Fun with Illustrations and Photos using Procreate

1. Intro: Distance. In that sense. Hello. Hi and welcome to my new class, fun with illustrations and photos using Procreate. My name is Brenda Bakker and I'm from the Netherlands. This is a class not on drawing itself, but on how you can create nice things from your hand-drawn illustrations blended into a photo from real life. You now can create functions, are lovely stories, just for fun. Show others. You can create from nature or just from living your home. You only have to see the possibilities. And now you can make it happen yourself. You can choose to draw realistically or just stylized, just to your own liking. You can incorporate your child's favorite character and drove it into his own room. Or what about just during a walk in the park, you suddenly bump into your own brainstorming. Of course, in this course, I will give you some examples and what to look for it, and how we can really blending your character into the picture. I will show you how I can create different scenes on just a normal everyday picture. And so you can create an everyday object which is dull and gray into a magical scene. So if you're interested in that, just helping and I will show you, See you in class. 2. From Photo to Magical Background : So first we're going to start with creating a new canvas. So I hit the plus sign and I'm going to hit the plus here again. And I choose for DSpace 9 to 11 inches. So I convert to inches first. Choose nine, choose 11. Set my DPI automatically to 300. So I have a good quality and then I press Create. And now I've got a new canvas. Now, it's important to import a picture of your choice. So I'm going to my wrench tool, go to Ed's, go to Insert a photo. So it brings me to my library. And here is to photo I want to import. And now we can see it's not completely up to its size. So I'm just going to make this a little bit smaller so I can see the whole frame of the canvas. And I'm going to enlarge its little bits. So it's completely fitted into the screen. My Canvas, make sure I have the picture of the stem in the right place, approximately, something like here. I'll make it fit even more. Yes. Now I think I'm okay with that. So now I have to picture. And just for safety matters, maybe I'm going to use it later on, maybe knots. I'm going to duplicate it once more and make it invisible. So it's just there as a spare one. And now I have to change the colors to my liking. Part is not hard, but you have to decide what kind of atmosphere you want for your picture. So I'm looking for a dreamy atmosphere. So for this layer, I'm going to my use saturation and brightness, which is on the magic wand. At the top. Use saturation and brightness. There. I can play with you a little bit so I can change the color of the leaves. Make it a cold winter one, or a bit fairy tale like in pink. And I can choose any color to my liking. I can even using it as it was. Maybe that's also part of your deal. But I'm catching up for dreamy atmosphere like so. So I'm going to not the pinkish this time, but maybe a little bit bluish, like it's a cold wintery moonlight session, but you see the background is still white, so I have to adapt that to maybe I can make it a little bit more saturated, more blue or shall I choose gray? I'm going to create more blue. And just play a little bit. What do I like? Maybe a little bit. Blue purplish. I think this is fun. I can play with you. Sorry, I can play with the brightness again, but I think this is lovely as it was. So now I'm going to leave it for this. So I'm going to create a new layer on top. I said that part on multiply. And now I'm going to the airbrush. And airbrush you can find in your own library. I've got a love of brushes here. I have to sort them out, but I know where every brush is approximately. So I go to our airbrush and choosing the soft brush and a bigger size. And I'm on a new layer. Yes, I'm on a new layer on multiply, and I have to choose a new color. I didn't choose new color. So I'm going for a nice blue sky. Like so. And let me see what that does. It already instantly is a little bit darker. I'm going to leave a little bit of light here so it don't so it doesn't get totally dark. I can this is nuts. Almost full opacity, so I can darken it a little bit more. And I can play with that. Normally when I want to darken something and leave a little bit of color behind, I sit them on overlay, but because my background was white, it doesn't catch overlay very well. So I think the multiply is great for this one. Maybe a little bit purplish, pinkish. We check. What does that do? Well, you can play with that to your own liking. I think we're already getting lovely and dreamy color of the background. We're going to do a little bit about the moonlight later. For now, it's important to do a drawing. And for that part, I'm going to show you how I did that in the drawing I did before. This lesson is not about the drawing itself. What I'm going to give you a walk-through of how I did this. So let's go to the next chapter and to my other drawing. 3. Two ways of getting your drawing in to the picture: So in this chapter, I'm going to give you a walk-through of how I did this drawing. Now you see the little girl is standing behind the tree trunk. It's hard to draw because when I want to make some changes or when I want to move the girl a little bit to the side or make her a little bit bigger. You have a problem because you can't see what's behind it. But I'm going to show you how I did this one by going to the layers. Here you see this little girl, we're coming to that. First one I did was create a little bit of line drawing on top of the picture. And for debts, you have to make them move the picture a little bit less feasible. So what I did was decrease the opacity. Now this one is still visible. So I decrease the opacity of the drawing. And now you can see the outline. And that's what I did here. So let me go to the sketch. Just make this one feasible. How do I do that? Oh, there she is again. So this is the little sketch I made. On top of the backgrounds. You see this is the photo. Here. You can see the photo and I'm going to show you the sketch I made. It's not a hard sketch, not not very difficult, but for me it was an indication of how I want my girl to be approximately like that. So I hope you can see this. Oh, so I drew a little outline of the tree trunk and I draw drew to go approximately like I wanted. So I wanted to have her elbows resting on this piece. And you can see here, I drew also