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Energetic scribble drawing on procreate

teacher avatar HugsyArts, Aspire to inspire

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction

      1:32

    • 2.

      Insight into the new brushes

      14:15

    • 3.

      Composition & using focus points

      6:10

    • 4.

      Learn different pencil grips

      3:24

    • 5.

      Follow along full scribble drawing

      15:48

    • 6.

      Tricks to instantly introduce colour

      10:35

    • 7.

      Updated method alt part 1

      16:27

    • 8.

      Alt method part 2

      15:16

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About This Class

About This Class


Creating modern scribble artworks will never be so easy or fun! In this class I will teach you step by step all the tricks in the book needed to simply create energetic, colourful scribble artwork. You will finish the class with the knowledge and skill set to confidently go right into your own scribble world of drawing and even start taking commissions. You are going wow people who see it, you can capture personalities and life in just a few scribbles. This tutorial comes with custom brushes download in project resources section


What will I learn in this class?



1- Best way to use my custom brushset

2- How to hold the pen correctly for effective lose scribbling


3- How to figure out focus points to capture the viewer


4- Pro techniques on different types of scribbling 


5- How to bring colour with just a few clicks


6- How to set up Procreate settings to most natural realistic form 


7- You will be comfortable and confident in your own scribble drawing upon completion



Who is this class for?



1- Seasoned artists who are looking for a really quick way to achieve stunning results



2- Total beginners who are new to digital art and looking for a method that is really forgiving and will give pro final results



What are the requirements for this class?



1- Some general idea of the procreate application 


2- Minimal use of Apple Pencil 



Why should you take this class?



This is a fantastic method to create eye catching results with minimal fuss. You should take this class if you enjoy learning new techniques and tricks on procreate. This is perfect for beginners or seasoned artists looking for some inspiration in trying out something different. 

