How to Create Anime Stickers in Procreate (NaNa FanArt)

1. Intro: One of the best things about being an artist is that moment when you can hold your own finished artwork in your hands. And maybe even more than that. Take it wherever you go. It's one of the reasons that I love creating stickers because you can put them on your favorite items that you have with you at any given time. Hi, I'm Laura, a digital illustrator and I'm here to teach you how to create your own sticker designs. I will show you how to do that from sketch to final adjustments in two different examples. Namely the main characters of the 90s anime called nanos. My intention is to make a set of two stickers that any fan would loved, purchased together. I feel like my designs feel free to check out more of my art on Instagram. The Handle should be somewhere on the screen for you to see it. Let's not waste any more time and jumped right into the illustration. 2. Hachi Lineart: Hello guys and welcome to the first lesson of this class. You probably already know this from the intro or from the thumbnail, but we're going to draw two characters, the main characters from the animal, nana and the later, see how we can transform them into stickers. Since we know from the very beginning that they will become stickers that decides needs to be sticker friendly from the very beginning. Otherwise you might have a difficult time cropping bigger illustrations later on. So why sketched hace over here and try to keep a simple shape in mind with a clean end marked by the frills. Now, I've said this before and even though the line art is my favorite part of the drawing, that doesn't mean that your sticker absolutely needs to have a line art. You can simply start coloring and created a counter with color as you go. And lots of artists are doing that, but I really cannot move forward with all the clean line art. Maybe it's from the time when I used to read mangas. Maybe it's from the time when I was drawing them with a simple black pencil on paper. But either way, I love seeing line art. I love the Mongo style and it's quite obvious that it influenced my own sale quite a bit. You can find my brush pack attached in this course and you will also find my liner brush over there. Feel free to use it and try it out in Procreate and let me know we feel like it. I'm thinking of making more of them this year, so I would appreciate your feedback. So what I'm trying to do right now, as you see on the video, is to go with a thin contour for the light parts of the line art. So that is where the light would be hitting the character. And then go with thicker lines around parts that are in the shade, like, let's say below her hair, next to her neck and everything like that. But I'm also trying to add some thin lines along the hair. And this lines, they might not be noticeable in the final result, but in the line art phase, it really helps you see the flow of the hair. And that's an important factor. Now when drawing the frills, it's really important to have thin lines and to try to take your time with this because it's one of those kind of details that is quite repetitive. And it does add to the richness of the illustration, but you really have to be patient when drawing it. So as you can see, I'm trying to vary my weight lines just like covert there on the hair. And you will see more similar with lines around the frills, where they will be in the shadow, where the blouse will go behind the frills and so on. Adding a few more details to the hair, trying to finish the ends of the hair. And then we will move on to the rest of the shirt. And then we will make a separate line art for the eyes. There's a reason that I like creating a separate line art for DUIs. And that is because when we are going to change the color of the line art to later on, it will be easier if there are parts of the eyes that are intersecting the hair, which usually happens in this kind of animal drawings. Then having the eyes on a separate layer, you will have an easy time putting it on Alpha Lock and simply color the line art without messing up the colored line art of the hair. It usually tends to happen. And I decided at some point that instead of trying to erase and redraw into erase and redraw, it would be way easier to just put it on a separate layer. For the eyes. You can see that I'm trying to draw the outline of the eyelashes as opposed to how I usually work with simply going for a dark brush stroke, a bolt brushstroke, and just creating the eyelashes directly. But recently, I've tried to change the method of me drawing the eyes. And I feel like it gives space for a lot more detail. Maybe it's not the big change, but I really tried to incorporate it my new workflow. So for easy access, since we have a front-facing profile, now that we have our eyes drawn out, Let's just duplicate the layer and flip it horizontally and just put it in place. I will let you watch the rest of the process and I will see you on the next step. 3. Grayscale and choosing colours: Now that we have our line art reveal, it starts to look pink areas inside the whole shape and fill it in with gray. I actually go for a purple tinted gray, but you can go for a fully saturated one as well. I'm doing this in multiple bunches because I tend to touch the screen with my hand when I'm far ahead in the selection and I accidentally closed it. Since I don't want to start again, I'd rather go by selecting a few big chunks and fill them with color instead of feeling frustrated. You might have seen some videos on social media where people tend to create an outline of color for the whole character and then simply pick and drop the color inside the shape. And that's entirely possible with Procreate. I personally am not a fan of this method because my line art brush is a bit textured and my line art style, as you can see, is not a continuous line. It has breaks every here and there. And that's simply because I like the aesthetic of debt. It's not intentional and yes, I know I have to work more because of that, because they could simply do the drag and drop the color. But in the end is the method I chose for myself to just create the outline with the Lasso tool and put the color inside. Why do you want to do next is create a multiply layer, clip it to your green layer, and select the round brush. Now that you have your clipping mask put on, you simply have to pick the same color of your gray base, peak around brush, and simply start creating a basic shading. This will be in general places like under the hair, under the chin, around the clothes where they are supposed to be darker and in the shadow. We will the general shadow areas. But in order to do that, you will first need to establish a light source. I will draw my number here so that I know where the light is coming from and consequently where to draw the shadows. But of course before creating the shadows. So you should also have a light source in mind. I'm going to draw mine over here so that it's more obvious to you guys what kind of reference I'm going for, what kind of approach I'm using. And it will all make more sense. We are only going to fill in the general shading without going into too much detail, without creating too much contrast. Because later on we will actually create a pink version of what we are doing now so that it will help us with filling in the base colors later. So we can see that I'm messy with adding the shadows. I'm trying just put them down past, not to waste too much time on this. And then I will move on. After marking the shaded areas, I will use the smudge tool to smooth the shadows a bit and then we will merge this layer to the base. You don't need to go into crazy detail at this stage. This is merely the general shadow or the ambient occlusion. Later on we will fill in the shadows, but let's not a handlebar still. Actually, one of my favorite parts of using Procreate is exactly this smudge tool. I used to use a program called Paint Tool SAI, and it had an amazing smudge tool that I use all the time. And of course back then I would only get an airbrush effect on my whole drawing because I didn't know any better. But I didn't find that kind of sponge tool on any other app that I have ever used until Procreate. And I really love using it for this kind of basic shadow and for a few more blending parts along the drawing. Alright, these two layers are merged. Let's switch the grave with a nice pink them. We are doing this because later we will add colors on top of this layer, and those colors will be on either multiply or overlay layers. If the base would remain gray, the overall colors look muddy and we don't really want that. Okay guys, so I put up my reference from Pinterest so I could see the exact. Callers that nanos palate has. And we are now going to use a multiply layer for the skin. We are going to select something very light from either the orange or the yellow color palette. We will keep testing until we will see what we like more. And the fact that you are adding a yellow, orange, orange color, abab of pink layer. You will see that it will give you a pretty nice skin shade. And you can work with it