everything. What's not, what's not feasible behind the tree trunk. And I have a very good reason for next. Well, let me show you a little bit of walk through what I did. So we're going to give her some trousers. Just a little bit of color blocking. You see, I'm very messy painter, but that's okay. The overall look is very nice. And then on top of that, I create a clipping mask. And I'm going to show you in later stadium how I use it because we're going to do something more later in this course. So with the clip them whilst I added some shadows. And so I drew a normal girl. You see, I'm not completely into the sketch anymore, but just to my liking. Here are her face, her jackets, just colored blocks on a clipping mask again. I did Her Shadows to give her some arms and I created some mittens for her. And also she has to have hair. And the nice heads. And 0 rosy cheeks. Yes. Instantly. Lovely face. Was this the face I used for her? I guess so maybe I use another May 1. Do not always delete all my layers. So here we have an overlay layer in which I added some more shadows. So this is the complete girl. You can choose to draw right on top of this with the picture as a background. You can also import another drawing from another painting. You might. The most important thing what you have to do now is to isolate the girl, the complete girl, from the background with no texture on top. So if you have a Canvas used with taxes on top, you have to get rid of them. Mostly they are all the way on top and then you just have to put them off. So now I'm going to put off the background. I'm going to put off the sketch layer. So now I've only got the girl, make sure your background is off as well. Because when you do it like it is not possible because well, I'm going to show you, so make sure a see-through, Just like a PNG file you will mate. So this is solely just a girl. What you're going to do now is make a three finger swipe down, three fingers swipe down, and then you hit Copy All. And you go to a new layer all the way on top. Let me see here and then paste. And now I have to hold girl in one layer. So not all these layers together and just one layer. And that's the girl we're going to work with. So if you want to work. Your picture, make sure you have the girl inner layer on top somewhere. Like I did here. I move it on top because I did it does drove an OpenID. And we're going to move from there and make sure that everything underneath is not feasible. So I did the whole girl in a group like this and then make the whole group in feasible. So this is not showing anymore, you can make it even smaller. So this is now the whole thing. I worked about integral and would just go into solely work with the girl here. Either we can import her to a new confess, which are made with the picture, or you can work from here in your own Canvas. Let me show you how you want to move her to your Canvas. You're already made. So for this one, it's easy. Just hate it's hit Copy. And now you complete it and copied the whole layer of the whole girl without any background. Go to your gallery. And remember, we started with this picture. Well, just a simple three fingers swipe down and paste. And voila, now your girl instantly is in your forest. So this is a lovely already. But you see she is standing solely on the leaves. And if you've got a brighter color than it will be, just like you glued it on there and you wanted to fit it in. So most importantly, is always at a shadow. And we're going to do this. I'm going to do this. Well, let me start just by doing it here. It's just very easy. We can do it different ways. I'm going to show you all the ways. What we can do is create a layer underneath the girl, but on top of the background, this part is also now the background. So why don't we group this and call this group background? I normally don't do that because well, I know what I'm doing, mostly backgrounds, but for the sake of this course, it will be lovely. Backgrounds. Here we go. I'm not doing anything with that line now. So I'm going to create a new layer underneath that. And mostly what I do is go to my darker color and mostly going to overlay, but these colors are too light, so I think I'm going to multiply layer. So I'm adding a darker color. And maybe I'm choosing a little bit from the same color just by color picking everything and make it a little bit darker. And I think I'm going to use my airbrush for this as well. Let me see what that does. It is darkening ants, but it's too bright. So create little bit of even darker. And now we're already getting there. But I think it's still too bright. I'm going to use this color and I'll go even darker and even smaller to hit it directly under her feet. Maybe a little bit darker, even more more opaque. And now it's, I think it's too dark, It's too obvious. So I'm going to smudge that a little bit just by hitting the same tool. And I think she already has little bit of shadow on the nice. If she has a light coming from the right upper corner, then you can move foreshadow a little bit here. And you can also create a new shadow for the tree trunk. It's all up to you. I haven't decided yet where the moon is coming from. So this was one part. It's very crucial, always adding a shadow when you do this. Otherwise, you have a floating image of your listing your drawing. But how can we create the girl behind the tree trunk? I will show you in the next chapter. 4. The explaining of and working with Layer Mask: So if the girl is going to be standing behind the tree trunk, we have to move are, and most importantly, we have to get rid of this shadow. I'm not going to delete it because maybe I want to use it another place. So now I want to make it invisible. And in order to get the girl at the right size behind the tree trunk, let me play with her a little bit more. So go to that layer and go check the place. And now I can't see properly, but I think our ones are approximately like so she's living with her elbows on the tree trunk. But now I can't see where her elbows are resting or is it floating? So let me see. Click the N and play with the opacity a bit so we can a little bit see-through hair. And I think it looks lovely. Now. I can I can see her albums and I can see the tree trunk. I think she's a little too big when she wants to be standing there. So I'm going to make her a little bit smaller and still resting with her elbows on the tree trunk here. Little bits like so. She's looking a little bit downwards to this piece of the tree trunks. A mover who little bit