How To Paint Photos In Procreate: October Pumpkins

1. Welcome: Hello, welcome to how to paint photos and procreate October pumpkin. Painting your photos is a fun and unique way to create art in procreate. I'm Jay Johnson and I've taught the basics of how to paint your photos and procreate using the app on the iPad. It's several of my other classes. In this class, I'll take you through an adventure of painting two pumpkins to celebrate the arrival of October. We will start with the orange pumpkin. Painting, the photo and the background. You'll see the orange pumpkin go through three stages, super realistic, just like the photo. A little more exciting with more details, boost in color. And finally, more expressive by using a few of my hand painted stamp brushes. In the second part of this class, we move on to painting the white pumpkin photo from a snapshot taken with my cell phone. To eliminate the messy background from the cell phone shot will use one of my hand painted texture backgrounds. Then with the same brushes, we paint the white pumpkin creating this lighter expressive work of fall art. In this class, you'll learn how to set up your campus position, your photo on the Canvas where you want it to paint the background, paint and blend with the brushes provided. How to add excitement and interest with the stamp brushes. Blend your photo with the background using mask, paint, just the photo layer, and then save that painted pumpkin photo layer as a PNG for future use, which comes in handy if you want to put your painting on a coffee mug or something with a white background, it's good to have that PNG file. In order to complete this class, you will need an iPad with procreate installed. You'll also need an Apple Pencil. And you already need to have a basic understanding of using Procreate and installing brushes. And you will need to understand how to transfer photos onto your iPad before starting the class. Provided with this class is my rich oil brush set. Three pumpkin photos, one texture background. And in the class description there's a link to download my expressive brush set from Dropbox. So be sure to grab that and be sure to get the oil brush set and the expressive brush set installed into Procreate. And get the photos into your photo library on your iPad before starting the class, that will make it much easier. Are you ready to paint a couple of fun Pumpkins to celebrate the arrival of October? If so, then please join me in this class. I can't wait to see your fantastic fun fall artwork. Your class project is to paint one of the pumpkin photos I've provided you with. Of course, you can paint all three if you would like. But you can also paint your own photo of a pumpkin or another object you might have that you wish to try these techniques on. So let's have some fun. 2. Brush Overview: Hello everyone. I am here with you today to show you how to use my new rich oil brush set. And we're going to paint a pumpkin. Something kinda simple. But in a loose manner that looks like oil. I'm sort of an expressive oil. Not too abstract, definitely realistic, but I'm just a little bit stepping outside those realism boundaries a little bit. So I wanted to go over the brush set with you. This brush set only has four brushes in it. If you took my other classes, it has the textural brush down here at the bottom, which you probably already have in from the other sets. I used that brush a lot, so I put that in a lot of my sets. Um, but in the rich oil we have a sketch brush, a main oil brush, brush that's got some canvas texture to it. And then the textural. So very simple. I'm just going to make a couple of marks here with it to show you. This is the well, let me get on the right layer. This is the sketch. So it's just a loose, real sketchy brush. It can go big. You can also use that brush bigger. But I liked that choppiness of the sketchy look gives a little broken look, which is kinda fun. Then there's the main oil brush, which is right here. And I don't know if he could see that. It's got some really nice lines in it as if it's real paint. And that's really fun. Sometimes they'll show up and it's kind of unpredictable. Sometimes they show up, sometimes they don't. If you do very light strokes, you can get a real, um, brushy look. And if you press down harder, you can get a real thick look and it will blend some with what's underneath it. So let me undo that a little bit because I kinda messed it up. But like you can put it down in here and it will blend with some of that orange. And then there's the canvas one, which has the canvas texture. On this side over here. Um, I had press pretty hard, you press pretty hard, you lose some of that canvas texture. But if you let up and just go real lightly, It's a great way to add some canvas texture into your piece. And then there's the textural brush, which is very, very unpredictable, but it's one of my favorites. And if you pressed and drag, you'll get these fun textures out of this brush. If you press really hard, those will get thicker. So just play with this and vary your pressure. And just see, just open up a document and just start playing with it. Push real hard, lead up and do real light drags. These all work as blenders as well. And erasers of course too. But that gives you just a little rundown on these. I'm going to show you a couple of paintings I've done with these. So this is a resin that I painted with this brush set and along with my stamp brushes, which are in the brush sets that are in some of my other classes. I would say download them all, download every stamp brush you can ever find. Um, but I painted him with the ritual set and then use the stamp brushes to accent some things. And then there's my egg on toast painting, which is just a simple object, which is what we're gonna do today with the pumpkin. And then there's Hang on a minute. The seascape I painted. Now this, I tried to stay somewhat realistic, but I did use some texture brush and some stamp brushes here and there to add just a little bit more interests. But as you can see, they can create a nice landscape as well. Then let's talk about the stamp brushes and why I like them so much. Stamp brushes are made or at least mine are made from real paint and a lot of others are two. They add interest and excitement to your overall piece. And when they're used on a new layer, you can size and shape them to your liking, which is very helpful because you can move it around. You can place the mark exactly where you want it in your painting and re-size it and even stretch it out and make it a totally different shape. They can add texture and dimension as shown here is several different ones I've created with different textural looks. And I'm, my advice is to acquire a choir as many as you can. I often use stamp brushes from a variety of collections in my work, not just my own brushes. I buy every stamp brush set that's out there that I can find. You know, if they, if they're decent sized brushes and they look like they're made from real paint. I'm buying them, period. You cannot have enough of these things. And at the end of this class, in the very last bone, I guess I could call it a bonus lesson because you'd something that's optional. You don't have to use stamp brushes. You don't have to do anything beyond painting the subject. But in the very last lesson, I will be showing you how I use stamp brushes. I'm from one of my sets. And that's why I said go, go download them all. So that gives you a little rundown on the brushes. And next we're going to get started with painting a pumpkin. 3. Paint The Background: Okay, we are going to paint a pumpkin. Now have a couple of pumpkin reference photos. And as you can see here, I've already started a piece. This is not painted. This is two photos blended together to create a composite and then blended with a texture. And I do that a lot with my photography. Blend them with textured painted backgrounds. And my intention is to paint this eventually. But I didn't wanna do that for this class. I wanted to, that might be a little more difficult with the butterfly and I want to keep this relatively simple. So we're just going to set up a new canvas and start painting one of the pumpkins from one of the photos that I'm giving you. Be sure to download those from the resources section when you go download the brush set, download the pumpkin reference photo so you can pick one that you wanna do. Um, the first thing to do is to set up a new canvas. Now, if you've watched any of my classes, you know, I always do 6,000 by 6,000 pixels. So I click the plus button next to new canvas. And I don't change anything except for what's in dimensions. I make sure the DPI is set on 300. And for the width and the height, I type in 6,000 by 6,000. And then as soon as you hit Create, It's going to open the document. It's going to set it up and open the document. And when you go back to your gallery, the next time you hit Plus again, you'll see down here untitled canvas, 6,000 by 6,000. So you can just automatically pick that every time you go do a painting, if you'd like that size, you can create whatever size starting Canvas you want. The amount of layers. If you use a smaller canvas size like 3,000 by 3,000, the amount of layers you'll have available increase. Mine only has ten layers available. So I'm just going to click on one of those campuses have already setup and we're on layer one, We're ready to go. And I'm going to insert one of the pumpkin photos. Now the question is, which photo to pick? I've got this one little pumpkin here on the white table with a really short stem. I've got the white pumpkin, which I am kinda thinking a coastal thing. Those are just shot with my cell phone. You can take pictures with your iPad, your cell phone, whatever of an object doesn't even have to be a pumpkin if you want to do something different. And then I have my original pumpkin photo I shot down here in my studio on my little blue table. I love with a dark back piece of wood as a backdrop, which is the one used here with the butterfly. Because that was the original photo I worked from. So I'm gonna pick one of these pumpkins. And I really liked the one I shot with the dark backdrop. So I think I'm going to go ahead and pick that one. Even though the other one on the white table is the other orange one is super cute. And then there's the white one, which I want to do with a coastal kind of feel to it with some blues involved. I think I'll stay traditional for this and just go with this one right here. But you can pick whichever one. Now my photo is smaller than the canvas size, so that's an easy fix. Just click this arrow right here. And you can transform it by pulling outwards on the corners and make sure it's set on uniform and not free form. When you do this. So it will stay, the proportions will stay right? And then just pull it out about to where you want it. And I really liked those tones in that. And since they're already in here, I figure, well, why not just go ahead and use them? Now the next question is, do we want to paint from scratch or do we want to paint the photo? And, you know, I'm a big fan of painting my photos. It takes less time than sketching this out and painting it from scratch. I can do either way. Um, it's up to you how you want to do it. In this case. I think I'm just gonna go ahead and paint the photo because everything already looks the way I want it to look as far as colors and layout and things like that. And I want to do this kinda quickly. So I'm just going to paint the photo. In this case. Maybe one. Maybe I'll do the white one next, and, um, maybe I'll do that one from scratch. So I can show you the differences. When you paint the photo, you want to duplicate your photo layer. And you're