Transcripts
1. Introduction: my name's Jennifer Nichols, and I came up with this really fun way to illustrate kind of ah, faux wax resist silk scarf, painted batik fabric. Whatever you want to call it, Um, we learn about the threshold for filling areas in line, work and blend modes and all sorts of fun things that procreate can dio. And I give you some free brushes, a palette, even my sketches for these designs. Well, for the animals, at least if you haven't found me on Facebook yet, lose color Brown and I have this very wonderfully supportive Facebook group. So that information is in the about section as well as all of this and my Pinterest board. So I hope you join us. I have a lot of fun making this class, and I have so many more ideas for more designs, including some astrological things and, um, just all sorts of things. You'll you'll probably get hooked just like let's get started. I am super excited to see what everybody does. I hope you post things in the project section of class and so everybody can see. All right, see you in class.
2. Downloads: to download. Resource is, you need to be in landscape mode on your iPad, not in the app, but in a browser. So once you're in the class that you need the downloads for, just go down to the tabs here to projects and resource is and you should see them on the right hand side, depending on your browser, this will be, um, slightly different. So I'm gonna walk you through all of the's. I have appropriate file. I have a palate, which is the dots watches. I have a brush set and I have an image. The other thing, actually that I don't have here is an individual brush. If you download an individual brush, it will go into your imported category of brushes in your category in your list of brushes . So for safari, you can tap and hold is one way to do it or you can just tap. And there's a few ways this actually says download really small. Let's tap it one time. So opened in a new um tab and it is tapped, download, and right up here is this little arrow and it bounced down, which means it was downloading and then it completed. So I'm gonna leave that there while I get the rest of my things. Hedgehog swatches. So watch this little arrow. Little did a little bounce. Sometimes they'll be a little progress bar for a larger Della like that. Hey, go. And this will just open up into a new tab and show you the image. And then if you want to save it to your camera, you can tap and hold and tap. Add two photos. So now let's go to this download button. And there you have your downloads so you can tap on those. So it looks like it was a zip file. So that is right here. Gonna go back? Oh, I think it got all of them. Maybe I don't have to do these one at a time. So that was appropriate file. And so it opened right into procreate, and it opened into my very first spot on the gallery. But the rest of the stuff is in the files tab. If you can't find it, you need to just go because from safari, it just kind of bounced us over to file. So if you're not familiar with files and then you go to downloads and then you find the name of what you have. It's gonna be in alphabetical order. So if you tap on this thankfully, I'm with the update them, you know, several months ago, toe IOS 13 ipads Condell with zip files Now. So if you tap on the swatches imports right into procreate, if you go into a one of your files, you can see in your list of pallets it will be right down at the bottom. And then I believe you can move it around, go back into files and this is the brush set and it's at the top and then my imported brushes that are way down at the bottom because I don't use them that often. So if you have a separate brush that you have a download of, that's individual and it's not in a set, it'll be in your imported brush section, and then you can drag it out and drop it into any, uh, category you want. I would suggest keeping them fairly organized
3. Examples and Reference Images: I have had so much fun playing around with this sort of silk scarf painting a batik fabric idea of illustrating on procreate. I'm going to provide you with these sketches that I created, and I'm going to show you one of them in this class, and then you can use any of them or none of them at all and choose your own designs. And I used these techniques to get this look, so I'm just gonna go through the ones I've already done. So I started with this one, and you can see I have sort of a watercolor relook. And then I have some nice texture and darkness around some of the added elements that I did at the end. The turtle was really fun. Um, I have been using cooler colors for the surroundings and warmer colors for the animal, and that kind of is almost automatic because I have all of these air in underwater scenes. So that was kind of it and given for me at the end. I like to play around with the hue, saturation and brightness because I tend to go a little bit bright with my colors. So I bring him down a little bit. The end when I I think it's to tropical looking and The Octopus. I didn't want to do a whole octopus because I thought it would be fun to just focus on one big technical and the I. And here in the Seattle area of Washington, we have the Pacific giant octopus, and, um, that's what we've gotten. The aquarium here says kind of what I went for when I found the photos I wanted to use. I found these two traced these ones. I just looked at some photos and kind of came up