more to the rights. Make sure she's behind to treat drug. Or you can choose just to leave her jacket out and you can play with that also as well. Let let's just just focus on the top part of the girl. I think this is a perfect fit. Maybe a little bit smaller. Artists and creating rights. Maybe her elbow now is a little bit too low, but I can play with that later on. No worries. I think she looks cute like this. Now, we can do two things. We could just simply erase everything we don't want to see. But you've seen me changing the size and proportion already. So when I erase that, I've got a little gap and maybe she could be floating away from the tree trunk if you only have an upper part of her body. So in order to do that, I have to get rid of division of the lower piece, but I still wanted to be there, like I would say, a temporary erasure. So make things not visible, but they are still there. And that's where you're laying mosques is coming in. You already know clipping mask. Maybe you work with that. So that part, it could be directly underneath the layer below. That's not what we're going to do. We're going to do a mosque. And something weird is going to happen. If you use a mosque, instantly, you've got a layer above. And in that layer we're going to draw. And what do we go into draw is black. You see, this automatically turns to black or writes mostly black. Cause what we want to do is to make this part of her body hiding. And I think no better place in hiding then a dark place. That's how my mind works to keep remembering it. So when you draw in black, it will be hidden. And when you draw a white, suddenly daylight is there. White is daylight for me. And then you can see everything again. So let me just show you what I'm going to do. I'm going for the sake of this tutorial, I'm going to make her a little bit more feasible. And if I go into draw in this layer, and mostly I choose among or line or dry ink brush or something like that. Let me do a mono line. Because then I have all the pixels, I have no texture in debt. So I go to calligraphy, search for ammonia liner brush. Well, I made tons of them. Mono line. How big is it? So remember, we are on this layer drawing. You can also select this layer, but we need to top layer to be dark blue. And that layer is the layer we're going to be drawing on. So I select monoline, I've cut my black. And now I can draw with black. And you see what it does. It makes her invisible. So I'm hiding are in the dark. I could go all the way here, but then you have a gap. So if I have erased it, Bart, I could never get this Beck the same way, easy or otherwise done drawing the whole girl with a shadow and overlay layers again, or I have to import her. So now when I'm gone a little bit too far, well, remember what I said, it's choosing white. You can suddenly see something. So the same brush, I'm going to draw white on top of this again. And there she is. And so we can play a little bit with what is feasible and whatnot debts. One lady layer mask is for. So let's go back. And let's do this for real. Because I want her feasible. And I also want a lovely transition from the tree trunk to where she stands behind it, but her elbows are in front of it. So I'm going to make her a little bit less visible again so I can exactly see where the tree trunk is going. And with the mono liner on black, choose black again, pure black. I'm going to trace everything. I don't want to see and get rid of that. And just check every once in a while. So I hope you can see it. When zoomed out, it's better to see the lines, but it's harder for you to see and we want a smooth transition as possible. So two here, and then I have to leave her elbow here. And directly where the tree is going to make it not a straight line, just a little bit wiggly. And I think here I got four and here I got too far, but I can read. We covered that as well. So now I'm going to make it a little bit bigger. And I'm going to mosque or temporary erase as I think it's a better name to call it, and then I can remember it better and explain it a lot better. So this will still be there, although it seems like it's erased. And now I think the girl is standing pretty, pretty behind her. But here I see some blue from the leaves behind. And here I also see a part that I don't like, but maybe it's something I don't have to bother about. Maybe it's just something into picture. But let me see what it looks now. What she looks like when I totally bombed her up. I think the girl is now standing behind it. And now when I go into make her adjustments to the size or one to replace her, You see what I meant? If you would have erased this, you can't get it back. But when I want her to be as big as this, simply turn into white up and draw. And we could get pieces of her BEC. So that's how we have a mask is working. So I hope that explains it well. So I'm going back to the position I want it. And I have to do this a little bit better than I did. So a little bit wobbly. And I think her elbow need some shadow and I had that but I drew it too small, I think. And otherwise I can add a little bit more shadow on top of her. And I think I want this a little bit more back so I can do this in some matters, but I may be choosing liquefy, go to data, go to the magic ones, liquefy, push just a small size, and push your elbow a little bit back again. So that's an easy trick to do that. Easy-peasy. And you see depart here, it's going up, it's in the tree trunk, but I think it's bothering me in a drawing. So I'm make sure I have my whites and go back to my mono line and my own layer mask, make sure it's dark room. And then I can play a little bit myself. So you don't have to always follow the shapes of what you already had is just a little bit of manipulation. If you want, go to my black again to make it a bit higher. I think I like it like this. But now it's looking very unnatural. And why is it? Because there is no shadow. There will be shadow of her. This is all the way lightened in the picture, in the original, but now she's standing in front of it. So it has to have a little bit of shadow. Let's create that. And remember, we have to create that underneath the girl, underneath her elbows. So I'm going to layer below that. And let me check what I want to do. I think I'm going well to darkish gray, choosing my airbrush again and set that layer to multiply. And let me see if this isn't too dark, maybe it's too dark. Now it's already looking more natural. This is fun, right? Because she is natural and it's all. Well. I could swear I seen her in a forest somewhere. And I think this is a little less to light now, so I'm going to erase that with the same airbrush. My only airbrush, yes. And just the front of the tree. I want to have a little bit lightened again. So little bits. So it's easily feasible. And I think she could use a little bit darkness on top on top of her shirt, like her belly and the lower parts of the elbows. And in order to do that, we have to go on top of the girl. So create a new layer on top. Adding to multiply. And also make it a little bit darker, maybe like the color we used here. Let me check. I think it's too dark. Erase a little bits. But you can see what this does to her. It makes it more real instantly because now she has natural light and shadows. So now I think it's time to add some more and see you in the next chapter. 