really, really well. You just have to look out for finding the right kind of base color if you want from the color palette. Because the multiply mode will alter it. It will make it more vibrant. It will make it a bit pinkish considering that we have pink minutes our layer. But that's nothing to worry about. It's only a matter of trying and figuring out. This is how the base layer looks like. It's a really light yellow. This is how it would look like if you added it on the gray kind of base. Okay, so now we are adding a new Multiply layer. I'm speeding up the process a bit here because it's quite repetitive. But unless you check it out for yourself, unless you try it out for yourself, you will not know how to pick the colors. But really, having a pink base really helps a lot with setting a basic shade underneath all of our base colors and then adding more shading and more contrast and lighting from that point. So this is one of the part that is taking a lot, but you are starting to see your drawing come together because it's wanting to have a line art, even if it's a really detailed one. And it's another thing to see some basic colors on your drawing. It feels like your character is finally catching sunlight and you can actually visualize how it will look in the end. I tried to use the same color is often as possible in many more places than just one. Like the blouse and the earrings that I do not waste time looking for more colors and the shading will also be more uniform for the frills when we are going to use a layer set to overlay because we want to have white frills and we cannot do that on a multiply layer. The same goes for the white of the eyes. We are also going to put that on the same layer. And then we will make another multiply layer above it to create the color of the eyes. And I'm willing to play around a bit until I find the right color. And then we are going to make the eyelashes. Try not to make the eyelashes full black, like the darkest black that you can find. Because you will later want to add some shading to it as well. And that will prevent you from doing so. Besides, you know, that you are not supposed to use the darkest black or the whitest white in your drawings because it simply will not help you later on when you are rendering it. This is pretty much the base color part of the drawing. We can make some adjustments if we want. And then we can jump into the actual shading. 4. Hachi Soft shading: In my view, there are two types of shading that you should account for when you are drawing. One is the soft shading, the kind that you smudge out and try to create a nice transition between your base color and your shading. And the other one is the heart shading where you have visible hard edges that contrast with the soft ones. Now let me tell you why. I don't think that using only one or the other is as effective or aesthetic is using both of them. If you only use soft shading, you would risk creating an artwork that's queens, these airbrush, as you might know, airbrush fixed, It's really looked down upon in the art community. Beginners tend to use the airbrush a lot because they don't know how to emphasize the shapes in their art and they unconsciously try to hide that behind the airbrush. Now you might say that you can do a stock trading using a textured brush. India's were right. But in most cases, there will still be something that is missing from the illustration. That's why lately I've been using a combination of soft shadows and harsh shadows. In this lesson, you will see me filling up spaces where I want the soft shadows to be. The first places where I will go to the soft shadows are on the hair, both on the very top of the hair and below the year level. Next is around the face with darker shadows on the forehead below her fans. Then I will add shadows on the clothes in order to put emphasis on the phone and frills. I tried to smudge until I have a soft effect on the face, but I tend to use the painterly brush from Ross trust in order to smudge the hair and some of the clothing. We are going to select a darker shade from the skin. I'm trying to lower the saturation so that it won't be a bright pink shadow. Although there's nothing wrong with that if you want to cry it out. But for my style, I'm trying to desaturate the shading of the face. So I'm adding it around the face, trying to create some sort of contour. And then as you can see, I'm trying to smudge it out and spread it out in a uniform manner because this is only the soft shading, so we will add some clear shapes in the next lesson. I'm trying to pay attention to the details and tried to add shading around the ear and the earrings as well. Because even if they will not be noticeable in the final sticker, I know that it's there. And I really want to have a standard of actually creating details because I know they are there. And when I know they are there, it makes me feel better about my art even though nobody notices it. You can see that I'm actually trying to reinforce the contour on the side of the face and how a darker shadow within the shadow that I have already created. Now I'm erasing a bit of the skin shading from the hair so that they will be able to proceed with the hair shaving afterwards. Now I will add the soft shading around the frills as well and around all the false, That's the characters blouses creating them going into too much detail. But I tried to emphasize all of the volume that this kind of shirt is creating. I'm alternating between the smudge tool and the brush tool, adding some color than spreading it, adding more color and then spreading it. This will create the base for my later shading and lighting. And it's also useful to see the flow that the material is going in. Now let's add some color to the eyes. I like to create a shading on the upper side of the eyes because it's supposed to come from the eyelashes. And then I will also create the pupil. And since it's anonymous, kind of growing the pupil will be quite large. Then we will add a lot of details later. Especially with lighting and width contrast. Now we're going to select all of these layers and create a group of them. Because later we will simply duplicate and March all the layers in the group so that we can later work with the new marched player. For the white frills, it's quite difficult to find a color to shade with because the material is not exactly white foot, it's a really light creamy color, like maybe bladder or even lighter than that. But when you have a light material and you want to shade it, try to think about the temperature of the shading that you want to achieve. If you want to achieve a worm kind of temperature, the one that I really want for this piece and then try to go for soft pink or red or orange depending on what you are going for and simply shade with that. If you are going for cold temperature, maybe most of your colors are blue or purple, then you can just go for a really light and the saturated blue or purple and create shading with that. So now we have our soft shading layer. As I said before, we will only remain with one layer for the whole soft shading. And now that we have our first shading, what we can do is color the line art. I usually try to color the line art after I have at least the first part of the shading, because it's easier to select colors directly from our drawing so far and color the line art from those areas with the darkest color in the area. Sometimes when that's not enough, I'm simply going to create a darker shade from the one that is already on the layer so that the line arc will be visible at least. To do this around the chin as well. I want the line art to be noticeable because I need to separate the chin from the end. The line art helps a lot with that. By the way, if you didn't get to notice it, in order to color the line art, you simply have to select the line art and select the Alpha Lock option. It's on procreate and it's in Photoshop as well. I think it's in Clip Studio as well. I think most of the apps, most of the drawing apps should have this possibility. The best thing about coloring your line art is that the final result feels like you didn't use a line art. It's not that kind of a manga feeling. Instead of having a black line art and everything pops up and it doesn't really look natural if you are old. So coloring it. If you are aiming to have only line arts and only sketches, then there's no problem with leaving everything black. But since we are adding colors, I feel like coloring the line art as well as giving it such a refined look. I will let you watch the rest of the process because there's not much left of it. And I will see you in the next lesson, guys. 5. Hard Shading: As mentioned in the previous lesson, you should aim for a balance in your illustration and try to include both soft shading and heart shading. I already explained what each one means. So let me show you why heart shading is actually giving a much needed contrast to your illustration. First, I will select the hair in the back because it should be the darkest portion of hair. Since we aren't doing hard shading, It's easier to select the area that