, from, like, all of her different ones. And here, I've given my paper an ivory tone. And we can go and look at some of her packs, let's see. The Inspiration studio beautiful. Messy brush. Right, eight. I just I love them the most. They are my favorite. Switch softest water. This one's beautiful. It's just, like, so subtle. And different brushes work in different ways. They layer up differently. So fun too. Um, check out. Alright. After okay, let's, That. I want to showcase one of our artists here from Skillshare. We have Esther Nariyoshi who does brushes, and her brushback I have her sketchbook Essentials, I think it was called, yeah. And this one's great because you get, like, a whole pack to be able to create a traditional digital work. So here's a nice textured pencil and a liner that has, like, some textures so you could do, like, line work of your figures. Let's do, like, a really nice person. Wow. Some quash. Wait. Some gouache to do some shapes or, like, a background. Then we have pastels to layer on top of that or just crayon again, like, more textures that you can test out. Melted butter. That is, like, a really nice name. Marker juicy and scratchy. Yeah, like really starting to dry out kind of thing. You go figure out, like, how you would use that. A tree maybe would be awesome. And then a juicy marker. Yeah, so you can get those outlining shapes of items. And they layer like a marker does when, you know, when it gets more and more opaque as you draw on top. And then remembering, yeah, you can go back in with a different and to, like, get the shape. So this is what we're going to be doing in the next section is figuring out how to use them. So I just want to showcase some brush packs that I really like. So that's Estonario's brushes. I will link them in about section somewhere. We'll find it. I want to also Lisa Glance, who's also a skill share teacher here. Is an amazing brush maker. She has ones that are, like, for watercolor, called aqua real. Um, they are very realistic. Like this bloom accent one. Like what? So pretty. Or there's even stamps to use, like, a Neat. I feel like drawing digitally watercolor, it's like a skill on its own. You kind of have to figure out how to do that. But, look at this with the edges look exactly how watercolor dries. I don't know how they do this when they create watercolor brushes or any brushes, actually. Here that makes the texture of cold pressed paper insane. So she has amazing brushes as well. This is her watercolor pack, but she has a quash pack. She has other traditional more digital ones, so definitely check hers out as well. I mentioned with Rebecca Green, the Vivi brushes. I don't have her packs, but check those out as well. Next step, we have Bardo Bush. She's also a skill share teacher and amazing brush maker. I think I have one of her sets, the pencil box one, because I really like pencil textures. So again, let's create a new look here. And these are really fun, like extra toothy pencil. And these ones are really fun to, like, no. If you want to get a background that has that like, hand drawn scribbled in background. Like, this makes it so much quicker. Look at that. Like, it's already done. Imagine doing that on paper. That would have taken 1 million years. There's even a bigger one. Like, if you really want. Look, how cool is this? Blows my mind. There's even now, why won't it I need to, like, press harder. Like a curly one. I love this. Like, imagine for a character with curly hair, how cute that would be. Yeah, so amazing brushes as well. And then last but not least, I would like to showcase Max Max Packs brushes. I also purchased his watercolor brushes, and they're also really beautiful and realistic. And the pack that I bought is huge. It's like, I don't know. There's so many to choose from. And they have a watercolor look that I really like. Look at this. Like, it changes color as well as if, you know, like when you pick up color, traditionally, maybe the palette has another color in it. It's just incredible. So I really just so fun to highlight all of these amazing brushmrs. But it takes a lot of work to go through all of these packs and pick out the ones that you like. I have so many different brush libraries here, like favorites from Procreate. I have my favorites from Shelly Lazlo that I put together. It's just easier than going through all the packs. Now, here, I have, I don't know, 25 or something of her brushes in one place that are my favorite that I've gone through. Or I have, like I didn't mention her, but Asia Orlando also has amazing brushes, and I purchased, like, all of her packs as well. But then go through and pick out just the ones that I really, really like it's overwhelming to have, first off, like 50 different brush packs to go through every time you need a brush. So I highly suggest creating a library of favorites. Yeah. And then I have a favorite here. I don't even know where those are from. Now, this seems to be from Procreate, so I've already done that. So that's my other collections for Dundan. Alright. Digital brushes are the best. We know this. I hope that I have inspired you both to check out Procreate's brushes. They are amazing. And maybe you want to check out a few of the brushes from other artists. I will make sure to link everything. Some of the links might be affiliates, but most of them are not. Okay. Enjoy checking out digital brushes. 