Transcripts
1. Introduction: Do you want to make your illustrations more
authentic and personal? After experimenting
with different brushes, textures, and styles, I discovered a few
simple techniques that I use for all of my
illustrations in Procreate. Hi, my name is Claire. I'm an illustrator
and lettering artist. I create things using the iPad, but also by hand. I've been making
custom illustrations for businesses for
the last five years. I also made greeting
card designs, recipe designs,
chalkboards, and more. I actually only started using the iPad about two years ago, and I struggled quite a bit
to make it work for me. I realized that what I was
missing is that handmade feel that's full of imperfections and textures and that's part
of your personal style. After lots of experimenting, I figured out a way to
re-introduce this into my work in Procreate and make sure that what I create feels
much more personal. If you're not sure
where to start with textures and how to
use them in your work, this class will help you out. You'll learn how to
give your illustrations a personal touch
by using textures, but also how you'll
be more confident in experimenting with
this in your artwork. We're also going to work
on a project together, and we'll start with the
photos and inspiration and then turn all of that
into graphic shapes. We then going to use
different textures and add details to finish up
our final illustration. I wanted to create this class
so you can understand a bit more of the why behind
illustrations with textures. I believe it really helps to
understand not just the what or the how of an
illustration process, but why we take certain steps and what kind of
result that creates. Learning this will help you
make better decisions in your work and it will help you develop your personal style. Even though we're going to
focus on using Procreate, you can easily follow these
steps in another software. If you want to use
Adobe Fresco or Photoshop or even work by
hand, that's totally fine. If you're going to follow
along in Procreate, some basic knowledge
will be really helpful. Also, if you're an
experienced illustrator and you're not sure where
to start with textures, or maybe you're much more
used to working by hand, this might be a really
good class for you. Let's get started.
2. Class Project: For your class project, we'll create an
illustration based on your favorite
breakfast, still life. We're going to create
an illustration from scratch so that we can
apply textures to it. Also, drawing your breakfast or brunch is a really
good opportunity to incorporate your
personal style and make it something
really special. Our project is also
something that you can actually really
easily replicate, you can turn it into
a series for example. In this case, maybe a collection of different breakfasts
from around the world, or maybe a series of dishes from your culture
or your country. Also make sure to have a
look at the resources. I've added some brushes for Procreate that
we're going to use, and a color palette, and also the reference photos, so you can follow along
with me if you like. The only thing you'll need
for this class is your iPad, Apple Pencil, and Procreate. I really hope you have
fun with this course, and I can't wait to
see what you create.
3. Using Textures: Using textures in
your illustrations can make your work
more authentic, and it means you can add more
of your own personal style. For me, it really helps me to communicate a certain
idea or look. I really like drawing
retro inspired things, stuff from the 1960 's and '70s. To give my illustrations
that retro love, even when the concept
doesn't necessarily matter, I can use textures to help me show that to the
audience or the viewer. You can also recreate
different techniques by using textures and give
something a handmade feel. For example, when you're making greeting cards you know
they're going to be printed so using textures
really helps you to create a much better
result when it's printed. I use Procreate to design
chalkboards as well. This helps me show the roughness and how
things would look if they were actually painted or
drawn on a rougher surface. Finding your personal
style doesn't just consist of what you draw or how you
decide to draw something. It's also about
how you choose to interpret reality
in your own way. When we're looking at
your illustrations you're inviting us into
your own world where maybe you have lots of different textures or where everything is made
out of patterns. That doesn't mean
that everything always has to look
the same necessarily. I regularly switch up my personal style choices a bit and try new things in Procreate, but I do know what kind of texture creates what
kind of results. That's really helpful when working with clients,
for example, or when you're creating something that you
know is going to end up in a specific place
or as a printed design. The most important
thing is that when you're trying to tell
the story or you're making a series of
illustrations you try to be consistent because you have
to communicate the view of the world and the viewer wants to be part
of that as well. In the next lessons we're
going to work on a project. I'm going to show
you how I build my illustrations from
start to finish. I'm going to look at
different texture options, and what we use
certain textures for.