I wanted to cover with the Lasso Tool. Now you will see that instead of automatically filling in the selected area, I will start covering it with my round brush. I'm doing this for two reasons. One is that it allows me to control the pressure applied and with that, the intensity of the color that I put down. Second is that hard shadows will be visible due to their edges. But within the shape that I create, I can play around with gradients of color. That means either going from dark to light or from one color to another in case I want to shade, for instance, with blue and purple. There are times when I simply fill in automatically the shape that I create with the lasso tool. But I think most of the time I prefer to control the intensity with my brush tool. After all, I'm not self shaping in any of my illustrations. Over here you can see that I create the separate smaller selection on the back of the hair and make those areas even darker. This creates a nice extra details that careful viewers might know this. Be careful when creating the shapes to follow the form of the object you are shading. In this case, I'm trying to follow the flow of the hair. Now we are going to do the same thing on the other side of the hair or the back of the hair. We are going to make a big selection of this chunk of hair. We aren't going to use a large brush and try to cover it with color. That's doesn't mean we have to fully color it. Tried to not apply maximum pressure on the tablet screen. So that later you can add on the smaller shapes more pressure with your brush and create this shadows. Also, when creating these shapes with your lasso tool, try to have your hands relaxed and tried to create a big motions so that the shapes will feel as natural as possible. You can already see that what we have added so far is creating a huge impact in our drawing so far. And of course, the more that we add the list contrast it will seem. And that's why we will add more contrast later in our process. So we are trying to add the bigger shape on the top of the head where I usually feel like there's a lot of shading. Now for the banks, as you can see, I'm trying to create smaller shapes. I'm trying to leave enough space for what will be the light later on. If I'm working in one way on this side, I will have to try to be at least a little bit symmetric on the other side, especially for the banks. But of course, since my light source is on the left side, the whole left side will have less shading compared to the right side. But in the case of the banks which are quite in front, we are going to try to create the shading on the same places on both sides. So as you can see, I'm trying to create long shapes for the hair. I'm trying to erase and have a few strands of hair above some others. You can now see how the line art of the hair helps in this kind of situation. When you are creating these shapes for the shading. You will actually guide yourself after the line art that you did in the beginning. Usually the hair takes the longest time because it can be very, very difficult to capture descends and the flow of the hair. I like to add this kind of airbrush effect above our shading so that the shading will not stick out too much. Okay, so I think we have a few more details slept for the hair, and then we will move on to the next shading place. Okay, so why create a new Multiply layer so that I can have my shading colors differentiated. And now we aren't going to create more shading for the skin. And as always, we are going to start with the area on the neck. We need the chin. Alright, so after we've colored the area underneath the chin, we can then erase the access part that we do not need here. And if we are on this side week hoop as well, add the shadow that the frills will create on the skin. So next we will move on on the area around the eyes, where the eyelid will create a shadow. And they usually like to create this quite dark. And then we will move on to the sides of the face and try to give it a nice contour on the face depending on the lighting that you have, you can either go for subtle heart-shaped maybe, or maybe even half of the face will be in the dark. In this case, I want to emphasize the areas next to the hair and the eyes and the quarter of the face that's mostly in the shadows. Right here next to the hair and on the forehead and above the eye, we will have quite a dark shading because the hair is really close to the face, but it doesn't stick to the face, so it will create the heart. Darker shadow. Then on the other side of the face we want a little more shadow. We want it to be spread more than on the left side. The way we look at the illustration, we're going to make a larger selection and then softly fill it in with color. As you can see, I'm trying to make my selections to follow the form of the face. The face is not flat as you know, and we want to accentuate that. Then we will add some shadows around the eyes, although they will be more subtle, we will erase parts of it. One of my favorite parts of shading, of heart shading is doing the shading of the ice and this character has nice brown eyes. And that gives us the possibility of creating a really good contrast between a really dark shade, brown on the upper side. And then we can come to it with an even darker brown like this. So I like to do this counter using my liner brush and then I like to create a deeper brown, in this case around the pupil, but without being fully opaque. You can see now that the ice really stand out compared to what we had before. Let's just add a little bit of detail on the earrings as well. And I'm sure that not many people will see it because they are so small and on a sticker design they will be almost unnoticeable. But we are also doing this piece of art for ourselves and we want a high standard of details. After I finished with the face and the eyes, I will start working on the clothes. The shading on white clothes is always tricky to do because you can't use gray as a shading color. You need to go with a really light color that compliments that Don't of the overall shading. In this case, the tone of the shading is pinkish. So I will use a light pink to shade to the frills. Shading frills is a game of patients. Since there's so many of them. What I like to start things to create the shadows on the back of the frills, the part that you can see, but it's not front-facing you as the viewer. It's facing character's shirt. And that means it's getting a lot less light. And if we try to consider where our light source is coming from, another shadow is cast on the right side of each frills. So you can see me making selections that we'll try to follow the shape of the frills, that we'll try to follow every kind of swing that they have in assembly repeated for all the frills. Now that we have marked our shadows on the grills on the lower side of this thicker now we can move on to the one that is right underneath the chin. I think this part will be more obvious to anyone who is watching the arc because every tendency when you have character artists to, is to look at the face. That means we need to be a little more careful around this part and actually try to stylize it nice to render it nice, and to actually correct mistakes as we go. So just a little more on the frills silver here. And then we will move to our next section. I know this part is repetitive and if you ever decide to draw off rails like this, you will need some patients. Don't forget to also shade the little, the band beneath the frills from the neck. Because it will also have some shading caldo, not too much of it, but we still need to add those details in. As you can see, I'm trying to keep it minimal in order not to take too much time or to distract the viewer from looking at the face character. Okay, so now we can create a new Multiply layer and actually tried to add some details to the pink side of the blouse. Right now I'm testing different shades of pink to see which one I like more. And they think this dark desaturated pink looks perfect and multiply around it, the frills, they give a really intense shadow. And since the frills are very close to the shirt, It's quite realistic to have it like that. So now I'm making more selections. The color fill is deactivated, and I will simply come over with a large brush and tried to cover all of these spaces in one go. Now for the rest of the shirt, I tried to emphasize the folds using the same light pink. And I'm trying to create this really round shapes on the upper and lower side and leave the middle mostly untouched so that I can later place the light over there. In order to create a sense of depth, I will try to make the shades of the faults, the ones that are basically one in front of the other, if you want. I'm trying to make this one's darker so that I can add lighting to the other parts so as to create the idea of something that is a little Morrison. Let's not forget to add some details on the lower side of the shirt because these parts will also have to have some shades though folds are going all the way down. You can already see that you understand, nor you'll get an intuition of how the material is supposed to act. You don't need to be extremely realistic on this side. You just have to give the impression of how the part that you are rendering is supposed to act. It's not a problem if it's not realist, as long as it looks good, stylized and people can get a general idea of what you wanted to do. Now that we are approaching the end of the shirt face. Because you can see I'm farther from the light source line trying to make bigger, darker shapes. In order to give the idea of this side being farther away from the light. Okay, So this order details for the shirt. I'm quite happy with what it turned out to be like. And let's add some details around the neck as well. And then we will move on. Adding some small details to the earrings. Just like that. Now, for the last part, although this is a soft shading, Let's do the blush before moving on. I always like giving female characters a little blush. Is it kind of make the face look more lively? That's pretty much it for the shading for now. In the next lesson, we will start doing highlights. 