6. Tips and Tricks: Oh. Alright. Now that we have a collection of our favorite brushes and we're ready to go, I just want to share with you my best tips and tricks for making your digital artwork look a little bit more traditional. So let's jump into that. Alright, my friends, now I'm going to share with you all of my secrets. So these are gonna be little tips for how to make your digital artwork a little bit more traditional. And the first thing that I want to share is digital papers. And these are magic. I do not know again, like I didn't how artists create digital brushes that are so amazing. But I certainly do not know how they do this witchcraft to make a digital paper that makes your work look like it's drawn on paper for real. It's insane. So I would like to showcase first, Lisa Glance has digital papers. So this is one of them. They come also in a pack, something that you can purchase. There's different kinds. So maybe a texture and look appeals to you that doesn't appeal to me, vice versa. So I have put I'm showcasing Shelly's favorite brushes that I have picked out. These are the textures that I really like at the moment. And this is This was Lisa's OG magic paper. And I'm just going to turn off the paper. When you get one of these, it has lots of different layers that have different um adjustment layer I don't have words anymore. They have different adjustments on them and different opacities and somehow it gives them textures. But let me just turn it off. You can see how the brushes feel more flat. They don't have as much texture, but then when I turn them on, all the texture of the paper brings the brushes to life, which is really interesting. Another tip that I mentioned previously is to tone your paper a little bit so it's not white. So here you can see the paper is slightly off white. Like cream paper, which I find really nice to work on top of. Let me showcase some other papers and textures. This is Lisa Glans'Guah smooth paper, and then you can see that it has that traditional watercolor look. Again, I have it in a toned light ivory, off white color. If I turn off the paper, you can see again the brushes still have amazing texture and gorgeous look. But when you turn it back on, they just give that extra oomph. So stunning. One thing to know if you are sharing your work just online like Instagram, these kinds of background textures are really nice, but maybe you would have to test print to see how that paper texture looks when printed, like, for a book or something because it might look dirty. But those are effects that you can adjust within the papers. To adjust that so that you can make it your own as well. Also, I also have papers. If you purchase brushes from Shelley Laslo, then those packs come with a magic canvas or magic paper. So the sh brush, Brush pack comes with this lush brush paper, and it's really beautiful. Again, I really like it has kind of, like, speckles and natural look to the paper, which is really nice. I can turn off the paper again so you can see what it looks like with and without. And, again, like I told you, it looks really beautiful without and then with it. And again, you can open it up and remove things. Like if you don't like all those tiny specks that's in the paper, we can remove those. The paper texture, if that's too much, you can kind of remove that, but that really did a huge soft grit. Like, so there's things that you can go in and adjust to make it look exactly like how you would like. So I really like that one. But I think my favorite from her from her inspiration studio brush pack. And this paper, I think it has again, it's very similar to the other one. I almost don't see the difference, but maybe it has a little bit different texture. I really like all those textures and fibers in the paper. I think it's really beautiful, and I think that having the the speckles and things really feel special, and I really like it, again, working on a tone color. So those are my first steps for making your digital work look really traditional is using magic papers. But moving past that, if we work on this one, we can use our procreate brushes so that it's fer. We can if we're a few other tips are like work how you do, usually work on paper. So if you're creating a digital sketch of something, what should we sketch? Like an apple? I keep it simple. So just do sketch like you normally would and kind of forget about that you're working digitally. So maybe you created your sketch and you want to go in and paint it, so maybe you would erase a little bit. So using maybe a chalky brush. So kind of like eras, but not erase very much, so you still can see your sketch. Like and leaving your sketch is a way of making it look like it's real. So that's one tip. And then I highly suggest working in layers. You can remove stuff. But otherwise, you could just