4. Sketching: Let's start by
picking a subject, this is going to be the
concept of our illustration. I love illustrating foods, so I'm picking a
breakfast delight. My favorite breakfast
coffee, orange juice, and a croissant. We just use two or three
objects, and that's it. It's not too much work,
not too complicated. Feel free to either use these photos or make
some of your own. Make sure that you
make a little scene of your favorite
breakfast and then use your phone or your iPad
to make some pictures. Don't forget to make a
photo of a side view and then also a top view because we're going
to be using both. Let's start by
making our canvas. I'm going to make
this 2,000 by 2,000 pixels, and that's it. Now we're going to select one of our photos to use
as a reference. [MUSIC] This is the side view, that's what we're
going to use first. I'm putting my reference to the right because
I'm left-handed. Now we're going to divide
our canvas into four parts, because you're
going to make four different sketches of this. I'm just going to turn a
guide on to help us and then the sketching brush
that I'm going to use is in sketching and
it's called Peppermint. Feel free to use whatever you want though, it's
just for sketching. [MUSIC] Then I'm just
drawing two lines in the middle to divide
our canvas into four parts and the first sketch that we're going to
make is just a warm up, we're just going to
sketch what we see. Instead of using lots of short strokes
and adding shading, make sure that you use
continuous strokes. This will make sure that
your objects are going to be quite flat instead of half
a voluminous appearance. Don't try to add lots
of shadows and depth because we're going to add some of that in the textures later. It also doesn't
have to be perfect. Don't worry too much
about perspective, just make the shapes flat. As you can see, I'm still
practicing this as well, but it really helps
to take our drawing into an illustration and just make it a bit
more interesting. [MUSIC] While we're
sketching our croissant, here are a few fun
facts I found. The original croissant
was called a kipferl, and it originated
in Austria in 1683. It was created in honor of
the Austrian victory over the Ottoman Empire and it was modeled after the crescent
on the Turkish flag. It was not made
with a flaky pastry as we see it now, but it was more
like a bread roll. The croissant made its
way to France around 1838 when an Austrian officer founded a Viennese bakery in Paris. The croissant became the French national
product in 1920 and we still celebrate
Croissant Day every year on January 30th. Also, the croissants that
are straight are actually traditionally made with butter and the ones that are curved, just like this one, is
made with margarine. When you finish your first
sketch let's move on to the second one and
we're actually going to use a different photo. Let's change our reference to the photo of the top view,
the top perspective. We're still going to
use our first sketch as well as a reference but
for example this time, you can see that the
shapes have changed. Now the top of the
glass and the mug is now a perfect circle, and the plate is a
perfect circle as well. What we're going to
do is try and combine those two perspectives into one, and that way we
can actually show a lot more of our shapes. I find it much easier to draw this shape for
example from the top. What I like is that
at this point we're really starting to
turn this drawing into an illustration rather
than just a drawing, a sketch of what we see. Illustration is like an
expression of an idea, so rather than just in
the first sketch where we were just drawing
everything that we see, we're really
communicating an idea. At this point, you can
start taking things away, changing shapes, and
maybe adding information. For example, I'm
adding some steam to this coffee cup just to show that this is like a warm drink. If you want to, you can
even change some things. For example, I'm changing
this coffee mug a little bit and the more straight lines and shapes that you'll
use at this point, the more graphic your final illustration will look as well. I think this is going to
create a nice contrast with the more organic textures that we're going
to be using later. I'm also adding, for example, some details in the
orange juice glass, and I'm also adding these cups
of butter red jam I didn't have in the photo that I
think would look really nice, and also adding
this little knife. I'm just drawing that
from imagination, it doesn't have to be perfect,
it's your interpretation. The first sketch that we're going to do is actually going to be pretty much a
final illustration, so I'm just making
some notes of things that I want to change
and I want to fix. What we're going to do now
is clean up our sketch, maybe even exaggerate
things a bit more and I use QuickShape
a lot for that. You do that by just
drawing a line, holding it and that will
turn on the QuickShape menu. You can make straight
lines this way, or straight shapes as well. That doesn't mean all
the lines have to be perfectly horizontal
or vertical, but just straight lines. Remember to just,
again, focus on the composition and the shapes. No shadows, that's it. Feel free to exaggerate
things even a bit more. Make it more naive,
simplify things. Remove things that
are unnecessary. For example, exaggerating that steam a little bit more, make it a bit more graphic. Just make sure to clean
things up a little bit. I also framed this sketch by using that square
in the background and that's going to be the edge of where the
background is going to be. It's just flat as well. When you are happy
with your sketch, let's move on to four and that's where we're
actually just going to experiment with colors. Just select your
existing sketch, use three fingers to swipe
down and then duplicate it. In the next lesson, we're
going to have a look at color and then
we're going to use our final sketch for coloring.