5. Adding Moonlight, Highlights and Shadows : So now we have our background created. We have our girl, including her shadows and mosque TR, Bart's away. This is funny because now she can also stand in front of it, but she has a weird shadow. Now you can actually see what it's done. If you want her in front of that, again, you can start letter stand like this and you have to remove the shadow. And now she's looking at something that's approximately here. So if you make one drawing and masked it, you can do a lot of more from there. But I want her behind the trunk again and have inner shadows. Now a fief looking gorgeous. Let's say we want to add some lovely shine over moon. There is no moon, but hey, if you guys think of it, you can create it. So let's get started with drawing the moon. And I'm going to create another layer on top of this ONE. So everything on a new layer can be removed if you're not liking it. So for the moon, I think we're going to use a bit Polish, gray Now, bit Baylis yellowish color. And I want to use my airbrush. Well, for the sake of this tutorial, that's fine. It's easy. If you want to moon in full site. You have to make sure you're behind the trees, but that's hardly possible because then you have to mask out all the branches. So you can choose to draw the moon far outside. So you only have the shimmer of the moon coming through. That's feasible. You can you can chose a mile, a new layer I deleted. I saw it coming appearing at the top. So always checking so I can draw a moon from here and make it a little bit of a glow. Maybe a little bit more pale by cause I think it's just two yellowish. So I'm going to do this and maybe not too hard so I can play with the opacity of bits and nonce too soft. Maybe erasing it a little bit. With the same airbrush, slightly, slightly. I think this will be nice. And now we have the glow of the moon. Maybe you can add a little bit of a harder moon. So it's a little bit feasible still as a moon. And just the glow. Well, it's all in the color. You can do it to your own liking. If you don't like it, you can get rid of it. But for the sake of this tutorial, let it be here. And I think it can use a little bit more pale color again, like so. And maybe I can blend a little bit. And we go into details here. So the glow would be still there. And also when the moon is shining, she has a new shadow and lighting part. So make sure that's all fitted perfectly. In this drawing. I made her with light from the sides. For the sake of the tutorial, I'm going to show you how I can reverse that. And that's by using a clipping mask. You heard me speaking of it before. And a clipping mask always goes directly on top of the subject that you want to be clipping on. In this case, it's the girl. And now you can see this layer is actually two layers. In one, they can't be separated. So just make a new layer on top of death one and create a clipping mask. And now it refers to not only this one, but also this part. So if I'm going to clip on her trousers, for instance, it won't be feasible because that one was blocked by the mosque. But I want some highlights on her head on this side. And that's why you clipping mask is very easy. I'm going to my coloring again, a little less yellow. I just wanted to have a hinge of a shed. Highlights. Sorry, I want to have a hint of a highlight. So with my airbrush and go into, pull it down so the Moon is coming from here. I'm going to leave it like there. And I'm just going somewhere outside. And you can see my brush car sharing when I do it very hard. You can see it hitting her. Heads. And that's where the glow from, the moon comes from. I'm doing this very hard now, but it doesn't have to be this hard, but I think it would look lovely. You see what a highlight can do. And also you can do a low-light. Mostly. I forgot to mention. Mostly I do this in overlay. But for the whites, it will be too much bright pink. So I don't think it's looking good for the white part. So let's get back to normal again. But the black one, I mostly do in overlay for the shadow. So I'm going to create a new clipping mask on top of debts. And you see also the arrow. So days refers to just below and this below. So it's all going down to this one girl, I'm choosing my black and indeed lay this layer for black. I mostly choosing overlay for my shadows. And I'm going to create a little bit of darker shade right here. Because disbarred will be in a dark and this part will be lighter. So I can choose to go back to the white again or to why dish. And maybe her hair could have some glow here and I won't be in the camera. So I'm going to turn it again. Giving her hair a little glow from this side. It makes sure the moon glow is very feasible. You see it's very in there. But also to treat drunk could have a little bit of a highlight, sorry. But that we cannot clip on because it's a whole picture. So there we have to be careful. Just go to the background. Create a layer above that. And also go with your airbrush or dare you will see it will do a lot of it's outside as well. And there you can easily erase. So it's just on the tree trunk as well. You'll have to zoom in. I think I already gone too far. Maybe I can move it a little bit. I don't think so. Well, I'm not that precise right now, but you can see how it works. So this is how we can create extra lighting, an extra shadow also within a picture. But then you have to erase. And for the girl, which is a different layer, you can use a clipping mask. So that's how I would do that. But I'm going to get rid of the moon. I'm going to get rid of her highlights. So get rid of the moon. Well, not just deleted, but make it not feasible. I don't want to see her highlight it and her shadows, and I don't want to see to highlight here. So we have absolutely no lighting whatsoever except from her original drawing. I want to make sure she has a little bit of a firefly here where she's looking at, let's see how I did this in the next chapter. 