Meet Your Teacher

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HugsyArts

Aspire to inspire

Teacher
Level: Beginner

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Transcripts

1. Introduction : Hello everyone HugsyArts here. And I'm excited to present my new tutorial called scribble drawing. So it's a superfan, modern way of creating Art, using photographs on the iPad, using Procreate. I'm going to be teaching you all the methods to create images like so. I'm going to show you how to hold the pencil. The techniques used to create the scribbles like a Pro from hatch into scumbling, all sorts of different techniques. So you see that some people, they like to hold the pencil, write down the bottom. We've got total control. With this technique. I'm going to teach you to break the habits. We're gonna be trying some different some different techniques to create a really loose and unexciting style. I'm also going to show you a few which will appear to you magic tricks to instantly bring colour your scribbles. And yeah, this is a good one. So so please let me know after you've taken the class, please leave a review if you enjoyed it. And I'm happy to keep going and keep finding more. She's guys 2. Insight into the new brushes : So scribble method, I have actually created a brush pack for us which you could go and grab right away. That's called HugsyArts, scribbles. I must have tried. Excuse me. I must have tried in the region of 400 different types of pencil, pen by rho, fine liner brush that there was available. And I still didn't find one which was right for me. Now, there's a reason for that. A I'm using this temporary screen protector still all. So that's going to create more resistance. So I wanted something to suit that if I was just straight onto the screen, it would be a bit more slippy. I might need slightly different settings, but I'll show you it's oversaw that I am to I didn't want to be too. I mean, it's alright being free. But when you think that you're drawing on paper with pen or pencil, there's bite and there's resistance. So you're not gonna get the sharp, sharp, jaggedy lines which are weaving all over the place. That's not true. That's not really how things work. So I've had to put streamline and stability on and on some of them, even pressure sensitivity on some of them. Just to get it how I like it, which I think I've achieved. Now. One more thing. Before I introduce you to the new brushes, I want to introduce you to my settings because I've actually changed my settings for this style. So now if you click on Preferences, go to the pressure and smoothing. I've tuned my app pressure sensitivity. Just click the bottom circle and just drag that ever so slightly to the right. It just takes a bit of edge off so you can get the proper flow for the thin, thin marks and stuff like that. Just takes the edge off. So I've done that. I've turned the stability all the way off. Motion Philip filter is on nought 0.1 motion filter and expression 29.8 just seems to be the sweet spot. That's where it is. It works. So I just thought I'd show you that obviously this interacts with the brushes individual stability settings to which I've taken into account obviously. Um, so, yeah. Right. Let me introduce you to the brushes first. Let's grab a Canvas. My canvas size, which I work off personally, is 5,400 pixels by 6,750 pixels. A DPI of 700 is giving me 23 layers. Obviously, if you are older and older models or smaller RAM models, you're going to go less layers, but it's more about the dimensions and the actual size. So another fine size to choose for me would be like this, 133,200.40 pixels by 4,050 pixels. And that's again at a high 700 DPI. Just bear in mind that I can create these brushes, my canvas size. So if you get them in their preset to a size, It's to this canvas size that I use. So you may need to tweak up and down. And it may sort of, as I'm telling you, what size I'm using during the tutorial. But we may have a different problem if you get it and thinking, well, I'm using the same size as well. Hugs, he said, but I just don't look wrote this probably because you are a different canvas size to me. So just bear that in mind. Bear that in mind as easily resolved. It. Just just a case of adjusting your so settings. So actually don't know where I was there, but whatever. Okay. So brush pack hugs the scribbles. Then the bottom. You can see I've created a category holder called pens. And this is where we're going to keep all our learners. We got the scribbles Pencil, which is what I've been doing. All these recent ones you've been seeing have all been with this one. So this is my main go-to one. I like it. But I am a Fiddler. I do like to play with different brushes. So we got some other options here as well. This one, ballpoint pen. Harder, you press, the darker it's gonna get We got the HugsyArts Pencil, which is just my original pencil. I've just, I've just tweaked it up for the scribbling style. Again, it's very nice on my canvas size now. Yeah. Sorry. Frosty is when that in the wrong, true but this morning, fine detail and texture again, it's just a texture little. It just gives you something different to try. If you want to, it looks good. I haven't actually created a piece of Art with this one yet. I'll just tweaked it ready for scribbling. I know for fact that you could make awesome out with that pen. That's why it's in the wet ink scribble exactly the same as what I've just said. I haven't actually made anything with this one yet. Just know when I do is gonna look great. Old fountain pen. Again, if you're looking for that and more inky style look. The only thing with this is it's got a bit more pressure sensitivity to it, so it will jump bigger, quicker. Whereas the others, I've tone that back so we kept that can happen. Okay, if we look at our main when Huxley scribbles, just for the record, I sort of set it to 31. And that's on my canvas size. And I swear swear my sweet spot is that's just what I want. You might want different. That's what I use for all these last latest ones I've been doing. This is this brush is not working. Why is this brush, this brush here? Okay. Awesome, Brilliant, excellent, amazing brush. So that's, that's the number one. That's what I recommend you start with. We got some splatters which we can use. I tend to use this one a lot at the end and just blasting a load a little inky splotches. Again, you haven't really even got to do this with the scribbling style. It's all about that scribble part. I know, but I just gonna show you everything and while these brushes do. So we got, that's the one I use mainly for doing my splits. We got the splatter micah. She's gonna give us a bit more of a crazy goal. I've used that many times too. Salty splat is really, really nice if you just want, if you've got a really dark area with just splatter in an older a lot of ink drops looks really nice. This is just a single splat Mika. So pretty self-explanatory for the splatter brushes, the blenders. I mean, again, it's gonna be up to you as you go. I've been loving this one. This is the one I've been using for. I mean, if I'm doing a bit of undertone just to give my scribble a bit of depth and value, I'm using a brush which is too hard edged to look authentic. If I bring this out, I can just saw, yeah, you know, faded away feedback in and it gives real texture and it just sits nice with the style. But having said that, I've made this one since, which arguably it's going to overtake