6. Hachi Lighting: Okay guys, so we are finally at the lighting stage, which is basically my second most favorite stage of any illustration. After shading and shading, we are now finally changing the base and adding some glue, adding some life and some shine. My favorite way of creating the lighting is by using color dodge, and add multiple layers, occasionally, even overlay. I always start by making the hair highlights first. It takes lethal bit of testing to see which color looks better in color dodge on your illustration. So take your time with that. Then. I will go and cover the upper side of the hair, let's say somewhere above the eyebrows level. It's not a rule or anything. It actually depends on style. But for this hairstyle that had she has, I will put down the base highlights over here. Then what I will do is I will grab the eraser with the hard round brush and erase something like this. Then I will grab the smudge brush and I will try to create this elongated kinds of brushstrokes and try to define the form and the flow of the hair. I'm also trying to differentiate between the lighting that is on the banks from the lighting that is on the rest of the hair. I will do the same on the shirt because I wanted to give it a bit of a shine. This park is not exactly realistic because the lighting on the shirt wouldn't really look like this. But it's simply a smallest shine that will go in the back of the illustration if you want. I will come over with different types of lighting later on the video. You can see I'm actually erasing a bit of it so that it won't pop up too much. Next up, we will make a new layer and set it to color dodge and start by highlighting the eyes. I'd like to start by creating a nice semicircle around the pupil of the eye. Then I will add the highlights on the eyelids, on the corner of the eyes and the nose, forehead and thin sheets. All be hard lights similar to the hard shadows that we discussed about earlier. So in order to obtain a light yellow, light pink, as you can see, I have chosen a really bright grid that when you put in a color dodge Over a skin shading just like this one. It's actually results in this kind of really light, pale yellow. I like to deal with this kind of triangle lighting on the forehead. And later on, I will actually try to reinforce one of the edges. And speaking of it, as I'm doing this nice part of lighting exactly after our shading. So that's the contrast will be visible. Adding some details to the eyes. And now some details on the lips. I usually try to keep the lips quite soft and not add too much detail to them because I feel like they would be a little too realistic compared to the stylized style that I'm trying to obtain. Household like creating this light contour between the face and the shadow of the face. After I'm done with the face, I start adding some more lights on the shirts folds, better emphasize their shape. When I'm done with that, I will move on to my favorite part, adding more details here. So right now I'm trying to pick all the spaces between the shadows that we have created earlier on the shirt and tried to emphasize them with light. But as you can see, I'm trying to stick to the original portion that I have lit before. What you can also see is that I'm trying to create all of my shapes to be quite round, to have really round feeling to them. Because in general, in animation, whatever is based on a circle. So every round kind of shape is very, very feminine. And this is what I'm trying to obtain over here. Still using the Lasso tool, we will create more highlights this time following the length of the hair. We will place them above our earlier highlight, but also in a few more places. Contrasting with what I've said earlier about the round shapes. You can see that I'm using really sharp shapes on the hair. And that's because I wanted to show the flow of the hair and to make it look really shiny. And there are some cases when I'm using round shapes to do the lighting and shading for the hair. But that's usually when the character has curly hair or even wavy hair. So I'm erasing a bit of this light pink over here on the right side because it's more in the dark, so there's no point in having such a bright light in there. And now I'm adding a bit more light on the banks. So while I'm here, I'm trying to add a little bit more lighting to the lips. I might come back to them and that little white light later on. But let's move back to the hair. You can see that on the upper side of the hair where we have more shading, I'm trying to create a softer lighting because in the end, that portion is more in the shadow, but it will still have a few portions that will shine. So this part is all about the control of your pressure on the pencil, on the display. And that's why I personally wouldn't be able to do any kind of finger-painting because with finger-painting on the screen of the phone or anything like that, the pressure is the same. You can actually try to obtain these results if you are painting on the phone, if you play around with the opacity settings. So the moment you put your finger on the screen, there's not much you can do to control the pressure. It's just like 100% by default. But if you want to play around with this kind of effect that I'm showing you in this course. Just tried to work on the opacity and go from lower opacities like maybe 1020 per cent to higher opacity on different areas and see how it works for you. I know that a lot of you are using Procreate bucket, I think it's called. So I don't want to this the fact that people are using Procreate on their phone. Not everyone has a tablet and not everyone can afford a tablet. And that's perfectly okay. But you will need to find workarounds on your phone. Now we will add a bit of lighting to the frills and the video. It looks like there's not much light added because for some reason the video is a bit more exposed than what it looks like in real life. But the lighting is there. So this is what our illustration looks like with and without the lighting, we are actually bringing life to it little by little. But there's still a lot more to do. Before moving on, I will add a few more details from a normal layer and correct a few things with the Liquify tool. At this stage, I wanted to add a bit more details to the hair using, as I mentioned before, a normal layer, I'm just picking colors from the hair, colors that already exist on the layer. And I'm trying to create some hair streaks, some detail. Again from very far away, you will not be able to tell that these details have been added. But later on when you will actually create the contrast, you will be able to notice it. And it will help you to guide you along the flow of the hair. Now to correct a few details, I'm using my liner brush and I'm adding a few more hair streaks and rehearing there. And I like to use my line art brush because it has a really nice pressure sensitivity and actually creates those ends. Those really nice hair ends. And I can create bold hair streaks, are really thin hair streaks depending on how much pressure I put on the brush. Till now I want to actually adjust a bit the line of the face because it was a little bit shaky, It was a little bit interrupted, and they wanted to look smooth. I also feel like I need to add a few more, a few more details to the eyes. This is where we're at so far. And in the next lesson you will see my favorite part of the process because as I mentioned at the beginning of this class, highlights are my second favorite. Check the next lesson to find out what my favorite part is. 7. Hachi Final adjustments: Okay guys, so right now we are at my favorite part of the process. We are now going to add contrast and a few final adjustments to make this design even better. First of all, we are going to duplicate this layer and create the gradient on the new layer. Then we will lower the opacity and put this on multiply mode. This will change the overall tone of the original illustration. It will make the colors and especially the shading richer. And then we will mark the