Transcripts
1. Let’s Make Fauxsaics!: I'm Molly Suber Thorpe, a lettering artist and graphic designer. Today, I'm going to teach you how to make digital mosaics on the iPad Pro using Procreate. This is an incredibly fun illustration technique that has soared in popularity in recent years and there's good reason for that because not only is it really fun to make but the end product is extremely eye-catching and rewarding. You don't have to be a lettering artist to take this class but if you are, I think you're going to find that it's really fun to turn your hand letter design into mosaic art. If you're not a lettering artist, don't worry because I'm also going to show you how to incorporate digital fonts into your design so that you can have typography too. As a student in this class, you're going to get free access to a Procreate library of mosaic brushes that I've created just for you. Those include unique pattern brushes, textures, and shapes that I'll show you how to install and use in your own mosaic art. I'm also going to show you methods for creating designs that don't require any specialty brushes at all. The techniques I'm going to share with you start at the very beginning. We'll create a tight based design, whether it's hand lettering or type from a digital font. Then we will add a realistic looking [inaudible] background and turn the design into a tiled pattern. I'll show you how to cut these tiles by hand or use pattern brushes to create similar effects. Then I'll show you how to recolor the design for a more cohesive composition. Then we'll add texture and I'll show you ways to make the tiles look hand painted. We're also going to add dimension, shadows, and lighting so that the tiles themselves look 3D. I hope that you find this technique as meditative and fun as I do, and that you share your final product with me in the project section below or by tagging me on social media so that I can see your design when you share it with the world. Now, without further ado, let's get started.
2. Mosaic Brushes: A number of the methods that we're going to use today in class, will require you to download and install the mosaic brush set that I've given you for free along with this class. Let me show you how to download them, how to install them, and how to use them before we get started. First of all, you have to download them either with your desktop computer or your laptop or your iPad, navigate to the Skillshare page for this class. This is the page for my previous iPad class because obviously the class I'm recording right now doesn't have its own Skillshare listing yet. But under the projects and resources tab, you'll find a number of downloadable resources and one of them is going to be titled Molly's Mosaic Brushes. I want you to download that and put it into your cloud somehow. That can mean either e-mailing it to yourself or copying it over to your Google Drive, iCloud Drive, Dropbox, what have you. Then make sure that you have the appropriate app on your iPad to access the Cloud, whether that is from your e-mail, your Dropbox, your Google Drive, or your files app which accesses iCloud. I have mine in my iCloud. Now I'm going to swipe up from the bottom of my procreate screen and access whatever cloud app I've saved my file to. It's important that you put that app down here in this navigation bar so that you can click, drag that app to either the left or right side of your screen. You have now a split screen between procreate and your Cloud portal. I saved my file over in the brushes folder I have in my drive. All I have to do is open my brush folder, click and drag this file and drop it over here into the left side of the brush library. Now Molly's Mosaic Brushes is fully installed. Clicking and dragging this over to the right will close it. I've already created samples of the brushes that I've given you so that I can quickly show you what many of them look like. But first, quickly starting in this brush pallet, the first two brushes you have here are the tile cutting brushes. We're going to get to that in a future video. Forget about them for now. This marker for detailed coloring is exactly what it sounds like and again, we will probably use that in a future video. Let me show you here what these tile brushes do. When I draw I'm creating little tiles and I can change the size of the tiles along with the brush. If I don't release my brush at the end of the row, then it will snap to a straight line and what that means is that I can compress or expand the row to customize the shape in between the tiles. Same thing if I make a curve, it will actually snap to the curve and let me do the same type of adjustment. One quick thing to note is that all of the mosaic brushes that I've given you represent a color, whichever color you choose, and negative space, completely transparent space in between them. These are red tiles that are drawing with white backgrounds. If I turn off this background color, you'll see that it's actually completely transparent in between the tiles. That's going to come really in handy when we draw our grout and then add a lot of the realistic texture. Those were distressed looking tiles, but have also given you really crisp looking ones. If you want more modern-looking set of tiles. Go through these on your own, there's a number of patterns from geometric, simple ones to more distress looking ones like this cobblestone one. There are some really fancy ones I've given you like this nice set of concentric circles that looks really old and distressed. Or the set of fan tiles. As I say, all of these change in scale when you change your brush. Then even fancier. Lastly, down here at the bottom, there are some more brushes that we're going to get to in our videos, which are a rough and a fine grout and four different types of textures that we're going to overlay, as well as for brushes just for your convenience to quickly create circles and squares because those are quite common shapes in [inaudible] and it's a lot easier to use a stamp brush for those than to try to draw them all by hand or import them or something like that. If at any point you really want to change up the scale of the pattern in a significant way that is not possible with the brush size, then that's actually very easy. I would make, if I were you, a copy of my brush first we duplicate it. This is the current size and this is the smallest size. Let's say for some reason you want to make them even smaller than this or even larger. You're going to click on the one that you just duplicated so that you aren't editing their original. Come over here to grain and just reduce that scale quite a bit. Now, you're very smallest tiles are going to be really small, and the big ones are going to be slightly smaller too, reduce the scale of everything. Now let's get started making our [inaudible].
3. File Setup: The very first method I'm going to teach you combines completely hand-drawn tiles with brushed tiles. Here's one example that I created that combines hand-drawn and brushed. Arguably, the brushed tiles are ones that I created by hand and just turned into patterns. So it's not like they're all perfectly geometric and aligned. There is a touch of hand-drawn element to them. So if I zoom in here, I just want to walk you through what I created so that you can have an understanding of where we're going with this. So this actually started out with me typing these words and the state in a font that I actually designed. It's a cursive font called cantaloupe, based on my hand lettered cursive. But you can use any font or hand lettered design. This is why I say you don't have to be a lettering artists at all to do this class. But you're going to create some lettering or design. Then we're going to come in and turn that design into tiles and create framed layers that go around it, hugging all of the curves and all of the shapes perfectly. Then we're going to fill in the rest with a pattern so that it looks just like the whole thing was custom inlaid exactly like this. With every tile cut to fit precisely. So now we're going come over here and create a new file. I think for the sake of today's class, I want to make a square mosaic. So I have a preset here of a six by six inch square at 600 DPI, which I think is a pretty nice size. You can create a custom size like that for yourself or use absolutely any size. Coming into the Layers palette. On this first blank layer, I'm taking a black color and I'm coming to my mosaic brushes. I'm going to select a grout. I have fine and rough grout. I want let's say modern design today. The rough grout that I created for you it's like a dirtier one and maybe we'll use it in one of the other methods we're doing. But I'm going to select the fine grout today. I'm going to fill in my entire art board with the black version of the fine grout. Making sure not to leave any white spaces, but still doing it quite quickly. Just really doesn't matter. It's going to be mostly covered up with tiles. The only bits of this crowd you're actually going to see is what shows between the tiles. Now, I'm a stickler for naming layers, so I'm calling this grout.