work on one layer, but that's kind of insane. Defeats the point of working digitally is having lots of layers so that you can adjust things really easily. So working on a different layer. We still have that sketch as if it is stuck to the paper. Then we can move in and give some color to this apple and make it I don't know, really yellow. Like, seeing that sketch there is really nice. I really like that look. Then this other one, we need some other chalky bits. Do you give that apple some more color? We need a little bit highlight, I guess, over here. And then we can move back into when we have another layer and have the maybe the pencil as a stem. We need some kind of brown in here. Yeah. And then maybe, I don't know if you're like, an outliny person, but adding some outlines to things. Yeah. Thinking about how you work traditionally and just doing it digitally and in layers. Those are my biggest tips. I know that it's not revolutionary, but it's all right. To recap, I highly suggest checking out magic papers. I highly suggest trying to mimic your artwork like you do on paper in your digital artwork, the same process, having a sketch, trying to erase it a little bit, but keeping it so that you see the sketch in some places, especially if you use a color that mimics graphite, a really nice grayish color, this looks just like pencil. Depends on what kind of dark pencil you're using. Let's see. Yeah, maybe more gray like that. Also, thinking about using your eraser in a way that feels mimics how it's used in real life. So not erasing perfectly. Like, maybe you can't quite get rid of your sketch, or if you're erasing parts of your other sketch, like, it's waits It's not perfect. Those are ways of making your digital artwork look a little bit more traditional. And, yeah, that's it. So those are my very simple but effective tips for making your artwork look a little bit more traditional. 7. Traditional Artwork Studies: I know that you want to get started on the class project, but I just have one more section where I want to talk about doing master studies that we can really study other artists work or your own work from your sketchbook and try to mimic that digitally so that we're really building up our digital traditional digital drawing skills. So let's do some quick studies. I will show you what I have gotten up to. Now I want to share some of the studies that I've done. I've done studies of my own work. This is an example of that. I took a photo of my sketchbook of a sketch that I really liked that I had done in pan pastel and colored pencil, and I tried to mimic that in digital. Now, I mean, here I'm using the Shelley Lazo studio inspiration studio Canvas, and I am using her brushes as well. I do, yes, think that it's mimicking the traditional look really nicely, but it is a lot cleaner because I have the ability to work clean in the digital space, so then it becomes cleaner. But I mean, it's something you just need to practice on. I'm not sure which one I like or prefer better. I think I like the one in my sketchbook a lot better, but the one here in Procre is really nice. I can try to showcase what I did here, which will be difficult. But as you can see here, I have different layers. I have the shadow underneath the figures one layer. I have all the spots of her body in digital pastel. And then I have linework for the background and her eyes, and then I have her hair and the details of her dress on another layer. So I don't have everything on layers. But yeah, it's fun to see how something comes to life. The Let's see, what kind of brushes did I use for that if I go into my Is it this one? At the silky pastel. I assume it's this silky pastel that I used as the background to mimic pan pastel and then her great eight B as the colored pencil. Again, I showed you that Procreate has really good ones. So that's an example of how I have taken a photo of my sketchbook. You can have it just to the side or you can bring it in to Procreate like this. So if it makes it easier for you to really see I did another example. He did a master study of Rebecca Green's work, because, again, I just think her work is so textures and beautiful. And I follow her work online. So I've seen her process many times and how she paints, but it's still really difficult to try and mimic that. So, again, I have a photo from her blog with a picture of her artwork. And I tried to mimic it over here, and I think I did pretty amazingly, trying to figure out different brushes and techniques of layering and trying to mimic her work so that I could get more comfortable with creating these kinds of textures. That's what I'm mainly interested in. I don't want to copy her style of drawing these beautiful little creatures, but it's something about the layering of the colors. Like, I really like what's going on in this corner with the bluish gray on top of the like mauve pinks and the paint and things like that on top of each other and trying to get something that looks really juicy and luscious. Same thing I did over here, pretty bad study of this beautiful artwork that you created. There's just so much lovely