How To Paint Photos In Procreate: The Bumble Bee

1. Welcome: Welcome to how to paint photos in Procreate the bumblebee. Hello there, I'm Jay Johnson and I teach people how to paint photos in Procreate on the iPad. In this class, you'll learn how to paint a B photo in a fun and exciting way with loose brushstrokes and vibrant color. I teach you how to set up your Canvas, how to test your brushes, how to choose some exciting colors for enhancements. How to paint the B photo. How to paint in details and add color. How to paint an enhanced the background, and how to make final touches to your painting, including adding your own signature. In order to complete this class, you'll need an iPad with procreate installed. You will also need an Apple pencil. You already need to have a basic understanding of using Procreate 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 original photo. Am I knew paint and blend brush set featuring two brushes. Let's become a busy bee and paint this little guy into something charming and delightful. See you in class. 2. Set Up Your Canvas: Hi everyone. We are ready to start the lesson with this fun be. First thing we're gonna do is set up our canvas. I'm gonna hit the plus button up here in the top right of the Procreate main screen, where it says new canvas. It's got the little dark plus button. You want to click that to set up the Canvas. Now normally I do a 6 thousand by 6 thousand image, which will print up to, for me, I mean, it would print up to 60 by 60, but none of my parents are ever made that big, the biggest I think I've had made his 48 by 48. But I can't go to 6 thousand by 6 thousand with this resolution of 300 DPI. For a B. I'm thinking logically here, most of the time that won't be printed at a super huge size, like It's just too big. So I'm going to do 3 thousand by 3 thousand just to keep the canvas a little smaller. And that can print up to 30 by 30 with that size. And that's plenty for a work of art having focus on a, b. I'm going to click the first box it says with and I'm gonna type in 3 thousand. Then I'm gonna go to height, and I'm gonna do 3 thousand. Now, I like to work in square. You don't have to work in square if you don't want to. My DPI is at 300 and it gives me a maximum layers on my iPad of 55, which I will never use because I don't use that many layers. I'm just going to then click Create. And it automatically creates it and opens it right away. But if you close this out and you go back to your list, you'll see on the bottom of my list is now untitled canvas 3 thousand by 3 thousand. You can always click on the words. I've clicked it again. I did that again. Let me delete that. You can always slide this over and click Edit. Slide over to the left. And you could change untitled canvas up here at the top if you wanted to name it and then click Save. I don't usually fall with diamond mine. I'm not gonna worry about it. But here is the 3 thousand by 3 thousand Canvas that's been created. Now it's time to go get the photo, which is in the photos library. And if you've downloaded the resources, you should also be in, you should have installed it already before starting class. You'll need to have it in your photo library before you get started. Let's bring in the photo. I'm going to click the wrench icon and then insert a photo. And here's an example of the B. Did, I didn't mean to bring that in, but that's what we're going for here as far as look, I just wanted to show you that, but okay. Insert a photo, go to albums or just scan through till you find it. Let's just go to albums and my photos to paint folder I've set up. This is where I put photos when I put them in here that I want to paint. And let's grab this be My, we'll do that dog would next to my next class. The beat is a smaller image. Because he's tiny and I was shooting with a Big Five 100 millimeter telephoto and he wasn't very big. The frame, so I cropped it down to where I could get him centered there in the picture. I want to resize him now to fit this Canvas. I'm gonna click the arrow up here at the top. And it's on uniform so I can grab the corners and pull out to keep everything in proportion. If you didn't needed the picture and proportion, you could click free form and then you'd be able to pull out from the sides. If you pick uniform and you pull out from the sides is going to enlarge from every direction. But if you click free for me, pull out from a size is going to stretch your B out so you don't want to do that. So keep it on uniform and just pull out from the corners and get it to where it fills the frame a little bit over the edge. It doesn't have to be exact, but that's good enough. And then just tap on your layers panel and it'll set that in place. Now before we get started with the B. I want to do two things. I want to show you the two brushes that I'm including with this class. And these are two brushes that I actually made from another brush that already had in another one of my brush sets. I just changed some things up and kind of made to new brushes. And they're fabulous. I just love them. And that's why, that's why I'm really excited about doing this class because of his brushes. We're going to do a brush test. I'm gonna show you how they work, but I also want to think about some colors here because right now, looking at the colors of this, I like the orange. I think the orange background color needs to be a little bit richer, orange and I liked the yellow included with the orange. I want to pick a yellow color. And if you zoom up here and look at his eyes, if you hold down here on the eyes, you'll see that that is a purplish blue color, which is very more purple here. But a lot of times these reflections will have this blue. And I really liked the blue. And so I've selected that now on the color wheel. But I tend to go a little bit more, my favorite blue toward a turquoise blue. And so I would pull, I will probably pick a color in this range to use to put in those highlights on the beak and highlights on the eyes. And those are just some colors I want to enhance after I've painted the photo and I wanted to add more to it, I'm going to go ahead when I do the brush tests, we're gonna make a layer for that. And I'm going to pick these colors. I'm thinking about ahead of time. And I'm going to put them on that layer and then I'll just hide that layer while painting. And then later when I get ready to add those colors, we'd go back and add them into the painting. But here's what I want to downplay. Here. You can see around his little legs, the yellowish green hue and around as B because he was reflecting, there was green flowers all down through here, green grass down lower than these flowers. And that's reflecting up on him. And I don't mind a little bit of that in the wings, although I'll probably tone that down appear in the wings. But I really don't like it at all around the feet and the beak and his little antennas here. I will probably blend those out and add a new one. I just need to remember it's there. That's what referring back to the reference photos good for for when you've got got rid of something you didn't mean to and you want to paint it back in. But this is an area of contention for me as this coloring around the legs. I do not want to paint that coloring in. I'm going to show you how I address that when we get to that stage. And you see this golden yellow right there on the tip of his beak, beak, his stinger. Did I say beak? I've said numerous times, I'm so used to painting birds. But I couldn't believe I got this shot and it was clear is it's super grainy, which is why I'm doing it as a painting. And I really do take better photos than this. I'm a professional wildlife photographer, so I have the equipment and the know-how to take better photos. But I'm purposely not using a lot of my better photos for paintings because I have some two reasons. Number one, I have poses that I really like that are not the greatest photo like this all graininess. This is a great pose. The b is pretty sharp and not blurry, but the graininess is horrible. By taking this and creating training with it that will take care of that problem. And another reason I use my less than stellar perfect shots for these lessons is because I know most everybody out there doesn't have the equipment I have. Most people are shooting with a point and shoot camera or cell phones unless they're a wildlife photographer and they've got the still-life photography for people photographer, they might have better high-quality cameras and high-quality lenses to do those kind of shoots. But most people, the normal person, has a photo made on their iPhone, a fomite on their iPad, a photo made with their point and shoot Zoom camera. Those photos are good, but they're not like they're more like a lot of people are taking more like snapshots is what I call them. They're not really after a real professional look. They're just want to fund photo that you take, say a flower and I take a picture of a pretty flower, ice, sea, animal or bird, and I took a picture of it. That's what most people are going to be using unless they're a professional photographer and using the bigger fancier equipment and know all the techniques to get the best photo in the world. But even though I can take the best, I can't say I can take the best photo in the world because I can't. But I can take really good photos with what I've got and what I've learned. But even though I do, I still prefer to do something like this and my photos because my goal is have my work be different and unique to me. If you say, if you take a great photo, for instance, and you put it up for sale and wherever you might be selling your photos or your other website with a lot of other people's photos. And then you go search for bald eagle. And then you see a million bald eagle photos come up and you are scanning through there and you finally see yours. You realize it took me, took me a few seconds to actually realize, Oh, there's