that one. This is even more texture. And this is just as nice. So they're gonna be my main go-tos. Obviously, we got clumpy food. We all know what that does it because it gives us a nice a nice painted type of blend. And the water smudge tool, which is gonna be it's going to give us that spot bleed, that water bleeds. Spell for the really soft feathered edges, which is again, absolutely brilliant for this style K. So that's another good one. All the blenders, absolutely. Top-notch washes. Let me just quickly go to the canvases. I mean, these are self-explanatory. I mean, you just grab a color. You just go, whoops. Once you set that to multiply, of course that's going to be, we work underneath this. And that's gonna be our texture that we're looking for, for our authentic paper look. K simple job done. Some of them like this. Like we could use different colors for these, you know, you wanted a bit of a yellow. The yellow in tone Like so. But if you use this one, I think it behaves. It behaves a bit funny when we start changing the color with this one, stick to black. It's just a bit of PFK-1, this one, I wanted to put it in because it looks so, so cool. Obviously, once you lower the opacity down, it's the same old thing. Washes. Washes. I mean, I go through these. There's no particular one I like to use. If anything. I liked this dirty wash. I think it's great. And as I'll show you as I start, but I like this one just for adding a bit of texture. It's not too erratic. It's not heavy. You know, if you've got some under the neck or some darker on an animal, you can just kind of yeah, you can just build up some texture there. So that's one greenie Postel which is an awesome brush. Haven't actually used it with this method yet. But it's there. If we need, it. Gives a real Awesome awesome pencil effect. Scratchy wash again, these are all really textured, scratchy ink stains. To try and give us an authentic look. We'd wouldn't want anything to your standard round brush. We wouldn't want that for this style. It'll be too neat. They were throwing all off. So we need we need messy splat wash. Eustis an awful lot as well for dark areas. If you're wondering why it's gray, it's because I've turned the opacity down which is great. Great of me. Because I was just wondering why it's gray. We've got the watercolor wash. Again. You know, I'd be slapping them on like be lower in the opacities or up in the brightness to get it right, All will be revealed. These work great. If you've just work Street in with a lower opacity, safe, textured whitewash. Spends debar. Super texture. Really nice to use. Really, really nice, wet, really gives you a wet feeling. And it's got a nice bit of hard edged texture there. So it's like a real sponge tab. But yeah, the one I used the most and I probably reach for first is the dirty wash. I tend to go straight in with this because I just love the texture of it. And I can sort of, you know, play with it, blended up a little bit, looking to clean edge or something. And I can get nice, nice fibers for that. So that's the brush pack. I'm just gonna put this on charge for T2x is unlikely to. That was good. I literally charged up for 2 min before I pressed record. Okay. So I'm just going to grab a drink and then we'll dive straight in 3. Composition & using focus points: I'm back. So I've introduced you to the brushes vaguely, but just kinda showed you what I use really made that clear. So let's introduce you to the style. Now. If you think of an umbrella term, yes. Scribbling. It's a kind of style. Yeah. But underneath scribbling comes many different types of scribbling. You know, we can have a really simple, totally minimal like that. All we got extra super, super detailed. When you come down to the crosshatching and stuff, which professional Pencil is to use. All kinds of comes under. For me. Scribbling, loved my right hand. And I like to dive sort of from here to here. I mean, with this one, my Harley Quinn, I dived towards the detailed sides because I wanted to test it out and give it a goal. Now up-close it don't look like I have. But you can see neat and accurate is that is actually it's very detailed. Okay, I'm gonna be showing you how I introduce colour as well, which is just mouth, just magic. This was kind of detailed in some areas and then I went loose. And let's dive in. Let's dive in. Right? I'm pretty sure. That is I've got a picture of a dog to draw for us, so we're all going to draw the same thing if you want. Just asked me or I'll share it. So I think this guy, I think he was called chandler, Shonda meet a drawer him. Think of as chandler. Not hundred percent there, right? So one of the most important things is your composition. So we don't want to just go, Oh, that's just squeeze him in ears at the top. Toes touching the floor and go with that. Okay. Because that's bad composition. Sort of the wrong kind of negative space where he got gaps and breaks in the border and stuff. For this style, sometimes it's nice searches to go a little bit smaller and try and stay central. There's one composition rule I stick to, and I try and make sure that I ease in one of the rules of thirds. So if we imagine on our page, we got this broken up. And you're supposed to have eyes as a main focal point or the main. The main focal point. By what are these rule of thirds. And you sort of flow from that. The fan Apache rule at the fan Apache role is it I think it's called with minimal. I mean, I like to use the actual scribbles to draw the attention to stay on the line of my rule of thirds briefly. Like so. I'm just going, I mean, that's where I would go okay. By there. So that's what bad off. In fact, that's got rid of that. So there's no cut in or anything like that. Now, we're going to be tracing. If you wanted to, any liquefying changes to make it look a little bit more unique to that. Now, you want to make those years a bit bigger. Whatever. This is, the time you do that now. And you don't do it at a later time because you won't get it back. I don't think you want to give him bigger eyes? Okay. So that's on Liquify and I'm just on push. Vary the size. Distortion, momentum all the way down is quite potent. Pressure backs. Okay, So there we go, right? Happy without composition and we're happy with our photograph, blah, blah. We duplicate a lot photograph. And we are gonna be working in the middle. We're gonna be using this top one. If we want to introduce colour at the end. This is gonna be up to us. I'll show you how the Murray. But we're gonna be working off this one. We'll set this one right down the bottom luminosity, which will turn it a black and white. Once we knocked out one-off case, we lower that down a bit at sweetness. See what we're doing. E2, E3, usually good. Remember we're working on the one in the middle. I'm just gonna be using straight up black. I'm using my HugsyArts scribbles pencil set to 31. Start at the focal point of where I want people. That's what I want their attention drawn. So in this case, it's gonna be his eyes. With most pets, I am going to be drawing attention to their eyes. So this is the bit, I'm going to be doing smaller hatches and squiggles and really drawing them into that 4. Learn different pencil grips: Hatching or scumbling techniques. Okay, scribbling if you'd like techniques. So when we're just, there's different ways to hold this Apple pencil. We haven't always got to hold it right at the end really neatly. You're not gonna get a good, really good scribble