gradient layer with the one below. Afterwards, we will create a new layer and clip it to this one. We will start adding contrast. Now, basically, when you think you're done with an illustration, you should always ask yourself if you already dark and your darks and lights and your lights. I can honestly say this was one of the best things I have learned since I started studying digital art. Let's start by darkening the few of the areas on the hair. At this stage, I'm trying to work with big shapes and with a big round brush and try to cover as much area as possible in one go to create a nice contrast without actually adding any more detail. There will be a few exceptions, of course, where I will have to go with smaller brushes or smaller selections. But generally, I'm trying to create really large shapes at this FARC. Okay, so you can see that there are a few shapes that are really small around this side. But they will be the exception and not the general rule. At this stage, it's best if you tried to separate your shapes. If you want. Basically, on this side of the hair, you have to think which portions are above one another and try to create a separation between them. Because now you have the chance to do so. Remember that the right side of the illustration is more in the dark than the left side, so we will have even bigger shapes around this part. So I think you can already see how much of a difference this contrasting layer is creating. Especially since we have our basic shading and lighting down on the layer. Lethal more over here nor there to put the emphasis on the roots dendrite here, I'm adding the shadow to basically create the border between the subtle shadow and the lid part. Now we will darken some of the areas on the clothes. We will try not to go overboard here, but I especially want separate more of the white from the thing. So you can see that by adding smaller shapes inside the bigger shapes that we have created in an earlier video. We are basically adding depth to our original shading. I think it was somewhere around here where I got the idea of creating an outline around the frills that will actually look really great from a distance. And it will put an emphasis on the fact that this is a sticker and the frills on the lower side are actually the bottom line. Again, on the right side, we are trying to create bigger shapes because it's more in the dark. With the light source being gone the left side. Again, smaller shapes inside the existing shapes of shadows. Now let's start going away areas around the face. First, and most intuitively is below the chin where we should have our darkest skin exit. Then we will go into add another shadow on the cheeks and around the eyes and forehead. I like to have the area around the eyes really dark because it creates some sort of a makeup effect. So this is what our illustration looks like with and without the contrast layer. Now that we're done with the contrast, let's add some highlights. We will basically add the brightest light right now, which will be on the highest point, will be just surface. And we will also add some rim light on certain areas on the face. Just like many other artists. Although rim light is defined as being the outer line that's lit by your light source. I'm actually trying to stylize it a bit to make it look good. And in all honesty, this kind of white light, a bit blunt in, is really giving a juicy look to our character. I'm in and look at the hair light that is now blended a little and it looks really soft, really shiny. And it looks like she actually used some sort of really expensive hair products. I also like to add this kind of rim light on the side of the face that's the closest to the light source. And yes, once again, this is not the actual definition of a rim light, but it's separating my shapes really good. And it's actually bringing a lot more attention to the face, which is basically my goal. I absolutely love adding this nice white highlights on the ice. It really makes them pop up. And one of my favorite things to add, our shiny strands of hair. They look as if the light is only hitting a bunch of hair strands and make them pop out. I try not to exaggerate with adding this kind of strands of hair. Although they look really good when you add too many of them in a lot of parts of the face, it can get repetitive and it can get boring to watch. Now I liked contour, a bit of my lighting shapes from the clothes. And you can see that this kind of white frame around the light shape is actually a really nice touch. I'm also adding a few details around the frills. But once again, because for some reason the video is a bit more exposed than the real illustration. You cannot really see this part. So going back to creating more, there's four my light shapes. As you can see, I'm trying to also blend them in and not leave them as they are. Reducing their intensity with a bit of my eraser brush. If you were wondering why I'm suddenly zooming out and then zooming back in. I like to try to refresh my eyes a bit and look at the illustration as a whole. After concentrating on just a small piece of it for too long. Because that's one of the mistakes that I was doing as a beginner artists, I would try to add so many details to only one side of the drawing. Then when I would zoom out, it would either be not even noticeable or it would look really bad or unrelated compared to the rest of it. Now I think this part will really, really make her stand out. I'm using a normalised black color with a little fuzzy brush and adding some details around the eyelashes. And you can see that it's really striking. So now I'm experimenting with the kind of detail that is not noticeable from afar, adding a few highlights to the eyelashes. I don't feel like these are the best kind of highlights, but I will learn more in time. And if I figure out a trick that I like a lot, I will share it with you guys. So you can see the details on the frills little better around the neck when I'm adding them. Because this part is a little bit more creamy on the filming compared to the lower side of the frills. Adding a little bit of shimmer around the blush. And now it looks really nice and textured. So this is before and this is after. Before and after. I really think it looks good. I will now intensify the contour of the frills. On the bottom, I will use my liner brush for death and the dark red color. I don't like using black already been great for my line art. They do not really genuine that way. This is the contour that I was talking about earlier, the one that will really make this design and look like a sticker design. I'm using my liner brush for this and I'm trying to vary the line way the rehearing there because this will be especially noticeable once it's printed. And we do not want to have the same line weight to all over the place. You can even see that I'm stopping at some point instead of continuing with the line all the way below. On the lower side, you can see that I'm actually trying to fill in small triangles to make it look even nicer and to keep an impression of really dark spots. So we are almost done with the frills. We are running a little bit of line around the shirt if we are here and trying to correct some of the wonky lines that we remained with after all of our edits so far. I don't know about you guys, but for me, creating this kind of line is really relaxing, really therapeutic. It's like a therapy session through drawing. And I know it's not always like this, especially when you do not like to create a line art or when you are just trying to get over with it as soon as possible. But for me doing the line art, after I started using this brush, That's true. After I started using this brush, I really started enjoying creating the line art. Sometimes even more than doing the rest of the drawing, like coloring it and rendering it. Because the line art is going fast after it helped my base sketch. And I still get that Mongo filling after I'm done. So I already love how this looks. I'm trying to add a little bit more lines on the upper frills as well so that they would still feel like they are matching. So now I'm almost done with, with outlining the frills. And this is what it looks like so far. I really love how it turned out and I'm sure to make this kind of outline in the future when I will be creating more sticker designs. So this is before and this is after. Now I'm pretty much done, but before wrapping up, I would like to add some chromatic aberration using the pencil option, not on the whole Canvas. Afterwards I simply add noise. It's around three to five per cent because it makes it look even better. That's it for the hace illustration. I hope you had fun and I will see you on the second part of this course where we will draw Nana. 8. (Part 2) Nana Lineart: Welcome back guys to the second part of this class. We finished hace earlier. So now we're going to jump into our nonlinear illustration. I wanted to know not to be smoking in this design is it's a really central part of her character. And they want to maintain the front-facing plane, although she will look sideways, is if she's