5. Picking a Palette: [MUSIC] We're going to be using
a limited color palette. I usually like to use
five colors or less. That is going to work great for illustrations like
these where we just want to use a few colors to emphasize the simplicity
of the illustration. That will also make for great contrast when we're
adding texture later. To pick your palette,
it's helpful to start with the following
five: a cool tone, a warm tone, a light tone, a shader tone, and
a neutral tone. Let's start by
picking a cool tone. I'm going to use a
gray blue for that. The colors that you're
going to select, they don't have to be
related to your reference, but keep in mind
that you might need certain colors to add
information to your shapes. For the warm tone, I'm picking yellow
because I think we'll need that for
the orange juice. Then the light tone, I always like to
use a light pink, so I'm going to pick that. Then for the shader tone, I would normally
pick a dark blue, but I think we'll need brown as well for the coffee and stuff. Then a neutral tone, like a light beige, that's just going to be for
the background and that's it. Then on top of that,
we'll use white as well for a few details. As I mentioned, we're
going to blend some of these colors to create
highlights and shadows. Instead of just adding black to our colors or making them
darker using the color wheel, we're just going
to multiply them. Duplicate your layer and turn the blending
mode to multiply. Here you can see we've
actually created different shades of our color. This will also create a
much more balanced results because you're reusing
those same colors. We could even see if
the colors mix well, so we could just
duplicate again, turn the blending
mode to multiply and see how these colors mix. I don't think we're going
to use that much for our illustration, but maybe
in some of the details. Then for the lighter parts, let's see how the colors
do when the opacity is at, for example, 50 percent. To test out our color palette, go back to the sketch, and then on a new layer, let's color it in and see
how everything looks. Think about how you can reuse one color in multiple shapes. It doesn't have to
be super realistic, but you do need to be able
to read certain things. Lastly, let's think
about the direction of the light in
this illustration. I'm just drawing a little
sun in the top right corner. That will be a reminder
to know where the shading is going to go
later on and where actually the lighter
parts are going to be. If you're happy with your
colors and your color sketch, don't forget to save your
colors as a color palette. If you want to use exactly
the same palette as I'm using, download that palettes, and then just tap
it in the downloads and it will be imported
into Procreate right away. Let's save our
sketch as an image, and that way we can put
it up as a reference. In the next lesson,
we're going to work on our final illustration. What I like to do is select the sketch and then blow it
up to the full canvas size.