fine. Finally in the search, that's what happened to me when I first started and I started putting my photos up and I thought, I'm just blending in with the crowd here. I didn't want to blend in with the crowd. I've always strive to be unique and different with what I do. And that's what appeals to me to do with my work. That's why I have a passion for that. So I started, first, I started blending my photos with backgrounds I made with textures and backgrounds I made. That's pretty cool. But I've always paint in my photos. I started in corral painter many, many years ago, painting photos. And so I've always been drawn to that and I still that's what I'm drawn to today. So even with my best wildlife photos, if the poses right, if I can see a work of art coming out of that, or it speaks to me in some way. I'm going ping it and not put it out there as a regular photo like I have a gallery online with my regular photos that haven't had anything done to them straight out of the camera photos? If I had something like this comes out like when I solve this, I went, Well, this isn't good enough to be published or solid is irregular photo because, I mean, I could denoise, they can get rid of the graininess, but we've got this green, yellow, green around the feet. Just not a good photo. It's a good photo pose wise and sharpness wise, but that's it. This is where the painting part comes in. That's what we're getting ready to do with this guy. And I want to create it. Really fun. Almost kind of an abstract, more loose, more not totally abstract. I call it abstract realism or realistic abstract. Because you can tell what the subject is. It's not too abstract where you can't tell what it is. But it's really loose and I'm not careful with getting everything just so, so this is one of those paintings I want to work on that not having everything just be so perfect. Looking at this composition a little bit, I like him right in the center, he makes a great statement. I do think I might want him a little bigger. Now that I'm sitting here looking at it. So I'm gonna click on that arrow again. I'm going to extend them out from the corners a little more. I don't want him too close to the edge. Because if you're going to, if somebody was to print this painting at a later time, they might put a mat around it. It might cover up some of that edge a little bit and I don't want the wing tips being cut off. If that's the case. There, I've made him a little bit bigger now. I'm a little happier with that, but he's going to make a statement. This b is a little bitty thing, but he's going to make a powerful statement by the time we get done here. In the next video, we're going to do the brush tests. We're going to add a new layer for that. And we're just going to turn off the B layer for now. And this is our background color is white, and so we're just going to leave that white. And we're gonna work on testing out the brushes that will be in the next segment. 3. Brush Test & Color Choices: We're ready to do our brush tests. I have the turquoise blue selected, so might as well start with that. Now these are, I call them paint and blend brushes because they can paint and they can blend. They can do both at the same time. They're a little bit different. One is a flat brush. I like the flat brush with a nice hard edge. Let's just put a stamp down. Let me just tap the pencil on here. Let's go pretty large so you can see and just tap it. Little large. We're on a smaller canvas. When you tap. They make different opacities. Which is kinda interesting. That's the blend part of this. Just tapping now the other brush is around one has a little bit different shape to it and the shape will be reflected when you're painting. It does the same way, just tapping some really lovely texture to it there. Now let's switch over to my orange I like so well, I like to do these are my two favorite colors. I often integrate these colors in my paintings. The orange. Let's go back to the flat. Now let's actually do a couple of things with this flat one here. Touch the pencil. Hold down, hold it down and drag up and down. You see how that's maybe a little bit. Let me go a little smaller. Do it again, holding the pencil down, not lifting it up. You see how that's filling that in. Now let us do that with the round one. Hold it down. And I'll say this one is set-up a little different. This one blends a little more. And as you can tell, it's a lot lighter than the flat one. So there's two different characteristics there. So if you want to, if you get a little area when you're doing this painting that looks a little harsh from the flat one, you can switch over to the round one to blend those harsh edges in a little bit better. So that's just a little tip there. Now let's go back to the flat. This time. Let's just do a short tap and downward stroke. Like that. If you push a little harder, a little harder, it gets darker each time you push a little harder when you put it down and drag it. Then if you go side-to-side, I'm pushing it about the same intensity or you can do lighter like that. Dragging to the side. Then I like to do my favorite thing. I will lower this down a little bit is to do criss-cross strokes when I'm painting and blending. When I'm working on a photo, I'm going like this. Up, down, side-to-side crisscross very quickly. But notice if I grab the white edge and pull, it's pulling some of that white in there. That's the blending capability of it. Now let's do the round one. Will do the same thing. We'll go we'll hold it down a little harder. Just tap them hold you see that this has much more of a blend to it than the other one. And then if you want to go side-to-side, side-to-side. And then if you want a crisscross, make it a little smaller. Really fast, say how it's pulling that white in its poem. When he pulled from the edge, it's pulling that white from that underneath layer in right there. And it's quite a bit lighter than this one. Because the blending on the round one, I've set it up to be blend more, which can give you a softer. Look. Let me go to the flat one again. And let's get up here near this turquoise color. And I'm just going to put some down there like that. And then round. I'm going to put some downright over the turquoise. But notice how when I go over the turquoise, it's pulling some of that turquoise right in there where this one didn't pull near as much. The round one is more. When you want to soften something and you want to pull a little bit more colors from the area you're working at into that. And then the flat one is a harder brush. And you could still blend with it. Paint and blend. Let me make it a little smaller. But it's just not giving you near as much blend as the round one. And I've done this on purpose. The round one blended quite a bit more of that turquoise. And then this one did. This one really only at the edges. You can see it blend. Now that's using it as a paintbrush, which is this right here. But if you go over here to the blending tool, now we're going to use it as a blender. Let's see how they work as a blender. So we're on the flat at full opacity on these now you can adjust opacity of your strokes too dark or your blends too strong, lower the opacity down a little bit tilt suits you. But I'm doing this at full opacity. So you can see on the blending tool with the flat brush, I'm just going to scrub a little here. Just scrubbing that, blending that orange and turquoise together there. Now, if I don't scrub, if I just do short choppy strokes like I did down here, side-to-side. You know, different angles really fast. This is how I work. When I actually am working on blending the pixels in the photo to paint it out. That's how the flat wound works and it's very strong, quite a bit stronger than the round ones. So let's do that same thing, but use the round one for blending. Put it up on full opacity. Let's go right here, right? They're getting little bit stronger or softer blend with the round one. And then if you scrub it, let me get up here where some of this orange and turquoise and whiteness, if you just hold down and kind of go in circles, holding it down, not letting up. When you let up, you can grab your next color and blend that in so you can create a really nice blend now still has some harsh edges here. If you lower the opacity of that brush down and do this along these edges. It really softens that texture out. See, if you've got a hard edge that you really want to soften, the round one is the one to do it with. But the hard edges make your work of the flat brush make your work very dynamic. We've got the turquoise and the orange, both of which I want to use and pining. But I also wanted to use a yellow brighten up the yellow of that be I like this. Yellow that's more towards the orange. So I'm just going to pull it way over there on the color wheel. And I'm going to go to the flat brush and lay down some of this yellow. I'm essentially making my palette here. And there was a little purple in there somewhere. Let me see if I can find that color. It was in the what I called the beak, which is stinger. Mainly. I may want to integrate a purple in there as well. It actually is prompted with a red. But to me I'm thinking purple. I'm going to go more towards the bluish purple and the gray side here. Not too bright. Just in case I want to bring some purple in there. Let's turn that one off and go back to the brush tests layer. And with that same flat brush, I'm going to put a little purple down here, just to have that color handy. Now this little brush tests that I've just done can become the palate. That's what I want you to do. I want you to create a new layer to do brush test, turn off the original photo layer so you can see how the brushes work on the white background. This new layer will be the brush test and actual palette puts some colors, pick some colors on that palette that you can integrate with him. After the main painting part is done and it's time to enhance him. You want to