with my own. I couldn't quite find a whale that was exactly this pose. So I've looked at several photos and sketched a whale. But these two are from either unspool ash or picks obey, and this is called a Nautilus, and they're pretty amazing. They've been on the planet for 500 million years. Days arrived, the mass extinction that the dinosaurs didn't, and the sea turtle is also from on splash or picks obey. I did a very rough sketch when I did that, and you can see here, so that's what I will provide for you and then you can take that and do what you will. Same with that one. These are also very rough sketches. So hopefully everybody can put their own little spin on these If you're going to attempt thes, um, and if you if you're not familiar with unspool ash and picks of a hopes I was watching a school share video here, and splash dot com has free use. I can't type and talk at the same time. Um has free use images that you can use for your art without citing a source so you can trace and you can. Actually, that's the one I used right there. And you can trace. You can actually take that photograph and alter the photograph. You can do all sorts of things you can either get from from this screen I tap and hold, and I add to my photos. Or you can tap it so it's big and do the same thing. Add two photos. There is this download button, too, but for an iPad, you don't need to do that. So I kind of went through and splash and picks obey picks. Obey is spelled just like it sounds P. I X A b a way, and that's more free use images. So I probably used that shell right there. Yeah, and I didn't do these little details when I traced, But if you want to come and find this photo as a reference, you can see kind of where the shadowing is, and that's on picks a day. Nautilus is This is what Alive and Ottawa's looks like. Pretty cool, like an animal. All right, In the next video, we're going to draw the sea turtle.
4. Inking Your Design: I'm just going to duplicate the turtle sketch here, and then I can just keep that original sketch. You'll also have a palate you can download in. The resource is section, and when you download a palette, it ends up at the very bottom of your list of pallets. Minds at the top. But that's just where minus when I created it. When you download a brush set, it will be at the very top of your list. When you download an individual brush that's not a set. It will be in a category. I believe it's always at the bottom. I don't know. Maybe I moved it to the bottom, but it'll be in a category called Imported Those Air for individual brushes that get downloaded. All right, so I'm going to that my ink brush and I'm going to start with black. So if you just double tap down here, I'm also going to add a whole buncha layers. This is my sketch layer. I know that's hard to see. I'm just gonna add a whole bunch of layers and have a sketch at the top. You can either change your background layer for now and use white for your outlining. That will give you a better idea of what it'll look like later. Or you can just use black for now, and we change it later so you can use any color. And with Al Flock, we can change the whole outline layer later. So whatever works for you, this is a super flexible class. There's just a few tricks that you'll need to know, and then you'll be on your own, doing a 1,000,000 of them like I've been doing. So my canvas is 10 by 10 and you could probably. If you have an IPAD pro, which allows for more layers, you could probably go 12 by 12. If you think you might want to print this on a card, do a card size. Do whatever size you want. It doesn't matter, and I'm just testing out my size here. I like the ink brush cause it's textured on the edges, and it also if you press too lightly, it's textured throughout, and we don't want that for this because we're going to be dragging and dropping in color in filling spaces, so you want it to be a solid line. It is pressure sensitive a little bit. So when you do silk painting, you paint on with bees wax. So it is a little bit messy and sloppy, so we don't need to have super precise lines. And the other thing that it is is there aren't really any sharp corners where the lines meet. So we kind of round out the corners. I want to make sure I'm on the right layer here. Okay, So I'm not on my sketch layer. I'm on the layer below it, so that's good. And I want to look at my turtle. Try to decide if that's where I want my turtle. It's just a sketch so you can increase the size of it and rotate it and do something completely different with it from the sketch that I provided and it will it will be fine. Actually, I'm gonna I had the head a little too close to the edge. If you think about when you're framing something, you don't want anything super close to the edge. Something I've been thinking about with this turtle is doing some coral reef around it or below it. So if you're doing something like that, maybe you want to move it up higher and do some coral down here. So just think about where you want your turtle and then go to the layer below. If you're using a different image right now, what you want to think about is not having giant spaces like this or super teeny tiny spaces. This is almost too skinny right here, because once you have it outlined, there's really hardly any space in there. So, um, think about the overall design and on the original. When I did, I did some grass seaweed in the background. Um, you