4. Adding Typography: Making a brand new layer. Now, this is where you can come in and add your design. It can be a hand letter design of font or technically it doesn't even have to be letters, it can be some simple illustration. If you do a hand letter design, you can import it from another procreate file or design it yourself here, but don't worry about making it look like a mosaic yet, just get a solid color design down, and we'll go from there. I'm going to show you now know how to do this with a font, because for many of you that's going to be fastest and easiest, and if you're not a lettering artist, it's probably the route you'll prefer. Coming up here to the gear icon, I'm selecting, "Add text". If you don't have that option in Procreate, you need to upgrade your Procreate to the most recent version. That's free through the app Store. If it says that you are on your most recent version and you still don't see that option, it probably means you need to update your iPad's operating system first, and then go into the App Store and check for that update. I can change the color of my text App here really quickly. Down here, very possibly, your keyboard will come up first, but you can toggle between keyboard and edit style, keyboard, edit style. I'm going to increase the size here so that it's much easier for you all to see. Now, I'm going to type something. I think I'm just going to do a single letter because that's going to be easiest and it's going to be the most demonstrable option. What about a capital A? Yeah, that's actually nice. Now, you can come into edit style, and you can select a font. A lot of fonts are pre-installed on the iPad and it makes it really easy and cool. But if you want to use any of your own fonts, all you have to do is save the font file into your cloud, then come over here to import font and then select it from the appropriate app. This font that I'm using here, cantaloupe is one that I designed. I think I mentioned that before and I've installed it on my iPad and because it is my own lettering, I think that's what I'm going to go with. I can see that this A, that's the icon of the layer, that shows me that this is still editable text. This is not an image, it's actually an editable layer. Nonetheless, I'm coming over here to my direct select tool, making sure magnetics is turned on so that when I scale this, it will scale evenly. I'm going to enlarge it quite a bit. Deselecting, zooming out, taking a closer look, making sure that it's the size that I want. Great. Good. If you want to edit your text at this point, all you have to do is tap your editable text layer and click "Edit text", and you're back here. If you want to rasterize your layer, which means turn it into a non editable layer that you can edit just like any painted layer, then you click "Rasterize".
5. Tile Cutting: Now we have to turn this layer into tiles. I don't personally like to erase layers. I really like to make sure that everything that I do is editable. What you should do is tap your layer and add a mask. All that this means is it's a way of hiding parts of the layer below it in a non-destructive way so that you can always get that layer back. Undo what you've done on an eraser layer, which is by definition a destructive layer. Layer masks can only be painted on in gray-scale. If you paint on a mask in white, you see that pull mask right now is white. That means that all of the layer beneath it is showing. Paint on a Layer Mask in solid black and you're covering up those bits of the layer below. Paint on any shade of gray in between white and black and you're hiding it with the level of opacity that, that gray is. I'm going to select solid black. I know that it will be solid if I come over here to value and I make sure all the values are turned down to zero. Now taking my paintbrush tool in my mosaic palette, I'm going to come over here to my tile cutter and sharp edges, and now making sure the Layer Mask is selected, I'm just going to zoom in. I'm going to make some cuts in this layer and then zoom out again to see the width of those cuts in comparison to the overall design. I'm looking for how much grout shows in between these tiles just so that I can see if it looks realistic, if it looks too much. I think that that's too much. I think that the tile cutter brush is too thick. I'll undo those, reduce the size. Still too thick, I think. The thicker the grout that shows, the more old-fashioned and distressed mosaic looks. When you look at those ancient Roman mosaics, for example, a lot of grout showed through but the more modern the mosaic especially if you're working with a grid of tiles like a tiled floor, the less grout usually shows. I think that's going to be about right. It might be a little bit thick still. Yeah, let's go with this size. Just so that you know, that's a 45 percent brush size. Now I'm just going to paint on my Layer Mask some tiles. Now, I want you to consider what a real mosaic tile normally is. It's normally a square. If I draw a tile right here like this, this is actually a polygon shape. It's not a square. Even though mosaic cutters can cut intricate shapes, I personally I'm going to want this to look a little more rustic and a little bit more realistic as a traditional mosaic with square tiles. I'm going to start cutting into my artwork. I want to make sure that everything I draw is either going to be a square or a triangle, a partial square. I'm going to skip over here to this side, knowing that I'm going to have to fill this space relatively evenly. I don't care that this is not a perfect line, that actually adds to the rustic look of it. Yeah, that looks pretty good. I'll just keep going here. Looking ahead, I see that I have a curved edge and I want everything to look pretty squared off, so I'm going to cover up or paint over that curved edge. Keep going around here. Now, when I get to edges like this, I usually block them off in some way. Then here again, I'm going to cut off that rounded edge so that it's straight. Then, I probably will turn. I'm going to try a couple of things and I'll probably end up undoing some of them. Now, here's a great example of why we should be using a mask instead of an eraser. Coming over here to the color palette, I'm going to switch my brush to solid white. I'm going to paint over these two lines because I didn't like the ratio. This square was much wider than that rectangle and the difference was just too much for me. With that painted over, you can see I have still done nothing to this A itself. I've only been changing up the mask. Now I'm coming back to black. I'm going to make the distribution of these lines a little bit more even.Yep, there we go. Now, here I'm going to keep going with relative squares. As you go around curves, you're going to see that it would be hard to keep a square shape so you get to make the decision of whether you want to have your tiles start to look more like polygons and look more like shapes like this, which is perfectly valid or, if you want to start combining little wedges of triangles in there to get you around the curve and keep as many square shapes as possible. It's not super important, but if the difference is really dramatic, it does stand out to the naked eye. Here I am at a corner. I think I'm going to make a number of triangles here, actually. First, I'm cutting the top slightly. I don't know how much I want to cut the top off, I need to play with this a little bit like that. I'm happy with this for now. If I turn on and off this Layer Mask, you'll see that the 'A' was not touched.