6. Colouring: Now we're going to fill in
our illustration in layers. Firstly, I'm filling in the background with
the neutral tone. We're going to make that
background dark blue. That's not going to
be the final layer, but we're just going
to use this for now so that we can see what that color looks like in combination with
the other objects. Make sure that as
much as possible, that you keep the layers
separate from each other. That way we can play around with textures and add clipping
masks in-between. You can also still change
the color if you need to. I'm just tracing lines, turning them into shapes
and then filling them. I'm using quick shape
for all of these. We're also adding a
few lines already because I know that's probably not going to change
the white's class. I'm going to just use
one brush for that. It's in the inking tab and
it's called tinderbox. I really like using
this brush because there's a little bit
of texture in it. Now that everything is colored, and the next step
would be to add highlights and shadows
and some more details, just like we have in the sketch. But we're going to start using textures at this point
for all of them. The reason I'm going
to show you a couple of ways to add
textures and finish our illustration separately
is because I wouldn't use all of these in
the same illustration. The idea is that we try
these options out together, that we try these
different versions. I want to show you that
even though we've already done so much that
the final results can look really
different because of the textures that we're going
to be applying to this. I'm also re-adding
that reminder that we know where the
light is coming from. Also, we've got
lots of layers now so let's group all of that. Then I'm going to
duplicate that. That second group is the one
that we're going to use in the next lesson
for our textures.
7. Grainy Textures: [MUSIC] We're going
to start with using a grainy texture brush
for our shadows and details. A noise texture or a grain texture looks
like pixels on a screen. It actually makes an
image look sharper rather than having a
perfect smooth surface. Adding this type of texture
to an image creates a optical illusion
where the image appears to be sharper without
it changing its resolution. This is used a lot in
photography as well. When printing digital images, a touch of grain can add a
lot of depth to the print. Because paper is a
physical surface, an image that looks
too smooth might appear artificial to us. These imperfections
or sharpness of the grain can make images feel more real
and give it depth. This is not just
using photography, but also in illustration
nowadays and in graphic design. Because it gives illustrations not just a bit more
of a retro field, but also it makes
it look a bit more interesting and makes
it more tactile. I like to use this
type of texture a lot because it gives images
that old timey feel. It reminds us of the visible grain from
photography back in the day. Scratch textures or
speckles, for example, reminds us of prints and newspapers which I really
like to use as well. [MUSIC] There's a few ways that we can add the
noise in Procreate. We can use brushes, that's what we're going to do. Procreate also has some
existing noise brushes. For that, go to
the materials tab. There's a few options there. Then lastly, Procreate
also has a noise filter. You can use this as a layer
or as a pencil so you can decide where that noise
texture is going to go. The disadvantage of
this is that you can't really control the
color as much, but it's a good option if you
want a more uniform noise. We're going to be
using the sandy brush. I like to use this as well
to be able to blend colors, to mix them, and then add some
shading at the same time. Let's start with
that coffee layer. I want to add some
yellow into this. What I'm going to do
because I know it's probably not going to change. I'm going to tap on the layer
and turn on Alpha lock. That means that
anything you add in that layer is only going
to be in that selection. Another way of adding texture on a layer is add another layer. We're going to use
the orange juice for this and then tap, turn on clipping mask. This means that you're
adding texture on top, but we are not damaging
the layer itself. You can either delete
this or change the color of it and the layer underneath
will stay the same. These are the two
options I would use for putting texture