could just do some sort of random designed as well, like I did hold on. What did I dio? I didn't do random. I was going to do random with the jellyfish and ended up doing these leaves. Hopefully, it looks like some sort of kelp. Luke. Help would be fun. Cup would be easy to do, like super wavy on one side. You could do some research and see what turtles like to eat. Do something like that. Okay, let's get started. We're going to outline the whole thing with any color with Jen's Inc. I'm on 15% but that's on a 10 by 10 Canvas If your canvas is a different size or different DP I that might look a little different. That's a little small. I'm gonna go bigger. I am going to decrease this opacity on my sketch layer so I can see my white layer better. And I'm on about 20%. So I did save the image that I used for this. Um, you can do the split screen if you wanted. Like this with your photos. Bring him over here. So if you want to do split screen, you can make a little smaller and then you can zoom in, and then you can see some of the details, like how the edge of the shell isn't just a smooth line. It kind of has these little jacket corners. But honestly, this is just, um, if you think about doing this with glue, that's ah kind of am art docent for a school would do with elementary age kids. You could do a batik like art project with glue on fabric and instead of hot wax. So if you think about kids drawing with glue, it would get pretty sloppy and messy, so you don't need to be paying attention to all of the details in the photo. So I am going to fast forward my rough initial outline with think. One of the things you need to be super careful about is completing closing the shapes. So as you're drawing, don't just go like that. You need to close your shapes. - Okay ? I have my turtle sketch traced, so I'm turning my sketch layer off, and I'm gonna go to a new layer so I don't mess up my turtle and try to get some background designs here. What I'm thinking about with backgrounds is spaces that are closed so that I have my big spaces kind of divvied up into smaller spaces. So that is all I'm doing for this class. For the turtle in the background, the background design. And since I'm happy with where all of the background lines meet with the turtle lines, I'm gonna go ahead and merge those two together. The next step I'm going to do is I'm going to think about all of the's sharp interior corners. I might decrease my brush size and spend some time going around and rounding everything out , because if you had hot wax on silk when you're painting along that that would kind of be the effect it would have or if you had glue wet glue. This takes a little time, and you kind of have to slowly go through and try. Teoh, think about all of especially super pointy interior pieces here to go through the whole turtle shell. And I am needing to make sure that this drawing with this ink brush is exactly how I want my final design, because to make changes later is pretty tricky. So I will go ahead and keep working on this and show you when I'm done. - All right, I have my finished design and I am going to just keep it Wait for now, actually, in a wet I am going to tap on it and turn on Alfa Lock tap on it again and I'm just gonna turn it gray. So he selected a gray Phil layer. I'm gonna go pretty bright with my background for now, just while we do the next step. And now in the next video, I'll show you how I get it set up for adding the color
5. Deciding On Your Layers: I noticed in the video, I, um I couldn't quite see the gray so much with that purple, So I just dark and did a little bit more and now going to select white. And I'm going to think about where I want to add a c. So this is kind of a tricky part to explain. So when I'm adding the very washy color watercolor, look, I'm really blabbing it on, and when I'm blaming it on, I don't want it to blob into a space next to it. So find blah being paint here. I don't want that to go over to this space right here, because maybe I want this an entirely different color. So I need this space to be on a different layer, so I'm going to think about kind of having a layer that has every other section on it. And right now I'm just thinking about the background is kind of hard to see these two turtle legs. Um, right here. Make sure we don't get those in the background pieces, So let's come down to a bottom layer, Ron White. But on this sketch layer and on this final drawing outline, layer I need to turn it as the reference later. So if you tap on and tap reference and then it says reference right here, anything we do down here on all these layers is going to reference that photo or that drawing those spaces. Then you tap the ribbon tool and make sure it's on automatic. And I wanna tap all of the spaces that they don't want to tap this one, because it's right next to this one, and just kind of randomly tapping some spaces that I could easily blob paint on to later without making a mess of then neighboring areas. When you make selections like this, if you zoom way and especially with a textured ink brush that we used, you're going to need to play around with the threshold. And to do that, you need to tap and hold the blue and slide, and you're going to see the threshold up here. So right now it says 35 and you can keep sliding down and you can slide it. Wait up, and if you look really carefully at these pixels, you can kind of see