gonna be using the brushes as blenders to basically what's on here is your paint. That's the colors already laid down. So. We'll use the, the brush as a blender and I'll start with the rich oil. Don't know, need to do is sketch since I'm painting the photo, the opacity is set at about 70% on that brush. As a blender, you can do 100%. It's a little strong. At 100%. Let me just show you the difference here. We'll do a test. So let me get it big enough or I can make them work. That's at 4% for 100%. And then 70. There's a little bit less. Um, it's just a little softer. In this case. I do like the 100%. Um, when blending, I will often lower that percentage because it's softer and blending should be a little bit softer than painting. So I tend, when I'm using it as an actual blender per se, I tend to use it at about 70%, but in this case, this, this really strong stroke looks pretty good. So I'm going to get the brush size about where I need it and figure out where I want to start. Um, I think I'll start on working on the background area first with a larger brush just to get a feel for the brush. So I want to raise that brush size up, pretty good size and just start scrubbing over this background, blending everything in the little scratch marks and wood tone variations in the wood. I don't need that for my painting. I like the color variation those things give, and as you do this, you will see you get those variations of color, but you won't necessarily see every little scratch mark I'm not interested in depicting. Every little thing is if it's photograph, if I'm gonna do that, I'll just leave it be a photograph. And I mean, this is very dark and you can it's hard to tell, but the there is color variation there. And as I'm getting closer around the pumpkin, I'm gonna go with a smaller size just so I don't go over it at this point. If I pick up a little of the edging around the pumpkin and it drags it out. That's fine. And then we've got this line where the table meets the background. So I'm going to turn with two fingers hold down in turn. And I'm going to try to keep that straight when I'm blending it as straight as possible. I mean, it's not gonna be perfectly straight because it's just I can't paint a straight line for anything. And I did get a little bit on the pumpkin there, but that's alright. I'm going to work around this pumpkin. And I'm still working with a smaller brush. I'm just trying to get this line first. Who I like how it kind of accidentally brought some of that orange up in there, but I want my my table line to look. That's neat. See how it brought that orange out. Okay, so let's look at the table one now. That's pretty good. Now do I want to leave these lines in the table or do I want to paint them out? I'll probably paint them out. The shadow area. I do want there because there will be a shadow under where the pumpkin sits. So I'm going to use the small brush still and work that shadow area, just back-and-forth, pulling in different directions. I'm not scrubbing, I'm letting up on the brush, tapping and dragging. And I'm not worried about the lines on the table because I've decided I don't want to keep those just trying to get along the bottom edge of that pumpkin to keep that shadow area in there. Alright, there's the shadow areas. So now I can go with a little bigger brush. And I'm going to come outwards from the pumpkin. Notice how it's picking up a little orange and somehow I'm putting that in there. That's because the brush accidentally touched the pumpkin. But that's okay. It looks kinda cool. I'm just gonna go around him. Around him. I'm talking about this pumpkin like it's animal. I'm so used to painting birds and animals. I don't usually do objects, but I've been really having fun with this brush set. And notice I'm painting at the lines in the table. Can you hear the tapping? I'm not holding it down and scrubbing, but you could certainly do that if you wanted. So there we've got a really loose painted look now to the background. And if I did want to blend in some of this a little better, we're not so harsh of a stroke. I can lower that transparency of the brush and do that where it creates a nice soft blend and soften some of this up if I didn't want those rough marks. But I like the rough marks, so I'm going to leave it like it was. Alright, now we're ready to paint on the stem area. Now I'm doing this all on a duplicate layer. So you see that's before. That's after we're getting to a painterly look already. We haven't even got to the pumpkin yet. I could do some additional things to the background and bring some additional tone into this darker area. I think I'm gonna do that. I'm gonna hold down on there and it pulls a color on the color wheel. And I'm just going to move that color upwards a little bit to get a little lighter shade, and then go with that rich oil as a paintbrush. Instead of the blender tool just to paintbrush and scrub some of that color in there, um, where I want it. Just kind of around this top part here. Just make some marks. And then I'm gonna go back to the paintbrush as a blender. Make sure I'm on the same rich oil. And gently tap and work that end with little short strokes. Work that into the background. Just to give it some color variation in there. So it's not so I mean, it was pretty dark. That would I do like that color variation gives it that interest. And you can go with a little bigger brush and do some bigger blending marks. And just keep going until it looks okay to your I saw a lot of this is for me is how does it look to the eye? I don't want to blend it all the way out. I want some of those brush marks showing. Okay, now let's get, um, how about what happens if we grab a little of this blue from the back edge of the table and we put a few marks with that. Just playing with brush size. In here. You see on top of the dark background, it, it looks different than it does over the table area. And I can even come down here to the table area and maybe at the top, just add a few little marks of that shade in there, just here and there. Now let's blend some more. So click on the blender and go to town and just play with the different brush sizes. When you vary the brush sizes, it adds more interest. I'm going right up close to the pumpkin. Work in those colors in playing with brush size still. If you lose too much of the dark and can blend it back toward those areas, or you can add it in. So let's add some in because I feel like I did lose some of the dark. A little too much of it. Especially close to the pumpkin. There we go. Now to blend a little bit of that. So we've got a really messy loose painted look going on for the background now. And add a little more dark here at some of the corners where maybe took away some too much and blend that in. And another fun thing to do would be to try to use the canvas brush. So I've picked that blue again at the back side of the table. Unless just let me turn it this way. Let's just see if I make a stroke or two here and there. Would that blue shade. And I can go different directions with this two down and over. Then, let's go over here. Brush a few canvas marks in down as well. I'm just touching that wherever I think there could be some of that color and put it in there. And then you can also use the Canvas brushes, the blender. And I've got it set at about 82% and go with a fairly big brush and just kinda tap over those areas I just painted with the canvas brush, which this helps blend it in and soften it up while still showing some of that fun canvas texture in there. You can't really see it over here on this side. And I'm just doing very soft, short strokes to blend some of that end. When you use the canvas brush as a blender, it doesn't. Um, if you do it real lightly, it will show some of the canvas texture, but it's better. As a paintbrush, the canvas one is, it shows the Canvas more than when you use it as a blender, but you've got little bits of Canvas now showing in there. And I'd like to put a little bit of that canvas texture in that table. So I'm going to pick that blue from the back side of the table. It's actually a warm gray and I'm going to just, um, pull up on it a little straight up on the color wheel just to get a little lighter shade, makes sure it switches back to paint brush. And I'm just going to gently brush strokes and that in just gently here and there. That's a little dark down there. I probably need to go a little lighter down here on the bottom. That's too bright. Well, it's too dark. It's too strong. I push down on it too hard. That's thing. This is a very light touch brush. Now let's go back to it as a blender and I'm going to turn this way. So I like to stroke in the direction of the table, the table of the, the strokes. And I'm just gently blending that down. And I really liked that little bit of orange that accidentally ended up beside the pumpkin. So I'm going to try to stay away from that. So I don't mess it up. If at anytime you get something you really, really like the look of oh, that's a neat mark right there. I don't know if you can see what it just did right there. That's neat. And leave that. But anytime you get something you really, really like and you don t know if you want to mess it up or not. You can go ahead and duplicate this before you continue on and save that in case you need to go back. Um, I don't do that a whole lot because I usually end up just fixing it. If I need to fix it. All right, I'm ready to start painting the pumpkin now. I'm gonna go back to the ritual brush. And in the next video we're going to come back and we're going to focus on the actual pumpkin. So stay tuned for the next video. 4. Paint The Pumpkin: Alright, let's start painting this pumpkin. I am on the brush as a blender. Rich oil, 100% opacity and pretty small brush size because I'm getting ready to work on the stem. Now, I'm going to just pull down in the direction that the stem is, except for this little top piece. So I'm gonna go across and around. Just pull those colors down. The colors are your paint. The colors in the photo are the paint. Since I'd already designed this photo. That way. When I blended it with the ER, when I shot it with the background, initially, I figure why not just use those colors that are there because I like them. So I'm just kind of going in the direction that the stem is going, trying to keep it as accurate as possible while just doing short little marks, short little blending marks. Alright, there's the stem. So we can turn this off and on and you can see it still has the same colors. Does it have all those little speckles? No. You can add those in if you want to. But now I'm ready to start painting the pumpkin. Now, these little creases in the pumpkin or darker, and when they, when you blend them, they're gonna be a little darker, but I'm telling you they're going to lighten up. We're probably going to have to add some. But I'm going to work on little sections of the pumpkin slow back section by the stem. I'm going to work on that first with the small brush and just blend that and try to keep that dark area. But I knew, I know I'm going to lose some of it. When if you stroke one way and it's too dark, struck the other way on a light starting on a lighter color. And it will pick up the lighter color than just short little strokes. Don't push down and drag it. You're going to blend everything together and it'll make it look mushed together like what they call smudge painting, which I hate that term by the way, paid it don't, don't even use it with me. Now some of this where this blue dark colors from the background came over the pumpkin. I actually liked that, so I'm going to try to just tap around those. I might need a smaller brush. I'm getting I'm losing a little bit too much of it. So