on your layers. It depends on if you want to
make changes later or not. I actually also want
to change the edge of the coffee cup and
I'm just using the tinderbox brush for this. I'm using that light pink but just a slightly lighter
version of that. We're not really using
this anywhere else. I just want to have that
separate from the cup. [MUSIC] Then let's add some texture to the cup on a new layer with
the clipping mask. I do prefer using the
clipping mask over the Alpha Lock option because
you can make changes, but it can also limit the amount of
layers that you can use. Now we're already just
drawing on our cup, but I want to select it
even further by using the selection tool and selecting just the
bottom edge of this cup. That way when you
use this texture, you're going to have
a really sharp edge. Now, I'm selecting
the body of this cup. Remember where the
light is coming from, so make sure that you put the shadows in the
opposite direction. I'm not making this
shadow very sharp because we want to show that there are some depth to this cup as well. If you use too much
of the shadow, erase some of it by
using the same texture. Just hold the erase icon to be able to use the same
brush as an eraser. Lastly, I'm also selecting that handle and adding
some texture there. All of this is still
going to be on that same clipping mask layer, but at least the edges
are a bit sharper. On that same layer, let's add some texture
to our plates as well. Firstly, I want to add with the sandy
brush just a bit of texture on the plates
on the left side. Then I'm going to use
the other noise brush. This one is a bit thinner and a bit more
dense so that way, can add some shading underneath the croissant and just make a slightly more direct shadow. [MUSIC] I also want to add a bit of
shading to those cups. For that on the same layer, I'm just going to select
a small part where that shadow is going to go on the opposite side of
the light source. So our shadow is at
a sharp direction. [MUSIC] Let's change the color slightly of this butter and jam by using the noise
brush there as well. [MUSIC] I want to actually make the butter a bit lighter and the jam darker. Let's add a layer on top
and then a clipping mask, and then turn the blending
mode into multiply. Your colors are going
to be more saturated. I'm just using the same pink for the jam and then a bit
of yellow for the butter. Then separately, I'm also just adding a bit more white
to that butter because we've got two overlapping layers of the same yellow there, so I want to make sure
it has a contrast. [MUSIC] I actually think that these cups are
looking a bit dark, so I just want to make them a bit lighter
with the same gray. I'm also going to
add this edge on top just with the
tinderbox brush. Same thing with the knife, just making everything
a bit lighter. This way, we can also add
a darker texture on top. [MUSIC] Put a layer on top, clipping mask on
as usual and then I'm going add a bit of
noise to the left side. I'm also adding a bit of detail by adding these lines
with the tinderbox brush. Now that we're adding
all these textures, we're switching
brushes quite a bit. If you go to the Recents tab, you'll find all your
recent brushes there. Plus, you can also
make sure that you pin a certain brush to
that Recent tab. So just swipe to the
left and tap "Pin". [MUSIC] I also want to add
a bit more pink to the cup, so I'm just adding another
clipping mask on top and just adding a bit more pink to the bottom
and to the handle. [MUSIC] Now, that
same shade of pink is matching the jam a
little bit more. Next, let's add some
textures to the croissant. Put a clipping mask on top, put it on multiply as well. I'm actually going to need our sketch as a
reference for this. Let's put our sketch on top and just turn the opacity down so we can still make out the lines. Then use yellow,
the sandy brush. Then we're just going to select these triangles
in the croissants and adding our shading to that. It doesn't have to be perfect. I don't know exactly where the shading would
go realistically, but it would just be nice to at least
create some contrast between this sharp edges and then create some volume as well. [MUSIC] We'll add some
lines to this later on. But for now at least we
have a nice texture there and a bit of a different shade of yellow in there as well. In the next lesson, we're going to keep
working on shadows and add some details.