6. Adding a glowing Firefly: So let's create the illusion of a firefly in front of the little girl. So for debt, we need something, right? So I'm going to create a new layer on top of everything because it's all the way in the front. It's coming towards you. So everything what's coming towards you has to be in the front or the most top layer. So let's get to the original brushes and go to luminance and dare you can find your flare. Flare is a brush which is a tingling star. So I think that's perfectly useful for a firefly to pure whites and just hits a spot like this. So they're instantly is a five-line. I think it can be a little bit bigger. I think this is wonderful. She is approximately look into it, maybe a little bit more to the side. Like this. Yes. So this Firefly looks lovely, but now we have to create a low, a glow against her clothes and the glow in her face. So let's see how are we going to do that? And I already know it because I've already done it and I want to show you how. So I'm turning into a gray car and grayish color. And then I'm going to set that new layer I create. It's on top to add. And I'm going to my airbrush again. And there I'm slightly, well, let me see greatness of the thing. Instantly. We have a glow on her face and little bits and a little bit like here, and make a smaller one on her face. But I'm doing the same thing because I want it to be highlighted from the glow in her face. I loved that. Now it's looking like a fairy tale already. And I'm going to duplicate this layer. And I'm going to change that one with another blend modes, Color Dodge because it will be more texture I liked very bright. And I'm going to lower the opacity of debt a bit. So I have a lovely, lovely glow. Maybe I can smudge that a little bit. It's just a trial and error and see what you like. Yes, play with it to your liking. So I'm maybe I'm want to play with little bit moonlight because she already has her highlighting here. So I'm going to create a new layer. Let me see what this does. Also in the add mode with a gray color, Let's choose an air brush again and go a little bit outside of the painting. So I just have a change of color of the moon, not too much. So on ads, I created this moonlight and maybe blend it a little bits. Bring it more to earth. And I think I'm okay with this undermined. It's now a little bit in front of the tree because it could come from front of the tree also with a ray of light. So I think this is okay, but make sure you're not going to blend away all of the trees. So I think we're finished with this one for today and I hope you liked it and I will go and walk you through some other things I did. 7. Getting rid of unwanted shadow using the clone tool: There are also several problems that could occur. For instance, here you can see my shadow. I was taking a picture on a clear, bright day. And so you can also see shadows. And for instance, for this picture, I wanted to keep the name of the biker wrote in it and also take a look at my shadow. I was standing approximately right in front of here. And the shadows, we're going to the right upper corner. Also, you can see this with these leaves of the trees. So that's what you have to keep in mind. First, we have to have to get rid of this piece here. Now, I'm not a photo shop expert, but Procreate has a fine tool for that and that's called cloning. So you have to go on the layer and work on the layer itself. Remember always to keep a copy. So if you're doing wrongly, you can go back to that. So duplicate it first, get rid of this one. And we have to work on the exact layer. I will zoom in. And this will not get it perfectly right, but it will get it approximately right. So I go to the magic ones to cloning, and it took me awhile to discover how cloning works. Here you can see you can choose the brush you want for that. So make sure you've got a brush that covers it all. And for me, I will take the airbrush because that will not be too obvious. The normal airbrush that we see here I've got it's so soft brush. And I'm going to pick a place nearby because I wanted to get rid of the shadow. But you can also see shadow off the trees behind me. So when I take this here and go over this bolts, you can see it instantly brightens because it's copying and cloning the area over here so I don't want it. So I go to a nearby piece and there, I just want to clone that face approximately. And you can change it again to pick a lighter piece or darker piece. But someone oh, no, I went into a too much light part but it could be like a shadow, but I don't like it too much. So someone who doesn't know the picture for real, now couldn't tell if I were standing here or not, but I have to do it also on the grass bars. So I go to the gross part and also going to clone that a bit. So always choose a nearby area. So we will take approximately the same thing as the nearby area, was already A14. So it doesn't have to be precise. And an airbrush is the best way for me to figure this out. So now I think I'm cleared out of this area as well. So that was the part about cloning. Let me take you to another chapter and deal with something else. 8. Dealing with complicated shadow using Warp Advanced Mesh: So remember I told you that we have seen the shadow that's coming from the left down corner and a little bit into Rights because the sun is coming from this angle a little bit behind me. So we have to do this with our monster. For this case, I drew a monster and we have to do that as well. So we have to get a shadow behind him. Let me get rid of this one so you can see the total picture. I created, the monster, which I was inspired from Abby nurse from every uproot. And I created this one also a couple of years ago and now I went back to it and recreated it and make it funny walk. You can see here that the shadow now it also coming from the Indus angle like the trees and everything. So it's completely fade it in and blended in. You also see, I've got a hard shadow under this feat and a soft shadow underneath this one because this is a little bit off the floor and I was also looking like that. If I had a shared are directly under his feet and also little bit harder, he would have been having both pulse on the ground, but I wanted to keep it slightly in the air. Well, how