enhance him with some very cool vivid colors. And you can always change that later by if a color is too strong and you've picked it, you can always, when you're doing the actual enhancement on the painting, you could always come to your color wheel and move the color around to tone it down some more to brighten it up. Some if you wanted it even brighter, you could do whatever you want. But these colors right now give me a starting point as a palette for the accent colors I want to add in when we enhance them. In the next step, we're actually going to start painting him. We're going to pull this palette layer down here in the bottom out of the way and just start painting. This is very important. You always want to swipe to the left and duplicate your photo layer. And then don't touch this photo layer. In fact, just turn it off. It won't let you work on it if you try to go pine on this and it's turned off, it's going to tell you, oh, that's hidden. Why is that hidden? Because I'm on the wrong layer. Make sure you're on the photo layer and then you could actually work on it. We're going to come back and we're gonna start with the flat brush. And we're going to start on our duplicate layer and we're going to start painting this out using the blender. Click the blender and click the flat brush. We're going to do it at full opacity and we're going to work very quickly in the background area. And using that crisscross method I showed you of how I do the brush. And then we're gonna get getting close and do a little tighter detailed work when doing him. And we're going to those legs, we're gonna have to work on that color around those legs, whether we blend it out or painted out the enhancement layer, we're going to have to work on that. When we come back in the next segment, we'll be ready to actually start painting. 4. Painting The Bee: Ray, start painting this little fellow. Now we're on the blender, flat one. Let's talk about brush size a minute. In order to blend out this background really quick, you could use a really huge brush. But look at the texture, the big texture on that brush. When I do that. When you get down to the B, you're going to have to use a really small brush. When you use a really small brush. In correlation with the big brush, it can kind of look like you're varying your brush sizes too much. When I'm doing a painting like this in my studio, I might use a two-inch brush for the background just to get it done real quick and then a one-inch brush for the rest of it. But if I've got to do really tiny areas like this be I don't want to have some really big, huge texture here right behind him. I'm trying to get it to show like that. When I'm using a really tiny brush here, the two textures don't look like they match up Very good. As easy it would be to use a great big brush to paint this background out. I'm gonna say don't do that. Lower that brush size down. Are you going to have to do some more strokes? Yes. But your strokes will match closer to what your detailed strokes will match and it will look more realistic. Now that I've totally messed up that layer, I'm gonna delete it, duplicated again. Turn off the original layer, and we're going to paint this layer. And I'm gonna see, I'm just gonna start, say even at the bottom of the wing that brush is too big. I'm gonna lower that down some more. That's probably a good size right there. And that is about 12% if you just say your percentage, okay, let me backup, start over with 12%. And I'm just going to paint over what's here, crisscross. Even though I get some of that pink in there. I'm gonna try to blend that out by crisscrossing the green and orange over it. I'm gonna, this is just the base layer. We're gonna do an enhancement layer later and add more colors in. But right now I want to paint that out. I'm just going all around at the top of him. And I know it's probably hard to see. I'm going to just close to him as I can without going over him and just tapping the crisscrossing and going across the top. Make sure to get up around your edges. I'm just kind of jumping around. I hope you can see the brush Ghost. We're gonna go in tight close here without going over him. And they were gonna move around the underneath them. I want to stay away from the feet area and the underside of the wings right now with this big brush. Now we'll go under the other wing. Pulled a little off the wing. That's okay. We're gonna get a little messy with this one. Little more expressive and loose. I'm moving down and definitely don't want to obliterate the feet at this point or the stinger. I've gotten around him as close as I can with this brush. So I'm going to just move on down the canvas. Curves, cross back and forth, up and down. Yeah, let's see if we get a little that white from that flower, which isn't really white, it's more of a blue. It's amazing how colors you think they are, what they are or not. And you can see it when you paint it out, that there's some blue in there. And then get some of this white in here. Pull some of that in the blend. Just really messy. Not looking for any structure or form in this background, we want some cool brushstrokes. Pull up, pull these colors together. You don't like a coloring and keep blending from the orange toward it, and it will blend it out. Anything here, my pencil moving very quickly. Not being precious with this at all. Just very. Quickly moving around all around. You could turn the photo layer back on and turn off the layer you just did and see the difference. We're off to a good start. Now because I need to get in closer around his body. We're going to go too low or brush size, we're about five per five or 6%. See how that does. I'm just going to carefully go around him, but I'm still gonna vary the the brushstrokes if I can. I'm still going to have to go smaller to get in between the body and the feet. Legs. I'm going around the wings right now. The top of his body. There we go. Let's go even smaller. What percentage? Three. Let's try three. See if that'll go in there in-between these little areas. Pulled some of the color from his feet out accidentally, but that's okay. Because because of the weird next year or color around his legs and feet, I am going to have to add in some paint there anyway. Now I'm going to go down the side of the stinger, go down and up towards it, up that one side than the other side down very carefully. I'm not pressing super hard. I'm trying to go toward the green, towards the legs. This peachy orange color blending. Then go around this outside leg on the right side and up under that wing little bit more and along that side of his body. Now we're gonna go even tinier down to 1%, just to carefully blend around those legs and little toes. I didn't know these had little toes but they certainly do. And then up under the right side along that stinger in-between the toes is called toes on a b. I don't know if it's called toes or not, but I really don't know a whole lot about bees. I just think they're cool. They don't sting me there. Cool. Maybe eraser brush up a little here to get in this little corner under this wing. Let's go back to where this leg is right here and pull from the peach area toward the leg. Trying to get rid of that green a little bit. Now if you edited your photo, I had a time and got rid of the green. That would be helpful. But it's not necessary because you really won't notice it. By the time we get done. And I made a mistake here. This little section right here. I'm not worried about it because I can blend the wing color right back down over that, that where I drew drug, that little lineup and I can blend this out with the orange right over top of it to make it disappear. There we go. Now because we're on a real small brush. Let's go to 1%. Let's get in. Down the side of his stinger. Down the edge. I'm grabbing the darkest color and pulling it down. Stroke after stroke. We will do the same with the other side. Grab the darkest color at the top and go down the edge to a point. And then you can pull the peach, orange peach backup towards it if you drag it out a little too much. The stinger is an important part of this little critter. And across the top of the stinger there's this black right here. I want to maintain that best I can. When blending you sometimes lose your blacks. They blend out kind of soft and the yellow is very important. I'm gonna go ahead and blend that little yellow section. Really short, choppy strokes back and forth. But that's, that's kind of important part there. So we want to keep that. Now I'm not worried about the antennas up here. Really. I'll go ahead and do a few strokes across them to blend them. But they're probably going to get messed up anyway because I'm getting ready to loosen up. And way to loosen up is go to a bigger brush. 