I'm going to double-tap and undo, go back with the smaller brush and kind of work around that and try to leave some of that in there. I really liked that nice, loose, organic look that, that had on the dark lines at the creases in the pumpkin that's going to give you your shapes so you don't want to lose those. But they probably still have to be dark. And here's some more blue that accidentally came over. Now that may be a little too much. On the other hand, it kind of looks like a really nice accident. I'm going to blend some of it out, but leave just a little bit of it's showing with a small brush. And I'm gonna go ahead and work the dark creases. And notice I'm turning the painting as I go because I go when I'm doing a line or trying to keep something specific like a long line. I tend to do better coming painting it from top to bottom rather than from bottom to top if I go both ways, but the top-to-bottom works better for me. So I'm just going to and I'll go from bottom to top here on this line. But where the lines are, I'm going to work those in with while I have the brush set to a small size. Here's a really dark spot. I want to keep that best I can right there. And you can even pull some of the blue on up in there and just go over all the lines first where the creases are, where that dark edging is. Because that's going to give your pumpkin the dimensions to make it look circular. You don't want to lose that. Try to keep that. Here's some more where the blue went over and work on this top part of the pumpkin here with a small brush going in the direction. Now, this blue that come over here is a little too much. So I'm just going to blend over that gently, but leave a little bit of it in there. You know, these little accidents that happened really make a piece. So any small areas I'm working with this small brush, small size. Now let's turn it right side up and see where we are. Okay, Now I'm gonna go with a little bit larger brush, not too much larger, just a little bit. And you might have to make a stroke or two until you see where it's going and how it's going to end up. And just do each section. And like I said, I'm not worried about the speckles. And I'll even get a little bit looser with the brush as I go to make those accidental marks happened just very short strokes. And I'm just blending out those speckles going around this center section. Now, one thing I don't want to lose here in the center section is these lighter areas in the middle. So I'm going to criss cross over those with my marks. Because this is the focal point. So this is where the eye is going to go, most likely, but by crisscrossing, it gives it a different texture, a different appearance right there. Instead of being so smooth, just pull color around where you want it. You're moving the color, you're the artist, you decide where you want the color. And that's a lot of this is just artistic decisions. Now that looks really nice and painterly there in the center of that. I'm going to continue on with that same brush size. To the next section. There's a little highlight there. Crisscrossing will add interests. Who I got on that dark too much. I'm going to undo that. But crisscrossing will add interests in those highlighted areas and make them look somewhat different, which is what you want. I got a little bit too light down there. I'm just undoing it and pulling some of the dark upward. Now to the next section, I'm going from the bottom up and then back down. The way I moved my pen. Very short strokes, very quick, not pushing very hard. And hoops. This final side over here. There's a bright area right there. That in there, nice and bright. And even pull from the edge, pull some of that blue that made it have a real nice look. So the whole thing is painted now. So you can turn it off and on and look at it from a distance, zoom out, you see it still looks pretty realistic. I do think this dark spot right here got a little too crazy, so I'm going to blend some of the orange back up into that area and then smooth it out a little bit there. That looks a little better. But notice our pumpkin still has form and dimension. Now one thing I do like to do is add some additional details and more color into our pumpkin. And I like to bring the background colors into the subject and the subject colors into the background. Now I don't want to bring too much of the subject Teller into the background here, but I do have a few little marks like the little orange bit that ended up on the blue. And then here's some orange that ended up there. And here's some overhear that ended up there. So I don't really need to bring a whole lot of orange from the pumpkin into the background. But what I do need to do is darken the shadow, darken the lines a little bit more, increase the highlight color a little more. And I want to bring some of this lightest blue into the stem because it looks like there's a little blue there. And I'd like to enhance that by bringing some of that table color into the stem. So we're gonna do that on a new layer. So in the next video, we're going to cover adding those details and blending those in. And we're gonna do it all on a new layer. 5. Paint Details & Enhance Color: Okay, So to add our details and enhance our colors a little, Let's, we've got the new layer on there. If you don't, if this isn't on there, go ahead and hit the plus button and make it get there. This time we're going to switch over to the paintbrush. Um, you can use the sketch brush which is available to use it are pretty low size to get some good fun detail in there. In fact, let me go ahead and do that with this sketch brush. And I'm at about 6% on the size, and I'm going to grab this light, light blue color down here. One of these I'll go with this one. It's a little darker. I don't know. I'm gonna go with that one. No, I'm not. I'm gonna go with this one. See I can't decide. And make sure I'm on that new layer. And using the sketch brush, I'm just going to bring in a few little marks in here. Sort of alongside some of the green. And more towards the top. Just a couple for accent. And then I'm going to blend those in using the rich oil that I'm gonna do it with a really small brush. And lower the opacity just a little bit. Just to give it a little smoother blend. You don t have to blend every bit of it. I'm just stroking over it. And if there's a piece that doesn't get blended, that's fine. The key is to zoom out and see if it looks too out of place, which it kinda does. So I'm going to blend a little bit more of it in. Just pulling the colors around it on up into the blue. And the blue is on its own layer. So it's just got a little bit of that blue highlight in there. What I have noticed on top of the stem, if I turn off the painted layer, you can see on the top of the stem there's a little white rim kind of outlining that circle around the top of the stem and that is missing in here. So using that same sketch brush, but instead of white, I think I'll grab this creamy green color, which is a yellowish green, which is kind of light. Maybe I'll go a little lighter with it to more ivory. And still using the sketch brush, very small size, just make a few little marks there. And actually the top of that stem is a more golden color. So I'm gonna grab me, just move the color wheel around to a little bit more golden color and make some little short strokes in there. Now go back to the blender, which is the rich oil. And carefully just short strokes, tap around that, tap and pull and work that in. And then I do believe this darker green here, turn that off and grab that from the original photo. Dead matter, which layer you're on when you hold down on your color. As long as you can see the color, that darker green. I'm gonna go back to the sketch brush and put that under here. Just a little bit on this one side. And then back to the blender. And quick little dabs. Blend that in there. Now our stem looks like it has a little bit more of that top piece and blend that green down, just a little bit more. Pull down on it. So we've got a little bit of blue in there now it's real subtle. You can turn off that layer and on just to see the difference. Very, very subtle. Now I want to add this dark color from the background, so I'm going to hold on that and still using the sketch brush. I'm going to darken some of these crease areas just a little bit more. I'm just picking spots were I think the crease would be pretty deep. Like this. At the top and the bottoms of the creases. Their deeper looking over here. Just very light strokes. I'm not trying to be real specific with it. Now. I can. Blend that in. And because it's on its own layer, It's easy to do. Might go with a little bigger brush to do that blend, which will soften it up. Smooth it a little bit more. Like I said, don't don't worry if you don't get every little bit of it blended some of that characteristics of the sketch brush, those rough edges on that brush are actually kinda fun. So I'm keeping it kinda loose with my blending. And then back here at the back by the stem. Just kinda dot those areas to darken that backside and then pull back against it the other direction. It was too strong. This will really give you a good foundation in the blending. To practice with this as a paintbrush and then turn around and blend it so they can zoom out. And now our creases looked very, very deep. So you got two choices here. You can continue blending to soften them up, or you can add in some orange color and allow some of that orange color to kind of blend over top of those dark areas. So I might do a little both. Sort of blend down some of them. A little bit softer to start with. Just going around picking and choosing. And if you zoom out, you can see it from a distance when you're doing this. See it's just toning it down a little bit. But I do want to bring some more vivid color to this. Some looser strokes. So I'm gonna go back to the paintbrush, but this time I'm gonna get on the rich oil brush. And I'm going to grab the orange that's there. And then I'm going to raise up on the color wheel, pull it upward to a brighter color, orange. And in these sections, I'm just going to play with my brush size a minute and make some quick marks where the orange color might be. Loose. Quick marks. Like so. That one is kind of an accident. I didn't want to sign did it? And if you don't like a stroke, I'm doing one stroke at a time and do it. That last one I did is too bright for that area. That part of the pumpkin as it goes around is going to be darker on that side because the light is more towards the left and the center. So on that right side, I'm going to keep that brightness down. Now I'm not going to blend these. What I am going to do is get this creamy shade, hold down on it and I will make it brighter. I'm going to pull it more almost to the white side. And I'm going to make a few marks with it in here. Were those highlight areas are now that I'm not sure if there's a highlight right there. So This doing really short light strokes here and there. And if I don't like them and doing one stroke at a time here, folks, I like to bring a little more yellow tone in there. So I'm going to move on the color wheel toward the yellow and pull over to the right to get more of a yellow tone. Let's bring some yellow marks in over top of that highlight areas. And you can play with brush size. Maybe even put a couple of little yellow marks over there and there's a little yellow in the stem. So I'm going to pull down, make a smaller brush and do a few little not that small. Couple of little yellow street marks up here in the stem area. Okay. Now let's go back and grab the orange, but the darker shade. And let's go toward a red on the color wheel. Red and yellow make orange with