do I manage that? I'm going to show you. So this is the monster without a shadow. I've built my monster from a basic part like this one. So just a little egg shape. I added some layers on top of that because to give him his fluffy look. But we only need to shadow, so that's not important. And you see, I've got his boss also on a different layer, also with clipping mouse own F4 light and shadow parts. But we don't meet those clipping parts. We just need the basic shapes. So what I'm going to do is to duplicate the balls, duplicate the body. And for these ones, make sure to get the lowest one because the one on top has a clipping mask. And if I take that, all the clipping mask will be cut loose so we don't want it. So take the one who was at the bottom from those. And also this one. We make it into a group. And I think and a new group. I was checking, why are my shadows this period, you can learn from my mistakes and new group went on top of his arms. So I can easily takes a new group and put it below it. So now the original part is still on top. I've got the ones just the duplicated once here. I could blend them together. And for this one, because it will be his shadow. I go select, choose black, choose Fill layer. And our HIV got a black one behind it. So now the background is all black and we can play a little bit with it. I can show you what is shadow does. It's like Peter Pan is helping behind him. We have to get it at the exact same angle. So if you want to move it is still straight up shadow. We want to play with deaths and for that we go to work. And because work is only hitting on those corners spots, I want to go even further to play with the advanced meshes. Now every blue dots you can pick and change, so you can say peekaboo, I hope you can see it. Now it's flipping from behind, but it's still got his hands and his feet at the same place. What I want now is for this feat to stay on the floor so there it must hold a shadow. But the risks, I can flip and it has to be like something like this angle like exactly from the trees we have behind and in front. So I want them approximately at this angle. I want this one state here. So I'm going to play a little bit with it. And for debts, I have to do it mostly in part, but make sure we take everything with us except for this food. So this I want to have here and the other shadow, it can be a little bit up there. And I play with it in parts. It can be a little bit elongated because it's very light, it's not straight up, it's coming from a little bit of this angle. If I have a straight up angle, the shadow will be even more here and maybe a little bit floods, floods. And so I think my shadow now is in the right place approximately. But it's way too hard. But you can still see this one is here underneath his foot. And I'm going to make some adjustments to that later. We'll come to that. And now because my shadow is extremely heart, I'm going to make it into what's more soft blends. So I go to my Gaussian blur by touching magic ones, go to Gaussian Blur. And then we have a sliding bar here. And I'm going to tap outside of the picture. And I'm going to make it a little bit more fake, making sure I can still see the parts here. And also where it touches the ground, this one is off the floor now. You can see that clearly. And I think this is okay, but it's still a little bit too dark comparing to the shadows. Well, this tree is a lot further away than the monster is, so I can keep the shadow a little bit darker, but not as dark as it is now. So and going directly to the layer and change the opacity a bit just according to my liking. And it must feel natural. For me, this feels natural, but you see a slider touch here. So where I think the shadow will be darker because the leg is closer to the ground then this surface. So I think this could be a little bit darker. And that is what I'm going to do it by creating a new layer on top of deaths one. Go to my air brush again, make it very small and just play a little bit underneath this one. So it shadow will be right underneath its foot. Just a little bit. Maybe it's too hard now, but I can also change the opacity of that. Well, maybe it's not perfect, but I guess you get the point. There is a shadow. It's approximately like it, how it will be in real time. So I think this is lovely for as it is now. So I hope this is something you would like to incorporate in your own work. And warping and cloning is something we don't often do. But for these Bart's, It's very easy-to-use to use them and to know how it's being used and what to use it for. And I think the best way to learn is to learn with some examples. I think this foot can be really a little bit further away. So this one will be more off of the asphalt. So I'm going to play with this a little bit more by moving it. It's still warp because it's always remembering the last thing you did. So what if I choose to get this a little bit higher, but without moving this one of course. And maybe I can even get his fall too, lift more up, but then I have to take all these layers with me. So that's a fun thing to show you. Create this one as a new group. So I have it totally together. And now I'm going to play with the group. And for that, I can also choose to move it by warping it, but it affects mostly the whole picture. Let me see what it does. Yes, it's going to affect the whole picture. So I'm going to show you something else. I'm going to the Liquify tool. And liquefy. I will push and I can move the group around, just make it a little bit bigger. Just going to take his foot a little bit. And you can see, I can totally shaped this a bit. And if I don't move it too much, I don't have to make adjustments to the, to the backgrounds of the shadow. So I think it's looking lovely right now. Now you can see it's really off the canvas because the shadow is way off of his foot. And here his shadow is right behind his foot. So so I hope this was helpful for you and I hope you enjoyed it. And hopefully now you will have more freedom to experiment with your pictures and your drawings. 