texture in there and trying to figure out how to get those kinds of again, what kind of brushes? What kind of layering can I do and then also think about what I like about that, what I'm learning. Like, I don't want to be if I could wake up and be Rebecca Green, have her talent, that would be fine by me. But I'm me and I need to focus on what I like, obviously, and I like what I create as well. But thinking about that while you're copying another master of illustration or painting or whatever is drawing to you, thinking about what is it that I'm trying to take from our artwork and maybe it's not always about boon copying every single stroke, it's finding the look that I like. I feel like I found that. The only problem when you're doing this and you're working quickly, I have no idea what brushes I use. So I highly recommend maybe doing some notes on the side, like, have swatches of your brushes that you use for that piece and write which ones they are because going back, I really not sure which brushes I used. Again, I'm pretty sure I used the shelly one, so I could go in and be like, now, which one was it? Which one was I using for the painting? No, that's maybe some textures were using that. Wet colored pencil? Maybe a little bit of that. Mm. Anyways, see? So that's a problem. So I highly suggest taking notes so that you can come back to what you're doing and remember what you did. Alright, so then moving on. Choose an artist or two that you really admire and pick out an artwork or two and try to mimic some of the textures with your digital brushes that you're using. And try to mimic those looks with the brushes that you have and see if you can create some of those looks that you like. And you'll probably learn something along the way. That's what I usually learn. See here, I've done the Let me I just saw I have turn this way, I have swatches of the paints. So it must have been was I using the lush one? No. Quash. These ones. I was using these. No. There we go. I'm finding them. I was using her gouache set, Layer Love. That's this one. That one? Oh my God. Chubby? Is this one. Mm hm. Yeah, Watery Guash. It must be this one, right? Watery quash. I think that's what I was using to create all these things in the background. It's good to know. Okay, let's move on. And this is another example of work on the right is something from my sketchbook that I created with traditional media such as paint and pastels and colored pencils and oil pastels. And then I've started to mimic those kind of textures in digitally. But that's what we're going to be doing for the class project. So let's just jump into that. But here's a little preview of me testing out some stuff. In the next section, we're going to be starting on the class project finally. 8. Project: Sketch: Alright, finally, we're gonna jump into the class project. I'm going to share with you some photos of mushrooms that I took this fall, and we're going to be illustrating them together with our favorite brushes and our digital traditional techniques and to make a traditional digital final artwork. Good grief. That is difficult to say. So in the following sections, you will follow along my process of bringing a illustration to life in Procreate. Alright, yeah, we're studying on the class project. I have made available three photos that I took of some In Swedish, they're called Flugswamp. In English, they're called toadstools, right? They're very quite poisonous mushroom, but they're very pretty. And so I have this one to choose from. I have this one, as well. And this one. I think I'm going to choose the first one has the most focus on the mushroom. Feel free to do as much of the image as you'd like with texture, but I mean, like, this is just a reference. That's a whole class on its own. So yeah, let's jump back into Procreate and we will create a final artwork in here. Let's jump into this. I'm going to use my Shelley Las studios Inspiration Studio Canvas with specs it's called. That's the full name. And I'm going to take away all these amazing artworks that we created because we don't need those anymore. Let eat. I have the brushes here. We don't need those either. And again, you have to make sure to draw underneath the paper textures, and it's a good idea to lock, like I have here to make sure that that's locked so you don't manipulate the textures in any way. Just leave them and just draw underneath it. If you draw on top of it, then it won't have the effect. That's just how that works. So we need to bring in the photo because I'm going to make that easier by having the photo here to reference in the canvas and we'll make a little artwork. So I'm going to start off by creating a pencil sketch. So I have my graphite color, and I'm going to we'll use the procreate brushes, so I will take the HB pencil, and I'm going to map out like a little panel here. For us to work. As if I'm working kind of like in a page in my sketchbook. And then I'm going to draw my mushroom as if again, like, I'm just how I would draw on paper just to map something out. There's a little baby mushroom here that you can hardly see, and maybe