the eye. So I'm just going to tap some red. Over the darker areas a little bit. Not too much of this. And trying to stay towards the darker areas and even toward the bottom. The darker areas are if you don't like one, undo it. And the nice thing, because this is all on a new layer. You can erase parts you don't like. So now our pumpkin is looking really choppy, which is okay, we're gonna blend some of that now. We didn't blend it at all while we rely on those marks down. But now I'm going to blend some. I'm gonna go with a bigger brush, a little bit lower opacity down to about 70. And this is on its own layer. So I'm trying not to push real hard. I don't want to lose some of that neat edging on those marks. And I'm just very gently blending some of that color In working my way around it. It's toning down the harshness of those marks. So say the left side I've done and most of the center of them. But the right side is not done. You see the difference? The right size still looks real choppy. Let me go ahead and blend that side now. Very short. Gentle sweeps of the brush. Remembering that the pumpkin is darker towards the bottom. So trying not to pull those bright colors down that direction. And Cris crossing over some of these strokes when I blend. Because that adds interest. Starting to look like the painting now. So if we take turn off the layer, we just did. That's our pumpkin to begin with. Very simple, very plain, very realistic. Now we're starting to dress it up. Make it look more painterly all with this one couple of brushes here. And there's our original. So that's where we've gotten so far. We're starting to look a little bit more painterly. I want to do something with the shadow area. It needs to have a little bit more darkness. So I'm going to grab some of the dark from the background. Make sure I'm on the rich oil brush. And make a couple of marks right up under the pumpkin where it touches the table is going to be darker along that portion. Now that I've made some of those dark marks, I'm gonna go back to the brush as a blender and blend those marks outward some. So our shadow is now a little bit darker. I want to bring a little bit of this blue into the shadow. But I think I want to paint that in with the canvas brush to create some interests. So we're going to try it. Lower that brush size down and gently. Just do a couple of strokes and they're sharing there. That's too close to the bottom of the pumpkin. Just gives a little bit of interests. There. Can also blend that with the canvas brush. Tone down that canvas texture just a little bit. It's got some interesting marks in there. Now. There we got a pretty cool Pumpkin right there, as is. So at this point, you can look at it different ways to look at it. Zoomed out. What's really small. All right. There's our original photo. There's the beginning painting. There's our enhanced painting. See the difference. Pumpkin is really starting to glow now and look kinda painterly. Looks like a lot more fun now. This looks kinda like a nice pumpkin. This looks like a more exciting pumpkin to me, because color will do that. Adding in Marx and color will do that. But at this point, I'm happy with what's on here is layer three. So I'm gonna go ahead and click on that and click Merge Down. Now that is merged with the original painting layer. If you didn't weren't sure about that. Let me undo that. Well, double-tap. Double-tap. There we go. I got it back. If you're not sure about which version you like, you can click this one off. Click the wrench, click Share, click JPEG. Save image. Okay, so I've just saved the plain version. Turn that layer back on. Do the same thing, click share, because we're going to continue on from this and save, Save Image. Now I have two versions saved. That one and that one. Now, click on that top layer, merge down and it becomes one with this layer. So there's our photo, There's our painting. Could stop right there. But you know me, I've got to bring stamp brushes and I've got to do something fun with stamp brushes. So in the next video, that's what we're gonna do with this. And I'll be right back to continue on. 6. Final Touches With Stamp Brushes: Okay, now we're ready to have some fun. Now, like I said, you can stop right here. This next part is optional, is just what I like to do. What I'm gonna do first on this layer, before I add the new layer for the stamp brushes is I'm gonna go to the blender and the textural brush. And getting a pretty big brush. I'm going to set it down on a couple of spots and pull gently, not pressing very hard to just try to bring some texture into this piece. Notice the little crack, the textural look at just put over the stem. I like that. And it's putting some of that into the background. So you can see it happening. It's very subtle. And if you do too strong of a mark, you can come from the other direction and go over it. Or you can just double tapping undo. You can play with the brush size. I like to pull some of that texture around with this brush. And I'll, if it doesn't appear to do anything, just you can double-tap and undo or triple tap and redo and play with that brush size some more. Just very gently push and drag. And you don't want to push too hard. See you there. I brought some down over the table, but I can just go across and gently and tone that down a little bit. Actually, I don't like it, so I'm going to double-tap and undo that just over that little line of the table. I would like to have a little texture showing up in there. I'm just going to pull from different directions there some. Now it showed up. And remembering my little orange bit over here, I don't want to lose. So I'm gonna be careful on this side. When I do that. I pulled a little bit over into the pumpkin a little too much. So I'm going to undo that. And do the same thing down here on the table area. Just pull that, did a nice one right there and see this. That's what I'm talking about. This brush is really unpredictable as to what it's going to do when our like that. But I want to tone it down so I'm gonna pull the lighter color back over it. But now it's getting some nice real paint texture in there. I'd like to do that in the shadow area. That's too soft. So undo it. Me pull down. They're kinda pull outward and upward from the shadow area around the pumpkin. And out, upward and outward. Just integrating some of that texture throughout. So now we've got some fun textural marks going on in there. And always zoom out and look from a distance as he, that was Marcia, very subtle. But if somebody if you do a print of this and somebody looks at it up close, they're gonna see those paint marks. And that's what really adds the interests to these paintings. When you do things like this. And pull this up, get a little going up. They're technically whatever color you start pulling from should show up over the next color. It ends up on top of, but doesn't always work that way. Like I said, this brush is very unpredictable. So you just kinda have to slowly press gently and drag in different directions to get some of those fun textural effects throughout. You can go bigger. It's just all very, very subtle. But it just adds a unique touch to it. Alright, let's get started on some stamp brushes. Now I'm going to try to remember to put the link to download, load these stamp brushes or the set that they're in, the description. But if I forget, I'm there in my expressive dog would flower photo class there in the description. The reason the brushes are linked in the description to download them from Dropbox is because that brush is too big for the platform. Here. To accept it as a download. It's a fairly large set. But I've made a new layer on top, and I'm going to go to that set, which is the expressive set. Um, it's a fairly large set in. But it's got a lot of fun stamp brushes. These are my favorites that I use a lot in different pieces. This one here, number two, is a big favorite. So I clicked on it. And I'm going to choose a color from the table right there. And make sure it's on the new layer. And I'm just going to tap and see what, what ends up where I'm going to tap it in a few different spots and see if I like and what it's done. Now, like I said, this is a favorite, but for some reason it's not looking like a favorite right now. Let me try number one. And this is just all personal preference and you can resize these. Oh, I liked that. I liked this bottom edge of this mark. That this one makes it very interesting and very organic. And you can stamp it off one side and then stamp off the other side. And you'll get the other side of it. It's totally different look, because this is on its own layer. You can then blend out some of those edges you don't like, like this top edge that it made right here, right there on top. I'm not really happy with that. So let me go to the Canvas brushes a blender just for being a little different and just softly pull up on that edge and blend that down. And then if I don't like these little circular areas right here, I can blend those out some. I'm just kinda work it in with what's underneath. You can also use the textural brush on the new layer and drag it around to create a different look. That was a little too big. So I'm going to redo it. Tone it down a little. This edge here. So either one That's the canvas brush or the textual one, or even a brush from the expressive collection can be a blender, as long as it's not a stamp brush. This area right here next to the stem. Stamp is laid down that needs a little bit of blending. So I'm gonna get the canvas brush and gently pull towards it. Just some sweeping strokes and soften up that edge just a little. But by working the stamp brushes in like this, you get a really fun organic look. Now, that stamp I'm real happy with, but I'm not sure if I want to work on that layer or not. So I'm just gonna put a new layer on. And I'd like to get some of this lighter blue somehow in here somewhere. So I'm gonna go find a different stamp. What about number three, which is interesting mark like that. Let's put it as big as it'll go. And because it's on its own layer now, I can move it around. I can resize it and I'd like to do free form as a resize so I can just stretch it out, stretch it around, see if I like it anywhere, kinda like that rough edge look on the table right there. That gives an interesting look. But it needs to be blended in. So let's go with the canvas brush and we're going to pull down towards it and across. Keeping in mind not to mess with my little orange bit. Play with sizes on the canvas brush. I'm just kinda work it in. But because this stamp brushes are made with real pain, it gives your your piece a real paint feel. I don't want to work at totally out. There we go. See that's created a nice little edging right there that didn't have, and that's kind of interesting and zoom out so you can see what you're doing from a distance when you're doing this blending. That's why I'm zoomed out so much. It's not that I don't want you all to see. It's just that it helps me to see how much of that stamp I really want in there. This just gives a nice little edging to that right there. Okay, I like that. So I don't want to mess with that layer. I want to go make another new layer. I would love to. Mess up the pumpkin a little bit. It looks too perfect. So I'm gonna grab the darkest orange I can find sort of back here by the stem. And I'm looking at the backside of the pumpkin where I want to do this and I'm going to find a stamp in this set. Here's a stamp that's kind of curved like the top edge of the pumpkin. Make sure I'm on the layer before I put the stamp down and just tap it. And then I can rearrange it. I can drag it. I can stretch it. I'm not sure I like that orange though. I