3%. I'm going to tap on this bluish. See, you can see that's bluish. Right there. I'm going to tap on those and pull those colors around. And then I'm going to go around the top of his head. At the top of his antenna, on both sides. Then under his antenna, there's two different shades here. There's a black down this side and the gray right here. So I want to maintain both. I'm not going to drag the black into it like that because it would get too dark. If anything. I'll drag the gray out and then blend it that way. He's got a little since his back leg there. Even though I'm in zoomed in close, I'm just trying to make sure that all these pixels are painted out. But I'm not being real careful at this point about which direction, how things are looking. I'm just making sure it's all blended and go around the top of this antenna on the right and around his head on the right. And come down. And the same with the other I've already done the other side. Let's turn on the reference photo underneath. So that's before and that's after. That's what we've done so far. Let us say, well that brush, I'm gonna go a little bigger now. Work on this yellow area. The nice thing about this flat brushes you can pull out and it leaves a nice little fuzzy edge which is perfect for his father, you know, the hat for I'm just pulling in the direction that his little fuzzy fur is going. Very gently. Tap and pull both sides. Maybe a little big for this side because this side, there's less of it showing. Let's go ahead and do this right leg while I'm over here, messing around with it anyway. The top part of it anyway. I'm pulling out further and let us go to the left one. Pull out and down. Just kinda maneuvering the pixels around, softening everything up nicely. Just doing the top part of that leg. And he's got this little part underneath on the left, which is really his backside that's showing when something is in the distance, it would be really soft. So I'm not really worried about things being too soft. It looks real fuzzy now. That's kind of cute. I'm gonna lower the brush size a little. Get this far back leg that's kind of behind the darker leg. And I'm also going to pull some of that orange toward it. To try still working on eliminating that green fringe. I'm going to get on the dark part of the leg. Got this little bit of yellow in here. I'm just going to stroke up and down right through there. Then the little foot. And I'm not really worried about the feet being super accurate. What I am worried about is that green down the feet, some pulling the orange towards the green to try to tone it down. This foot. Right on that small area of that blend, that this little piece right here. Kinda working around toward the stinger. Tidying up around these feet a little bit. Now the other side around that other side of the stinger. There's some little blue bits in there, so I'm gonna tap on those and pull different directions. I'm going to pull back this orange toward this leg again. The green is showing. To try to tone down that green. I'm going to get actually on the leg now in-between these two legs. And I'm worried about showing every little bit of the legs. So I'm just using this one. Brush size in one stroke. They're getting a little texture looking, but that's okay. Let me see below. When you zoom out, you can see your mistakes and you see a few little smear areas here. I'm just touching up and work on that some more later. I want to do the wings. And you can pinch and turn your Canvas to go in the direction you want to go. And I like to go downward and upward instead of sideways. So I'm gonna go with a little bit bigger brush and go along the top of this wing again in the direction of the wing. Now I'm gonna get right on the wing, right nearest head. And I'm going to start pulling those colors back and forth. If you go all one way. You're not gonna have that good variation of color. It's gonna blend too much. So you want to get both colors in there. Grab one color and pull one way and then grab the other color and pull the other way, which because I've turned him on pulling upward and then downward. I'm not worried about getting the wings looking exactly. I just need that impression of color there. Because we're going to get messy with this. I think I already am getting messy. You need the impression of color and you needed the shape. Correct? Let's go work our way up this way on the wing. I'm working more towards the tip. Grab the tip, pull back down towards you. If you've turned to Canvas. And then up towards the top, the end turn your Canvas, you'll be paying side-to-side and that's okay. That wing is now painted. The other wing is not. Can you see the difference in the two wings? All right, let's do the same thing here. We're going to turn it. I'm going to start with the corner right by his head. Pull in, pull up and down, up and down. And also along that outer edge. Touch that as I go. If it brings some of the orange color in, that's fine. Pulling some color down and pushing some color up. Just trying to keep all colors in there that I want. If you don't want to color, you keep pushing one way away from it, the other direction and it will disappear eventually with blending. Let's get this bottom side of the wing. Lot of green in there too. We're gonna have to work on that. I really want to tone down the greens. I'm not agreeing fan. Usually I need to be. It's a really pretty color. Green signifies new growth and abundance and things like that. It's a good color. Just not one I've ever been real thrilled with. All right, let's go around the edge and that wing and work on that orange. Alright, now that wing is painted, so let's take a look. Turn on the photo layer and turn off the painting layer. Got a pretty good painting going on here. Now, what I really like to do to mess things up around this B is get the brush a little bit bigger. And then just certain spots like let's look at the top of the right wing, just go maybe a little bigger. Just kinda sweep it out. See how it just gives that little bit of texture right there at the top. And then on the bottom I'm trying to get rid of the green. So how about wish sweep the orange up. Then this, this really cool light, whitish blue. How about we swooped that kind of short strokes downward and outward like that. Oh, now he's looking a little bit more expressive now, after we did that, same thing over here, just going along the top and kind of do a little swoop. Just really short stroke. Now if you don't like what you did, just double-tap and undo it. Just bring some of that texture in there and start this lovely purplish blue here right at the tip. So let's swoop that out. Around these edges. I swoop some of the orange up there sweep. That's my art term for the day. Now, the strokes look really huge. I just lowered the brush size again. But they're not really that huge. But when you go to that larger brush in here, you can even do it inside the wing. Just kind of do a few little swoops in there too. When he go that larger brush at forces, things to get looser and more impressionistic. Let's even how about the outside edge of his body right there where it's black, pull the blackout and pull the orange back. Gives it a really nice fluffy look. Almost sweeping the inside of this wing a little. Pull some of that out and then pull some of this back towards him just to get some of that cool texture in there and move some of those colors around a little bit. Scenario is looking really fluffy. Let's, let's work on this fluffy niche around this leg. Will pull the yellow down, actually under the leg and out more yellowish white and then pull the black, tapping the black hairy and pull back towards the white legs should be a little fluffy, I think so let's just pull out. And then back in, right there. Pull out too much. You're gonna make him gain a lot of weight. So that's why I pull back in some two and it gives the colors a nice blend. Pull that orange there and up here into this green, and then pull this yellow green down. Now let's get a little bigger. Just kind of pull this orange over those feet just a little bit to tone them down like they're starting to look speckled now. You don't have to do it If you liked him the way they are, you don't have to do that. I'm just trying to loosen up things a little bit. I really want to downplay the feet. So we have not done the stinger yet. See that? That's not painted. Let's go with a small brush that 2% get in there. And there's some lighter area in the middle of the stinger. I'm pulling downward, but you can also pull across pulling downward for the most part. And not in trying to keep the lighter area from blending too much with the darker one. We want to keep that lighter area in the middle intact, but I'm gonna enhance that anyway. You don't necessarily want his stinger to look fluffy. You don't want to pull out from the stinger, but you may want to pull up with the orange just down here along the bottom tip of it a little bit. Maybe. We'll see. And around this side, still dancing around that feed area. I still have quite a bit of green there. This yellow right here. Accidentally just pulled some of that double-tap and there's a little area at the top. I'm not sure. I got. The good thing is because the brushes have texture and your photo has grain. Grain can be a texture. I got a little too wild right here, so I'm gonna pull some of this orange back-up. He had a little something there that I kind of lost. Alright. Photo painting. Photo painting. I think we're getting somewhere. We're going to take a little break and then we're gonna come back and we're going to work on adding those paint colors on our palette and create some enhancements and really start loosening up with him a little bit more. We'll be back on the next segment. 