like that. It may be too accurate, sometimes. Hold it more at the top wherever it feels right. So you can just get a little bit more wash. I mean, there's different ways or the pencil you've been sort of underhand pen. That's what it's doing. More better if you're upright. You can even switch risks around and do it underhand if if you are working upright, I'm not I like this one. I like the pen writing grip, which is really neat. I already just a bit further up just to get a bit more little bit more movement. So squiggles. Get used to the figure-eight. That's gonna be your friend with texture and stuff like that when you just build it out, just lots of figure eights. I'm going to be perfect but kinda looking so to a figure eight. Yeah. I mean, you've probably seen this before on other tutorials. I just wanted to go over everything while I'm you. Scumbling, texture building. Great, lovely. There's a few more. We got sort of just your run-of-the-mill hatching. I like to just go like this. If I wanted it a bit more lighter and lighter area like that. One, did it extra dark? I'll go back the other way. Yeah. Catching get used to hatch in. Obviously just using circles is great. Spin in the brush round. I mean, especially if you've got a curly haired animal or curly haired human. Just again, curl, curls, hatches. Unlike the scumbling number, eats brilliant. Obviously be free and do whatever you feel comfortable to wear as well. Some people might really hate going like that. Whereas others might prefer to call a guy who's go, we're flow. But that's the three main ones. There's another one. If you're doing hair or say even scenes, I need to grass and pushes and plants and stuff like that. And you could just sort of just sort of finish a finish point because it gives you a sharp cyber texture. Rather than that curled everything curled more straighter hair. You'll find me just hatching a lot a bit. So I called thinner. Yeah. Thus the techniques I'm gonna be using 5. Follow along full scribble drawing: We start, I start at the focal points. Now. If I'm doing a really dark area, I'm gonna be using tight little curls, even little curls or little scribbly marks like this. So the darker at the size. I mean, I'm gonna be just typed little curls like this. Just doing little curls all the way around. Area. Tight little curls. Lifting the pressure off slightly. For the bits that is a bit lighter. Let's get in dark again with that bit there. So as we see, as we start to come around, starting to lift, go into a different pattern for that bit to the inner bit of the eye, to the other one. Little tiny little ring luck curls to really define those eyes. So we can sort the highlights out after this. No problem at all. Okay. So I mean, I wasn't too much bother and that's what I would class. I'd class I don't on the eyes. What is going on there? My brush, yes. The case. So I've used a Curlin clearly technique there to get in. Get those I used to. This is my style. You may do it a lot simpler. I do it better both. I do a bit of a detailed part where I want the focus to be. And then as we get down so that I eggs, you probably just see me just do a bit of that because I don't care where people look by their looking down that part. I want the focus point to be that it's this guy is chandler and he's draw your attention. So got some darker marks here. So let's just go with a flow there like that. Sure. If this is technically correct, but I like to sort follow planes. If there's a plane change like this. I'm going to take it that way. You sort of introducing good top drawing skills and to your message scribble. So you're giving yourself a bit of a cheat. You sort of giving yourself a standard chance of it looking great when it's finished. Obviously follow through as well if the firm is really clear to follow follow it. Because dark area there. So I just pop that in. Just following these little shadows down. So maybe go on with this size, I'm sorry, Angle, playing for the side of the nose. Scribbling. Scribbling. Just go like that. Under the nose they're following the direction of the first kind of easy to do paths really humans are harder. Going to make up your own mind of the plane that you're gonna be doing. We know the nose wraps over there. Scribbling, scribbling, skill that knows in it's just really dark there. So I'm just going to run with that. Got really bad. Loaded it in here as well. Opening CLK, sunny outside, the screen protector, making it quite hard to see at the moment. I don't think I got much time left with it, to be honest, it's done good though. I've added on for awhile. That is really cheap. I mean, the texture now, that's pretty much gone to be fair. I've added a few months. If a paper like sorted runs out as quick as this and then forgot paying for your 50 quid for that is going to bring a bit of sight. Have chitin for this along the same plane. They're in there. Okay. Well, a little bit darker. Right? And they bits. So that's sort of my main focal point where I want to draw people So as a sort of fiddly as all get on the whole drawing. This is fiddly as our gap. I mean, just going to basically follow some shapes. Again. I'm doing this, that sort of thing. Following the just seems to work. It looks great in some textured further. And then underneath people's I'll use will be drawn to where there's most contrast to is not all about composition placement. If you've got really jarring darks, next two lights, people will look back. I'll draw there, so be careful when you get down here to start coloring in really black, but leaving this white. Because people, I use a start to wonder. You want all the focus to be where you want it to be. You, you direct people where to look. Remember darks and lights will attract attention. Now going to start loosening up. Now as we go up these years, I'm just getting the darker parts in the more important parts to signify the edge of the head. I don't mind the tension being drawn. I'm not too far away from my main focal point. That's where people can look at that in one scope and start to loosen up. It's important to loosen up. Otherwise you'll end up with just drawings, know scribbles. A good way to loosen up is to hold the pen at the end. It's sort of stops up into two fiddly into neat little tip. And please, if you do these and you're happy with what you do, please share it in the procreate group because it's inspiring others and it's definitely inspiring others, especially this methods people are starting to like a little bit darker. Me. I can't believe I was choking on his trustees earlier. They went in the wrong tube. Right. So you can see I've sort of followed platens but really loosely still a bladder block. This part yet I'm just going to shade in this in like so to signify, it's a dark color. I'm just going to really I mean, it's white. Is white. Is white underbelly. Careful not to press too hard when you're done. You know the parts where you don't really want people staring. In fact, what I like to do, what I was just a bit of shadow in. Just pop a little. This way you have your friend just wrote this look where we are, okay, moment of truth. See where we go. Simple as that. Well, I'd like to do is define this area bit clearer. So maybe just go a bit darker around. Just to signify that. That's actually his chin. Squiggly, squiggly. You can keep going over and over. You would give it all another coat if you want it to. I tend not to. I tend to use the ink washes to get myself a bit