think that's a little too dark. I think I need to get out of that. Undo, undo, undo, and redo it with this orange. There we go. That's a little better. It kinda looks like a loose stroke just kind of accidentally came off the back of the pumpkin right there. And okay, what I'm gonna do here is I'm like part of this stroke on the pumpkin, but I don't like all of it. So I'm going to mask away part of it. So I'm going to click on that layer, click Mask. Go back to the ritual set and the rich oil brush. And it's already gone to black. You want to make sure it's on black before you try to paint this on here, but we're painting on the mask layer now. And it will just take off the parts I don't want. And if we take off too much, if we take too much away, then you can paint with white to bring it back. So let me zoom out and take a look. Actually like what I just did there. I trim that up a little. It's got this little mask on it. Okay, I'm happy with that. I'm going to squeeze those two layers together. So I would like to do another mark on the other side on the backside of the pumpkin. So let me go back to the expressive set. And let's see what other mark that I could do. That's kind of curved. This is a fun markets, a little strong, thicker paint. I'm going to put that on its own layer and just put the mark down and drag it where I want it to go in the general vicinity. And I have it set on free form so I can stretch it out, skinny it down, pull it down a little more. Now that's laying right over top of some of that. You can reduce opacity. To just leave a little hint of that showing right there. Which I kinda like. Or you can leave at full strength and mask away. But I actually liked just a little hint of that showing. And I might want to trim up right here. If you turn it off and on, you can see where it's on the back edge of the pumpkin. So I may do a mask right there. Once again, go back to the rich oil and just kind of make sure you're on black paint, trim up that edge. So that's got a little paint mark in there now that's kinda fun. This is just little detail things. Let's see if I want to get a little more adventurous here. What would happen if we go with the bright orange? Oh, I've got the layer mask selected. Let me squeeze those together. And at this point let me squeeze everything together there. So everything's on one layer now. Now I'm ready to add another new layer. And let me grab this bright orange color wheels change too bright orange. Back to the expressive set. I have got some big fun splatter and splash marks that would be kind of interesting in here maybe. And they may be too much. But we'll just say I'm going to stamp it right over the pumpkin. Oh, now that's quite fun. Let me see if I can stamp another splashy Mark. How about this tool number 28? Let's make it a little bigger. I'm just tapping it where I might want it to go. Now that's a little bit much. Okay, so we've got this one on here, right there. Somehow I've got a little piece of it off to the edge. But because it's on its own layer, I can click that layer and reshape this and put it more. Where I want to put it like that. That's kinda fun. Now, obviously some of that I don't want over the pumpkin, but I do like what it's done along that back edge and behind it. And I actually don't mind if you turn the layer off and on some of the splatter stuff on the front. It may be a little strong. Let's go ahead and do a mask. Now, notice my mask color did not go to black when I did that. If you double-tap on the color, wheel, it down there near the black, it will go to straight black. And I want to go back to my rich oil. And I will turn the layer, the main layer off and on to see what I want to take off. I know I want to take off that stuff. That's most of it that's on the stem. So I'm gonna go ahead and mess that. And I've lost some of my fun mark right here, some of that mask over that. And then this back edge right here, I want to trim that up a little. Don't really like the bright marks on the right side of the stem. This one here on the left side is a little dark. I don't mind it being there. I'm going to undo that. I'm going to lower the opacity before I messed that down and see if I can just tone it down just a little right there on some of this down. So some of the splash shows just kind of going all around it with a lower opacity masking brush, stroking numerous times. It looks like paint just kinda spilled back there on the back and I'm zooming out so I can once again see how much I'm willing to take away of that. At that low opacity, I'm having to do several strokes. Basically just painting it to get it looking like I want. There we've got some fun splashy marks to it. Some of this that's on the pumpkin, raise the opacity up a little on that mask layer and tone some of those splash marks down. Don't want to take them out completely. Just wanted to tone those marks down. I want it to look like loose paint. Just kind of splattered accidentally as I was working. So anywhere where it's too strong, I'm just looking at all the sections. I'm using that brush at that lower opacity. So now we can turn that off and on. Its took a little bit too much detail right here off of that crease away. So I'm going to raise the opacity and just go over that and bring some of that back. Zoom out, turn that off and on, off and on and see where I want to bring some back painting with that black. But it's got some interesting marking markings in there now. But notice I've taken away a lot of the splash, but there's enough left in there to add interest. Okay, That's cool. Let's see. I'm gonna go ahead and squeeze these together. And I'm going to add another new layer, staying on the bright orange. And I'm going to go back to the expressive set and see what else I can maybe stick in here. I got all kinds of fun marks in here. I'm decisions, decisions. Some of them may work, some of them may not. This is one of my favorites, number 67. And that creates a real strong Canvas textural mark. I don't think I want that in the bright orange, but it might be fun down here in this blue. It's a purplish blue and go to a little lighter shade, pull it up and stamp that on. It, makes sure we're on our own layer, stamp it somewhere and then resize and move it around. See where I might want to integrate some of that, that I really liked, that texture, that brush. Provides how about if I flip it? Let me zoom out and look at it that may be too strong. So our choices are lower opacity of it or blended in or both, or mask it away. How about 70%? And let's blend some of it with the canvas brush. Trying to keep some of it in here. That I like. A little bigger sweep over that. Whoops. Trying to keep some of it in here that I like. But because I do like some of that depth that that stamp brush provides for up, sweep over gently. And I'll end up taking away a lot of these stamp brushes sometimes with blending. I took away too much. I'm going to undo some of that because I really liked that strong part off to the left. They're kind of looks interesting, but I'd like to add a little something over that. I'm going to take this blue, another new layer. And one of my favorite things to add over top of stuff, especially toward the bottom of the painting is a drip. I've got a couple of drips here. Let's see what stamped 31 looks like. That's kind of a splashy drip. See what stamped 32 looks like but a smaller size. I'm going to have to come with the color above it. I think smaller. Put a little drip in there that drips not big enough. Come up. Like some of the paint above their drip down. May need to go a little darker on the color still. No. Just picking different colors around the top there. That's kinda interesting, but it's too much covering my stamp too much. There. I kind of like those drips. I still think that could be a little bigger. Want to redo it? And I'm not worried about the top part because I'm going to get rid of that. I do like those fun little drips. Alright, let's do a mask. Mask. Go to, and you can mask with these. If you just tap on there, make sure you're on black and then tap with any stamp brush you can kind of mask some of that. Who actually liked that total accident there. Now I want to go back to this color and I'm going to add another new layer. And I could sit here and keep going and going and going with this. Um, there was a splash. Splash. I like a lot. It's very subtle. And of course it's too small. So there it is. I've tapped it on there. It's on its own layer. Therefore, I can turn it, squeeze it, maneuver it, put it wherever I want to ask, just trying to integrate it into that area where that lighter color is. Move it around, make it smaller. Just adds a little interests there. Think I still need something else though. This one number 42 is just some fine lines. On tap that in there. Might need a little darker shade. Now, I'm not sure I'm getting the right effect I want with that one. What's 45 do? Oh, that's a really dark. Let's lower the size of that. My own, my own layer with this note, put a new layer and then do it. That way I can move it around. I kinda like the effect of this to blend it in a little better. Positioning differently. Losing too much of my detail there. That may not be the right stamp, clear the layer, tap on it. Lighter blue. I think I intended to go with a lighter blue and for some reason I didn't worry is that 29? That's kinda interesting. Now. It's on its own layer. So that means I can resize it. Move it. Move it. Okay. Now I think I'm getting somewhere. I like that. Okay. That's pretty cool. I really like this now. So I'm going to squeeze all of these together. So there's our original photo and now we've gone to this. And I could sit here and keep playing with stamp brushes, but you'd probably get bored watching me, so I'm not gonna do that. But what I am gonna do is I'm going to duplicate that layer. And I'm going to go to the textural brush. And I'm going to try something. And this is on a duplicate layer. So I'm going to try to grab the edge of the pumpkin a little bit and drag that textural brush. I don't know if it's going to work to do this on. I'm trying to get some fun. A little rough edging around the side of the pumpkin, like it is loosened up a little more and accidentally went over into the background. And it can even pull the shadow area over the bottom of the pumpkin with that textural brush. Oops. And if your thumb slips, you'll do something dumb like this. So thank God for double-tap. I'm going to try to pull some of that bottom shadow area over. And this is on a duplicate layer. So by using that textural brush and pulling some colors around a little bit, it just gives it that interests in dimension and it makes it look not so structured. Who I like what it did right there. This is a totally accidental brush. Didn't like that. Oh, I like that. That's accidental looking. What about pull across the bottom of the pumpkin? Nope. Nope. Pull the dark area. How about that? Even pull that lighter blue area up. Hello. Know, you could do that though if you wanted to do something really crazy. Like come right up over the top. And I'll do this sometimes when I don t know what I'm going to do, I'll just pull from different areas with that textural brush and see what it does. Well, I kind of messed up that edge a little bit. And this now how did I get this big smudge mark in the middle? Say I don t know at what point I accidentally got that on there, but that's not supposed to be there. But I like all the other stuff I did. So I'm going to create a mask on this layer and go to the ritual. And this mess I made in the middle. Oh, I'm not on black. I was like, Why isn't it going away? Notice my color. Nowhere near black. Yeah, gotta be on black. Double-tap near