5. Paint Details & Add Color: All right, I was just looking at the wonderful texture the flat brushes created here on the B. Look at how nice and fuzzy he looks around the edge. I really wanted to play up on that. I did not use this soften the soft round brush and painting, but I just wanted to show you if you did want to tone down that fuzziness, you could do low opacity, round brush and just come in here holding it down and going in a circular motion. If you wanted to blend that out and make it a little softer, It's totally up to you. If you want a really soft look, like you're really highly textured. Look thick paint expressive. So I like it more how it is on this left side than what I just did on the right side. I'm just going to double-tap and undo that. But I just wanted to bring that up now on this next stage with adding in paint, I may use this soft round to blend some of that if some of that comes out looking too harsh, it just depends. It depends on the image. It depends on overall what you're trying to create. I do see on his little antennas, I didn't get those blended very well. So I'm going to attempt, we'd like a 1, 1% brush and I'm gonna turn in the direction of the antenna. Try to blend those antennas just a little bit better. I mean, I'm probably going to put a mark over them. And here's a little spot right here above the antenna that I kind of missed. So we'll get in there with a little brush. And around the base of the antenna at the top there. Now that one is blended a little better. So let's work on this one. Going upward and outward toward the wing. And then back under the underside of the antenna. Just looking really closely at the face area. Now the antennas are blended a little bit better. Just working around that one a little bit. And if it, if you wanted to make little fine fuzzy details, you could get on the yellow with this very small brush and pull outward like that to create some little finer lines. Just to give a little bit of difference. In the brushwork. He looks even fuzzier now, if you do that and your lines come out too long, just drag from the black area, backup toward those, which will shorten them backup and just kinda play with them to get them looking like you want. You might need a few more little fuzzy drag apps here with this little small brush. And just try to drag it in the direction you want it to go. If you want a curve dragging a curved fashion, if you want a short little spike, drag out a very short. I could say You're all day and play with his little fuzzy self. I like doing that. This is a good technique right here with the smaller brush for doing hair as well as for, so if you are a people person and you do people, you're doing, hurry to drag in the direction that the hair is flowing. There. Nice a little bit fuzzier. Okay. Now it's time to add a new layer for our enhancements. And remember our brush tests layer down here at the bottom where I brought those colors in. I'm going to bring that up to the top. And of course it's turned on, so it looks kind of crazy, but I want to pull some of these colors, turn that off so I can see it. I'm gonna get this turquoise color first right there. And let's turn that off and turn the photo. I mean, the painting layer back on. I'm on the new layer we wish is where we're going to do the enhancements and Other painted additions we want to do. I'm going to make the brush size pretty small. And I'm gonna try to bring this blue color in to the eye area, just a little short strokes. They're really like that blue being brought in there. But I want to go a little lighter. I'm gonna go up a little lighter and to the almost to the white part of that and add a little speck of that in there and a couple of places. Now see those look a little harsh. Now this is on its own layer like that. So you could adjust the opacity down if it's too hard. Or we could do that. Soft round brush at a low opacity, small size, and just around the edges of it. A little bit. Now it looks real pixelated here because I'm super zoomed in. So you can see where I'm working on this. I zoom out. You can see if you need to blend that a little further with that soft brush. And then this one here is a little on this side is a little bit rough on the edges. So let's just go around the edges of that and soften those little strokes up just a little. I'm going to leave, don't soften them all. You want to leave some of that texture in there. But now it's not quite as harsh as it was if you're not getting good enough. Blend raised the brush size, raise the opacity, and just go over it a little bit more. I'm zoomed out now so I could see it at a distance. That's better. Because I really want that to be reflective and I will also want to bring that turquoise color into the stinger area. Let's turn that back on so I can grab that turquoise there and shut that back off. I'm gonna come, whoops, what did I do? I'm on the wrong layer to say I was on the brush Test layer and it's not letting me paint there because I shut it off. I need to get back on my enhancement layer. Now let's just come down with a little bit of that blue. The one side, the stinger. And let's go to the lighter shade, more to the gray side. Pick a lighter shade and come across this side. I like that mark that just made right there. Now it's a little rough. Back to the round brush. Unless just blend some of that in and it will blend with the purple that's underneath. I'm trying not to blend too much of an n, but just blend it a little bit. I want the texture in there. In some spots, especially that one mark that and it made there at the top. But when you zoom out or something looks like, oh, that's too bright, you can simply work on that brighter side a little bit and tone it down. And then you can pull that color around a little bit better. There we go. So you can see before, after now that's that's making him come to life. Now let's get that yellow right here. Now this yellow might be a little too bright. We're going to find out, make sure you're on the enhancement layer. And I'm going to paint with the flat brush. I just want to get a few. I don't want to totally wipe out this yellow. I just want a little bit more color in there. Let me go a little bigger on the brush back that up. I'm going to sweep across the top there with just little short strokes. Then here off on the sides. The sides is going to require a little smaller brush. And then right here at the top of the wing. Now, let's go back to the round brush. Make it a little bigger and just sort of blend some of that in. That's not so strong. Blended too much of that outlets put a few more strokes in there. Now just to vary things up a little. Let us go with a little lighter on the yellow. More towards the yellow. Even move the color toward the yellow, orange, kind of a golden color. And go up to the very top, or it's kinda light and bring some of that color in. In-between are around where you put the yellow. There is no set way to do this, just trying to integrate some of it at all. Let us get the blender, the round blender brush back again and sort of just go over that, softening it a little bit. Very short strokes. Now let us even regrab the yellowish white that was there and go with a smaller brush on the flat and then just pull some of that color. Might even have to go brighter. Almost a white. Put some of that right in there on top of that yellow, just little short dabs here and there. You get wider range of color. Now, don't bring too much of the bright color down underneath his head, because that's gonna be in shadow. Scott, this brown right here. Let us try to brighten that a little sexually golden brown. So I pick the color them a pull to the right and up a little in a little bit. Right at the top of his head there. Little short strokes to give a little variation. And even here around his head. Let's do a couple of strokes there too. Now let's go back to the soft round brush and just kinda go over that. Holding it down, just kinda move in it very slowly. Little bit of a circular fashion. And that just turns it down a little and gets it to a little better with what's underneath there. Now if we turn the enhancement layer off, you can see the difference. The way out, I do zoom way out. What I've lost right here. Notice there's this bright highlight right across the top of his for what I might do here now is let me put a quick layer mask on here to bring back some of that. I'm going to tap it and click Mask. And then I want to go to black. To go to black on your color wheel, just double-tap near the black and it will automatically go to black. Make sure on the paint brush, decent size brush. And I'm going to lower the opacity a little because I don't want all that yellow, golden. I just want to takeaway too low of opacity, tap right in there and bring back some of that highlight area. I've put some on, I'm taking something away. It looks there, he's got a little better highlight now, I turn the mask off, you can see that. Return the whole thing off. You can see that. Then. I think I wanted to do a few more little strokes in there, bringing back some of that highlight area. I got a little wild with the brown. Now, let's regrab some of the yellow, find it there, and tap in. While I'm on the mask, I can't be on the mask. Let's squeeze the mask down with its layer. Now I can paint on it with the yellow. If I can find the yellow, I could go back to my palette that I'm being lazy. Opacity back up. Little small brush, dab, a few little expressive furry looking marks in there. They're a little harsh. Back to the blending round brush to soften them, tap on them, doing a little circle. Just move it around gently. About medium capacity. Now, off on starting to get a little bit more form to him now. All right, those are the really important areas, except I do want to bring that turquoise color. I want to bring it into the wings. And I want to bring into the background. I'm happy with what I've done with this for in his face. I don't want to mess with that. I'm going to squeeze that layer with the painting layer. So now that is one. There's our photo, and there's our paintings so far. Now let's do another new layer, and let's go back and grab that turquoise right there. That's a good spot to grab it. Turned that off. Make sure you're on the new enhancement layer. This time, get a little bigger brush. I'm going to try to bring in just a little dusting of the turquoise into the wings. I'm gonna leave that little purple color, It's a top. But on these other parts of the wings, I want to bring in a little dusting of that turquoise. Now let's brighten that turquoise up. And moreover toward the white mega little smaller brush. And over what I just did dust a few pushing and dragging at the same time to make these heavy looking paint strokes, pushing, hitting the the iPad with the pencil pretty hard with a pretty hard tap and drag. I'm just going to try to get some of those marks right in there. Don't overdo it here. But see how much more painterly that looks. Now, remember that purple. I said, here's that purple. Let's turn this back on. You don't have to be on this layer to select the color. You just have to turn the layer on to see the color. Now there's that purple, it's probably gonna be too bright. I'm going to do one stroke here with this smaller brush. And see, do a couple of strokes like