the purple background between this black layer and the blue The blue is what's going to be filled in. I don't want any of the purple background layers. This is why I made the background a little bit purple. So I want my threshold a little bit higher so that these purple pixels aren't showing and that just means my Phil will meet up closer to my line. So tap on the blue and start sliding higher and you can start seeing those purple pixels going away and you're gonna start seeing white pixels showing up. I was off the edge of the iPad there so I could come back to the blue and start sliding again. So where those white pixels are showing up, that's kind of where my blue is starting toe overlap on to my line. So that's good. A little bit of that is good. All right. So that I can assume is gonna be the same threshold all the way around. Sometimes that super skinny little corners don't get chosen in this selection, okay? I have all the areas, like, did I have white on my color, and I'm just gonna top on a layer and tap feel I'm gonna go to a new layer and select. And my threshold should be the same that we just had it set. As so I don't think I need to do any more with the threshold. This is part of that arm. It's kind of it curved over. So I'm gonna take a peek. I don't see any purple pixels, so that's good. I'm going to fill that layer. When you go to a layer above that, I'm gonna work on my turtle. So for my turtle, I am going to have the legs and the head on one layer. I am going to have the middle part of the shell on one layer. So the other way you can do this so you go to a new were the other way you can do this is dragging and dropping, so that's obviously going to take a lot longer. So as long as you're on this automatic, you can select all the shapes he want and Phil and one more layer. This is where dragging and dropping would be a really big pain with all these teeny, tiny spaces, especially with that little color dot sh showing up on the screen and covering up the space and then you can get in if you accidentally tapped the line itself. He needed to finger tap, undo. You don't want to tap the line. And Phil. All right, let's start coloring in the next video.
6. Let’s Add Color!: Alright, it's time to add color. So we did this whole back of the turtle on one layer. And that means that when we add color, I can kind of color the whole thing all at once. If you don't want to have that look where you can cover the whole thing at all at once, you can separate those on to multiple layers so you can do as much separating as you want. You could have every single one of these on a separate layer, so obviously that will end with a whole bunch of layers over here. So if you have the room to do that, go for it and then you can just kind of to figure out which layer you're working on, just kind of toggle back and forth here and make sure you alfa lock all of them and select the wet glaze brush. Start with your lighter colors first, cause this is a multiply brush. And that means that, um, it adds color than where you add. It's just gonna get deeper and deeper and deeper. But it also means that if you already have dark color, anyone add something light, it doesn't really show up very well. So start with your lighter colors and then start going darker. I like the look of having about three colors combined, kind of mixed. So even if they're very similar, like these three orangy yellow and pinky and I couldn't distinguish between these a little bit, but model that so that's three colors you can see. I kind of have a blab here. If you want a blob to be a little bit more bigger, you can tap out here kind of go in towards the edge. So this is the part where you could even play room with different brushes. This is just how I like. I like the overall look of this brush for this project. You can see how much texture you get And, um, you know, it ends up kind of blending. It doesn't work so well for use it as a smudge tool. It makes it very smooth instead of having this texture so and remember, since you're using Alfa Lock, you cannot erase. So if you want to start over, you need to just turn it back toe white again so you can go back toe white. Since it's on al Pha lock. You can tap and fill layer and start completely over, so but you can't erase or you'll be facing your trail. One thing you can do is add a clipping mask. If you want a lighter color, it ends up not looking super great sometimes. Um, at some time on a new layer, I can add a lighter color on top, but it kind of looks like muddy water colors. It's like milky. Um, I don't know how to explain it, almost like you added white to some nice watercolors, so but it can definitely come in handy sometimes. So if you need to add some some lighter areas and you don't want to start over and start with your light, you can just do it on a clipping mask. So again, if you have a whole bunch of layers with your filled it layers that we started with and you're adding a clipping mask to each layer, you're gonna get really thick on the layers. You're gonna get really layer heavy, I guess would be a good term. All right, so I'm gonna go to this outer layer. We like the look of that with the dark red. I think I might go with this dark purple over here, though. I want to stay in the red, purple, orange, and then do blue green teal behind it. So well, that's pretty. Most women here for you. So if you just switch the brush, you get a