the black till it gets to black, then it will do it. There we go. I have no idea how I got this mess in the middle. When I did that. My hand did it. So now you can turn this layer off and on. See, I got the edging all messed up, which is what I was wanting to do. I'm not sure about the drips. Now that I'm looking at him again, I think they look a little bit too out of place and of course I've already put them in there and squeezed it all together and all that, which this is what I do, I make mistakes. So let's go with this light color, new layer, expressive set. And worse that edging I put on in the beginning, stamp number three. I'm all re-put the edging down, smaller right there. And play with opacity a little bit. Nope. Instead of playing with opacity, I think I'm just going to blend, blend with the canvas brush. Just one that around. I could mask some of that away, which I might, I think I just mess it. Tried to do a messy blend. I've blended too much. I'm trying to. Hi, the stamps. I mean, the drips a little bit. Now that I've decided I don't really like them where they are. I'm not sure I like this either way. I kinda like that. Um, what happens if I change layer mode? Experimentation screen? Normal? What I think I need more of this darker color over here on this one bottom corner side. So let's make another new layer and do another stamp. Let's try number four. Well that's too big. Lower that size. How about we messed that up with the texture brushes, a blender. See what we can do with that stamp. Just pulling on it. Now, let's do another new layer using that same color I want to paint with the textural brush right there. Let's try that. Bigger size. I'm zoomed out so I can kind of see, okay, I don't like that color. How about that color is kinda interesting. How about a little bit lighter? A little smaller? Oh, I didn't actually mean to make that mark in that direction, but I kind of like it. Basically I'm hiding what I did before. Not all of it, but some of it. And playing with that texture brush has a paintbrush here. Not liking what I'm doing, so keep undoing it. I kind of made a mess right there in that corner. Okay. Let's see here. I don't remember what that layer mask is for 0 right there. Alright, let me squeeze all of these together. Okay, and then let me squeeze those two together. Bought a painting. Alright, I'm still not sure about that bottom left corner. So another new layer. Pick a dark shade right there. Go back to expressive. See what else I got. Mike could work in there. What about something like this? And then this is all just guesswork. Who? Kind of interesting. Let's turn that. Move it around some, stretch it out. Right up to the bottom edge of the pumpkin. Actually kinda like that. I kinda lost my initial light blue stroke though, but I bet I could do a little mask on here and bring a little bit of that back. What if I mask with the textural brush? Make sure it's on black. Double-tap there. Before masking. Let's go to the textural brush and try to get a little bit of that top texture in there. That's kind of interesting. Um, I want to blend a little bit of this. I do like where I'm asked it, so I'm going to squeeze that together and then using the textural brush, this little side part right here, I'm going to blend out some. It's going to give it some good texture. Well, blended it out too much. Come the other direction with that brush. Zoom out. Undo. Okay, I'm going to leave it alone. All right, I'm happy with this. We've ended up let me merge that down now. So we've ended up going from this to this, or at least I have with the stamp brushes and all of my messing around. But they're messing around is the fun part. So I'm gonna sign this one. And I'll just pick a, pick the blue, but I'm going to pick it's not even blue. It looks blood. And go almost a white. And go to the sketch brush. Make it pretty small. It's almost to two white. Pull it back down to the gray a little bit, little smaller. My message signature. Want to keep that uniform when I resize it. Resize it and then grab it. Well, let me grab it. Grab it and move it down here where I want it. That's a little too close to the bottom. Move it. Good grief. Apparently I can't move it unless I'm really zoomed in. Move it up a little bit. Okay. There we go. My life. A little canvas texture in here. With that lighter blue underneath the signature, put a new layer. Canvas brush. Fairly decent size. Down here on this bottom area. Just looks a little too smooth. Maybe make it a little bigger. How about get the lighter color? This color? A little bit lighter. Whoa, that's too bright. I went to light. I was just trying to get a little texture down there to add some interest. On this bottom part. There. I got some nice textural marks in there. Definitely interesting looking painting now. So squeeze all those together. Photo painting. Now I'm going to save this out as a JPEG save. So now let's go to the photo gallery and take a look at all three. And there they are. Let's see. There's this one. There's that one. And there's that one. So this was the first one. Very simple, very smooth, very elegant. Then this is the second one. Or it's got some good pops of color. Now this is the third one where we've really made something exciting. So that's the one I'm going to go with. And I hope you guys have enjoyed painting this little pumpkin I, or whichever pumpkin you choose to paint. The ones I've given you. And I can't wait to see what you do and how expressive you get with your pumpkin. Because a pumpkin can be as expressive as you make it. 7. White Pumpkin Part 1: Okay, I have decided, I do want to go ahead and do the white pumpkin, this one right here. But I want to do something a little different. I have this background here, which is from my farmhouse collection of painted backgrounds. And I thought this background would be great to use with the white pumpkin. So my thinking is how do I want to set this up? Do I wanna do square image like I normally do? Or do I wanna do a horizontal or vertical? And I'm thinking the pumping might look good with this area of paint. But I'm thinking of flipping this around. Now, this texture, I've provided you with it, a size 6,000 by 4,000. So I know that my canvas size will need to be that size but vertical. If I want to place the pumpkin on top of this white paint area right here. I tell people all the time they can do their digital paintings on top of my background. And I thought this would be a good demonstration. So let us go over to procreate and set up the Canvas. Hit the plus button, hits a new Canvas button. Now the texture is 4,000 or 6,000 by 4,000, 6,000 width. We're gonna do this the opposite way. Instead it up 4,000 by 6,000 at 300 DPI and hit Create. And there is the vertical canvas. Now I want to bring in the texture. So go to Insert a photo to get it from your photo library. And of course, as you can see, it is the wrong direction. So we need to rotate it. So click on rotate. And let's just rotate it all the way around because I want that white area on the bottom. Now let me zoom out here so you can see. So you can take your two fingers and squeeze or you could drag the corners. I just decided to squeeze and get it set in position. Once you click on the layers, again, it will set that in position. Now let's make a new layer on top. And I'm going to bring in the white pumpkin photo right here. So there is the pumpkin. And I want the pumpkin to be large and down here in this corner. So I'm going to squeeze it about like that. And if you're not sure on the placement of it, you can reduce the opacity and kind of take a look as to where it will be. That's a good spot. Now, in order to get rid of the original background behind this pumpkin, my messy background, we're gonna do masking. Okay, we're gonna put a mask on here. So we're going to click the paint brushes, make sure we're on the rich oil one. And I'm gonna go ahead and double-click toward the black on the color wheel and make sure we've got black because our mask will have to be in black. So tap on the pumpkin layer click Mask. Now we have a layer mask ready to paint there. So start resize your brush to whatever you need and start painting with it to get rid of this entire original background. And as you get closer to the pumpkin, you'll have to do a smaller brush. This is just a really quick mask and you want to make sure that you get all of it. Sometimes this brush being a blender as well. We'll blend some of this and not get rid of all the original background. I'm going to leave a little bit of the dark under the pumpkin. I think for right now, get as close as I can get a smaller brush. If you take away too much, you can go back to white paint and bring it back. Like if you accidentally take away a part of the pumpkin you don't want to take away. Let me get around the stem. Maybe a little smaller brush to get in around this stem a little better. Go all around the edges of the pumpkin. I'm still trying to decide on the dark shadow area. Now I'm on to take it out. We can always paint a shadow in if we need to. So with that small brush, go along the bottom edge to mask that away. Now let's take a look at our pumpkin. Was like it's floating there a little bit. But our mask is pretty good. So I'm going to squeeze those two layers together. And now we have the pumpkin, which is on a transparent layer. And if you turn off the background and the background color, you can see that there's some areas around the pumpkin that I missed on the masking. If you want to trim those up, if you've done the same thing, you can click Mask again while it's transparent and go over those areas. Just to make it a little more accurate, which you could then, because you have this masked out, you could save this as a PNG file. If you want to use it again on another background at another time. It's trying to get all of those little bits masked out. So you can save this as Share and save as PNG. And then you would have that pumpkin for another project. Alright, let me squeeze those together. So let's turn on our background color and layer again. And now we're ready to paint the pumpkin. The pumpkin is a little bit darker. Could stand to be a little bit brighter. So let's try to edit that. Click on adjustments and hue saturation and brightness and layer. And let's go to brightness and let's try to pull up the brightness a little bit. Brighten that pumpkin up. That's a little better than just click on your layers panel again, and that will set that into place. Now, do I really want the pumpkin sitting on the white paint or do I want to flip? Flip this texture. Let me get on the texture layer. Click the arrow, Let's flip it and see what it looks like. I might like it better that way. So I can put a little shadow underneath. And I can also, if I want to move and resize the pumpkin a little bit, that may be too close. Let's see. Let's resize it down. Be nice to bring some of that white paint over into the pumpkin. I don't want it right in the center. That's not as interesting. I'm just working on sizing here. Alright, let's leave it at that. So now it's time to paint the pumpkin layer. I'm gonna do that with the rich oil brush as a blender. And I'm gonna look at opacity here if you reduce the opacity so you can see the texture come through. But then you're also won't have a stronger paint. If you reduce the opacity of the layer, we're going to keep the layer at 100% and we're going to blend at 100%. And we're going to start with the stem. See what size brush we have here. That's pretty good size and just short. Choppy strokes. Work on this stem area. Using the colors from the actual pumpkin as the paint. Trying to keep those dark colors in there. So those stripes. But if we lose them, we can add