9. A quick and fun little bonus: Some fun things you see people do on the Internet are some mesh ups where they create a normal picture and then suddenly the eraser part, and then you can see what they do with it. I think it's fun, but you have to like it and always let people know you actually made this yourself. So it's not only issues and you have another picture, so make sure you created this one yourself. So let's go back to the original picture. I always leaving that behind, so I create a new one and move it all the way on top of everything. So this is my day in the park at broad daylight. And then the fun part is I can erase that. And mostly people are going to film this. And they just do this like a giant Schorsch on the correct layer and just having fun. And instantly, this is how easy they do this. So go back on this original layer. Just make sure you get your airbrush at this size you like, or any other arranging tool you want. And just erase away the top layer. And this is easy how they can create some funny pictures and little movies or gifts for the Internet. So I hope you liked it. I've got a couple of other pictures I want to quickly walk through with you. So stay tuned. 10. A walk through with Prince Charming: So this is just a quick video on how I enjoy my walks in the park with my doc. She's not in the pictures though. So this is a very weird spots, is nothing fancy, but you can turn into something fancy. Like, for instance, what if I would walk here early in the evening? And I see my prince charming suddenly standing on top of this one. Well, let me see what I can do with that. You just have to imagine. And it's there. My prince charming standing on top of these two poles. Well, what did I do? Let me check. We started out with this picture we shown on the picture. And let me just get to this picture. This picture, I want a purplish glow. Purplish, pinkish. 40 evening. Well, not too much, but you see it's done its job. I don't want it to be too dark. I think this could be a little bit more pink by the way, I did this with the airbrush on the multiplied set. And I wanted more pink, but I wanted to see the picture through it. So I did an overlay layer with airbrush as well, with pink. And I think, yes, I reduce the opacity. So there you can play a little bit with how much you want the glow to be in there. And after that, I was drawing my sketch of the frog. You see its attitude and how we standing there with a sense in his sights, like, Hey, I'm here. And on that part I went drawing just a color block from everything. And I drew this with a brush by Jennifer Nichols, lovely brushes, but they are a little bit see-through. So I did the part of the arm and I did the part of the body and the legs. And I do that on different layers and the hat. And then I was seeing through, so I doubled it and make this to one whole piece behind it. So now it's completely blocked. And then I have to add my shadows. So I went to art part and creates my shadows and highlights for debts. I created even more darker shadow and a play on new layer with some rim lights. And that I did for all those layers, like gave him some color, choosing highlights at the front end, some shadows on the back. And say, well, let's add some other highlights. Just a quick see-through own how I built everything here. And then I went onto his face and I wanted to add, you see, I go outside my sketches a little bit so I added some highlights and some shadows and creating even more rim lights. And I all do these indifferent stage stages. So maybe I do the rim lights after I after I did everything else. And of course, I want to Tim to have a mouth. I created this month first I see. And later decided to give him this mouth and some ice. And I was messing around with the eyes a little bit, so I have to check for my eyes in order to be okay. Like I drew them up. This is shared a bar does is a weird part, shared apart on top of his heads, but you can see it needs a shadow because he's wearing his crown. So I edit with a clipping mask also highlights and low light and shadows and even a little flare on it. And what did I do with that? I added some highlights and an extra flair. And sometimes I miss things up again, o and little bit of shadows you see like there. And what did I do here? Oh, yes. I think it was at this point. I thought, let's get rid of the sketch layer. It was a little bit too green, so I added a little bit off or purple flare, also, pinkish purple flower with the Multiply layer on this B. So it's in, so he also has an evening glow. And now it's just, you know, when I mentioned it's a stick on. It's glued on. And sure. This is not a realistic picture and I don't want that because I want to do fun of a drawing in a realistic photo setting. So, but now it needs some shadow, and that's so important. So I'm going to add the shadow right here. Poll, and now suddenly it's more incorporated into picture. So here you can see the importance of shadows, like without shadow. And you can see there's a highlight on top of it because it was daylight. And with the shadow, it's more, more natural. As far as you can speak from natural for Prufrock, prince charming in a park. So from a daylight picture like this, it's not there anymore. Well, from this daylight picture, we went to this is wrong mouth also. So this was fun. I think. Let me see if I have another one. 11. Adding Glow with Bloom and two more different settings : So this one was from our boring shopping center during Christmas, but it was a gray day. It wasn't fun at all. And I wanted to show you something. I did hear a couple of things. So this was the original picture. It is not in its original place because I edited because I did something I want to show you, but I needed only original photo, so it's not in the right place. Bear with me for debts. We go from this one to this one. And I'm going to quickly show you some things I did here. So for instance, I may a glow of this cross and I've added some darkness to the light and some warm glow to the buildings and the floor. So that's what I'm going to explain to you. So what I did here is making sure the sky is a little bit of dark blue. And what's, Yes, I did it in normal. The easiest part to do this is by selecting, but I don't want to select everything and draw all the way outside everything. So I went to selection to choose automatic, touch the whites and swiped it. And because it is already known what I did before, but otherwise you have to select and check how much you want to have selected. So I have to find that spot again. Here you can see it's not all the way correctly selected everything. Now it's there. So this is the part I want to draw on. But I take this selection with me to a new layer. I selected it. This is blocked out and I can only draw on that one, but make sure you create a new layer on top of deaths and then go to my bluish purplish color. Go to my soft brush again and swipe the whole gout. All error. Well that's easy, right? Maybe