nice thin coding. And let's go this bright pink. I'm also tapping and pressing some not I'm holding the brush, But then if you press firmly, you get that same appearance as if you tapped. So just play around with this brush. It's it takes a little bit of time to figure out how to get it to do what you want it to, dio, and we're gonna add more, uh, visual interest at the end. So this is just kind of a base coat of color. So on the arms, legs and arrogance, I should say, fins or flippers and head, I will go with I think I'm gonna go with a almost a brownish yellow. I am also sort of thinking about shading, so I'm keeping it darker closer to the shell. Um, to me, I just I like I like it like that. So a little bit more orange, maybe actually, down to brown. That's pretty. That one. G Brown's right, so I'm pretty happy with that. I'm not so sure about the red with the purple, but one of the things I can do here ISS go to my red and go to the hue saturation brightness. You go to the magic, want hue, saturation, brightness and first check out Hugh. I don't want greens and blues and might want to go more towards purples, though, although that brownish orange is nice and the pink is nice. So if I don't like any of that, I can tap and tap reset. So that's where I was originally. Or you could just put it back to 50%. I'm gonna go down to 46% and it made it a nice pink. But I'm also going to drop the saturation, so it's not so fluorescent. So I'm just playing around with those for a bit, and I like that much better than the red. So it's a little bit more burgundy now, and it matches the purple a little bit better, and now we just have the two background layers, so they're both just kind of oceanie. Swirly background colors are watery color. So you can, um, do whatever you like here. I'm gonna choose a light green. Make sure mate brushes nascent big. This is also giving me an idea of which sections I'm coloring, just kind of adding a light color to them good or more of a blue. So if you can hear that happy and I'm doing it's just kind of light taps and heavier taps to get colors on their get the texture. I'm just staying with a nice big brush size. For now, this cream color here is a nice creamy yellow that ends up Addie. And because it's a multiply brush just kind of as a warm I'm gonna come back to that layer gonna goto this layer and I'm going to do some more purples and blues instead of green I know I have purple on the shells I don't want to do too much purple Let's do this super bright blue That's too bright for me Gonna choose this more of a grayish blue down here and I'm gonna choose this superb rate turn place here Do you kind of went my to sections of the background colors, too. Go well together until look good together but still be different. And I really like the look of some of these really dark splotches, so but I don't want it that way everywhere. So sorry for all the noise I've got going on upstairs. Ready now. Thankfully, somebody else's make a dinner so I can't complain. And I'm gonna come back to my greens because I want to make him darker. So I don't want grass screen, though, So I'm gonna go over more towards blue. That's quite green Still. So it's really a lot of experimenting. And at this point, it's kind of hard to tell what it's gonna look like because my outline is still this dark gray. So I'm gonna go to my outline and I need a tap white. I actually like to go a little bit towards yellow and make it a little creamy color, cause silk is kind of that color, and then fill. All right, that's more of the overall look, we're gonna get in the end unless you want to keep your lying dark. So I'm gonna go with the stark teal here, and I'm going to go back down to this green layer and to try to get it a little bit more blue. And it's not working well to try to get it to be more blue right now because it's so green . And because this is a multiply brush, it's, um it's just kind of darkening it. So I'm again. I'm gonna go to Hue, saturation, brightness and just play with the color here a little bit. I like that a lot. So here it's a little bit more towards blue. It is still nice. A nice contrast to the purple e blues we have over here. It could even darken it a little. Okay, so we're going to stick with that, zoom out and look at that. It looks very plain still. And the next step is where we connect Spruce it up
7. Details and Blend Mode Fun!: all right. Here is where we're really gonna play with texture and blend modes and really add some nice visual interest to the peace. I'm gonna do the turtle first. I'm gonna add a layer on top of everything. It's under the the outline layer, but it's on top of everything else. And I'm just kind of focusing on the turtle. But if I go outside of the lion, it'll show. So you need to keep that in mind. Change your blend mode by tapping on this end can come down to linear light in the palate. Hopefully, you grab the palette. This gray right here is a nice medium. Grey. You can test out this on your peace, depending on the colors you use. If you use very light pastel colors, this might not be the right gray for you. So let me show you how to test it out. So go to the soft, big pencil big and was just put a streak across all of it. Well, let me go to a bigger size. You can see a better. I'm crossing over some light areas and some dark areas with my street care and I'm going for a lighter look. So this is a good GRE for what