that last stroke. Back out on that. I think it's a little too bright. To tone it down. You can go more to the gray and you can even go down a little and make it a little darker. Let's try that. Oops. Try this color. I'm getting messy now with the strokes. That's what I want to do. An over this green and we'll put a little dash of it over there. Starting to look pretty colorful. Now, let's bring some of it in here on this side. The little dashes of it. And then we're this green was a little dashes of it. Even across the top there. Yeah, he's starting to look nice and colorful. But I want the same purple. I want to establish that in the stinger as well because he had some of that color there originally. So I do a smaller brush and just do a little stripe down the middle. Bring some of that color in there. That's looking pretty good. I do see. I needed to do slight bit of blending here. I liked the messy paint strokes. There's one stroke closest to the body I'm not happy with, so we're back to the blend as the round brush at half opacity. I'm just going to stroke towards that a little bit and kind of blend that in right there. Even down here. Blend that with that green. That's a lot softer down there now. And I really don't want to mess with this turquoise stroke right here, but I do think I need to blend this little top part of it. Just being a little nitpicky. All right, Let's go to this side. This is a little harsh blend that in a little with that brush. And then right here, blend that in a little. This is just fun. This is just a matter of preference at this point, but I love these real loose, thick, painterly strokes and bold color. I think that's, I think that's a lot of fun. There's a too strong of a difference here between the turquoise and the purple on this side. I'm gonna erase the opacity of that blending brush back all the way up. Let's try to keep it low size and kind of stroke those two colors slightly together. Just to not have that harsh of a transition. Over here. I think I did a little bit. Oops. I didn't mean to do that. I think I did a little bit better job over there. On that side. That bright yellow that I put in his fur. I want to bring some of that in the wings. I'm gonna get on that color right here and let go. And it set now my color wheel with the flat brush, still very small, make it a little bigger. Stroke, a little strokes of that. In through here. Maybe even across the top of the wing completely. Gives him a little golden glow there. Then right. Oops. Tattoo hard. It'll sometimes make a really dark mark. Just trying to tap and drag very short strokes. Just to bring some of that funding yellow color in. And now let's go to the blending brush. I'm going to lower the opacity back down. Say what my size is about 4% and just kinda softly blend some of that in where it's a little strong. Mainly it's a transition areas or one-color meets the next. You want to blend that in. If you can, at least a little bit. You can always don't do any blending and just keep coming over it with more paint. That's entirely up to you. I do like the nice painterly effect he's got going on now. Now at the end I will bring in more black and white on a new layer. But for right now, let's take a look at how he looked before. That's before. After we've blended the first emerged, the first layer with the painting. This is the wing layer now. Wings and a little bit owners stinger. That's just the difference and you can zoom out and turn it off and on. Looks pretty good and realistic there. And as we've added these bits of color, He's looking more painterly. This is starting to become more fun and a little bit looser, which is where I'm trying to go with this and these colors that I've just brought into these wings. We will then bring those into the background as well to tie everything together. But for right now I'm gonna leave the wing layer separated. I'm not going to squeeze them together. I'm going to leave that where it is in case I might want to tone it down, which you can do with opacity right here. I won't really know that until I do the background and add in some of these colors, and then address the body with some black and white as well. And then I can play with the layers and say what I might need to tone down. We're gonna take a short break here between segments now that we've got this part, none, and we're going to tackle the background next, bringing these colors that we just brought here into the background as well as that brilliant orange that I painted in the brush tests layer. We're going to bring that in and really pump the vibrance of this piece up. We'll do that in the next segment. 6. Paint & Enhance Background: All right, let's tackle this background. New layer. We're going to add enhancements to the background. On the new layer. I want that orange. That was in this layer, this really vibrant orange. We're gonna start with that, turn that layer back off and make sure we're on the paintbrush, the flat brush, full opacity, fairly decent brush size. I'm just going to tap a few brushstrokes here. That green is at the top and erase some of this orange. I'm going sideways with some strokes down. Criss-cross. Kind of bringing that orange tone in various areas over the background. And I'm even going to come pretty close to the wing down toward his fur. Tapping different areas. I really want a very vibrant background. I went over the wing a little there, but that's all right. We'll blend it out later. Go around the bottom of his wings, close to his body. If you go over a little bit, don't worry about it. Under his feet. Get in there and the small brush in a minute. Now that we're getting away from homeless to make the brush a little bigger. Just filling the orange color here and there throughout. I'm not sure if I want this light area here. Leave a little bit of it, but bringing some of that orange right over it a little, little more. Let's make the orange brush a little smaller. And go in around these legs with some strikes right up against the feet and right over the feet actually a little bit. This will help tone down that green that I've been trying to get rid of. Just go around these underside of him, of his body and top of this wing or a little bit? Top of this wing? A little bit brown does for at the top. Do you see when I zoom in with the strokes are looking like and I'm got a little smaller brush. Nasa want to tap some of those in there. We still have the original background under their peeping through here and there. But we have a lot more of this vibrant orange in different size brush strokes which gives interest and texture, various texture throughout. Now we've got the orange in there. Let's turn that layer back on weight. We can get this color right from his wings. You don't have to be on that layer, but you do see our orange layer off on. Because I really want to pump this up color wise while I've got the orange going now let's go to this turquoise I put in the wings, which is sort of a mix between the darker turquoise and the lighter turquoise I chose. And I'm gonna go with a big brush. Let's see where I might want to play. Some of the truck boys. Brush is too big. Let's maybe play some. Right under wing, right alongside the edge. Everyone may be a little big. Stroke is too big, just undo it and maybe do another one and do a lighter stroke, maybe from a different way. Maybe even resize the brush a little bit. Just to when you do this and you mess up the wings like this, you're giving him a sense of movement and messiness, which is pretty cool. Now let's make it a little bigger. And down here. In these, I don't go too big. Bottom corner. Put a few trip boys marks. Then this bottom corner over that lighter area, put a few of them. Liked that one on the bottom edge. I tend to decorate the corners with these additional colors and work my way towards the middle. Just here and there. Working around the background. Don't worry, this is on its own layer, so if it's too much later, we can take some off. Let's get that purple. Let's hold down on that purple color. Maybe change the brush size a little bit and bring some of that purple tone in here in a few spots. Because I want to really colorful, fun. Be painting. All right, that might be enough for the purple. Now let's get some yellow in here. And this yellow that I put on the wings. And a little bit into his fur. I really liked that tone. It's not real bright. Let's try that out a tiny bit bigger brush is too big. You could tell the texture just looks out of place. Lower down. There we go, That's a little better. I think that color will work nicely. And I may go around with this a little bit and then brighten it some more. Let me just tap in and you can go right over the colors. You've already done. Different spots. To add interest. Now let's go a little lighter with it. So go upward and over to the right, some maybe even an upper and a little more. I wonder how bright we can get here and get away with it. I'm just looking at it from a distance and deciding where I might want to put strokes. Now that's looking pretty fun. And like I said, you could leave it like that and just reduce the opacity if you wanted to. But I think I want to blend some of that and I'm gonna blend it with the flat brush. Let's try that. Let's try this little spot right here where I got a little bit strong color strokes, pretty big flat brush, and just kind of crossover in a few spots. Not every little bit of it because you want to maintain some of that texture and interest. Just kind of dance around the canvas with your pencil. Anywhere. It's too strong. Looking, go sweep over it with this as a blender. Don't worry about touching the B because he's on his own layer. Sweep some of this down. Some of this up from the bottom, over from the middle towards it, inward, toward the middle, just back and forth different ways crisscross. Just getting an interesting mix of colors here. I'm at the top. Work some of that color. You don't want to