looking at hace, after they become stickers, I will literally put them one next to another with nano looking after hace. Okay, so I'm spitting up this video a bit because you have already seen how the liner quirks stage. I just want to remind you that you can download the brushes that I'm using in the resources section. So make sure you do that, especially if you are struggling with line art. I'm confident that this brush will help you a lot. And getting the smoothness of the lines that anyone would really desire as if they are doing line art. Also, when doing the line art, make sure you are actually making use of Procreate's functions of creating straight lines or perfect shapes. If you wanted to create a straight line like the, it was the case with a cigarette earlier. You simply have to draw a line. It can be as wonky as it gets. Then instead of lifting up the pencil from the screen, just keep it pressed. And the app will automatically create a straight line for you. And it will be the same if you are trying to draw, let's say a circle. And it's obviously not gonna work well with the freehand. So after drawing something that resembles a circle, if you keep the pen on the screen, you will see that the author shape of procreate will kick in. And we'll ask you if you want to have an ellipse. I'm not sure if I'm pronouncing that right. Our circle. And then you will actually be able to adjust all the corners, four parts of the shape that you are wanting to create, make it bigger, make it smaller, make it, I don't know, elongating it or actually placing it in a different part of your illustration. So this is one of the really great aspects of procreate. So I like creating this kind of collarbone. The nano illustration is giving me the opportunity to draw them. I like to draw them for a girl characters. They're usually more of a male thing. But in this case, none as character is really slammed. And it's easy to see her collarbone like this. So you can see that compared to patchy, I'm doing the eyelashes with the really big for our stroke. Instead of creating the outline of the eyelashes. In the end, it's going to be more or less the same thing. Sometimes I'm trying to do the outline because I feel like it looks a little more detailed. Time to add the streak of hair over the eye, but I'm not sure it looks good. So I think I might be a little bit later reinforcing some of the lines around the hair and around the face. And after we finish creating this kind of line weight, we are going to move on to the base of the drawing, the gray base of the drawing. Actually, this is the line art so far, I will see you in the next video. 9. Nana Grayscale: After we finished the line art in the last lesson, we will now work on the grayscale base. Let's start by selecting the whole outside shape of nano and fill it in with gray. Just like before, I'm going for a blue tinted gray, but you can go for a fully saturated one as well. Next we will create a multiply layer, clip it to our gray layer and select the round brush. We will fill in the general shadowy areas according to our chosen light source. My light source will be the same as for the Cauchy illustration because I want him to be cohesive. Okay, so just like before we are using the Lasso tool to select the outline of the character. Okay, so now I'm simply adjusting the color that I want is a base. I'm taking my software vendor brush, which is basically a round brush with a bit of an opacity settings. After making the shaded areas, I will use the merge tool to smooth the shadows a bit and then we will mark this layer to the base. You don't need to go into crazy detail at this stage. This is only the ambient occlusion. The reason we are doing this kind of work scale approach is so that we have a unified place of shadows to start from. I like it much more when I don't have to start from the flat colors. Alright, now that these two layers are merged, let's switch the gray with a nice pink tone. Just as a reminder, later, we will add colors on top of this layer and those colors will be on, either multiply on or overlay layers. If the base would remain grade, the overall colors would look muddy and we don't want that. From this point on, I will let you watch how I choose the colors. There's the mouth before committing to filling the whole space and how I put them on different layers. So now I'm trying to test out which can color to choose. Considering that I have on my left side of the screen the nano reference picture from Pinterest. And she's quite pale looking. I'm not going to go for such a pale color in this drawing because it would be very difficult to shade without having too much contrast. And I don't think it would look that good. So I'm going to give her a bit more color on her skin without trying to change the overall color just to make it a bit fail, then we will go find the color for the hair, which will not be exactly black book. You will see that in a minute. You said this is what I was talking about, about the selections that I tend to feel close by mistake with my hand. And that's why I'm trying to select chunks. Of the character, when I'm trying to fill in a color, it happens and it's sometimes frustrating, but I know it's my fault for touching the screen when I'm not supposed to. And that's because of my position at the desk, which is not exactly the correct one. Okay, so since I have an overlay layer created, I'm doing both the whites of the eyes and also the shirt, which I want to be kind of full light yellow like. The shirt was maybe once white-footed do too overwhelming and over washing it a bit yellowy. And also let's do the cigar as well. You can see that I selected the very desaturated color for the jacket, but I did not select the blackest black on the palette because that would be really difficult to shape and to live later on. So I'm thinking of coloring the necklace or the choker the same way as the jacket, or maybe just going for a bit lower tone. Now we'll create a different layer for the hair so that I can play around with it if I do not like the ones that I'm selecting. So lets just grab a big chunk of the hair and just out the color. I kind of like this color, I might stick to it. I will see after I fill in the whole shape of the hair. So just a bit more until we finish filling in the base colors. What? This is my first time trying to draw a character who is smoking. And I'm not sure how realistic that comes across. But I might try to do it again sometime and maybe include the smoke that's the cigar is producing as well. I can get to be a very cinematic approach. So now we only have the lips left and then we are done with the base colors. And I hope you guys are having fun watching this class, maybe crawling along or maybe it's simply inspires you to create your own stickers. I will see you on the next lesson. 10. Soft Shadows: Now that we have our base colors down, we will start by adding the soft shadows on Nana. I already explained the difference between soft and hard shadows and why you should use each one in the hutches side of the course. So after making a few corrections here and there, Let's make a new Multiply layer and clip it to the base. I duplicated my base color layer and named it soft shading. I tried to be organized for this class and already created the group of layers for this lesson. I think you already saw this, but if you want to group multiple existing layers, always have to do in Procreate is to hold and drag your layer to the right until you see that it stays selected. Do this for as many layers as you need to group. And then you only need to tap on the group on the top right side of the Layer menu. I prefer to keep each stage of the process organized and be able to duplicate groups of layers instead of each layer one-by-one, or March groups of layers before moving to the next step. The more you will draw, the more you will see how we prefer to organize your own work. Maybe you prefer working on only two or three layers and that's great if it's what you prefer. On the other hand, there are artists to make one layer only to apply to brush strokes. But they are distinct those brush strokes. So they wanted to be able to throw them away for during the process if they discovered that they don't like them. Alright, back to the shading process. Before letting you watch the rest of the lesson, I want to tell you something you probably have heard before about not shading with black. There are a few reasons for that. First of all, you would be putting the darkest darks possible on your canvas. And you would have no way of playing with the shading anymore. If you think that you are just using a translucent black to shape a light base like, let's say the skin, for instance, that will make you have a muddy color. Remember that shadows are quite colorful actually. You can have nonsense of blue, purple, red, orange, and so on in your shadow, depending on the context of your illustration. Fernandez hair and jacket, both of which are black. I tried to choose a desaturated blue and some purple for the base and something similar but lighter for the shadow. Because the layer is