6. Second Row of Tiles: New layer, I'm going to choose a bright contrasting color of some kind. Let's do yellow. I've come over to ''Airbrushing'' and I've just selected this ''Hard Airbrush'' just because it's a monoline rounded brush. With my contrast and color selected, I'm going to adjust the brush until the width of it is roughly the width of the tiles I've just made. In fact, slightly more than the tiles I've just made, slightly wider that is. That actually works, maybe slightly more. For the record, I'm at 58 percent. Now, what I want to do on a new layer is draw around the A with this brush. What this is going to do is, create the second layer of tiles that go around the A. I can do this very rough. It genuinely doesn't matter how precise I am because tiles themselves are not super precise. We're going to be going in later as one of the last steps and adjusting the tiles very tediously. It doesn't matter if you overlap the tiles or not. What really matters is that you get a portion of brush drawn that steps away, one level, one brush width from the tiles that you just drew. It doesn't matter if you overlap like I did there with your first tile layer. Now I have this template layer created. I'm going to come over here and turn down the opacity somewhat. This new layer, which we will be able to recolor later, is going to form our secondary layer of tiles. Again, I'm going to add a layer of mask and I'm going to do what I did on the first one that I'm going to paint it, but I'm also going to paint the other edges, not just the in-between edges. Let me show you that after I named this layer. Because I am a stickler, just calling it secondly here. Coming all the way back to solid black and coming to my ''Tile Cutting Brush'', ''Sharp Edges, selecting the ''Layer Mask.'' I never changed the size of this, so I can stay. I want to come around this time covering in the layer mask all of these little overlapped bits, as well as stepping using the brush to paint one layer outside, that is in between the brush strokes we just made and the tiles we made in this step before that. Before I even cut the second layer of tiles, I want to make sure that I get them that crowd space in between the second layer and the first layer. It's okay if it's a little bit uneven and it's okay if there are sharp spots like that, we're going to fix all of that soon. Now, that I have that first outline done, I'm just going to increase the opacity like this, so that you can see that first outline done. Remaining here in the layer mask with my tile cutter brush and the black, I'm going to chop into this again, making squares as last time. I'm not carrying right now with outside layer because once the tiles are done, then we're going to go in and smooth out the edges like that. I guess you could do it as you go, but I like to do it in two different steps. Quickly. Let say suddenly you realize, ''Oh no I didn't color in this part with my overlapping brush whatever.'' It's not too late, all you would have to do is come over here to your second layer, if I can spell and turn up the opacity, hold here over the color selection tool and come back to whatever color you used. Then while on that layer, draw in wherever you forgot and read over here, some of the airbrushed opacity stuck there in that corner. I think I'll go over it there with that. Now notice you will not be able to draw over the areas. You can draw over any of the outside areas, but you can't draw over any of the areas that are masked out. It's important that you understand that the layer mask itself cuts through everything on that previous layer. If you ever feel like, ''Oh my gosh, my brush isn't working.'' Just check to make sure that you don't have a mask on over it, that's just hiding whatever it is that you're drawing. Come back to black. Honestly, when you click the ''Layer Mask'', you'll notice that it immediately goes to a greyscale color, usually either white or black. But sometimes you have to set it to be pure black or pure way. Let me just keep going here with these tiles. I like that. Notice how these two corners turned out differently. Again, I'm totally fine with that. Now, here, at the point of this A, I'm going to actually start from the top and work my way down. We want to make this little triangle at the top into its own tile. Now, because the space is pretty wide, I'm going to cut through it like this. Not straight up to the middle, I'm coming from the middle down here and curving over to the side. I'll show you why. Make this little triangle. Now, we get a space here that instead of coming to two tapered ends as it would have if we came up to the middle, one is a triangle, one is a rectangle. Now, our tile layer 2 is completely cut out. What I have to do now, is come in and trim the edges so that they are approximately the same height as the other layer of tiles. Remember when you get to triangles, don't curve around them like this, cut them off sharply. Now, when we get to the step for all these mosaics of adding realism, we're going to look at ways to actually reduce the sharpness of these. But for now, you can keep them sharp. Sometimes you should zoom out just to make sure that you're on the right track. You aren't getting too thin or too irregular like some portions of the designer really thick and then some gotten much thinner.
7. Background Tiles: Now, that I have the second layer here completely done, I want to make my background now just to see how it looks and see if "A" needs even more padding. Then we're also going to change up the colors so that we can mix everything up. Coming to my Grout layers, so that I'm coming behind the "A", I'm making a brand new layer where I'm going to draw with a brush some tiles. Let's see, I don't want yellow and I don't want something dark either. This color combination will be blinding probably, but the point is contrast and later we're going to fix up the colors. Let's do something more like this; I really want this to show up well on camera. So I'm going to play around with some options. There's no way for me to know for sure what I'm going to like best. I'm just coming to a number of brushes, I'm going to brush them around, see if I think that they work, if I think the shape does work, then I'm going to try to resize the brush, so that the tiles match the width or size of the tiles that I have already drawn. Okay, that's actually cute. Like I said, the colors clash so much that it's blinding, and there's overlap here between the tiles so you can't see so well, but I think that this is actually going to be a cool brush for the background. I'm going to first color an entire layer with that brush. We can re-color it later, we can do all sorts of things, but I'm going to keep my contrasting color and go even a slightly darker pink. I'm just coloring across, not lifting my pen and making sure that I fill in every single space because it's hard to come back with a pattern brush and fill in any empty spaces because it starts the pattern all over again. Now, I immediately want to knock out, or cut out, mask out, from this background, all the work that I've done so far, so there is no overlap. Looks like we were pretty intelligent, because if you delete these two layer masks, you'll see that we essentially, I want to zoom in here. With the exception of these small little empty areas where our airbrush did not fully overlap our "A", for the most part, we have a pretty good, solid shape here for the "A". By that I mean we aren't going to have to go in and draw between all the cut-out tiles to mask out the background. So what are we going to do? We're going to knock out each one, one by one. I want to click the "A" layer, not the mask but the "A" itself, and I want to say "Select", and now, I have selected not the tiled version of the "A", but the solid version of the "A". Coming back down here to my pattern layer, tapping once and clicking "Mask". What this just did is it created a mask in the exact shape of my selection. But now, the pattern itself is the shape of the "A" and I want the opposite. All I do is click the mask and hit "Invert", and now, if I click, I'm going to hit the "Select" tool to deselect everything. If I click and hold this pattern layer that reveals only that layer at a time, you'll see that I've knocked out the background, and if I push and hold again, my other layers pop up. We're going to do the same thing with layer Number 2, tapping on the layer itself, not the mask, selecting, coming to this mask, and now, because we already have the mask, we can't create a new mask from this selection. We want to fill in the selected area with black. Well, we're already on black here, all I have to use tap and click "Fill Layer". It's a bit of a stupid way of putting it because you aren't filling the whole layer, I think you should just say "Fill", but, hey, procreate if you're listening to me, that's my opinion. Now, for the camera, let me zoom in and pan around. I'm getting a pretty good sense of how this is going to look when there's a busy tiled background and an inner carved-out letter, and I'm liking it and I think with the addition of colors and textures and all of that, this is going to look awesome. Now, let's clean this up a little bit, let's clean up these areas that, like I said, were left blank by us, with a brush. I don't want to be painting or masking with my pattern brush, so I'll probably come over, I guess, to my Tile Cutter. I could use any of these top three brushes so long as the size is set correctly, and because I can brush right here, let me show you closer, I can brush right here in the bits that I see, but I want to be much more precise than that and make sure that I get all of it. So I'm just going to turn off the "A" completely, and now, I know that all the pattern bits that I see in here can be deleted. I'm going to go for a slightly bigger brush, that marker gets bigger than the Tile Cutter does. Next, this is a bit annoying and it's quite redundant, but there aren't many convenient ways around it. We're going to have to come in here and fix up the edge of the pattern where it meets with my letter. Actually, don't waste time doing that until you're sure that you don't want to add a third tile layer around the "A". I don't think I do, I think I can leave it like this and it's going to look really cool. Let's come over here to the layer mask of the pattern. Now, you see that white is the color of the background and I want to increase the background and most of these places, so I want to keep the white there, and I'm going to come to the Tile Cutter. Oops. I enlarged that quite a bit, didn't I? Now, I'm just going to come around and do this. In areas like this that overlap, I need to switch to a black brush, and, as I go, I'm going to save myself a little bit of time as I go, see the little areas like this, which are bits of the pattern that have been chopped off. Some points that they're just tiny, tiny slivers, get rid of those also as you go, and look, we have a tiny sliver of the yellow here, and because it's a contrasting color, it really pops out, so if I we come over to the yellow mask, keep it on black, I can just get rid of that on that mask. Back to the pattern mask, hoover on white. Don't worry, we're also going to come back and deal with this. We're going to deal with reshaping, or adjusting, to be more realistic, all our tiles shortly. Zooming out, this is looking quite good.