we should bring that out because that is cute. I took these photos on a morning walk home from dropping off my kids at school. There we go. And then we have all these grasses that we can remember to include a little bit of that just to mimic a little bit. There's some cute clovers. They're in the background here, which we can keep. Some texture, but we could bring a couple clovers into the foreground just because why not? So that I feel like has a nice look, and then I want to just blur out the background. And now when I'm seeing this, like, it looks kind of kind of too far down, so we're going to use the magic of procreate and move it up a little bit. So yeah, that would be annoying on paper. You just have to yeah, deal with it or erase everything and move on. There's our sketch. And then, again, if we like the idea of keeping the sketch as a part of our image, so it feels kind of like it was drawn on paper. Then let's do my erasing technique that I'm just going to erase some of this rather than, you know, you could use the magic of Procreate and reduce the opacity of your sketch. This kind of feels like cheating. I don't want to cheat. I want to give you these tips for how to make it look kind of so just give it a nice, like, erase. So some of the bits, like if you really tried really hard to get those away and leaving some of it, and then we can leave this. That looks amazing. It's a great sketch and all we need to get started, we could add in, like, no, I'm not gonna add in leaves and stuff. I just wanted to focus on the mushrooms. I think that would be great. Alright. Wow, that's it. We got started. 9. Project: Color: Right. Now that we've gotten our sketch finished, it's ready to put on color. And because we are working digitally, we want to make our life better and easier. So we're going to add a new layer so that we can adjust things if we wanted to. Let's see what should we go for for I'm really into the pastel look right now, so I'm going to go with either the vine charcoal and the compressed whoops compressed six B charcoal, something or other. So we'll start with the vine charcoal. And in this image, it's very green. Obviously, it's in the grass. I really liked with my other image that I showed you from my sketchbook, I had decided to make the background much darker, and I think that will really showcase the mushroom make it pop more, so I'm going to do that. I have this color palette that I've named Adelina, and we can start with that. So I'm just going to start putting in and trying to think about how I would work with other materials. Like, I would put in some of this color and try not to get it on the mushroom area and then switch colors to kind of, like, blend together different looks. With the Apple pencil, you can rest harder and lighter so that you get different opacities of the brush, so you can make it really light or you can make it really dark. So remember that. Yes. I'm just trying to get some variation here. I different greens and blues to mimic a background that's kind of It's okay to go over certain things again. Can do a lot of this green. Okay, now that we have that, I'm going to go back and choose some other colors to kind of blend that in. There's some bluenss over there in the corner that's from, like, the sidewalk, I believe. We're just mimicking that. It's nice having different variations of color so it doesn't become so flat. That's one thing that maybe is easier with traditional work because you have different colors, paints. You just have your whole palette that's wet and you accidentally kind of press pick up colors. With digital work, you have to be you have to think about that. So if you're going to take different colors, you have to think about doing that. Let's see what's this weird green I have. Yeah. So like a warmer green could be nice. I can even start to place in these clovers. Just kind of I'm doing this kind of randomly. Kind of looking at my reference, which areas are kind of darker, but it's kind of all the same in the background there. I would like more of this light color in the front or this warmer color in the front. So there's a difference between the background and the foreground. So the foreground, I'm thinking should be brighter and lighter and warmer and the background can be cool and darker. I'm just going to bring in this chalk. O Okay. And then we need some variation of the colors there. So yeah, even warmer. My make some of that, like, dead grass that's going on in the front. Let's see. That was that one? Maybe. Is this too light? Maybe. Maybe just some sections of a little bit lighter. Going back maybe a little bit of the cool down here, just to bring it all together. Again, just kind of random, kind of thinking about those brush not those brush strokes. The brush strokes mimicking kind of the grass. And this is just the underpainting. So then when we go in and put in more details, it will make sense later. I also want to bring more of that dark blue because I really like that. Let's see if we test another brush. Let's try the six B compressed and see, Oh, that was more. That was too intense. Let's