them back. All right, there's our stem. Now let's start painting the pumpkin. And I'm going to turn this a little bit to get in the position I want to be and I'm still using that same size, smaller brush. I got that back section because I'm I'm close to the stem and I don't really want to mess up the stem with a big brush, so I'm going to keep this smaller brush as I work on these areas around the stem. And then the crease areas, I can go ahead and come down. I'm on the creases with that smaller brush and kind of work on those. Just the crease areas. Keep that slightly darker shade and around the bottom of the pumpkin to going down all the crease areas. And along this bottom edge of the pumpkin as well. There's an interesting little crease right there on that right side, bottom and then go around the outside edge. These creases on the right. Okay. Now I can go with a little bigger brush and it's kind of hard to see because it's white where you've painted, so you may have to really zoom in. I'm just going back-and-forth with this brush up and down. Just to get the center areas in-between the creases of pulling up from the bottom to create some nice shadowing, which will give the pumpkin roundness. I'm going in the direction of the pumpkin right now, up and downwards direction. Rather than crisscross. I saved the crisscross for when I add my accent's just trying to get all of this, paint it out. Give it a nice painterly look. I was going to paint this from scratch and then I decided, no. I'd much prefer painting my photos that way. I have a lot more time to do all of the paintings I wanna do. And I have so many photos. I'm, I'm talking millions, especially of birds and animals because I'm a wildlife photographer. And that's why I like to paint my photos because I have so many. Alright, the basics of the pumpkin are all painted down. You can see those painterly brush marks in there. But the pumpkin still looks like it's kinda floating a little bit there. I would like to integrate some stuff underneath the pumpkin to kind of ground it a little better. And there is this blue in the texture. So I'm gonna get on that and pick that color blue for a paint. And click on paintbrush and click on. Let me try the canvas one. And I'm going to insert a new layer on top of the texture, but under the pumpkin. And I'm just going to paint with that canvas brush to get some of that blue in there. A little bit. Under the darkest areas of the pumpkin. Might also be fun to use a stamp brush in there. I'm going to add another new layer for that and go back to that expressive set. And let's pick a stamp brush from the expressive set. I'm looking for something to ground, the pumpkin. And I have a favorite one in here that I'm going to try to find. I used it in the last pumpkin. There it is, 67. And I'm just going to stamp that on. And I'm still working underneath. You could turn the pumpkin off if you want to there. But because this is on its own layer now, I can move it. So I can click on the arrow and move and reposition that around. That's got some interesting texture in that one. And now I'd like to go to a little bit darker blue. And let's pick another stamp brush and put this on a new layer two. Because I'd like to ground that pumpkin a little bit more. And I'm not sure which one I want to use. 56 is a vertical stamp. Me turn off the pumpkin. It's a vertical stamp, but it's got a neat mark because I just did that on its own layer. I can rotate that and move it. And even I could resize it if I wanted or size it bigger. Let's put that there and let's turn the pumpkin back on. It's okay, it's not dark enough. Let's put another new layer. We're just building this under the pumpkin. Let me find something that's got a little darker, darker touch to it. I'm looking for something kinda thick. There's this 121. Let's see what that looks like. Let me turn off the pumpkin and stamp that. Well, that's got a nice darkness to it. Spring that on down about where it would be under the pumpkin. Turned the pumpkin back on. Oh no, that's kinda cool. Little bit darker. Let's go even darker. And now I like all those stamps, I'm going to squeeze all of those together. They're still on top of the original texture layer though. Say. I'm going to keep it that way. I am going to paint in with this darker color I just chose though. So back to the rich oil and the Canvas. And right underneath the pumpkin in here. I'm going to paint some wood that. And then I'm going to also go to the Canvas brushes, a blender, and blend some of that out just a little so it blends in with what I've already done. Here we go. You can zoom out and really see how I painted that directly on that layer. Okay, That's okay. Um, let me just paint a couple more strokes to blend that in. And then blend that a little bit. It's blending the stamp brushes too, but that's okay. It gives it a cohesive look. I didn't like that, so undo that. I needed to have a little bit more darkness. I'm going to put a new layer. So I don't want to mess up my stamp brushes anymore. A little more darkness up under here and blend that on its own layer. Now, I'm going to grab this green color. It's a mint green. It's a minty blue. I'm gonna go a little darker with it. And on that same layer, let's put, just use the canvas brush. Put a few little streaks in there. Maybe a little too much. Just blend it a little bit better. Alright, I'm going to merge that down. No, I just created a mask by mistake. I'm going to click this and click Merge Down to merge it with that layer. And then on that layer I can adjust the opacity if I wanted to. But I think I'm just going to leave it like that for right now. That gives a good place for the pumpkin to sit. I'm trying, I'm thinking coastal theme here with this pumpkin. So. 8. White Pumpkin Part 2: Now at this point I'm going to add a new layer on top of the pumpkin, and I'm going to add some color enhancements with the rich oil brush. And we've got that dark greenish gold that's in the stem. It is more towards the green, olive green, but a real dark. So I'm going to add in just a few little marks and this is on its own layer. But I kinda lost that dark shading. Say it's on its own layer and I'm going to blend that with the rich oil as well in wood that stem, just short. Choppy blending strokes to kind of enhance that stem a little bit. Maybe also put a little dab or two of the dark around here and blend that into that stem. Then if I need to blend it some more, I'll do so. Alright, now I want to bring the, the pumpkin has both warm and cool tones in, but I'm going to enhance the creases with some. I just chose a dark blue. Enhance some of the creases a little bit. Scott, warm and cool. The right side it seems to be warmer. Just kind of lightly sketching that end. Alright, that's the blue tone. Now I'm going to move on the color wheel over here to the orange, which is opposite. And I'm also going to put down some of that brownish tone because on the right side it does get warmer. Just doing some lines where I think they should be. And at the top here is a little warmer as it starts to come down from that stem. Now I'm going to blend those in same brush. Just really loosely when those. So they're not quite so strong. Maybe a little bigger brush. Just really sweeping in the direction of the pumpkin. Just get some of that intensity of the additional colors added in. That's what we're doing on this layer, just like on the last one, was keep blending until such point as it is subtle but there that makes any sense. And zoom out, always zoom out because it gives you a better look. Like these are little strong, so I'm going to blend those out a little more. Just keep blending, blending, blending. Our pumpkin has a little bit more depth and dimension. Now. Now let's add a little more exciting color to the pumpkin. So let's bring some of this blue Land. And I'm going to still use the rich oil brush. And on the left side, we have more of the blue tones. I'm just going to bring a little bit in, in a few spots that may be a little dark, lighter touch. And then once again move on the color wheel to the opposite side where the oranges. And that gives that little golden tone for the other side. And then even go a little richer on the color. I don't know, maybe a little too dark, go brighter on the color, like a peachy. There we go. And we can even go to a really warm white to bring over top of that. Then spring that warm white over here on this side a little bit too. Alright, now I want to go to a straight white. So double-tap somewhere near white. And bring that over. It's still looks a little creamy double-tap again. Bring that over the blue area. And at this point you could choose not to blend if you wanted to. And leave these brush strokes really strong. But you may want to blend little bits of it. And one way to make it a little more interesting is to blend with a different brush. So let's try the canvas brush. Just blend parts of those strokes. Not the whole. Don't want it all the way out where it's completely smooth. This is what gives it intrest. See those little bits of Canvas in there. Just in a few spots. Just picking and choosing. We're words a little strong, the brushstrokes are a little strong. I don't want to blend some of that down. Usually at the edges of them, That's where their strongest. We've got some really fun brush marks in there. Okay, The blue is too strong on the left side. When I zoom out, I could tell this. So I'm going to blend that down with that canvas brush a little more on that side. Now you could paint over it with white. I can go back and do that, but let's do it with the canvas brush this time. Craves more interest. You see that nice canvas texture there. And get around the edge to a little bit to loosen up that edge. And then the highlight areas. Get the thumb that white in there, right over that orange. You'll see these orange and blue tones that I added in. You'll see those underneath and I'm just touching real lightly. Now where I just started that on the bottom. That whites a little strong right there. So I'm gonna softly blend that in. So it's not quite so strong on that bottom. Because the bottom is going to be darker. There we got an interesting pumpkin and then zoom out. And if you're white, canvas brush looks like it's too strong. Continue blending that just a little bit to soften that up. Looking pretty cool. I think I need to darken a little bit up here at the top by the stem. I want to try grabbing that dark blue. And let's try the ritual sketch brush, which is a pretty small brush. And kind of put a couple of little marks right here along the bottom of the stem, work comes, starts to develop the pumpkin. Now let's blend that. Um, let's blend it with the rich. All. I'm, I'm going to turn this way, works better for me. And just kind of go over that short strokes. Crisscross, even. Just tap on it sometimes in blended. Alright, this upper left corner is a little bit too dark, so I'm going to blend that out a little more. And the right side a little more. That gives a little bit more dimension to that top. And zoom out. Even blend with a little bigger brush. Create some shadowing. Would that blending by pulling that blue color out a little more from those little lines. There we go. Well, I kinda lost that. Okay, It's looking pretty good. Now at this point, that's the upper layer C, C where we've been and he's kinda, um, I swear I'm used to paint and birds and animals, but the pumpkin is kinda flat looking there after we first blended the colors that were there. And now we've added more and now it's got more to it. So I'm going to squeeze those two layers together to make that one. And then anytime if you want to save just the pumpkin, turn off everything. And then you can