8. Tile Shaping: Now the next step we're going to do is optional because it's extremely tedious. If you just want to skip ahead and get going with completing the mosaic, you can skip this for now. You can do it next time. But I usually squeeze this step in right now. It just makes your mosaic look a lot more realistic. What I'm going to do is go through my entire design and I'm going to adjust the edges, the corners. I'm going to add tiny little cracks and chipped off corners. I'm going to come into the background layer to spots that look like this, this is not any sort of realistic shape of any tile, so I'm going to have to come into curved and weird shaped background tiles and divide them up through the mask into squares and triangles. I'm going to go through that right now, and like I said, you can leave this off till your next mosaic or you can join me in this extremely tedious but meditative task. I'm going to start with the background. I'm starting with the background because since this is a pattern that I drew by hand, I already drew into the pattern these chips and edges, so I do not have to go through every tile here in the background. The efforts I'm doing on the background, I'm just coming in and adjusting these weird shapes and making them look more realistic. For example, I can turn this into a triangle; and don't worry if some parts are a bit fuzzier than other parts, we're going to fix this in a future step. It is okay to have some tiny slivers, that is realistic in mosaics. Now that we're done with the outside, it's time to tackle the inside. But first, I'm getting a double espresso.
9. Recoloring Whole Layers: Now, we have to think about color. As I told you before, I really like all of my artwork, whether it's in the iPad or in Photoshop, to be non-destructive, to be changeable. We're going to recolor this today in a way that you'll always be able to go back and change quite easily with layers that you can turn on and off. To me that just makes the most sense. What's my first general idea here? Well, I want to do something really fun with the background. I want to actually make it multi-colored, but for someone and just add basic colors. I'm thinking maybe shades of blue would be fun for this. I'm coming into my layers palette and we're going to start with just the background. If I click Background pattern once and I go to Alpha Lock, that makes sure that no editing can be done on this layer outside of the existing content of the layer. I wouldn't be able to draw in any of the spaces that are currently negative space or empty space. But I would, for example, be able to draw in the spaces that already have content. Now, Alpha Lock is great then for recoloring. It's one method for recoloring because I can Alpha Lock a layer and then choose any other color, tap it, fill layer. Now, that's arguably destructive because I got rid of my original peachy color forever unless I undo it right away. But also because it's Alpha Locked, I can keep going like this forever, so it's only semi destructive in my opinion. Now, if you want to have it truly nondestructive, all you have to do is create a new layer above your background or above the layer you want to recolor, tap it once and go to clipping mask. That essentially serve as the purpose of an external Alpha Lock, in the sense that now everything inside of this layer is only going to be applied to the content of the layer that is clipped into. Now, if I fill this layer with any color, let's do hot pink, tap and fill. It has the exact same impact as coloring the background itself. Let's use this method for now. I'm renaming this as, let's say base color. Now, I have some palettes that I've created. I highly recommend this to people by the way, side note. Every time I make an image that has a palette that I really like or I see a palette that inspires me, I create a custom palette in my palate list for it. That helps me just have a quick and easy way to get inspired for new palettes, and I just keep adding and adding and adding as I go. Let's scroll through here. Yeah, I mean, let's just stick with some blues for now and see where we see where that gets us. Let's color it something pretty light, coloring it a very light gray blue. Honestly, this mustard yellow that I have now doesn't even look so bad. For the sake of file size and layer size, I think I'm on the rest of these layers going to use the Alpha Lock method. Because like I say, ultimately, it doesn't matter to too much. I'm going to go with another blue here. Probably something more dramatic. No, let's do something complementary. An orange. I don't mind that. Now, for the A, which is currently bright white, I think I want to keep it white, but I'm Alpha Locking in here. I think that it's much more realistic when tiles are a bit of an off-white, you basically never have just this blinding bright. I'm coming into the yellow region and I'm just slightly pulling into the yellow gray and now I'm going to fill this Alpha Locked layer.
10. Coloring Individual Tiles: I want to now start adding some of the cool colors to my background. So how do we do this? This is the fun part. Coming to my background pattern on alpha locket just because we changed that method. So I'm going to come up to my select tool, and down here, I have the options automatic freehand rectangle ellipse. Freehand is what is most commonly used, where you can make a selection by drawing it on the screen. But automatic allows you to just click something. It's like the magic one tool in Photoshop if you're familiar. So what this means is that, if I'm on the background pattern layer, and I come up to the selection automatic tool and I tap on any of those tiles in the background. I select just the tile and that's incredibly cool. Now I'm going to zoom in first, because before we get started recoloring tiles the swipe, it's important that we select them properly. You see how when I tap this tile, either it's a very jagged edge. So I wanted you to things to fix that. If I tap down on the screen, and hold and drag my cursor to the right or left. You'll see at the top, it increases selection threshold, and this basically means the sensitivity to the pixels and the surrounding pixels that gets selectively, how precisely you want to be in the selection of this color and we don't want to be super precise. But if we're not precise at all, we can end up filling basically the whole screen, we don't want that. So I like to make the selection threshold come all the way to the edge to the point that you start to get some little blue. Can you see them? Some little blue dots around, which means that it started to select a couple of pixels right outside of the tile itself. To me, that's the ideal, that means that it's going to fill up the tile completely. Now, I had already selected other tiles, so I want to start over. You want to hit select. Now, all of them are set to that selection setting and I don't have to reset it every time I click a tile. But there's more. I don't even want. Now that I've selected the edges better, I still don't want this jagged line. So I'm going to come down here to feather, I'm going to move this amount slider. This can be done at the very end. This doesn't have to be done like the selection tolerance, this can be done once you've selected everything if you forget to do it first. Now moving this slider, let's meet. So here's without any feathering and move it out quite a bit. You see that it feathered quite far around. I don't want it to go this far because now it's butting up against the other tiles, and I want somewhere in-between. I want an amount that cuts into the ground without cutting too far. Let me make sure you can see this really well. So now, I'm going to do my selection again. I do have to reset the feathering every single time. I just wanted to show you that, those two edge qualities are really important. So setting the selection tolerance and the feathering will be important. So I'm going to start by examining this pattern of a fan and noting that the outer rim of all of these fans, would be cool to have as their own color. So if you thought that the tediousness of this project, was behind us, you are sorely mistaken. We are now at the fun part, which by the way, if you like coloring and coloring books like I do, or just tedious little task. You'll actually love this. This is one of my favorite parts, but it is tedious. There is no shortcut here. So here's what I did just then. I accidentally clicked in the grout in between, but no worries. I don't have to deselect on waste my work. I just undo with my double-tap of my fingers and I keep going. Now you don't have going forever and ever because the more you go, the more you risk may be losing your selection. But you can still pan or on the screen, by pinching with your fingers, while you go. I'm just going to do a few more here, before coloring them. Look, I have a region that wasn't painted in the pattern, will go fix that in a second. So now that I have these selected, let's just add this for the sake of symmetry. These are selected, they're black just because they're being selected. Now when I come click on the layers palette, I forgot to feather them. Let me show you how to fix that mistake in a second. When you come to the layers palette, the selection will change from black to clear on the areas that selected and moving lines on the area that's not selected. All I'm going to do now is make a new layer automatically. It's clipped in right now because that base color was already clipped in. I'm going to select any other color, doesn't matter something contrasting and click fill. Remember how I prefer it to say fill, instead of fill layer. So nothing happened, and that's because this clipping mask layer is now underneath my base color layer, and the base color layer is overriding everything below it. So all I have to do, is click and drag this above all of the tiles I selected are now colored the color that I wanted. If I want to now feather them, I'll now click it and hit ''Select''. Now I'm just back here, to my same selection and I can do the feathering here, and then just click fill layer again, and