make it bigger. Yeah. Just give, like, even another texture. Ooh. So I like that, and giving, there's a lot of darkness here, but behind the mushrooms. And that was going to make those pop really well. And then maybe even, like, down here by the foot of the mushrooms. Okay. Something look good. Alright. On a different layer on top of that, I'm going to start working on the mushroom. So we have the what's it called the foot of the mushroom? M just trying to get different colors there. It's kind of warm. There needs to be some darkness. We go back to the other one, the vine charcoal. It was kind of more precise, I guess. Okay. And then we had that the it's like a skirt on the foot of the ug swamp toadstool. Go getting some shadow in there. Again, this is my underpainting, and it's kind of messy, but we will bring in the details later in the final. Okay, so then we need the red of the tops. And this I'm going to do quite a little bit more full on. Still gonna use that pastel. We can test out another. Like, do we have another one that we like? That Eagle hop? What does that look like? That match? I don't know, does it feel too pinkily? I kind of like, Oh, I like that brushroke there. I get that. Okay. That's interesting. I'll go back to my charcoal and it's almost pink at the top, so I'm going to bring in some pink. The shine spot is quite pinky. So I'm going to bring that in. Oops. See. So nice with the double fingertp to get rid of that undo button. And then we need some shadow of the red too to bring that make it look more three D. A lot of shadow down here. I really like curves in. Shadows up here. Mm, do this other brush again. Pick another red, maybe a little bit brighter, kind of mesh these together. Give some highlights to that one. Okay. What else? I feel like those clover, yeah, clovers. I kind of lost them. So I want to go back and this one, maybe? No, the other one. I like that one and bring those back a little bit more. Can't see my sketch anymore, but I'll just make it up. Oh, yeah, and then it's underneath that. So I want it to go over. So I will bring the clovers over so I can overlap the foot of the mushrooms there. So like that. Maybe just a little bit of just like a highlight of green to give those some life there. Does this look nice? Like, it's getting there, has a lot of texture. Which I like. And it does have that traditional feel because of all these juicy pastel looks. But, I mean, there's so many different styles that we could have done. This is very pastel. I'm gonna pretend like I'm drawing in pastels with colored pencils on top, but you could choose to make it look like you drew with watercolor, only or watercolor with oil pastel on top, or I mean, there's so many different ways of creating art, it's completely up to you, obviously. So that is my underpainting finished. I think so. We could you could always do more. I mean, there's lots of browns in the image that you could bring in to bring some warmth, but I feel pretty good about this. In the next section, we will finish it all up with all those juicy details. 10. Project: Details: All right. Now it's time to add all the details so we can bring this illustration to life. So again, we want a new layer, and I'm going to use this six B pencil, and let's check the thickness. It's too thin, I feel. Something like that? Does that feel good to me? A little bit more. There, I feel like that's good. Okay, so I want to define some of the grasses down here in the bottom, and I want to bring the clovers out a little bit more. Let's see. What kind of green? That green, I want a little darker version of that green so we can go into the clovers and really almost I don't want to completely. Like I am kind of completely giving them an outline, but give them texture there. Mimics. It What clovers look like? They have a lighter section somewhere. Do that. So like that. Then darker or the little there little stems, and then yeah, we need to bring in some We had to bring in some linework for those grasses in different whoops. Try some of this er color. Need something maybe even lighter. What does that look like? Let's give some highlights to those. Some of those grasses are really light. Does that look good? It's quite intense. And then even darker green that's even darker, almost black could bring in. Very black. And again, there's so many ways of creating artwork. If you want more shadows, you can go in and, like, make sketchy shadows of different areas to bring things out or highlight something. I don't really like that, but I just wanted to show you that. Again, we have different brushes that we can use to try and more shadowing if we didn't feel like we didn't get enough contrast in here if we just need some more of that, keep going. Um let's see. I'm gonna continue with a 60 pencil and see what I can get with that I can test out different sections. Like this. Just wanted to look a little bit more like bit more realistic and textured and something's going on here in the foreground rather than just all melting together. And then I can do another layer and we can start to give the mushroom some definition. So