of depth, but you could use just scribbles if you wanted to create texture that way. Just be careful when you're done the bottom part, because you don't want to go to join up people's eyes all over the place. They'll just get bored with it straightaway. They'd be like, Oh yes. Alright. Okay, so that's where we are with that. And I'm quite happy with it. It looks cool, it looks FUN. And we are bearing in mind, I waffles for awhile with 30 min in. Okay, that's that don't really add up, but as long the actual drawing was just a little bit on edge and around there. Again, important parts. I want, I used to be drawn Right? So underneath that layer we need a new layer. And this is where we're going to be introducing a bit of a wash. So let's start with start with the dirty wash, which I don't know why. Just my go-to at the moment. The dark areas is where we're gonna be going. Let's lower the opacity. We don't want to go too crazy. Oh, okay. We're on gray. Okay. Didn't even know it today. Right. Let's just wash in some depth. Starting with the darkest areas, which was his nose. Just said under there, you had a big thing there is always helps if you have a little Canvas thumbnail at the top there, but I'm a bit too lazy for that. That's way too much artwork. Again, I'm just using black, if you notice, I'm just using the color block to build up a bit of shadow, bit of depth. There's a reason I'm just using black, which I will show. You can wait to show you. So awesome. Okay, that's I'm a bit of a wash with has put a bit of a bit of a washed wash. Again, that's too dark for that area, so I'm just going to bring her back. She washy where we are. Less give it a little smoke. Just in some areas. Extra texture. Will I keep that opacity? You'll notice, I don't know. Dark, dark, light. Dark. Light is not a mile off. I probably gonna go with our 20, gonna go with it. So now I like to go out and add another layer. And I like to just blot in some splotchy splatters. In the darkest parts I like to do it just, hey, just not in texture. Bit of interest. Keep it at FUN. Splits plots, but we could even just go mad. If you want to put a bit of super salty splat. Okay. I think I think we've done out there who without due to when I do want to strong maybe, maybe not. Okay, so that's basically I do my scribbles. They look more like drawings in the end because if the values we've added, we haven't got to stay full opacity. We can, we can go down a touch. We only want to give the impression of the value. So that's that. Now, that's a scribble drawing. You can go as loosened wild as you want with those scribbles modes. You can even go back in. And you know, really, really scribble, really scribble some stuff up if you want. It always depends. This is gonna be up to you, showing you how I do it. And then you could go both ways from how I do it, you could go more neater. More simple. Wild is up to you. I'm guiding you straight down the middle of the road. I'm showing you. You can either go left or right or you could just carry on straight down the middle with me, whatever 6. Tricks to instantly introduce colour: There's one little magic trick. I thought, Oh, can I bring colour to these because they look good, like, like that. Some people love color. I want that color for my, for my kids. I'm gonna do one of these of my kids for the wall. So I want the color. Watch this. There's a few different ways I'm going to show you the lesser way. It's just small, subtle. So where we got our Scribble Art. If we click that on and if we clip mask that to our line Art, it gives us coloured lines. Okay. We've now got, we've now got colored lines. I tell you another thing you can do. Let's just bring that back a sack. You can even give yourself a colored wash to if you've just tick them, come on, take that above that and clip mask it to the wash. Now, we got colour. And it looks good, it looks authentic, it looks nice. We using the actual colors in the right places because we're just using the photograph. So it's perfect. You're going up the saturations now. You can play with the colors. You could do whatever you want. That's the subtle way of doing it. This is the way I prefer. Go to that unclip that is hit the Layer Mode. Wipe it down to colour. And bam, everything underneath is never going to become colour. We can play with this in such a way that we can make perfect color drawings. But that is just a click of a button and it's now perfect. Color is amazing. I shocks me, shocks me these things. So you can see we got some stain image which is sort of pick it up the grass on the dog, on the pet on the photograph, which we don't want. So I'm going to smudge your back. No problem at all, just like that. I'm on my paint layer and my value layer. I'm just going to smudge your back leg so it's no nothing. Leave it at if you want. It's not really causing much harm. It's just kind of but sometimes you will get grays and whatever the background color is, which don't quite sit right. That looks fine. So what I'd like to do is duplicate the color mode. And I like to go a little bit mad with the saturation like this one. Take it to max. And then I decided where I want it then that's where we were. I like to just share that will do merge them. Okay, So How cool is that? I mean, that's really cool. Another really awesome thing to do is actually let me just double-check this because I think I forgot. There's a way to really make color pop. And it is alright. I remember, I remember it one on there. I don't know why. So once we got this okay. Well, we can do is we can give it a bit more. We can give it a bit more on as well. So if we clip mask to see this, with an overlay, we can start to washing. We can wash in some depth. In fact, forget what I just said. Forget it because clip mask is too low on the opacity to, to have an effect. So what we could do, I suppose, is maybe see if it would look nice up above there. That's the one I was looking for. So we go above our color mode to make our colors pop with it. Now, sorry guys, I should have really been doing this at cramming it in such a short space of time. This is more of a pop or it's not even essential. But just for some areas, especially splat, look cool with a bit of pop. So you could just pop in a bit of texture and pop in a bit of a splat wash See, it's going to bring some magic colors out the eyes. It's going to bring them out. And of course, we haven't got to use all the full force. We could go back a touch. Then right at the top of everything, I like to go to White. Get my hopes. His scribbles, pencil. I like to. You mean you got to have a white highlights. You've got to separate the men from the boys. Little bit of a maybe that's a bit wild. They'll get you there. If course, if you add a bit of with Scratch going on, which I don't really think Boyer's here, Azi. Yes, actually, I will go look at them. Go a bit lower. We'd probably not going to see them but but they, they they, they in spirits. We go See that. So you start from the bottom, know, when you start with a value. And then we got some random splits, got our scribble line work. And I said withdraw it. Quick and easy was that you can see we got a lot of green coming in here because of the green on the photograph. You have to have it. Now. If you delete it, it's going to go back gray because that's the colour of the pencil. This is gonna come down to you. It's gonna come down to you what you wanna do. You can delete it with an eraser like so. But like I just