it fills it. The difference is very subtle, but essentially, it just ever so slightly blurs the edges, but they're not jagged. I'm going to keep going. You'll notice this mistake happens a lot. But if you stay on this layer and you go back to your selection tool and you keep trying to select, it's going to select the whole screen, is going to keep wondering why. Well, the reason is because you're on the wrong layer. You need to be on the layer that has the content that you're trying to select. Before we move on, I want to fix this little error here. So I'm going to turn off the base, going to select this color. I'm just going to paint into this layer and believe that, when I drew the pattern before, I must have just messed this tiny little slice. Problem-solve. Turning back on the color and the color of the outer rim of the fan. Here we go. I'm going to color these in, and then go keep selecting the rest just so that, I don't the selection by some chance. Now, I want to quickly show you when I selected some of these tiles, it looks like the selection is overlapping my design. Now the only reason for that is because procreate knows or thinks that this background pattern is fully intact, it covers the entire background. The only reason we don't see those portions is because of our mask. So you may end up selecting things that you thought were invisible and in reality they're just masked. That's fine because once you recolor them, they will remain masked and it's fine. So coming back up to this same layer, I need to select the color and I can do that even while it selected. I'm careful and then tap ''Fill Layer'' and it just fills it with what was selected. I immediately see that, I shouldn't have colored in that tile. So all I do is come over to the colored layer with my eraser and I will just erase that tile. I'll keep going. So now all of the top rims are turquoise. Again, I'll be able to easily change the color of these two operands. But first, I just want to get them all selected. So go ahead and do that without any commentary and you can just watch. Now with background pattern fully filled in, I want to focus a little bit more on the colors because right now we have a really ridiculous hodgepodge here. I think I want to go with one queue and different shades intense with a pop of color and I'm liking that pink is a pop, but I'm not sure. Let's try a couple of things. So to make things easy, I'm going to Alpha lock these layers. I am going to delete this base color we created, because now that we've filled in all the rows, the base color is meaningless. I'm going to just start filling these in a little bit. Now the colors will appear much darker and brighter right now. Once we put in the texture and everything, they will darken. So don't get too absorbed on that right now. Still, I'm going to come back in here and make a couple more edits. I don't like how these are. Actually, I like this where I made the last and the first row the same color then shades of blue and the pink. That's what will keep for now at least. Let's change the outside of this a to a different mustard. Again it still as Alpha locked. So you just have to tap it and fill, and I think that's nice for the moment. But again, we can change it.
11. Adding Dimension: Let's start with a base texture, just that we can get rid of all of this flat looking color here, and our eyes are going to start to adjust to a more realistic look, so I'm making a new layer at the very top, I'm choosing a black or dark gray, it doesn't exactly matter. Going to my brushes scrolling down to these textures that I gave you, I think I'm going to choose this one Clay. Let's give that a try. It's very subtle, let me see if I can zoom in. I am going to cover the entire page with it. It's a semitransparent brush so, if I lift and then put it down again, it creates darker and lighter patches. If I zoom in here to the lightest tiles you're going to see. I'm going to turn it on and off, off, on. I can set this to a number of settings like multiply so that it really absorbs into all of the colors, and I can adjust the Opacity, I don't want it too dark. I'm going to call this Texture-Clay so that I remember exactly what it was. Now I'm going to add dimension to the tiles. Right now in our layers palette, we have three separate layers of tiles, and to make things really easy for the sake of creating dimension, it's much easier if we can put these all onto one layer so that we're only working with effects relating to one layer instead of three. But I still want to be non-destructive, so what I'm going to do is copy these three layers, all we need are the shapes, we don't care about the colors right now. I'm going to copy the three and merge them into one single layer. When I copy this yellow layer, it copies with the mask, so the very first thing I'm going to do is click the Layer and say, "Merge Mask" now I'm going to do the same over here to the A, duplicate it, tap it, Merge Mask. I'm going to drag it up here underneath my other layer there, and same down here, background pattern, duplicate. I don't want to merge this one because this is the original that has all the items clipped into it, so I'm going to merge this lower one. Now coming up here, let's just tap the top one, Merge Down, click and drag it over here above the other merged one and Merge Down. Now, if I look at only this layer, I see that I have a layer of just all our shapes together. I want to just get this into one color so that I'm not dealing with multiple colors, so I'm going to Alpha Lock it. I'm currently on black, so we'll just fill it with black. This is going to be my Shadow recreating the dimension here. I'm going to copy it again, I'm going to duplicate it, and come up here I'm going to choose an off-white. If you go into the classic view, it's easier to select off whites. The reason I want a beigy off white is because this next layer that I'm going to fill here, tap and fill because it's Alpha Locked that will work, I'm going to rename it White Edges. When you look at a tile that's been colored, you're looking at it from above, you can see the edges of the tile that are uncolored clay. Well, that's the color I'm trying to emulate, and that color isn't pure white, it's usually a grayish color, light gray, so I've filled one layer with off white, gray white, and another with black for the shadow. With these two layers done, I'm just going to turn back on the visibility of the others. I have all the other layers turned on and below them all I have my white edges and my Shadow layer. Right now they're mostly invisible, because if I turn them on and off, you can't see the shadow and you can only see the white edges because they're ever so slightly peeking out through the slight blurred edges of the tiles. Starting with white edges, I want you to consider that light is shining in from the upper left side, that would shine light on the top and left sides of our tiles, and cast shadow on the right and bottom sides of the tiles, so that means we have to add white to the top and left and add darkness to the bottom and right. With my White Edges layer selected, I'm taking the Direct Select tool which selects the entire layer. Now, if I move it, you can see that I'm moving that white layer, and I just want to move it up into the left slightly. Watch one of the darker tiles if you're having trouble seeing it. There we go. Now I'm tapping the Direct Select tool again to turn that off. Now, I'll select my Shadow layer, and zoom in to the lower right. I want you to keep your eye on one of the lighter tiles this time, I'm selecting the whole layer and I want to move it down to the right. This one is more subtle than the other, so I'm going to turn it off and on, off and on. If I zoom out now and I did nothing more, already these two layers increase the realism dramatically but they do add sharpness, that white layer specifically, I'm coming into this area. This is a great illustration of the problem. Here, let me turn off the white layer for a second. This white tile suddenly gets this sharp edge and new sharp corner, and all of them get these sharp black areas. If I turn off the grout you can see even better. We don't want that, so number one thing to do is blur these. Again, this is non-destructive in the sense that even though blurring can't be undone, you can always easily recreate the white and the shadow layers just by, again, merging the other layers that you have, so there is the possibility to go back if you were to mess this up somehow. In order to blur these layers, I need to turn off the Alpha Locks. This is the number one mistake that I always make. I always try to blur Alpha Lock layers, nothing happens, I wonder why, and then I remember, oh, I have to turn off Alpha Lock. With the Shadow Alpha Lock turned off and that layer selected, I'm actually going to turn off grout here to maximize the visibility for the camera. Coming to adjustments, Gaussian blur, you'll see a little note up here that says, "Slide to adjust" which means you tap the screen and keeping the pencil down, you move to the right and watch the blur increase. Now, we do not want this super dramatic, but we do want the edges completely soft, so I think right here might be good. Now, looking at it this way, I'm feeling that this Shadow layer is a bit too distanced from the tiles, so I'm going to select it again. Yes, and put it in a more precise location down and slightly to the left. Perfect. Now, let's turn on grout so that the white stands out even more, I have Alpha Lock off, Gaussian Blur, great, very soft edges. Again on this one I'm going to select it, and I'm just going to make an even more precise edge. Now, this white is far too dramatic, so we have to reduce the Opacity, that's none. Let me zoom in here. This is at none, this is at maximum, there's really no magic number for what this opacity should be because it's going to depend a lot on the shade of your grout, if you use really dark or light grout and the overall colors of your tiles, like if they're mostly light-colored or really really dark. When they're really dark, I reduce the opacity a lot on the white.