not to purplish, maybe a little bit more blue, maybe play a little bit with color, make it more magic. So that's the easy part. We blocked away all the day sky and we created a night scene, but this is now still gray and dull. So let's play with that again. Go back to the photo. But in order to select everything here, you know, the white sky was easy to selects because it's one color, so it blocks away one color. This is so many colors when I do a selection like this, choose automatic and they go inside the building, well, it's remembering his threshold from just now, but then you have a chance. It only would select everything in that color, so only the ropes of the building. But when I do now it's remembered that that's not funny. What I normally do is just go and select this part again of the sky. So ultimately select, select the same thing again, and then choose Invert. And now it's selected everything else, but this blue part. And I also go to a new layer on top of that again. And then choose think Overlay. Let me see what I did. I yes, I did an overlay in orange. Overlay. Little bit orangey look. Make it soft color. Accused opus T2 your liking. And instantly you have warmer glow to your picture. And you can play along with that as well. Once we make it less, are less orangey. So and now we instantly already have a very nice warm picture. And what I did here, I wanted to make these more glossy fights and more sparkling. And for debt 1, I'm going to the original picture again, and that's why I couldn't show you and have to move into new picture. And a little bit of a hard piece because I want to select the cross and I want to select the bot, but I'm going to do it as frequently and adjust tipping within the cross. Approximately two where the cross will be. Make sure you're in the cross and not outside because it would get aware weird selection from deaths. And it can only hold as much pieces. Let me see. Yes, now I've selected the whole cross and then going to do something new. I'm going to my magic ones, touch bloom. And then I can also play with the slider. And an instantly, you see it coming. It will be glowing. This will be fun. And it is approximately the most I could get for now. So let me see, and let me check in the picture. It's already a lot brighter. But now I also want to have the bot. So I'm going to do this again. And I'm going to select my bot Now from here to here, to here, here, here. And let me see what it does. On blue. It's adding a little bit of glow to that as well. And go into do this on all parts. So select I can draw and select all these parts as well. Long as you stay within and not outside of the bow. We can also make these bloom. Make it shine. And let me see how it looks like. So, yes, and I want to make the cross even more gloomier, so I'm going to do the cross one more time. Let me see. Just checking. I'm going outside. That's not very good. I have to stay within the bow of the cross and bloom it a little bit more? Yes and no, I haven't a fairly lighting and blooming background here. So that was a part of manipulating the picture. And so if we get rid of that original picture, I'm adding a flare here. It was different flare from another brush sets. It's called the space brushes. I found on the Internet somewhere. I can't remember where it was in my early days when it started procreates a couple of years ago. And I edit some star, some stars, a fleet with nebula cloud behind it. And also I've created a little bit of airbrush and Bloom does as well. And this is also an early drawing I imported, just as I've shown you with the girl before. And you see it's now standing on the building. And I forgot to put his shadow below. So it's really standing there. I think it's very important to have a little bit of a shadow. So that was how I did this one. And I also, because, you know, it was Christmas time, I created this one also with the blooming, a little bit of moonlight. I can show you the original picture because these were a little bit today. These didn't grab with you saturation and brightness, but that was a lot of fun for me. And let me show it on top. You see, the worse, these were gray so I couldn't play with you saturation and brightness. So that was a lot of fun. But I think in the new picture, it will be just as realistic in-between a fairy tale. So that was the fun part for me, call me weird, but I like that. So lets hop over what I did there. So it creates darker sky, created a moon. I created some highlights and little bit of rim lights I created with Bloom also a glowing knows. I masked away a bit out of his paws. You can see it. Here is the one I wasn't using this to one I used. So originally this has to be here. So let me show you. I created this 1 first it was bigger and then I try it's too small it down. And first time I created justice head, but I think that was weird. It was just a stick on as well. And you can see also the shadow here. And that's what I thought was necessary, but still, I thought it was too much like glued on peace. So that's why I decided to move it and create this one behind it. So That's how it worked. So I hope you liked this tutorial and I hope you have fun. I hope you create your own. Please make your own pictures. There's nothing fancy about that. Just shake your camera from your phone and create some lovely pictures. You can use Internet photos as well, but make sure they are copyright free. But I challenge you to go and create your own photos. As you can see in my photos, is nothing hard. Just have to imagine what it would be a fairy tale atmosphere for a picture I like. And you can go from there. 12. Thank you for watching: Thank you for watching this class all the way to the end. I hope I've given you enough ideas to get started. I hope you all thumb in creating lovely scenes for yourself or stories to tell to your children, grandchildren, nieces and nephews. It doesn't have to be complicated. And you can even tell stories by just drawing a statement. So choose your own style, choose your own photos, and let some things magically happen. I hope you've learned something extra S and I hope to have tickled TO spark in creating some nice scenes and think of old imagine you can create now. So please make sure you post your projects in the projects and resources section of this class to show me and also others on what you've created. I would love to see them and please do leave a review behind so people can see if you enjoyed the class. Thanks for watching again and see you in the next class. Bye.