said, what a resume or using their like I said, it will go green gray. So just bear that in mind. It doesn't look too bad gray. It's not really causing much harm in this case because the green just kinda sits nice with the red, the orange skin tone. So that's what I'll do. And then just right at the end, I like to go back to black and go my scribble layer. Just like to just put the guy's name, which I know it's chandler. So scribble out in as well. Just be done with it. Hi guys. So I hope you've enjoyed it. Hope you're excited by it. And if you've got any questions while you know what I am just in the group. Fire away. Fire away. Ask any questions you want on there. And I'm just bored waiting on the board, but they're ready to answer. I can't always be on my on my Facebook phone, but, you know, trauma best. I'm trying to still learn myself. You see, so It's all part of a big journey that I'm on. I want to get to where I want to get to character is where I see myself. I tell you what the way I've actually considered, think, I've thought, Could you do these life? Could you do these in five-minutes? And as I'm on that I'm on the case because you haven't got to go into that much detail. See you once you've done the eyes and the nose, the rest could just be could you do a face quick enough to erase all? Like I said, it's an umbrella and it creates a lot of different things. So this, if we zoom in, you can see it's everything I just showed you. One as a person, not a pet. It's everything I just showed you. It's exactly the same. I've tried to follow the planes. I mean, you haven't got to get the right plane. You haven't got to go with the right way. He just go a different way to the next plane to signify that it is a new plane or a plane change? Okc. Yeah. Under the skin, under the neck. Got this horizontal line. And for that bit, I'm going to go more vertical just to let you know that it's a plane change. You know, that there's difference in value, difference in form. Again, with the clothing I got, I've gotten really vertical with the clove in and horizontal with the skin just to let you know that there are different. Because if we want the colors off, I know what the colors tell us a lot. Don't know. If we want the colors off. And we worked the tones off. You still get an idea of form because of these scribbles, even without the washes. That's just with a few scribbles. So yeah. Let me Guys thanks. I hope you enjoyed that Tutorial. Sue Sue 7. Updated method alt part 1: Hey guys. Just wanted to do a quickie, quick video. Just showing you some little tweaks that I've made some changes. So I don't really use the color, the color blend layer anymore. It's a bit, I mean, it's great. It adds a lot of vibrancy and I still actually do use it, but not how I did. So I'm going to show you, I'm not going to do a big full-on portrait like I did for the full tutorial. I'm just going to show you the changes. And one of the biggies is yeah, I use different blend modes and I use a few more clipping masks. I'm just going to explain it because it'll, it's not complicated. It might sound it first off. But when you see it in action, it's not that bad. So let me start from scratch, me get rid of all this. So that'd be a good idea. So a lot of people have been struggling with. When you got a photograph and you start scribbling and you see the pixels and the blurring of the photograph depending on the quality of it. Especially when the edges where you've got the sky color coming through and things like that. So that's an easy fix, that's no problem at all. I'm gonna show you this is also the method of how I do like the colored pencil way, which is pretty much the same. Just using different strokes, really been a bit more careful and using more hatching rather than the scribbles. But it's using this exact same way. So let me show you. Let's get to photograph. This girl's name. Was this girl's name? I can't remember a name. I'm so crap. We're names. Excuse the language. Wasn't name. Give me one. Mba was the last one I've done. I don't know, but I am going to find out that name field because it's doing my head now. So she'll get the name. Composition. As you remember, I'm just going to quickly show you rule of thirds. We go. Last not the best colour the shoes as a to be fair. Rule of thirds our pages divided into threes. One, so roughly one to roughly, we want the focal point to be on any of these thirds really. Unless you've got something really dead center. But this is kind of the way that you draw people in. The luck to flatten symmetrical and perfect. You want to give something interesting about it. So, yeah, so as you imagine, focal point is on his nose and then it spirals out. You can spiral out. Anyway you want I'm sort of coming year so you get attention drawn that way. That's different layouts as well. I just use this when in general, nearly all the time. So that's the one I'm showing. So we've added our photo. Let me get rid of that. And that's the only layer we got there. Now at the moment, we're gonna do is before I used to duplicate that, and I would set that to Luminosity and we'd sort of crack on that way. But this time we're going to leave it at normal. We're going to drop the saturation off. Okay, so we still got our original photograph at the bottom. We've got duplicated version above it, normal, but it's desaturated and we're going to duplicate that and set it to hard light. And this is going to make, it's gonna make tracing things a lot nicer for any style. For everything. It's gonna make you see shadows and see the values a lot clearer. So we're just going to drop the layer down a touch to about there. Not that off will drop this down a bit so we can see where we're drawing. And you can see we've got we can clearly see how it dark areas. If you have a little squint, you can see them even clearer. So we're gonna be working on the layer above. And I'm not going to draw this whole thing that's not doing that I'm just doing just going to show you apart. So I'd probably do his nose in his eyes and our few squiggles. Just to show you the new Way that I do the coloring method. So just a quickie, I have actually got my streamline set. This at the moment. This is personal preference. You can have it however you want. If you need a bit of support. Then yeah, put the streamline up a touch and the stability up a touch. I'm just enjoying the crazy look at the moment and going through my crazy stage. So I've got pressure at which stops it from going too big and too small to quick. That's all that really does sound. Yeah. I'm starting to hold my pencil as well. Because I was found always get into neat and too precious with everything holding it down like this. So now I'm kind of pretty much the whole thing. I'm just free myself up a bit. So let's get going. Just going to scribble in scribble in a few details. I'd like to is tighter strokes on the not so much the darker areas, but certainly, definitely the, the more interesting areas and the bits you want people to focus on. Because obviously that's where you're gonna be bringing more photo through as well. So as this will be our focal points, straight, straight at the nose and the eyes. These are the bits I'd be sort of hatching a little bit tighter, if you will. Whereas on the body I'd be kind of whatever. That's why I don't mind this photograph is used a portrait filter thing which is blurred the body of I don't really matter because that's fine. I will focus point is, is the face