12. Even More Dimension: The next step to make them look more realistic is that we want to make the edges feel like they're curving down. You know that if you look at a real tile, it's very rarely completely flat on the top. We want to make it look like they're curving down and darkening around the edges. I'm going to come and copy the background pattern, duplicate it, and then tap the lower one like we did before and merge the mask. Then I'm taking the pattern above it, the original, and I'm setting it to darken. Again, depending on your tile color, you may want to play around just a little bit with some of these adjustment layers. In this case, I think that the darkened layer is going to work well. Let me zoom into the area we're actually working with. When this was set to normal, this is how the color looked, but as soon as I set it to darken, you can see that the edges softened quite a lot, so did the color. The color actually became, in my opinion, more realistic for a tile. Certainly, some tiles are extremely vibrant, but usually mosaic tiles, unless they're actually glittery, have a more muted color. That's why I like darken, but if you chose, for example, darker color, you could get a slightly different look. I'm setting that to darken and here on that copy that I made, I'm turning it off for a second, and I want you to see what we see down here. What I'm viewing right now is the background tile layer that is set to darken over just the white edges and the shadow. The reason that there is color is because these clipping masks are still turned on. What you're viewing right now is a darkened layer over the white edges and the shadow, and if I turn on the duplicate layer that we made, that's where you get this harsh tile. I want something in between these two. If I take this duplicated layer and I reduce the opacity all the way to zero and then start coming back up again, I can see immediately that the edges of the tiles are getting much softer and rounder looking. Yes, the color is decreasing but again, I could adjust my colors or I could adjust from darkened into linear burn. Now, if you want the color vibrance to increase again, instead of setting this duplicated layer to normal, you could set this to something like overlay or vivid Light, that's a nice one here. Normal vivid Light like that. If I zoom out just to check the progress, I'm already seeing it's just looks so much more realistic. If I toggle on and off this texture that I made, remember that I had darkened it ever so slightly. Sometimes you may have added a texture that darkened too much and you need to remember that, and toggle it on and off. Let's quickly do that same thing up here to the A. This is an example of one thing that I do prefer to do to each individual tile layer. I'm duplicating this. Tap it, "Merge Mask. " set the one above to darken, set the lower ones opacity down. I'm going to zoom in so you can just see the remarkable effect of this. You see how it looks like immediately grips the edges of the curve? That's what we wanted. I'm going to do it again here to the A, "Merge Mask, " set the above one to darken, set the lower to reduce the opacity. Now, this white can tend to look pretty sharp so I'm also, with Alpha Lock off, going to blur this layer. Yes, think of blur, and Alpha Lock off. That yellow layer also to get rid of some of this sharpness. Yes, this is pretty realistic now, and as I said, this is so completely nondestructive that if you want it at this point, you can still change any color that you want. I could still change this to red.
13. Create Irregular Tile Colors: The next textural change that we're going to make is a way of making the tiles look more irregular in color. Now, if you look at real mosaics, you'll see that quite often, maybe not on modern tiled floors, but in real mosaics different tiles discolor at different rates or the colors to begin with were different, especially if you're making a mosaic where the tiles need to look like pottery or see glass or something really organic. You don't want to have every blue tile look exactly the same shade as every other similar blue tile, so we're going to use that same picking method that we did before. I'm coming to the background pattern and the selection tool, and I'm just going to select various tiles and it doesn't have to be from certain rows. I'm just going to re-color and change the vibrance and all of that of various tiles. I'm picking these completely at random. Now that these are picked, I'm coming back to my palette, adding a new layer which automatically clips in. Let's select white for a second because that will make them pop off the screen. I'm going to fill that layer with white. Nothing shows up because this is underneath all the other colored layers. We're going to have to move this up to the top and be the top clipped item for this layer to override the other colors that are clipped in. Now you can see that these are all bright white. You have a number of things that you can do to adjust this. If you want, you can just reduce the opacity slightly. You'll see that if you take a look at this, for example, it just lightens that color. You can set them to other modes, like for example, set to soft light mode. I really like soft light because it keeps the vibrance quite nicely while making the tiles slightly lighter. Conversely, we can do the same with black. Let's try that. Let's go back to our background pattern and select even more tiles at random, avoiding the tiles that we previously picked. Again, coming to my layers palette, add a layer. Let's make this one pure black for the sake of it popping out also. Fill that layer. Again, it doesn't show because the other colors are overriding it. I'm dragging it up underneath our white layer. Now, I could just reduce the opacity if I want, that gives them all a grayish hue. I could come over to contrast. Set these to soft light or hard light. Again, soft light will keep the vibrancy quite nicely, but it might be too vibrant for you, so play around based on whatever colors you have in your palette. I think I was liking linear burn because without making them really gray, it does darken them. I'm going to rename this to darken and this to lighten. If I turn them both off, let's zoom into a portion here. If I turn them both off, and now on. I hope that you can see how that affects image. Now I'm going to quickly go in and do the same thing to the other two tile layers. If I go in here to my original, talking about the yellow, the original layer and I hit select, It's going to select the whole thing because remember, those tiles are only masked in, they're not actually leaded from the layer. The easiest, in my opinion, is to come over to this merged layer that we made. This layer has the tiles actually cut out from it so we can use it for selections. Select tool and grab some at random. Like before, I'm going to make a new layer and since I have black selected, I'll make this into my darken layer and I'll fill it. Now I want to drag this up above this outer row layer, and I want to clip it in. I want to rename this darken. Let me go down here and see what I did for these settings. I had it on linear burn at around seven percent. Let's see if that setting works well here. I think that to keep the contrast, it's going to need to be even higher than seven percent. I'm going to do the same for a lightened layer, and then the same down here for the inner A row. Due to this color yellow that I have, the lighter white, no matter what I put it on, it doesn't show up too much. It's pretty subtle. What I'm going to do is select the contents of that layer or actually just Alpha lock it and change it to a bright yellow that really contrasts the color of the layer. I'm going to fill it. Now if I set it to something like color burn or probably even overlay. Yeah, this is going to really stand out a lot better. Now I'm going to just quickly do the same here for this A and we'll be set. Remember it, move it up above that original masked layer, clip it in and then set it up how you'd like it. Because this layer is white in order to create a contrasting darker tiles, I barely have to increase the opacity. But for later tiles I may end up using pretty stark white. Inner layer filled with this white. In fact, the white barely shows up against the other white. I'm going to Alpha lock it. I think I'm going to change it maybe to a lightish blue. Something that's going to contrast. A darker blue to make sure that I could see it. I'm filling it again here with a gray.