I want to give it Let's see a little definition here on the side with the skirt. I kind of like how the little mushroom is a lot less softer and kind of melts into the scene. It's it's not as important as the big one. Those lines were quite light, so I definitely need some darkness in here, too. Um, there's some, like, texture on the the mushroom, work on that. Mm. I like that. Don't It's right. Defining definition there. Um, yeah, you could work on that navy blue, like if you wanted to make the side of this a little bit more defined. So everything isn't so squishy and So that is, like, has a nice edge there. That's kind of nice. I'm going to put the white speckles on its own layer. Let's see what we can we use to make those? We have the dry ink. That feels like it would be good if we had something that looked more like oil pastel, something that's really, like, chunky. We could quickly see if we have something that looked like that. What would that be? Trying? Painting? Those are too painty. Inking? No. Sketching Oo pastel. No, that looks like dry pastel. Oh, well, Babes, let's see what does this look like? Kind of kind of gives the I just want spots that are really, like I want spots that are not so perfectly defined. So let's see what this Ica brush does. Yeah, Inca. Okay, so we're our new layer. And yeah, see. That looks neat. Then there's smaller ones, and they go all the way down here to the edge. A little one has just a few and then we can go back in with a pencil and maybe make some of them because some of them became quite like the same shape, and I don't want them to look like they were made with the same, like, shape brush. So we go in with that. And then you can also make those really small little speckles that are in there as well. There's lots of speckles on the top. What fun is this? I think this is really fun. Okay, so now we've given our mushroom, some spots, and it's quite nice. It feels like a hand drawn sketch. Those we could give a little bit of shadow to those underneath the spots. No, that doesn't look good. It would have to be, like, on that. So let's see if we take the charcoal and we take that red, but we do a little bit darker. Like, it's too big. Like, slight shadow underneath some of them, just to make those kind of feel like they are sitting on top of the rest of the mushroom. That looks nice. And that would have been kind of impossible to do afterwards, after creating in a traditional artwork. So that's another thing just like, Oh, we lucked out by using digital instead for this piece. And I want to go a little bit more of that pink in there, too, give some more of that highlight, 'cause I like that some pink on here, too. Button. That's pretty good. And yeah, shall we call it? It feels like a nice it feels like a nice digital traditional sketch that mimics the look of pastels and colored pencils that I would do similar in my sketchbook. We got one more section, and then we're done with their class project. 11. Project: Adjustments: Alright, we're finished actually with the artwork, but since we are working digitally, I just want to give you a few tips for how to use this digital tool to make some adjustments, possibly, if you needed to do that. So one of my favorite things with Procreate and working digitally, I love using the soft light adjustment layer to give some extra shadows and depth to my artwork. So to do that, I would choose a I don't like to go completely black, but I will go, like, charcoal black, choose a pencil that has nice soft texture, such as this six B compressed one. I'm going to make sure here we press N and go to soft Light. Again, I have another whole class about this. It's called It is called shadow and Light in Procreate, so you can check that out. But I just want to show this my favorite way of just quickly you can add shadows to things. As you can see, it just darkens that color without it's not black. So if you just want to darken some areas without having to switch your brush color, see, so I can just, like, go in and give some definition to some areas or a lot of areas. I can make my brush bigger. Like this whole foreground, I wanted it a little bit darker or the dark around the mushrooms a little bit more. It's just a really incredible quick way. It's my favorite thing ever. I can just turn that off quickly just to show you how much of an impact that easy thing does, see? Just I instantly gave it a lot more contrast and depth. And I really like that. If you want to adjust colors, we did put a lot of things on different layers, but I didn't put every single color on a layer. But here, for example, you can choose the mushroom layer and you can go to hue saturation, and we can adjust it like that to make it slightly different. But that changes the entire mushroom, so it usually doesn't work very well. But if the red color was just slightly off and you wanted it more pink or a little bit more orange, that is a quick way of doing that. You can otherwise also you can make this alpha lock, that section and you can paint over it. Here we can choose a pink brush again with your similar kind of and you can