anyway. This, I'm doing the scribble method because that's kinda the vibrator on colored pencil method. We'd be just sort of going like that instead, you know, hatching different planes in different places like that. But it's all along the same lines. Really. Just using the color black. Good, old fashioned, straight down to the bottom, black, digital black, they call it and you're not never, ever supposed to use digital clock. But obviously we're going to be Blend Mode and above it. So we're not actually using Blackberry. This helps us see wherever go in. Yeah, squiggly, squiggly. Quickly do this nose and then I'm just going to show you some nice tight ringlets like this. So I think just yeah. There's not really that is a method to it because I'm not going need an in it. I'm trying to draw a little number eats and little circles. And then I'll make to a few squiggles. That is a scumbling is why they call it. It looks crazy, but there's a method to the madness buildup. They're staying quite tight because a value and inside they're just going to go a bit bigger. The top. See, I'm holding the pen now it's giving me more freedom. One thing I should point out is I've actually taken my paper like off for this, for this little mini video because I feel like it affects the visibility and more you can see quite badly. So just took it off. It's not really making much difference to be honest. Tightening up as we get to the darker parts and then really tightened, pressing firmer on the darkest parts. So that's where our focus is gonna be. So this is gonna be the most time-consuming part. If the whole drawing, and that's why I like to start there and crack on, get it out the way. And then it's downhill from there. How I like to work. Finish this off a bit of camera. Obviously, you got it looks dark but anatomy. So we'd be sort of I mean, I'd be helping myself afterwards with going back in without getting wash To solve that. But obviously the fault was going to help us a lot because the values are already there in the fall. This is purely for effect. You see we get an lighter, so squiggles looser. Probably going to leave it there for now. I think. So. Apologies if you wanted to see me finish this. But it was only ever going to just pop on with tips. I'm going to do it quite regular. I'm going to pop on with updates and tips, anything, brushes. I come up with things like that just to keep things taken along rather than having the hassle of doing a full-on tutorial, which we call a plan and get right. We start to move out focus. I'm gonna do a better the outer bit actually. Especially I'll put the year because Andrew, Andrew Parks was having difficulty with that area saying becomes quite pixelated or there's a change of color because of the photo. So we're going to sort I don't know, elsewhere. I'll do a bit there just to address that. Let's leave that there. So Scribble is done. According to looks at that stage. What we're gonna do now is we're gonna go, we're going to go below the scribble and paint in a bit of depth. But before we do that, we're going to grab our original photograph, drag it to the top. We're going to duplicate another one. We're going to drag it underneath our line at the top one, It's gonna be set to clipping mask, which is going to know clip onto our and our logo. Now we just created this one is going to be turned on and set to clipping mask. And we're going to open up a layer underneath a hit home. Always do that is so annoying. So it looks like that. Yeah. You've got your photograph clipped to your line that we've got another photograph exactly the same. Clipped to a blank layer which we're going to use for wash. So if I was to go ahead and do this, it just brings the photograph rule. So it's no good. If I was to lower the opacity. Just bring some parts through. It gives a whole new, whole new thing. Whole new idea. I did that by the way, with my chest. The original clumpy for brush. Just check you got out and yeah, I think I think I put it in. Yeah, of course you have. Okay. So now we using the same clumpy for brush, I'm just going to smudgy smudge some of this out. So it's not true. It's on a dead harsh lines or anything like that. Just bleed it out of there. So it looks genuine. Like so and I'm going to bring somebody over there actually because I want to try and grab those colors Andrew was on about. It looks like it I haven't really haven't happened maybe as this method than the already sorted it. Possibly. Let me add a few more to try and trying to find the wait one there. No. Okay. Maybe this photo just hasn't got over there. Green over there. Okay. So I'm just gonna leave out I just to show you how I deal with it. So we got this far and we'd like, Oh, I don't know. Is it a bit falter? We look really closely. You can see bits of firm. This is where we use our technique from the pet portraits or false to pet portraits tutorial in the very beginning. Simple because all we actually need from these photographs is the colors in merge sort places. I said, we don't need to every detail. We're not just obviously it's going to look photograph. And when I look going for realism here, we're going for, for Art. So click on the one you just did your work where you're Washington a lot of the photograph. Blend the blend. And let's do what we used to do on pet STA, pet photos, a pet portraits forever, I called it in the end is a terrible name. And that's just blend out like this. That's eliminate any little fine details. All these little fine hairs. Eliminate them because we only want the color and other detail and keep our colors and values intact as well. Like so. Because these are the main 8. Alt method part 2: Blend the blend. And let's do what we used to do on pet stock photos, a pet portraits forever, I called it in the end is a terrible name. That's just blend out like this. And let's eliminate any little fine details. All these little fine hairs. Eliminate them because we only want the color and other detail and colors and values intact as well. Like so. Because these are the main focal points, the nose, the eyes. Let's take a bit more keen on them. Make sure that we're doing things right on brushes. I'm just making sure I'm keeping the colors in place. So I'm just trying to eliminate now for food detail and stuff still on that here. So corners, edges. You see me pull up a lot of green. I mean, watch. Why not? Okay. I'm stupid me basically. That's the scribble lines, isn't it? Yeah. So corners and edges just eliminate it. Just blend it with blend the photograph above your layer out. Put whatever color you on there. Easier than it seems. And also you're eliminating the pixellated photograph that could be there to left sunday, look, should I wash it away? Yeah. I think that's great. I mean, obviously now, once I get to this stage and it's a bit washed out and a bit near. It's neither here or there. This is really start really backing in. Let me just delete the arcs one. So I did that for I only did that for just to show you how to pull the color out to cover it. If you've got a really bad photograph. Another thing you can do is when you get your original photo, just gaussian blur it two or three per cent. And that's another way to eliminate that pixelated thing that I know exactly what you're on about. That allele, eliminate that. So you can build this up now, you're going to what you want. You can put more scribbles in, in certain parts, washing in certain parts. This is where I like to. I mean, I would