8. Adding Details: Let's add some shading
to our blue background. I'm going to just put a layer
on top and then turn that into Multiply in
the blending modes. With our regular gray, we're going to add some
very directional shading underneath our big objects. Even though we used that, we did exactly the same
thing with the cups already. Because these are quite big, I just want to use a guide to
help us in the direction of that light source and
then I'm going to select where I want
that shading to go. It doesn't have to
be perfect at all, but I just really like adding those sharp edges to the side and then making it a bit
softer with the eraser. Then this napkin, I'm just selecting a small line and that's where the
shadow is going to go. Because this is a flat object, there's not a lot
of shadow here. Next is that knife, what I'm going to do here
is just select that layer. On a new layer, I added the same noise texture. Then we can move
that independently and just move it slightly so that we have a little
bit of texture underneath. The last thing is the plates, we're going to do
the same thing. I'm just on top of that napkin. I'm going to actually select
a circle that's about the same size as the plate and I fill it with
our texture again. Then we can move that. Now we don't need that
guide anymore, I think. Let me show you another way that we can add texture. Actually, in this case, I want to take some
of that texture away in the orange juice. The way that we can do
that is by using a mask. Let's go to that Layer tab
and then select "Mask." This will be attached
to that layer. In this masking layer,
you can only use black to take away and white to
put something back in. Just with black
and a noise brush. Let's see what happens. Here, you can see
some of the blue from the background underneath and I haven't damaged the
original layer at all. You could easily just
delete this again if you don't like it. I'm going to do the same thing, with the steam in this cup by adding a mask to
this layer as well. Then I'll just select that because the glass is also
part of that same layer. I don't want to touch that. I'm just softening that
edge a little bit. I think that looks much better with the background underneath. We've used lots of
that same noise brush and now I want to break it up. I want to use something
else for contrast. In that napkin, we're
going to use a pattern. I'm going to add a layer
on top clipping mask. Then in the brush pack, you've got this Memphis brush. Then I'm going to
use yellow for this. Just put a pattern
on that napkin. You could also
draw this by hand, but a pattern is
just quick and easy and I love using
something like this. I'm just erasing it
a little bit with the noise brush so that it
matches and it's not so sharp. Let's have a look
at our sketch and see what else we're missing. I think we can start
adding some details, some lines with our darkest
tone, that's the brown. For example, in that cup, we've got some lines and then their croissant
is going to need some more contrast as well. Let's make a new layer
on top of our croissant. With the tinderbox brush again, I'm just drawing those
lines on a clipping mask. I really like the lines
on that croissant in combination with the
texture underneath. Also on top of that plate
on another clipping mask, we're going to add the lines
there also to the plate. I'm just bringing
the opacity down a little bit to make it
a little bit softer. The last thing I'm
going to do is add some more highlights
in a few places. We're just doing
that on a new layer. Let's use the tinderbox
brush again for that. With the opacity down, it's a little bit transparent. Then I want to make
sure that we draw things by hand or
sketch it rough. This will also create a
bit of a nice contrast with the straight lines that we've been
using up until now. I think that's
looking good so far. The only thing we haven't
touched yet is the background. Let's use a new brush for that. We're going to use
the stipple brush. As you can see, if you use this, it actually creates a texture
with that negative space. I'm just following
that same square and then filling that in. You can see the nice texture it creates in the background. Just to make sure that
that layer is also matching the noise texture
that we've been using, I'm going to use a little bit of that noise filter
just very lightly. You can almost not see it, but it just matches
everything a bit more. I think that looks finished. If you're not sure when to stop, if you want to make
any more changes, what really helps me
is to go to canvas and then flip horizontal,
flip vertical. That just makes you focus
a bit less on the objects. It just gives you
a new perspective. Also, zoom in and out so you can focus less on the details, and just double-check if
you're happy with the colors and the shadows on everything and see if you missed anything. In the next lesson, we're
going to go back to our original non-textured group, and we're going to use that to try another type of texture.