14. Adding Light & Shadow: Now looking at this design and painting around it, I want to add some more lighting and shadow to make it look less flat on the screen. I'm coming up here to the top, right under the clay layer, I'm going to add a new layer. I'm going to my black swatch. Coming here to your airbrush library, not the mosaic library I gave you, but just the one that comes with Procreate, let's go for this big soft brush, boost up the size quite a bit, keep the opacity up as high as it'll go, that's too big. Now you remember how when we were doing the white edges and the shadow and we put the white toward the top and left, well, the shadow is in this corner, that's why we're painting this corner black. Now I'm going to paint the other corner with some white. I want to tap the top one and hit "Combine Down" because I want to group these into a layer that I'll call lighting. Now I'm just going to reduce the opacity on this white layer and fool around with the settings. Again, this is going to depend a lot on your colors, but normally, this setting of Add really has a great impact for the brightening layer, and then, setting my shadow to something like darken or multiply. This difference that I just created a subtle, on, off, on, off, I think it really makes things look more realistic.
15. Cropping: And now lastly, let's say that you want to crop this in some way. Like you realized that you maybe have a little bit too much border or you want to reshape it. This is something that can be destructive. If it's important to you not to destroy your art, you could come back into your gallery, left swipe, duplicate your art, open your duplicate and crop that. Coming to this gear menu under canvas, crop and resize. I think I want to adjust it only slightly so that the A feels like it takes up more. When I do that, then I'll come down here and make sure that I have a perfect square again. Then hit done. I think I might prefer this even a little bit more than the previous one.
16. Hand-Painted Effect: So I really love texture and I want to talk to you about it just a little bit more. This is a pattern that I created based on a grid but with each square cut into different modern shapes. I've already colored in, I've already added the dimension, and I added this clay texture to the top. Now it doesn't look bad but I really want this to be even more realistic looking. I feel that if it could look like the tiles were actually hand painted, it would have a much cooler, more unique effect. What I'm going to do is turn off the clay texture. In fact, delete it. We aren't going to need it. I'm going to select each of these colors, and paint them with a procreate paintbrush, instead of a solid fill color. Let's start with the dark blue. I'm going to select the dark blue. Because I like the colors that I chose, I just don't like how they're flattened and all I can do is add some textures overlaid onto them. I've selected that blue color and I've labeled everything over here. This is my navy layer. There are a couple of options here. I could select that layer, turn it off, make a new layer, select any paint brush I want. I have a lot of recommendations for paint brushes. You can use any of the existing paint brushes here that have some textures. You can play around with a lot of these water brush, dry brush, even some of the dryer inking brushes. But if you're interested in my absolute all-time favorite painting brushes, they are the paint box brushes and I've linked them also below. They are the most worthwhile brushes for your money I have ever spent, because I use them in my lettering, my illustration. They are so realistic. I really applaud the designer. So go check those out. Anyway, I'm going to select from my own copy, this bristly brush of his. It's going to work out amazingly well. You see already how these are looking, like really, genuinely hand painted. Loving this effect. Much nicer than solid color if you're going for a very handmade look, and if you have the time to fill in your layers like this. I think that that's it. I'm just going to repeat this for my other colors, starting with the most prominent, like this brown, and the green, and that blue. I might not even need to do it for some of the lighter colors because the effect might be so dramatic when the boldest colors are hand painted. Already, this just looks a million times cooler but I wish that the colors were even more vibrant, where the brushstrokes stood out even more. There's a very simple solution to that because I used a brush with a bit of opacity to it. So if I take one of the layers that I just colored in, and I duplicate it, and I click "Multiply", let's zoom and see, you can see that, before, after. There. You see that texture that appears? It's much nicer with the doubled effect. I'm going to keep that. I'm going to just merge down what I multiplied and I'm going to try that with each one to see if multiplying it makes it look even better. This one, I want to multiply it but reduce the opacity slightly before merging it down. On some of these, I'm choosing color burn instead of multiply just because I think it makes the color pop even better. There we have it. I think that that looks so much cooler than before. I can even go in and do that whole thing to the background too. I can take an off-whitish color being the yellow spectrum, and take my paint. I don't even need a selection here because I can just have a solid layer at the bottom clipped into the main tile layer. All of these colored layers will override the layer I'm about to draw. You're barely going to see this. Let me go with the brighter color first that you're going to see. I'm just tapping this brush all over. In fact, I'm going to do it at a slightly lower opacity, so that when I multiply it later, it's going to actually look cooler. That's done. I'm going to alpha lock it. I'm going to put it into something more like a little peach fill layer. I know that the camera isn't picking this up very well. So when I duplicate it and I hit "Multiply", now you can see the painted texture within these tiles. It's very unique looking. There's no repetition to it throughout the whole image. What might look subtle on the camera is very dramatic in real life, so I have to reduce this opacity slightly. But now the whole thing looks handmade. It looks water colored basically.
17. Method 2: Using A Grid Brush: The next thing that I want to show you is how to make a pretty simple fauxsaic using just that tap method, without any hand drying. It's going to be reminiscent of this one that I made, which is a really simple design. If you can see, what I did was, I created this brush. I created a pattern myself in it, and the words within it are also just filled in titles. If we turn everything off on this design, we're going to see that all this is a tile pattern. What I did was added black tiles around the edges, filled in black tiles for the squares in the middle. Again, same method as before. Selecting tiles using the selection tool from the main design. Filling in a clipped layer with black, in this case, selecting tiles to form a word. Adding titles for a color as part of the pattern. So filling in the diamonds, adding diagonal strokes, adding contrasting light colored tiles, more contrasting tiles, even more and even more. Then exactly like in our class project, adding weight edges, shadow. In this particular case, I've used quite light grout because I wanted this to appear like a pretty modern floor, like a tile floor which wouldn't necessarily have black grout. But it could even have almost white grout too. I could probably reduce this quite a lot and let the white background behind show through. I prefer how it was before. Then I added feet, which I'm going to show you in the last video, and there you have it.