already set to multiply. And if I use the same color of the base for the shadow, it will turn out almost black. And as mentioned before, we're trying to avoid that. So let me just clean it up a bit before we move on with the next part of the shading. I know I could have simply selected the area that I wanted to shade and shade inside it. But sometimes I'm trying to move fast and I do not think one or two or three steps in advance, but I should, at least when I'm creating this kind of classes, maybe to set an example. I don't know if any of you guys work that clean, but I should set an example and do that for you. So now I have the shading for the hair and the jacket down. So let's just move on to the choker. And this will be pretty simple. I just want a few places where I will blend the color in because I really want to go with the heart shadow in the next lesson for the choker. So you see how I not putting in the color all the way until the edge or the line of the choker. That's because on the upper side we will have a bit of a lie. So now I'm creating the shading for the eyes and I like to shade the upper side of the iris. And that would be the shading that's produced by the eyelashes. Course, you need to shape the white of the eyes as well. Sometimes I do it when I colored the iris, sometimes I let it for the end. There's no actual reason either way. It's just about how I'm working at that moment. I'm not sure what happened here. I just try to correct this part with my brush. The trying to sit in small shading over here as well. I know it won't be noticeable from afar, but I know it's there and I know its 3D shape and I want to convey that. Now we will just blend in the scratches that we have made with the brush earlier. Okay, So let's move on to non-owners shirt. And just like with hace, it's gonna be a bit tricky to shade something that is almost white. Now we are moving on to the skin, which is actually the part that I like second-most, after shaking the hair, we will go for the obvious parts first, which is the parts that are partially covered by the jacket and then by the bones. You don't have to worry about making it too detailed at this stage because we will have a hard shading phase where we will actually add a few more details and the few harsher ones for that matter. Basically, what I like to do in this phase is to create the idea of a freebie shapes. So the faces and flat, the face is in flight piece of paper. We want to create a dimension for it. And that's why we are first adding the soft shading. Let's add a few more details around the eyes before moving on. It looks like someone is simply starting with doing portraits. But not to worry because we will adjust it. And the next lesson, I will let you guys see this, listen to the end, and I will see you on the next lesson. 11. Hard Edged Shadows: Alright guys, so before we start doing the heart shading, let's color our line art. I often get asked how am I drawing without a line art or how do I hide my line art? It's really easy actually, you already have your line art on one or two layers. In my case, it's usually two layers because I like to keep the eyes on a separate layer. All you have to do is set your line art on Alpha Lock and pick a color slightly darker than the hair, skin, and so on, and then color the respective lines. It's useful to color the lines after you have at least a soft shading down so that you already have the darker tones on your illustration. So just a bit more until this line art coloring phase is over. Okay, so we have this metallic part of the choker. And let's see if there's anything else. I think the ice or Lyft. After you've finished coloring, you will have to deprecate and merge your line art layers, duplicate the last version of your illustration, and then March the duplicates together. Of course, typically like to keep copies of your work. You can merge them directly. I always keep copies but I rarely end up using them, I guess, but their sickness or right. Alright, now just like before the heart shading is done with the Lasso tool and filling in the shapes with the round brush. I will let you watch the rest of the video and see you on the lighting lesson. Okay guys, so now we're actually starting the heart shading phase of this lesson. And I like to start from the top of the hair for this character. And you can see that I'm already creating a shape that follows the flow of the hair. Now we are going on the other side towards the edges of the hair and creating a similar shape. Now for the back of the hair as well. As you can see as I'm going lower and lower, I'm trying to decrease the opacity of the shading shapes that I'm trying to fill in. And that's because we are going towards the parts that are going to be lit. And I don't think the same amount of shadows should be words the middle of the hair as it is on the top of the hair or at the bottom. And as I've mentioned before, I wanted to create some hard shading on the choker as well. Okay, So now moving on to the skin, we are creating the shadows around the hair, around the eyes. And simply trying to emphasize where we have really dark places around the face. And those strands of hair are really close to the face, but they are not glued to it. So they will create the shadow. And also around the eyes because the eyelid will always create the shadow like that. You see that in this case, creating a shading around the shirt is also separating the shirt from the skin, both of which are really light colored. And it creates a really beautiful effect for a sticker. Now adding some extra shading on the shirt. And let's try to create some very sharp shapes because I really want the feeling of sharpness to actually symbolize none as personality. So I think this looks good. Now let's go and intensify the shading around the eyes. It's the same technique that I showed you. For the hace illustration. We're going to outline the shading of the eye and the pupil. And then we will create a darker tone around the pupil of the eye. Adding some extra shading to the lips. Not too much though. So let's also shaded a cigar, and I think we will be pretty much done with this part. Now let's merge these layers together and call them what they are, hard shading. And let's just try to apply a gradient. Now, this looks actually nice. Let's go with this one and set it to multiply and play around with the opacity. Let's see the difference. Let's try another gradient. This one. I'm trying to decide which one I like more. Okay, so now I'm preparing the layers for the next part. I will see you guys in the next lesson. 12. Lighting: We're nearing the end of the class now guys select splash this illustration with some light. I want to add a bluish light to none as hair to contrast with touches warm colors. And this will be the highlights that we will put on lower opacity just like before with hace. Then using the same color of light, I will add some nice details in the ice. You can see now that for the lighting phase, I'm trying to manually use the brush to create the lighting, trying to diversify the way that I'm putting down the color and see if I like it more one way or another. Now I want to create some extra details like I did for hace. No. Okay. So let's create that small light inside the pupil. Adding some of his life on the chest as well. I'm putting an emphasis on none as skinny. Again, I'm putting down the color using a brush and simply erasing it, which really hard edges the same towards the neck. And you can see I'm trying to create this kind of V shapes. And that only creates an emphasis on the bone structure of nano. On the face, I will use a warmer color for the light and try to recreate the same highlights is in the hace illustration. In essence, nana is a lot easier to draw, essentially has less details than hace. I will let you watch the rest of the video and I will see you again in the adjustments. Listen. So let's try to create that triangle shape on the forehead. Again. Nana has a really wide forehead compared to how cheap because she doesn't have any bangs covering it. And I think it's nice to show that one way or another. Now let's create the separation between the shadow and the rest of the face width. This nice light. Okay, let's create a multiply layer and do a bit of a blush. Now I'm blending can the block, trying to get a soft to look to it. And then I will reduce the opacity because I don't want a really intense red on her cheeks. I just want something dusty, something that you feel like it's there but it's really soft though. Okay, So I think I will stop here for now. I will see you in the final adjustments section. 