sweep. And I'm doing this very lightly. Tap and drag with this as a blender, this particular brush, which isn't as soft as the other brush, I don't want a really soft background because I liked this texture of this is inputting here. I'm going for fun and energetic. That's interesting. I still think we could use some lighter tones across the top of him. Let me go to Even Let's go toward the white and see what that looks like. A few little marks in there now blend them. Go with some more of that white marks up here. Now that one's pretty strong, I'm going to just undo that one. The top is where the light is hitting him. So there's gonna be more light at the top anyway. So that's why I'm not afraid of going with that lighter color up here to introduce some of that lightness. Because it's gonna be lighter and I'm pulling down a little bit towards his body right there. Then scrub some turquoise and you can just go back and forth adding in some more marks as you see fit. Now that we've got that initial layer blended, now let's grab some of the orange again and just go right over it in different spots. This is just a back-and-forth process. A little too much there. You do strokes. You don't like just undo them. Tell them that orange down and go a little bit to the left. Softer tone there. Grab. Now I'm starting to actually grab color from the background and place color rather than blend. It all blends. All right, Let's turn that off. Sandwich, more interesting and fun. That looks now. Rogers loved this little b. Then we have his wing layer. That's how he looked before. Very nice and soft and blended and really pretty. But if you want to get more energetic, add color was stronger strokes. And add more color. Throughout. Color creates interest. And stronger, messy strokes create energy. This B is in the air, buzzing. This is the high-energy creature here. And so that color helps bring some of that energy into the piece as a whole. Now it's time to add a little black and white. We're going to do that on its own layer as well. We're going to use the flat brush. And we're gonna go and grab this black from the face area that's pretty black. We're gonna go with a real small bro, I'll say how small we need. Gamma right there. Layer six. Okay, We're where I want there to be a little bit more black. I'm trying to still working on brush size here. I'm just going to stroke with this may have to make it a little smaller here at the beat. Just kinda follow the, this is also what you can do to sign your pieces this brush. Then his stinger, let's outline that a little bit stronger. Would that black and then this other foot right side, get some of that in there. Now we can go a little bit bigger as we go up this leg. This side of his body. As beat look a little stronger. Which also helps to tone down that greenish yellow color. That's around the feet that I've been fussing about. Let's actually bring some of this black, sweep it across the wing and into the wing in a few spots. There might be a little strong double-tap back out of that. Let's go with a little bit bigger brush. Try not to be as harsh with it. It's always going to be darker meets the body. That might be a little strong. That's what masking is for if we need to, let us make the brush smaller and go on this side, bring in just few little black streaks in there. Where else might I need some? Right here. Come around his face a little bit as well, add a few. Black marks in there up under his body a little right here. Because that's going to be in shadow. Now there was a little antenna here that we missed somehow. I lost it. I remember it though, is back in the original fido. If you turn off all of these and you go down, the original photo is right here in-between the legs and the stinger. And we lost it. Let's just see if we can give them a little antenna with this black brush. And he's probably got one over here too, but I think it was pointing downward like that. Looking pretty good. Turn off the black. Turn on the black. Now, if the black is too strong, which it is, in my opinion, you could pull the opacity down to a lower percent. You could also mask it off. I'm just going back and forth on Opacity. Seeing, looking at the piece as a whole, about 80%. And I think it's a little strong on this wing where I put a little too much black there. So I'm just going to click on that click Mask. Make sure to go to black. Double-tap near the black and it will go to black. Make sure you're on your paintbrush. Maybe a little bigger size and sweep some of that black back out that I put in there. A little strong. That's better. For some reason I got a little strong with the black on that side. Somebody had asked me, let me, I'm done with that layer mask, so I'm gonna merge that down with the black layer. There. Somebody had asked me if you wanted to do a sketch, like add a sketch on top, how would you do that? You would do it like you're doing on this layer. Add a new layer and go to a dark color like a dark gray or black, and use a very small brush. How far down can you go here? All the way down is 1%. And just do a little scribble here. But you can draw with it. Say like that. If you wanted to do a sketch around your subject, like if you wanted to sketch around the weighings or whatever. If you wanted to do as little sketch, you could do that and then adjust the opacity just like I did on the black layer and then mask off wherever you don't want a certain part of the sketch appearing. That's always a possibility. I really think this black along the top of his head. I'm not sure how to go back down and look at the original photo. I really think some of that black where it meets the yellow could be a little bit fuzzier looking. While we're on the black layer. I'm just going to get right in here. A little bigger brush. That's too big. The brush is pretty sensitive on size. Brush, a little bit of that on there. Give a little bit of fuzziness to him. Around the area. Now there's a area here on his face where there's some gray. I think that could scan to be a little bit wider. I've picked the color, so I'm just gonna move up on the color wheel to get it a little lighter. And I'm gonna try to put a little just a couple of little marks in there in that area. Now, we'll just go to the blending brush the soft round because that's a little harsh and just kind of soften that, but that gives it a little bit of highlight there, which I think should be there. Just wasn't that visible in the photo. Got more a little color variation. There. Might need to be blended a little more. Maybe blend it out too much. Now let's blend that a little softer there. Now that's a gray area. Well, let's see if we can pop a bit of white in here. So on the color wheel is just right where we are, double-tap to go to white. Let me try it on the stinger. Just to create a little highlight down the center of it. Carried away. There. Might need to blend some of that. It's a little strong. Soften that in. Just a little. Back to the paintbrush, little bit of white. That kinda gives some dimension to the stinger. In fact, you could go really thick strokes, going crossways and tapping down that stinger to really give it some highlight. And then softly blend that in a little bit. There we go. It looks nice and shiny. Let's even put a little dot of that white little scribble of it, the eye area. And blend that as well. Now remember, we're on our own layer, so we're not really messing with our B. There's a little bit more highlight there. Brings them to life. When you put the highlights in, it brings your your creditor to life. Now let us go with a bigger white brush. And just how big do we want to go here? Tap a little bit on the highlight area of his for a little big there on that left side. So go little smaller. Just sweep some in there. Oh, that's too big on the wing. Lower the size. Not gonna have a whole lot of highlight on the bottom of the wing. So I really need to be doing that up here. Towards the top. Just a little sweep of it. You may have some on the bottom just to help lighten it up. If you want to. Round brush, blended in a little. I really liked that white being added in there. I'm just blending a little bit of it on the side of his face. Now I want to bring some of that same white into the background. Just a tiny bit. Let's raise the brush size, especially right up here. The light is hitting him right across the top of this. Might be a little bright. That's what blending is for different directions with the brush. Now let's blend it. Big brush, kind of softly around and round right there. Little sense a light there. May need to bring a little yellow back in there too. That's fun. That's a fun mark. Then blend the edge of it just a little. I like marks. I like the different marks. I wonder if I don't think I have enough turquoise in the background, but that's our black and white layer that I'm messing with now. So I'm not set at full opacity. I'm happy with the black and white layer, with the background layer. For some reason it's at 99. I'm happy with the wing layer. I think. I'm very happy with all of these layers. So you can leave layers all separated. I just started getting a little sporadic when I have stuff everywhere. So if I'm happy with the way this looks right now, which I am, I'm going to squeeze these layers together, the painting and all those layers. There's our photo, There's our painting. Here's our brush tests layer with a bunch of color on it. But I think I want to add another new layer. I grabbed some of this turquoise. I think I want to bring a few little sweeps of that. On a new layer. I may not be going dark enough. So I need to get my brush size right and press a little smaller. We need to go a little. Some reason I got away from the truth boys and more towards the green. Let's go more onto the blue. There we go. Bring a few little sweeps of this touches of this in there. Here and there. Like those last two marks you don't like Mark Take it off. Take it off. Change