I'm doing. If you wanted an even lighter look, you could go with a lighter grey. And if you go too dark, though, look, it doesn't do it, doesn't? It hardly doesn't eating at all. So it's kind of just something you need to experiment with, and, um and it all depends on what colors you have. So for me, I'm going with the gray that we have in the palate right here. And I'm going to my soft pencil Smooth pencil big. And I'm just going to add some fun designs to the turtle when I'm thinking about the designs. Uh, the next step is gonna show a little bit of a darker color around these designs. And that's optional. Of course. That's just a look that I'll show you how to do. You don't have to dio. And also, wherever you have some texture in this part of the work that you're doing right now, the darker color will show through that too. I'm gonna show you that on the other turtle. Um, no, it wasn't the turtle. It waas this one. So this is what we're doing right now. We're doing this layer and next we're going to do this darker layer. So wherever you have a mark that has some it's not a solid uhm Mark. Then when we do that dark layer, it'll kind of show through. And that's local look, too. So think about that when and when you're adding your designs and if you want it nice and solid, just press a little harder with this pencil. So I'm gonna start over on that layer. I got a little bit smaller, so I am going to fast forward. I'm pressing really lightly. And this is this kind of dot is what I should just showed you where it'll show nice and dark texture coming up through there. Decrease this size as Aiken down into here. And then I want to do the same thing on my other fins. While I am remembering what design I'm using, - B six b pencil also works really well for this and would give more texture. So I might do that in do these neck wrinkles. This also has a taper on it so I can go thicker and thinner. All right. If you like, you can switch to a new layer and do the same for all of the water area. So you can do this on many different layers as you need to. I am now going to go to a layer, um, above and add Change the blend mode to color burn Go back down to the layer that we just did That has the linear light blend mode tap, select and happy invert steps We need to be on freehand. So when um when you can see the little stripey lines you'll see that everything that we've drawn on here on that linear layer is not going to be able to be drawn on. So because we inverted it, we're kind of covering up those spots right now and go back up to the color burn layer and go to the soft cran brush. And I'm still on that gray. The reason I stay on gray is because the color burn is gonna darken all of the colors when you stay on the gray. So if I do it over here, it's gonna make darker purple and blue. If I did over here, it's gonna be darker. Green. If I did over here it's gonna make darker red, so I don't have to keep going through and changing the color all the time. And I'm just gonna, um, sort of roughly go around so you can see the dark surrounding. And this is just the look that I like. Um, if you bad don't like this stark surround, you can just let it, um be the way it is without this color burn layer. If you're not seeing much if you have much lighter colors as your base colors, you might need to choose a darker gray for this work. And I'm just going to come through and roughly go over all these areas. I'm going around the eyes a lot. Not sure I like these eyes, so just kind of playing around with them. - And now de select, they want to go ahead and go to a new layer. Actually, I'm going to go to a layer that is gonna combine my two layers that are the background and I'm going to go toe clipping mask on top of both of those. I'm gonna turn that toe linear light as well, and I'm gonna select this flicks brush so you can see what I did there and play around with blend modes on that, too. It's kind of cycle through. I'm looking at light green areas and dark blue areas. I want something that looks good on both, so that looks really terrible on that. That's almost too pale. Divide looks pretty good. Luminosity looks pretty good. Linear light looks good. Um, the other thing you can play around with is Wazed gray. So if you want to play around with the hue, saturation brightness and brighten that upto white or dark in it, then play around with the blend modes again. A soft light looks much better now, and overlay looks pretty good. Overlay. Look, some was to fluorescent here. Seven. It put it back on soft light whips. So on soft light, those flex look good on the dark areas and on the light areas. Nowhere does it look fluorescent. You can also play around with the opacity, that layer, and the last thing I'm going to show you is a little bit more detail work. And that's in the next video