18. Method 3: Draw Entirely by Hand: Now let's say that you don't want to use any brushes, and you want to try the challenge of drawing this completely by hand. That is, of course totally possible. Here's an example of one that I made like that. Here, I used the exact same process as the beginning of the project we did together. I drew this M by hand, and I want to zoom in and show you. When I was drawing the thicker stroke of this M, I actually divided it up into smaller tiles. Do you remember how we did that? In the apex of the A where it thickened, and we drew a center stroke and then created two layers of titles. That's what I chose to do here for the thicker part, the center stroke of the M. I drew this, then I drew very haphazardly because I wanted this to have a very organic sort flowing look, and I drew multiple layers of tiles all around it, and then instead of putting any pattern behind it, I drew a circle, a couple circles, four concentric circles, tiled them out, and then outside of these second, third layers around the M, you'll see how here, I'm going to actually create a fake version of a highlighter to show you. You see this region here, this is like loopy waves, but all that I did was I took my tile cutter tool, and in the mask, I just drew wavy lines and then I tiled them out. Same thing here on the outside. After the circle was done, I came over with my tile tool and I just drew lines flowing like this really randomly, and then cut them, and cut them further and further until I was able to fit into them all of the tile shapes that I wanted. Aside from that, everything else is exactly the same as the project that we did together.
19. Adding Feet: Now let's talk about the fun step of adding an overlaid photo feet so that it looks like you're standing on your mosaic looking down. Now I just took a pattern that I've colored in here, haven't put anything interesting into it. You can of course, use a photograph of your own feet that you took from above. But if you don't have one or lighting is not good or you just don't want to, you can of course use one from the internet, but make sure that it is one that is royalty free that you absolutely are allowed to use. The website onsplash.com has really good stock images like this that you don't even technically need to credit. For personal use, that would be a nice option to play with. I've downloaded a couple from Onsplash that I've saved to my drive, and I'm going to try them out here. I swipe up here like we did for installing brushes. I'm going to drag my files up over to the right. I've navigated here to the foot photos that I have in my drive. I'm going to drag this one over to see how it's going to work. Let's give that a try. I close files, so I have more space here. Now this is my inserted photograph. You know me by now, I don't like destructive edits. So I'm bringing it down toward the bottom and then I'm going to add a mask. Instead of deleting anything about this picture, I'm going to just mask it out. Now instead of erasing all of this area, I'm going to get rid of this as much as possible with the Rectangle Select tool. I'm going to select here by default it just adds to your existing selection. I'm just going to fill in absolutely as much as I can in a selection of just rectangles. Then in the Layer Mask, I will fill it with black and then, coming over to my Marker for Detailed Coloring tool and remaining on black, I am going to finish masking out background of these shoes. It is better if you have the choice to cut slightly into the shoe, than to leave an edge like this. You see there's a little bit of edge around the shoe showing the ground. It's much better to cut slightly into the shoe itself and not have any background showing and then to have background. Better to cut slightly too much than not enough. Now that the photo is masked, I'm just zooming out and I'm going to place the photo a little bit better. You can even rotate the feet a bit if you want. I'll rotate them ever so slightly. Let's try like this and then I'll mask out this bit of jacket and then paint the pant leg there. All I did was color sampled the pants and then painted over them. Now these shoes are like they're just floating there so we need to add shadow. I'm copying the photo layer and on the bottom one, I'm tapping it and merging the mask. Now I have just the feet by themselves. I'm going to tap it again and also lock it and fill it with black. Now I tap the Direct Select tool and I can move around that black layer. I'm going to say that the sun is coming from roughly this fraction, which would cast a shadow like that for the feet. But of course, this needs to get blurred. Of course, you can't do that with Alpha Lock on, Gaussian blur. You don't want super blurry like this. You actually want to see a pretty crisp outline of each feature because it's so close to the ground, it's going to cast a very crisp shadow. It'll be fuzzy but you'll be able to see each element. I might reduce the opacity very slightly so that we can see the tiles through it. Then probably there would be even more shadow, maybe a bit down on this side, let's give that a try. Actually want to duplicate that layer again and merge the mask just so that I'm working with a crisp layer that hasn't been blurred yet. Alpha Lock, fill with black. Now, I'm just going to move this around to see if the shadow looks realistic elsewhere or see if it looks a slightly double shadow where it's going to be a couple of steps darker, would look good. Alpha Lock off, Gaussian blur. I'm actually liking the idea of putting the larger blur underneath. Here we go. Because there is, of course a person standing here looking down. We want to have something of a shadow darkening this area and we're going to add that in a second. What I have here so far is the first chatter that we made, it's crest but slightly produced opacity. I'm going to reduce it only slightly more, and then another copy that's been blurred out a lot more underneath so that it really spreads out from the shoes and it's like what the body is casting. I'm going to make a new layer. I'm going to go to my Air Brush tool, Soft Brush. Oops, I make it pretty big. Not that big. Just want you to think about what shadow your body might cast if you are looking down at your feet, taking this picture. In fact, wait I want to put this up above the shoes because you'll be casting a shadow down onto the shoes. Let's say there's a multiply and this is going to be very light. If you can't see this in the camera I apologize, but you don't want something too dark or that really looks like a gray spot. You don't want something that dark. Maybe even more like that. That's really all there is. If you want to change anything about the photo, Procreate has some basic adjustments that you can do to whole images or photos. For example, if we want to reduce font or just the curves on those shoes. I can come up here to Adjustments, Curves. I really want to get rid of how bright these highlights are. I'm just dragging down the highlights. Great. Then I'm going to do hue saturation brightness and slightly reduced the saturation also. Because this is dark and the shoe is quite a bit, I think I might even reduce the shadow. I'll reduce it even more. There you go. We have quite realistic looking feet standing on top of your mosaic.
20. Share Your Class Project: Marlow and I thank you for following along with today's class. I'm sure that all of you have created some beautiful mosaic designs, and I'd love to see them by having you share them in the project section of this class. If you share them with the whole world through social media, please do tag me so that I can see them as well. If you have particular course suggestions for me for future sculpture classes, please tell me by heading over to my website, and filling in the contact form so that I can take that into consideration.
21. BONUS: My Touchscreen Glove: Because I always get questions about it. This glove is one that I use from a company called Smudge Guard. This one is for only my pinky finger, which is the only finger that when I hold a pen, glides across the screen, and this just prevents any accidental strokes from appearing from my hand. It is something I cannot work without now. The company also makes them with two fingers, which I actually have right here, I think. I don't like this as well because I don't need it for my fourth finger. The other reason I like this brand is that they come in small, medium, large, so that actually fits your hand perfectly well, unlike some brands that will remain nameless, but they come in one size fits all shapes, not - so - good. I don't make any money from telling you this, it's just something that I cannot live without. I've linked it also, just like brushes and stuff in the class description. Take a look, and get yourself one if you want.
22. BONUS: Start to Finish Time Lapse: okay?
Molly Suber Thorpe, Calligrapher & Designer