9. Halftone Textures: I want to show you another
approach to textures, and we're going to
use halftone brushes. Halftone dots are
small dots of ink that are spaced out
evenly in a pattern. By changing the size of
the dots or the line, you changed saturation
of ink so you can lighten or darken
the tones as needed. Using these halftone dots, instead of just using
colors or just grade, it saves a lot of ink and it reduces the number of
expensive colors for printing. In the 19th and 20th century, printing was pretty expensive, so a lot of printing had to be done in just one color in black. To be able to make gradients and different
shades of gray, they use this
halftone technique. Newspapers, ads, and
comic books were all printed using the screen
tone technique also in color and printers today
actually still use this same concept when it
comes to printing and colors. Illustrators usually
got these like pre-printed sheets
that they used in different halftones
and then they would just cut them out and paste
them onto their art. Using this halftone
technique you can create an illustration that's
ready for screen printing, but that's a whole
scale on its own and we're not going to
go into that today. But we can still use these halftones as a
brush in procreate to blend our colors and create that same
optical illusion. If you want to see
how this works, you can have a look at the
halftone filter in Procreate, and this will actually
do the same thing. If you zoom in, you can see
how for example this blue is divided into different
colors in dots, and if you zoom out, it just recreates the perfect shade
of blue that we want. The brush that we're
going to be using is the imperfect halftone brush and the brush pack that I made. You can see if you zoom in
that these dots are imperfect and they're messy because this is what ink would look like. Procreate actually also
includes a halftone brush. If you go to the vintage tab, there's a brush
called honeyeater. We're going to create a final result that's
actually a bit more flat and imperfect, a bit more retro. We're going to be using
exactly the same colors and shading almost in the
same places as before, but we're just changing the texture and the
technique a little bit. Let's start with a clean sketch
with colors again. On a new layer on top
of that orange juice, we're not going to
turn on clipping mask, but we'll turn it on multiply
and I'm going to select about half or just a part of the glass and I'm filling it
with that halftone brush. I'm just going to
move it slightly, and because of multiply, you'll see that it blends
into the background as well. This makes it look like
the paper shifted while printing and it creates
some more contrast, some darker lines
around our objects, is just very slightly, you don't want to overdo
it because we still need to be able to clearly
see what everything is. Just like before, I'm
also going to add a lighter edge on
the coffee cup. Then on the mask I'm
adding that halftone to the steam and then softening that edge
a little bit again. You can see how that lets the blue background
come through. Let's add some shading to
that croissant as well. On a new layer on
top and then on multiply with the yellow
and the halftone brush, I'm just going to select small parts again
and fill that in, just so it looks like some parts have some
shading and others don't. The thing I want to change
here is actually this napkin, instead of using the pattern, we can maybe use
the halftone again, so I'm just selecting the edge and then adding
the halftone brush in pink. Then because of multiply, we can see those edges again. Let's also use the
halftone brush for the shading of the mug and the glass as
well so we're just selecting where the shading
goes and filling that in. That's it. We're
not going to add any shading anywhere else, and I'm making those cups
a bit lighter as well. Then for a bit more contrast, I'm going to do exactly
the same thing as before, we're adding those
dark brown lines on top of our croissants for
a bit of depth and contrast. What I actually forgot in this case
is I want to move the texture on top of the croissant
independently so for that, I have to turn the clipping mask back off and make sure that the texture has exactly the
same shape as a croissant. I'm going to select
the croissant layer, go to the texture layer, swipe down with three
fingers, and cut and paste. Now, we've got a new
layer with a texture on top and we can move that independently and change that to multiply so you can see
the edge of the texture. I'm also going to add some lines on
this cup and the plate. I'm thinking of a
look nice and white this time with a
tinderbox brush. I'm just adding these
little mid-century stars on there make it look like
a really cage cup. I'm doing the same with
the plates as well, just some small details. I don't want it to be too contrasting or too overwhelming, so white is good enough. I think we've used enough halftones
and we can just continue with a few
more lines and details. On another layer let's add
a few more highlights. Then for the background, I'm just going to use a
tinderbox brush again to create a square and fill it with
our blue background. I'm editing the shape a bit to make some of the lines diagonal and that makes it a bit more dynamic and retro as well. It matches our shapes. In the next lesson,
let's finish this up.