save that as a PNG save image, and it will put it in your photo library. Alright, there's that texture bottom. You could also save this and that looks pretty cool. So I think I'm going to save that as a PNG. Just make sure you turn off the background color when you're going to save as a PNG. So now we've got to PNG saved. Okay? At this point I want to duplicate the texture layer because I want to integrate the texture layer with the painted pumpkin. I'm going to move the texture layer. I duplicate it on top. And I'm going to play with some layer modes. And you can kinda scan through these and see what makes your pumpkin look interesting. Some things will be too bright, some things will be too dark. I like to use a combination. Could even change the whole color of your pumpkin. Alright, I like Multiply, but it's super dark. You can reduce the opacity where it's not quite so dark. And I do this a lot. I'll use Multiply and soft light. And I'll put the multiply layer on about 30%. And then you can click it off and on and see what it looks like. Now I'll duplicate the multiply layer and change this duplicate layer to soft light, which brightens things up. See, that's the multiply layer before now this is where the soft light layer on. Or you can use overlay if you want it a little stronger. Or hard light. I like soft light. And if you're soft light opacity needs to be even more. You can pull it up to brighten it up. But I tend to do around 30%, at least when I first do it on both layers. And then I can turn both those off, zoom out. I like to look at it, zoomed out and then turn it back on and see what I think. And that brings some of the painted texture from the background into the subject to make everything look a little bit more cohesive. And I'm going to play with the opacity on a multiply layer. Now I'm going to stick around 30%. I don't want to overdo it. But that looks pretty fun. Now, on top of all that, I wanted to try to make things a little bit more exciting for the pumpkin. Actually, no, I'm not gonna do that on top. Let me backup, delete that layer. Go under the pumpkin. And there's this fun blue over here. I'm gonna grab that color, add a new layer. And I'm gonna go back to my stamp brushes and the expressive set. And let's pick something that might be fun. And I'm under the pumpkin. So I'm just going to tap that, added some of the interesting blue in there and you can do it all the way around to get, oh, yeah, I liked that. That kind of enhances things a little more. That's fun. Now what if I got some of this green? Let's find a darker shade of that green, just going to hold down and move around until I land on a darker shade of green like that. Let's pick another one. Here's the one with the drips that I like and put it on a new layer. I'm just going to tap it. Oh, that's a little too green. No, don't like that one. How about this? There's a lighter shade somewhere right there. Try the lighter shade. I'm just tapping. Oh, that's kinda interesting with the drips. And if you want it a little smaller, just adjust the size. Like him right there. That's fun. But on the top of that layer, I don't like that, so makes sure I'm still on that layer. Go to the blending brush, and I'm going to choose the canvas one. And I'm just going to brush out some of the top of that stamp. But he's got some nice fun drips in there now, although this is turning into a really fun pumpkin. Alright, What else do I want to do? This dark shade of blue down here, I'd like to do something with that on a new layer. Let's pick another stamp. Let's see what the scribble looks like. Well, that's kind of interesting. Stamp that around and oh my god, like that. Oh, I kinda like that. And anytime you do a stamp brush, you can adjust the opacity. Or you can change layer mode to see what kind of work it gives your painting. That's interesting. Okay, let's see here. Let me go back to let's multiply. And that's normal. Not a whole lot of difference there. I'm going to leave it on normal. And I kinda liked that little scribble look that one gives. But I don't like this little bit at the top of the pumpkin. So I'm gonna go to the blending brush and just kinda when that down a little bit and blend some of this out there. I do like what that did over there on that side though. Just having fun with these stamp brushes. I've got several here now. I'm gonna go ahead and squeeze all of those together. And you can turn everything off and on and see where you are. Um, like to get a little this mint green over top of what I just put there. Put a new layer. I would like something. Just very light right there. Let's pick one here. I really liked this mark number 19. It may be a little big yeah, that's a little big. Lower that down. See if I can get some of that in there. Well, that's interesting. So you just stamping and undoing and stamping and undoing can give you some unique looks that are quite fun. I think I might even like to bring a little bit of white from the pumpkin out here on the left side. And put that on a new layer, maybe one of the splash marks. Let's try this one. Now you can do these on top or underneath. I'm just stamping it around and undoing. Well, if we go to a top, move that layer on top of everything. Now let's stamp it. Maybe a little bit big. That may, that may not be the right stamp. Let's try. Um, let's try 44. Go bigger. There's a little fun, watery look there. And it's on its own layer so you can adjust the opacity, just gives it a little interest right there. I think I still might wanna do another one. So another new layer. And this number 49, that has an interesting line and of course that's too big, but because it's on its own layer, I can resize it and then move it and turn it kinda give that pumpkin an interesting little bit of edging there. Turn it off and on. No, don't like it. Clear it. Anytime you don't like something undo and clear. What about this 56? It might be better under the pumpkin, but I'm going to try it on top. Now. Don't like that one. It's too light. Well, decisions, decisions. Alright, what about 27 stamp? Okay, That's kinda fun. Is it that fun? Watery look. I stamped it over there on the right. I mean, left foot stamping on the right two. I kind of like that. And let's bring some at the top. On top of the texture too, we've got a really fun little coastal pumpkin thing going on here. Now. I do think the crease here on the left, I've lost some detail there. So I'm gonna go back to the pumpkin layer, go back to the rich oil, and get this blue town. And just paint in a little bit there and then blend that a little bit. Pick a brush and blend. Blend it down a little more. Zoom out so I could see better. Oh, that's fun. Yeah, I'm really happy with this pumpkin. At this point. I want to squeeze everything together. There we go. So just as a reminder, I'm going to bring in the original pumpkin photo so you can see what we've done. That's what I started with and that's where we are now. That's fun. Okay. I'm going to take that off. I do think on the loan, the bottom edge of this pumpkin, there needs to be a little bit more darker tone. So I'm going to add a new layer on top and find a stamp brush. Again, my favorite things in the world. I don t think it needs to be super dark. I just think there needs to be a little something. Let's try this 148. No, that might be too dark. Let's go with something a little lighter. Little lighter. How about this 177? Now that's kinda interesting, but it's too big, so I'm going to resize it down. I'm trying to tap it in right where I want it at the bottom edge. There we go. We're just kinda comes over that bottom edge of the pumpkin. Just a little bit. It's kind of a light stamps, so the pumpkin still shows through. And I think at the very corner of the pumpkin right there, it needs to be blended a little more. I can actually do that on the pumpkin layer with, oh, we haven't used the textural brush. Let's try that. Now. Just so I don't mess up my pumpkin layer as it is. I'm going to duplicate it and do this on the duplicate. So let's try the textural as a blender to try to pull out some edging of that pumpkin. Make it not so harsh right there. Maybe a little too much. Just kinda loosen that up a little bit. Even pull. Now, that's too much. Undo that. I got one textural mark there. You go a little bigger and pull down. No, that's too much. I don't know what I'm trying to accomplish here. Honestly. I got one textural mark in there that look good by pulling. But when I tried to do other ones, It's messing it up. But I did get one. And you can see the difference here. If that's too strong, reduce the opacity, which I think it is a little too strong. I just wanted to kind of intermixed the pumpkin with the background a little bit better. Turn it off and on from a distance. And a play with opacity, maybe about 50%. And I can even add a new layer here and get that darker blue. And let's paint with the textural brush. Just kinda bring a poll. Now that's interesting. He kinda got a boo with this brush and drag it slowly and from different directions. And different sizes and push different, you know, at different hardness to kinda see. Just trying to rough up that edge a little bit. Not that much though. Now I'm getting fussy. I think I need to be darker, little smaller. Just trying to create some interesting texture at the bottom of that pumpkin. That actually comes over into the pumpkin. But not too much. And of course, if he gets some night, I kinda like that. But if you get something that's too much, you can always then go back to the canvas brush or the rich oil brush and softly blend that down a little bit. So it's not quite so strong. Because this is on its own layer. Easy to do. Let's see, off on. Let's zoom way out. Off on. I do like what that's done. It's giving it a little bit more grounding. So I'm going to leave that alone. And then this is that other line over here that I did. I liked. I'm going to merge all of those and then look at this one versus that one. And if you decide, well, this, I like this one, but it's too strong. You can always reduce the opacity and meet in the middle ground. And I usually do that around 70%. You could leave it super-strong. I'm going to do it about 75% and then merge these. Now I'm going to sign my painting. Grab a color from the background. Go to the rich oil sketch brush. Make sure I have a new layer to sign-on. Who resize my ritual, sketch, brush down to where I can actually sign my name. And then you can always adjust where your signature layer is and how big it is. You can put it. Well, it's not wanting to move for me. You zoom up closer. It'll move for you. Put your finger on it and you can place it where you want to turn it like that. How are you going to do it? I usually do mine in the bottom corner. And I'll zoom out to see if it's too big. Actually kinda like that. It's not too big. But I'm happy with my pumpkin now. So I'm going to save this as a JPEG save image. So let's take a look at our photos here and see what we've done. We saved the PNG of the pumpkin. We saved it with its, the background part underneath. And then there is the final painting I just saved there. So we've done a really neat coastal style. Pumpkin was some real pain involved and some real paints, stamp brushes. That's been quite fun and it looks quite a bit different than this original cell phone snapshot. So there we go. We've made a piece of art from that. How cool is that? Very cool. Delete. Okay, I've saved it. I'm done with it. I hope you guys have enjoyed this class and enjoyed watching this little bonus. Maybe you pick up a few tips on different things you can do with different backgrounds behind your subjects. And I will see you next time. Thanks for watching and have a great day.