13. Contrast and adjustments: Okay guys, this is the last class on the illustration side. Before starting the final adjustments, I want to correct a few small issues. Going to cover some of this fracture lines and try to correct some of the line art. Now that that's out of the way, I feel the need of adding a few more strokes of hair and make the hair seems richer. When I think this kind of details to the hair, I'm trying to pick colors directly from the Canvas instead of selecting any new colors. And I'm trying to create new strands of hair. I'm trying to create different strands within the hair shape. And actually for characters that have longer hair. And It's true not for sticker designs, but for illustrations or art print designs. I like to create extra hair in the back of the character, not on the same layer. And then I like to create or actually adjust this layer of extra hair. I like to adjust it and create motion blur so that I can add to the dynamism of the whole pose. But it's not the case here. Nana has really short hair and it's also a sticker designs. So something like this, a blur like this. We're going to look good on a stick curve. So I'm being careful in this face because I don't want to add too many details, but I want them to stand out and to bring value to the whole illustration. Now, do you remember how I created a stronger contour on hatches, white frills. I want to do the same for nanos ripped shirt because I think it will look good on the sticker. And not only that, but it will also look like they are part of the set, which is something that I'm trying to achieve. I read the line weight when I'm doing an outline like this, as I'm going towards the inner edges, I'm going for a darker line. And as I'm going towards the middle of a long line, it will be a little thinner. So before and after. Now let's create some more details. We will start with the light in the lips, and then we will blend them in a bit. Adding a nice rim light on the nose, and adding some highlights in the eyes. So I'm adding some, especially y two lights on the leather because as I mentioned before, leather is a very reflective material and I want a really strong highlight like this. I will erase parts of it because I want it to be a bit transparent. But I will not do the same for the metal. The metal should have almost white lights because it's reflecting the light just like a mirror. Adding some highlights on the side of the face that's facing the light source. Adding a bit of light to the ear as well. And some extra lights on the cheek. Now let's add a few details on the hair where the highlights shouldn't be at. We will blend them in a bit because we want to have a few long strands of white hairs and we do not want them to overlay one another. I feel like you can really tell the difference between these two characters. I mean both in terms of personality but also design wise. It's not the same character, It's not the same palette, It's not the same characteristics from one to another and yet they belong together. And I'm happy I managed to obtain that kind of effect. Okay, So let's create some really long strands of white hair. There are distinctive feature of nonane that they simply cannot miss this. The purple eye shadow. I absolutely love this eye shadow. I used to work this kind of makeup almost daily in high school and then in college. And even now, my makeup is more like hutches. So it's quite easy to draw makeup. We are going to slowly add the colors on multiply and on overlay layers. So we will first add the dark purple on the edges of the ice, so the inner edge of the eye and the outside inch. And then we will blend it in a bit. And now using overlay layer, we will add the light part from the middle. And let's select a lighter color. Maybe even lighter. Yes, I think this is perfect. And I think this is creating quite a metallic effect to her makeup, and I absolutely love it. In the reference picture, it looks a lot darker. It looks like she has black makeup almost. But if you know the Animate, it's actually a nice purple shade. And that's why I know I have to choose purple. And they'd illustration already looks a lot better and has a lot more personality. Okay, So I'm really happy about the makeup. Now let's create the shadows on the white part of the eyes. Just like I mentioned before, sometimes I tend to live it to the end. Instead of doing it with the other shading. Let's not forget the bottom side as well and create the idea of a sphere. And I'm adding a little bit of shadow underneath the eyes as well. So let's intensify some of the highlights right now. Starting with the forehead, I want it to be a little more highlighted. And then around the eyes. Let's do a little bit of details around this part of the eyes as well. And add some more details on the hair using this nice blue highlight. They will be subtotal. And they will look like strands of hair that are going with the flow in the direction of the rest of the hair. I will add some details on the jacket as well. Let's separate the choke her from the jacket because they are both really dark and they feel like they need a bit of separation. And just like I mentioned before, we are going to create a nice highlight on the top of the choker. So right now I'm moving around the canvas and trying to see where I could add more details. And let's see the before and after. So far it looks really good. Let's flatten this lighting phase. And now let's create a gradient on top of it and see if we like how it looks with it. Okay, So in the end I did not keep it. I'm duplicating the lighting layer, renaming it, and preparing this face for some contrast. I wanted to start by adding some contrast to the part of the face that's in the shadows. Not too much though, only enough to create a little bit more adept. Going around the shadows that are created by the strands of hair over the face. Let's create the bid under the lips as well. And the lethal in the corner of the eyes. Plants intensified some more around the eyes. Let's create the darker shadow within the shadow made by the chin. This looks good. And now let's creates a new shadow on the jacket. And then on the chest. You see that by creating darker shadow shapes within your existing shadow, you are simply creating depth to what you have already laid down. So I wanted to add a shadow around the nose as well. And I felt the need of creating a darker or larger or better yet shadow around the forehand. But I think it might be too dark. I'm not sure. I will leave it like that for awhile and decide later. I'm also adding a few more shadows to the hair. And just the same way that the video is a bit too bright compared to the actual illustration. And you weren't able to see the highlights on the lighter areas. It's the same with the hair. I'm not adding black on top of black. It's actually just dark shades that really are noticeable, one on top of the other. Okay, let's create some depth around the eyelashes as well. I really liked this effect on hace. So I want to do it to nano as well. So now I'm going to chloric a few small details noticed while I was threatening the darks. And I will add a few highlights with our normal layer on the jacket. Basically creating the edges that I was talking about earlier. Let's do some reflective light as well over here, creating that purple highlights on the chin. So now I'm merging the layers and we will do some adjustments. As you can see, I'm adding some chromatic aberration using the pencil tool and not on the whole layer. And I'm trying to add some really blue or purple highlights anywhere I can see what looks good. It's actually a bit sad that when I'm in the chromatic aberration, you cannot see where I'm editing unless you are really careful and watching very patiently. But as you can see, I created a few chromatic aberrations around the highlights of the hair and of the jacket. Now I'm trying to create some adjustments in the curves. And sometimes I liked them, sometimes I don't, and they discard them all together. It's just like now, it's not a problem really. It's better to try and to fail than not to try and not to learn anything. Let's add a few highlights around the earrings. I think they would look really good and I'm using Guan of procreates default brushes for lighting. So now I'm using the Liquify tool and simply adjusting some of the shapes and of the proportions. I will see you on the projects listen and on the final words, less than 4k video, I will see you guys there. 14. Project: Alright guys, your project who will be quite an easy one, only have to do is create and submit if you wish, one sticker design that you have created based on what you have learned on this class. If you submitted, I can give you a detailed review and critique. But if you are not into critiques, please mention that as you post. Alright, that's it for the project. I will see you in the last video with some final words. 15. Final words: Congratulations for finishing the class. I know it was a lot. Having two different illustrations done in one class is something new for me too. I wanted to share with you the final result of our work, namely the stickers. I ordered the stickers in a glossy finish and then a holographic finish. So here is the final product. I hope you enjoyed this class and if you did, please make sure you leave a review, tell me what to think about it, or ask any questions you may have. I would also really appreciate it if you followed me on Instagram where I'm active daily and talking with other artists from my small community on a daily basis. Thank you again for enrolling in this class. The next one, Bye guys.