10. Finishing Touches: To create a few darker
lines and highlights, we're going to use that registration
error technique again. We're going to cut out or shape from the background and make it look like that
layer shifted slightly during the printing process. The result will be
that we'll have these very light
edges on the sides where our highlight should be. Then on the opposite side, it will look like the ink
blended with the background. What we need to do is cut out our biggest shapes
from the background. Just select that, the cups and plates first. Go to the background layer. Three fingers swipe
down and cut that out. We'll do the same thing
with that orange juice, yellow layer, the
orange layer as well. Then I want to do
the same thing with the croissant on top
of the pink layer so we can create that
light edge as well. Select the croissant shape and then cut that out of
our pink layer as well. The same thing with the
knife and the cups, just to make sure that
those cups are cut out of the pink plate as well. Now you can see if we move our blue background layer just slightly towards
where the sun is, where our highlights are. You can see that we've got
those white edges as well. Now to also create
that blending mode, we're just going to put
the cup and a plate on multiply and the
orange juice as well. Now you can see you've got a little bit of a
shadow over there. That makes it look like the ink blended during the
printing process. The same thing with
the croissant as well, and then the cups. Remember that by multiplying
all of these layers, the color is going to change slightly just because
our actual background, underneath the blue, isn't
pure white, it's off-white. In this case I don't mind
because it just makes it look a bit more
retro, a bit softer. But if you don't like that, change the color to white. Then keep in mind that also a few more things
are going to show up, like that halftone shadow. Just because of the multiply, it's going to show a lot more
of your layers underneath. Make sure to clean
up those halftones. I'm also changing the opacity of the background a little bit, making it a bit lighter. That looks pretty much finished. The very last thing
that we want to do is add a few more
printing imperfections, and that will just make it
a bit more interesting. On a new layer, select
that speckled brush in the brush pack and fill that layer
with black completely. On a new layer, do exactly the same thing. We've got two layers made
with that speckled brush. Then on the first layer, put the blending mode on divide. This will create the
white speckles on top, and that makes it seem like maybe the paper that it was
printed on is a bit rougher or the ink didn't
quite adhere there. Then the other layer, turn up blending
mode into overlay. Overlay works like a combination
of multiply and screen. Wherever there are speckles, it looks like there's
too much ink. That makes it look like a
printing imperfection too, which is what we want. Now it looks like
we're finished. If you're happy with everything, let's do a final important
thing and add our signature. We need to do that with both
of our illustrations actually, adding the signature on top of the background with multiply. Then once you're happy, let's export our illustrations. Don't forget to export both. Maybe also save a copy
of the illustration we started with
without any texture, just so you can see the results. Here you can see the
illustration we started with, and these are the results. I think this looks really fun. There's lots of
little hidden details and it's playful as well. The last thing I wanted
to show you is the prints that I made of the final
illustrations we did, they're just simple
digital prints. Even here, you can see how
the textures actually look. The first one, you can see the texture of the noise
in the background. The second one as well. The size of the halftone
brush is pretty good I think. You can still see the details. That looks pretty good. If you're going to continue using textures in
your illustrations, here are a few quick tips. Think about using contrasts. If you're going for lots of detailed textures
and imperfections, contrast that with bigger
shapes, straight lines. It'll be much more
interesting to look at. Also think about consistency. If you're adding a
texture somewhere, make sure that
you're balancing it with adding maybe
that same texture or a similar one in another
part of your illustration. Don't use it only in one spot, but think about where you
can use it consistently and in the same way. Lastly, experiment. Have fun with textures and even think about
making your own. Maybe you can make your own
brushes, your own patterns. Have fun with experimenting
with your style.
11. Final Bits: Congrats on making
it to the end, and thank you so much
for joining my class. We've covered a few
ways in which we can add textures
in Procreate and I showed you how you
can use those to change the feel and style of
your illustration. I hope these lessons
were helpful and it inspired you to keep experimenting with use of
textures in Procreate. Remember that you
can use my brush set and the color palette
for your own work. Don't forget to
share your project, your sketches, anything that you've made in the
project gallery. If you enjoyed this class, don't forget to leave
me a review below, and that will help me to create more classes in the future. If you want to learn
more about brushes and maybe making your own texture
brushes in Procreate, I've got another
class on creating a retro-style life and making
your own stamp brushes. I also share regular
tips on illustration and advice for artists on
my blog and my newsletter. Thanks again for joining my
class and I'll see you soon.