probably go back in with different brushes, like see the splatter ones I like. Quite like this one at the moment, splatter wash, go back in. Splatter in some textures. I knew it. I knew I was on the wrong layer. I'm so rubbish at this. And I but a stressful morning, I've been in the kid's school to have Fruit Ninja club, whatever that is. Just done it and I don't still don't know. That's what I wanted to do. This is a good brushes when this is the splat wash, it really adds texture. It's nice to break things up. It really makes it look genuineness nice, I like it. So now if you're a bit wishy-washy, after you still done it. This is where I will duplicate that layer there above my wash. And I'll set that to a hard light. And I all go. So I've put it where I want it to want to go too much. Maybe they're Gaussian blur that to about 44 or five. Okay, then I will duplicate this one again. Go above the heart, Hard Light. Notice though they're all still clipped. A cup of the hard like cartel your wow. Yeah. And I set that to overlay. And this will give us some pop. Like so see, I mean, we still got options. We can have it as vivid as we want really. We keep going Of it as vivid as we want to duplicate again, it'll just give you a little bit more pop. But that's how I build it now. It's a lot more accurate in my opinion than this. Then it just wiped them off. This is what I did show you on the original tutorial. We set that to color mode, didn't we? Just rested at the top, so it brought it in. The US clip masked. Yeah, that's what we was doing. There is fibrin down together, it is vibrant. There's still a place for this color mode. I'm just not sure of its place yet. So leave out me. It does make things vibrant, but a little too vibrant. If you're trying to get some, some sort of genuine stuff going on like this. So that's about it really. I think to be honest with elimination of color modes and this clipping method now, I think that's should eliminate a lot of the Pixelate and problems. Give you a new, a new boost. You could carry on adding more blend modes if you want it. You can even put a color mode you, I'm not sure how that are called doneness. Have a lot. Even darken it yes, washed away or you could put a multiply layer on there and you put a hard light layer back on because the hard light and vivid light is there, the color pops. If you really want to go crazy with the colors, you could just put a vivid at the top. I originally put a bit of Gaussian blur on this hard light layer to, it just gives a little dreamy wash. The effect is we still got our accuracy with every other layer is still still crisp. But that little Hayes, Hayes light is just going to add the dreamy look. So as that. And obviously same with your line app. I don't really mess with the colors too much on this one to be fair. Don't really see much point. You could maybe add an overlay. But here or there is zero there. If you add an overlay layer, it's going to meet your darks dog or your lights lighter whilst giving you some saturation tool. So if you find that alone now it's going a bit washed away in overpowered. Bring it back with an overlay above that. And of course, you have your splatter thing which you will go back to your wash layer. If you want to do some splatter and Crackle. The way splat. Want. Just remember that. When you splat, you're gonna be picking up all our photograph because we're this is literally the photograph burning through. I mean, just in case you didn't know. So you may after then you do this before you add all your duplicate layers in there for your vibrancy. Otherwise you'd have to duplicate them all again. But let's just wipe them off. Because we, again, we'd have to be blending colors back out if you're not going to want black layer, for instance, or different blending, blending the, pulling the color from, from the photograph and one a bit of pink on our pink up. Well, not to be liked. Also. Um, another thing is if you want to just pop a bit more, see the color. This is where you could, at the end, above everything, pop and overlay layer in and use this as I'm playing Black. Use this as your, your color Popper. If you're worried, it's going to make things pop whatever you're on. So the white, it's called the white. So black is going to give you real Pearson. Deep luck. We could see he's got greeny brown eyes, so I'd be inclined to go down that road. So this is just literally is a pauper It's one of the things when you sit back, anything? Yeah. Oh yeah. Let's do that. Just give it a little pop some. Sometimes this is what really sets it off. But I wanted to just thought I'd come on and showing them on your method is this is why I wanted this group. I can come on and show you new things multiple times a week and we can all progress together. There's the cup on this group. I'm not gonna be let in in hundreds of people. It'd be too hard to keep, hold off. I want to keep it. Kept plus I want to keep it. I don't want this method getting everywhere. It's going to saturate the market so much. You could sell these. I use this sort of thing for my, for my squirrel. I sell these as prints. I don't really want every secret I know going everywhere, but this is this first slot is for us guys. I'm happy to share it with us. Little few. And we're gonna be putting a cap on. I haven't decided the amount yet, but it's gotta be manageable and we want to keep it friendly and nice. Anyway, I'm robertson on low, so hope that's helped ramped. Let me just quickly show you sorry about this. Let me just quickly show you the coloring pencil thing. So if I go on here, finish them all together, hoping to find one. When I started the layers open like this. So this is kind of what you've just seen. Same thing as the only real differences is I used I used my pencil. So one of these, not sure which one. And I, instead of looking for the tight curls and the type twists, like so. Kinda just scribble that in for the bigger areas. You're gonna get a bigger stroke. Where there's a different plane. I just go in different direction is really not complicated. The photograph which burns through, is going to do all the work for you, is going to add your value and everything, your texture tone. See as well. I did. This is terrific. But I did it all that in mind. So yeah, different planes where you see the planes on the face change, then I would change angle. So if I were doing if I was doing it this way for by here picture, I wasn't doing it that way for by their just to insinuate different plane change. If I was doing up for the lips, be going a different way for by their, and so on and so on and so forth. That's the coloring pencil technique is just a different pencil. So let's have a look and see. It looks cool. And the best thing about this as you look eye-catching and good. But when you zoom in, if you've taken enough care, you are not going to know that it was photograph. Just trying to work out why those bits have gone really liked pink like that. Is the overlayer thing, isn't it? It's made the light really pop. I'm not sure if I like that. Maybe pop down a bit too much on the order line Art. I think I think I just leave it alone app bit as it is. As it is, right. Thanks for watching guys. Any questions. Or if you're proud of any attempts or you want some criticism, post your pictures in the group. And if you're feeling chuffed with something you've done, share it in the procreate learning share group for me. Give you the Shea. See you later guys.