your brush size, go a different direction with the brush. And then see what happens. How about a little purple? Bring a little more purple in there. Purple is a little dark for what I'm thinking. It's actually not even a purple. Alright, let's go to the purple and go a little brighter. Just pick a purple. That's brighter. For sure. I just want to attack some of that in as well. So you expand just as much time on the background as I do the subject. This is on a new layer, so strong. Just play with the opacity, which I think it is a little strong. I like to look at it far away like this zoomed out. You can see it as if you're seeing it across the room. Just go back and forth on opacity. I like to kind of, if I'm unsure on opacity, I like to reduce it to around 70 to 80%. Just my preference. This orange. I think we need a little darker shade of that underneath them. This would actually be more in shadow under here. I grabbed the orange and I'm just going to pull down a little bit and then go to the right a little bit. Undo those. Little too dark right there and down here maybe just a few dark strokes of a stroke comes out too dark. You can blend it or you can undo it. Let's go to the round brush, half opacity. And just really big brush, soften those edges than those marks. Just a little bit. Soften that up. This is on its own layer, so the stuff underneath it is not affected. Gives a little darkness down there, which I feel it needed. I'm really happy with the B painting. I think this is a lot of fun. We would come back in the next segment and just do a little overview of what we've accomplished here and we will sign our painting. I'll see you in the next segment. 7. Final Touches: All right. I'm pretty happy with the B. I feel like there's still a little bit too much yellow green around the feet. Now that in reviewing it, I'm going to try to tackle that by bringing in some of this orange. Do that on another new layer with the flat brush. Very small. I'm just going to try to sketch around those legs with a small brush first with a little bit of this orange and in-between, just a further tone down the green. Now, if it doesn't bother you, you don't have to do this but just a pet peeve among the green. I'm just doing the small brush around there right now, but I'll get a bigger brush here in a minute. Let's go with a little bit bigger. And on the same area around it. A little peachy up in here. I didn't get rid of all this peachy. I'm gonna put some of that orange there. As well as widen the strokes a bit. Even go right over the feet with it like I did before. And even up in here where there's a little bit of that green. There we go. Let's go back to this leg with the wider brush. Go around where I sketch that. And this middle part though is a little thinner, so I can't use a bigger brush in there but just made it a little bit smaller. Little bit bigger for right under his belly area and around that antenna there. Let's see what that looks like. A little better except for this one leg, I got a little bit too much orange on here. Let me just grab some of the black from that leg with a small brush and come down like that. Still got a little too much right here. Need to darken that leg a little bit. There's just nitpicking. May even bring a little of this darker blue here. Let's do that into this black area of this leg. And now that we've done it on that leg, we need to probably do it on this leg. These legs appear because black let's even do that in the for ran his face a little because black has never truly black. Black absorbs all other colors around it. When it's there. Bring some of that into the side of his face a little. Well, that one might have been a little too much. Maybe I just didn't have it in the right spot. Like his face look a little bit more reflective. Maybe a little strong in the area there where I put it. So let's go to the soft round brush and just kinda gently blend that in a little bit around his head. Space. You could get really into this and start adding a whole bunch of colors. And now that I've put the, the blue on those legs now I want to get a little bit of this purple shade in there as well. So let's just see what that looks like. Just a little tap around those legs. And let's do it on the face. Around the face a little bit to that black area, just gives them a little bit more color variation. There. Turn it off and on. It's a little strong. Reduce it, which I feel it is. So I'm gonna go between the 70, 80%, like I told you about 75. Now let's add a signature. Put a new layer for that. And you have to decide what color you want to do your signature. And I like to sign in the bottom right corner. My even just try to do the black. See how that looks. Because this would be indicative of a smaller painting. I don't need a big signature, that's for sure. So we're going to reduce the brush size down and blow this up. Let's say that you're maybe a little thin. Let's go to 2% or 1.5 maybe. It doesn't say 1.5. When you do that, you just have to play with it. And then you got to practice your signature. Still might be a little Let's just hold down on it, pull it down a little bit. My messy signature, because that's on its own layer. If you want our size it down a little further, you can just click the arrow and grab the corner and pull down to make it a little smaller. I like to assign big and then pull it down and make it smaller because it's really hard for me to assign smaller. I tend to assign bigger. And it looks a little bit too structured. Notice thing I like to do is get the round brush. And I'll do this at full, full opacity, very small brush. And just on the tail, tail ends of it. I like to softly blend some of that too. Because that brush stroke is a little thick. It looks real pixelated right now, but just kinda makes it look a little more realistic. There. The b is done. So I'm gonna squeeze all these layers together. Now we will look at the photo, the painting. Look at it faraway to photo painting. I'm pretty happy with him. I hope you guys have fun working on this little fella and adding your colors to your background and really give it some energy and spruce it up. And these brushes, oh my gosh. I just love these brushes. I could sit here all day in pile more colors on top of this background. I know you're not supposed to sign it to, you're done. But what I'm seeing here is where I put the orange around in here where the stinger in the feet are. There's a lot of texture around that where I added some of those other colors, but there's not any right there. So I think I want to put some in there. I think I want to use the yellow to do it. So I'm gonna grab this yellow, yellow, green and which I'm trying to get away from the green. Move it around a little bit. That's a good color. I need a bigger brushstroke. Just do it on a new layer in case I screwed up. I just want to put a few little textual strokes in here. This area, would that yellow? Then of course, Let's bring that blending brush back down to about 50%. Soften that up on the edges. Need a little texture showing there. I don't need it to be too heavy. Just blend that in a little bit. Blended in a little more, gives that color variation and texture there as well just to match up with the rest of the painting. And I can also blend with the flat brush. That's too big. Flat brush in there as well. I'm only blending what's on that layer. So if you touch the b, it's not going to blend. But then you can merge this down, squeeze them together, or tap and click Merge Down. And then you can blend with the flat brush right on there. They can get both colors. There. Now he's got a little bit better texture in there. The area right there where he didn't have it before it, low color variation and texture to okay, now, I'm happy with it. So photo painting. I think I better stop now before I bore you guys. I hope you have fun playing with this guy is a real good one to experiment with the brushes. And would the colors onto really brighten up your colors and dress. Dress this guy up and make him really fun. And it also gives you some ideas on how you can make a background. I know that we made, we worked on this background with these brushes and colors around the B. But you could start with a solid orange background with no b, and add colors that you want n and then Blend and add some more colors and then Blend and add some more colors and blend. And you would have a really cool background like this that you could then use with one of your other paintings that you want to do or whatever else you might want to use it for. But the background itself is pretty cool as it is. And this, in fact, this whole process has given me an idea for a new background set using these brushes. This is something, I mean, these are brand new brushes, so I haven't done anything with them before except couple of paintings. But I mean, this would make a great background. Something like this. So now I've got some background ideas to work onto. Anyway. I hope you've enjoyed this class. And following along with me painting Mr. B here. And I can't wait to see the bees you create and you don't have to paint a b. You could choose another bug or another subject altogether to paint with these brushes. But the whole point of this lesson was to take that normal photo and get rid of the graininess by painting it, give it a real painterly look by strong strokes in a few places and bring in this brilliant color. Really pump up the colors to give him that energy. I hope that I was able to show you how to do that in this class and that you will have fun working with your subjects as well as this be to practice with making your paintings more loose and more energetic, energetic, and not being such a realist, it is realism, but it's a little bit less realistic than some of my other work because we got a little bolder and looser with colors and strokes. So I hope you've enjoyed it. As always. Thanks for being with me today. And you guys have a great day.