8. Finishing Touches: All right, I'm gonna show you some more detail work. Have a layer up here that doesn't have anything on it. I want to be on top of layers, but underneath the white layer, the outline lier for everything. I'm still on that grey, but I'm gonna go back to the wet glaze brush. And I'm an attorney. Opacity down a little bit too, like 74% and the size down to about 20%. And I just I want to play around, almost like with water colors. How the colored er pools become smaller down to 6%. How the color kind of pools I am on a normal blend mode. So you can see here. I'm getting gray, so I need to be in color burn. Linear burn works, too. I can see some of the red pixels of my background layer, so I'm gonna go ahead and change. May background to this line color to care that problem. All right. So I have, ah, slightly lower opacity. And that just allows me a little bit more flexibility toe layer on this grey in the areas that I want it to be a little darker, so I don't want to do it super, evenly. Well, gonna come down to, like, 3%. So I'm gonna dark in some areas, but not evenly. And this is another part of this activity that takes quite a bit of time to go around and and cup out. If you were holding the picture up and you had liquid paint that was pooling down in these lower areas so I'm going to fast forward through this, I don't know if you can really see in the video, I'm gonna turn that layer off and back on, Get over here more. So watch closely as I toggle on Oh, gone off. It just adds a little bit more to it. I'm going to keep it short and not add a whole bunch of details to this turtle. But, um, you can see what I did in all these other ones and hopefully find some inspiration so you can see on the jellyfish. I actually did a fleck layer that was just in this dark section, Um, with a super small size of the flick brush. Um, I did the leaves very simply with the outline with the brush in the beginning, but then I did the veins with the method that we just used with the linear light layer and the dark surrounding layer. The, um what's it called? Color Burn Lear. I did thes lines the same way with the linear light layer. Oh, I know, Um, when more thing that I did on this one, that just reminded me. So if you like the overall look, but you just need a little bit more contrast, Go to another color burn layer and stay on gray and go to the water brush again dark in some areas. If you go like this turtle shell a little bit more with, um, some more dark spots there and because I am way up high, it's I can cover the whole thing with this brush, but I'm underneath that outlined earlier, so I'm not doing anything to that layer. And that just kind of added a little bit more pizazz. Teoh. And you can also play around with the opacity. Then you can also go back and start playing around with you saturation brightness. Again, I'm on this background layer who that green is really pretty. Miss Alice looks like outer space, said that brought it down to more blues and greens. Brighter, less saturated. Reset. I like it a little bit more green so you can go through in. Play around with all of the different layers, hue, saturation and brightness. If you aren't too sure about a color, you can add a colucci mask just a straight up normal blend mode, clipping mask on top of something and and do some more color on top of that and really just play to your heart's content. I was looking at more photos last night, and I decided to make one more brush so that brushes already in. I've added that brush to the download before you've downloaded it, so you're going to see it before you get to this point in the class. So, um, what that brush is is just kind of adding a wrinkly texture. Brushwork dies kind of pool in the wrinkles as you're dying fabric, so it's just a look that you might want. And so I used a seamless repeat pattern to make this kind of wrinkly brush a measure what it looks like but also the added details that did off camera, just kind of some swirls since its water and I changed the eyes, and I think that's all this world and then off course that the the horizontal wavy lines in a blue. So to use this Jen's wrinkled fabric brush, go ahead and add a layer on top of everything. Except for that outline layer. Turn it to color bird. And she was a light gray. If this ends up looking too dark, you can adjust the layer opacity later. So let's just get it on there. I'm gonna actually get it on there a little bit. Darks. You can really see it on camera, a gesture size. I tried to him make it not too difficult to get the whole campus covered before lifting up your pencil. But try to get it all covered before lifting appear pencil because there is, um, some gray in it. If you lift up your pencil and start again, it'll be a darker spot. It'll still be lined up where you had it, but it'll get darker and darker, so just, um, just try to do it in one covering. So if you can see that it kind of is a crackly, it's not quite wrinkly, cause I didn't know how to draw perfectly wrinkled fabric, but I really like this lick and, um can play around like, maybe this is too much right here. So maybe I'll rotate and try again so that it ends up in a different spot. They're like that much better. A man gonna turn the opacity down. I could have started with a lighter grey to get a lighter color, but then I wouldn't be able to dark in that. So if you start a little darker than you can lighten it with this opacity adjuster on the layer. Yeah, I like that. Um, And then you could also adjust the opacity of the brush itself before you apply it. But I think this is the most control over the overall look is adjusting the opacity on the layer. All right, so there is the final turtle I went through, and I added that brash to the Octopus. I really, really love it on this octopus. Probably because I don't have a lot of line work in these areas and here and here. So now it just adds a little bit more to it.
9. A scroll through Pinterest for Inspiration:
Jennifer Nichols, Leila & Po Studio