just paint over that section. And change the colors like that more manually. And again, would you took away your highlights and things, so you would have to go back and do the highlights again in that new color. But it's way faster than starting all completely over. That is another tip of how to do that. If you again, so I can show you that in the background as well. So you have this background, you press Alpha lock, and then you choose new colors that you want. Like, if the background was a little bit too blue, maybe, we could go in with, let's try this color. What would happen there. So make it a little bit more turquoise. Because it's alpha lock, like, you can go off the screen, you know, like that. Just go back I liked how it was before. And the same thing with these brush strokes in the front, you can alpha lock those. And again, if you thought that maybe they were too dark or light or different wrong color here, I can make them purple to give them like a purple edge to all of those it's neat. I just wanted to share those quick tips of how you can adjust. Make some adjustments to your digital traditional artwork, if you want to recolor, if you want to add some simple depth and extra contrast and shadow to your artwork. I hope that you found those tips helpful. Let me just get rid of those because I don't like that. Is that good? Is it back to normal? I think so. Alright, so that's it. That is the project finished. I really hope that you have learned a few things in this class. Lots of tips and tricks that you've been inspired to create, more traditional looking digital artwork. It's really fun. Either this is just for you, maybe it's just to make some sketches that you'll send to clients or what? See what you decide to create with it. Or you just want to get more and more comfortable with Procreate. It has been a pleasure having you in class. Wow. 12. Next Steps: All right. That's it. We are done with our projects. I really hope that you have had fun in this class. I just want to mention a few next steps so that you can keep this digital traditional procreate thing going. The first thing is to keep going. Obviously, if you discover new brushes, test them out, see how they layer. See how you can mimic some of your traditional artwork if you work in a sketchbook. It's really fun to try and get as close as possible. At least I think so. And then just try out different looks. You can do more master studies. Remember, it's totally okay to copy other artists. As long as you're doing it for educational purposes, you're not claiming it as your own work, and you're not selling that artwork. You're also not trying to steal someone's style. You're just trying to learn a few of their techniques and maybe bring one or two things to your own artwork and continuing to learn. You don't want to become somebody's copycat. Really important for me to say that. But the same time, I learn so much from other artists and looking at other artists works and how they layer and how they use different textures and their colors. So it's really important and I think it's so fun to do little studies. I always learn, I always learn something new to bring to my own art practice, I usually also always learn something that I don't like about that artist's work that also is good to know that I don't want to bring to my art practice, which is really interesting and really helps you to grow your art and your skills faster, I swear. Maybe you could set up some goals to once a month to create a new digital traditional artwork to share in your portfolio or online, such as on Instagram, maybe once a week, if you feel like once a month is too little, it's totally up to you. It's really fun and important to have personal projects that you're working on. I really like that. 13. Follow Me on Skillshare and Beyond: Alright, that's it. Finally, we're in the last section. I want to thank you so much for taking this class with me and learning all about digital traditional techniques in Procreate. I can't wait to see all of your mushroom illustrations in the project gallery. So please be brave and share those with us so we can give you a like, so we can give you a comment. If you have any questions at all and would like some Nice feedback, please let me know and I will be happy to help you with that. If you'd like to hang out with me outside of Skill Show, you can find me on Instagram at Kristina Hotkms or my website, Kristina hotcuns.com. I also have a really beautiful patron group. If you'd like to work with me monthly and get monthly inspiration. I have two groups collection club where we do surface design collections. Around a theme every single month. And I also have fun Friday, which is my sketchbook play group, where we also work on different themes every month to develop our art skills. So I hope to see you there as well. Otherwise, just follow me here on skill share so you'll be notified of my next class. And I also, if I'm talking about it, I have 30 plus other classes here on Skill Share for you to check out, as well. Make sure to go look at my profile to see all those. Oh, and leave a review. Bye.