Transcripts
1. Intro to Messy Watercolors course trailer: Rich color, beautiful
blends, blooms, and water bleeds, and don't forget the splatter. You got to have the splatter. We're talking about messy
watercolor painting, but not like you've
always known it. This time it's digital and
this time it's a game-changer. My name is Tilla,
and in this course, we're giving messy
watercolor painting a whole new meaning. In this intro course to messy
Watercolors in Procreate, you'll learn how to replicate traditional messy watercolor digitally and then we'll
add on skills, techniques, and methods as the
course progresses to capitalize on all the advantages we have of painting digitally. Everything is step-by-step
and beginner-friendly. You'll be able to follow along, even if you've never painted
with watercolors before. On top of having no mess
when you're painting, we have other advantages too, like a two-tap Undo to make
mistakes literally disappear, layering elements so you
can adjust one part of your painting without
affecting nearby elements. Recoloring on the fly, using saturation, and vibrancy is not possible at
traditional pigments. Another little thing
that's a really big thing, blend modes, or the
ability to affect how colors blend with the
colors underneath them. All of these combined
allow us to have limitless control over an
otherwise difficult medium. With 31 brushes included
with your enrollment, you have everything
you need to paint two delicious eye candy
watercolor pieces. You'll be prepared to paint any subject you'd
like in the future. In intro to messy
Watercolors in Procreate, you have all the supplies you need at the top of a stylus. Cleanup consists of just tapping your lock button and
you're already in the format you need
to print your work. Hit "Enroll" to paint messy
watercolors in Procreate.
2. Welcome/Course Overview: Welcome to the course. My name is Tilla and I'm so
excited you're here and that we get to create some
messy watercolor and procreate together. In this video, I just
want to give you a quick overview
of expectations, what you can plan to learn for this messy watercolor
style as we get going. First, let's talk
about pre-requisites. I do recommend having a basic
knowledge of Procreate, a familiarity with the interface if you've never opened Procreate before and are brand
new to Procreate, then I would recommend taking my Procreate for
beginners course. If you tap on my profile
image within Skillshare, you can find all my different course offerings and there's a Procreate 5x for
Beginners course and that's the course
that I recommend taking. Watch the whole thing
and you'll be in great shape for this course. I also want to mention
that if you don't have any digital or traditional
watercolor painting experience going into this,
that's totally fine. I'm going to share everything
that you need to know to create realistic, messy
watercolor outcomes. So it's nice to have, but definitely not required. Software and supplies. This entire course was recorded using Procreate version 5.2.5. I recommend being on
that version or newer, you'll also need an iPad that supports
pressure sensitivity. I am on a fifth gen
iPad Pro, 12.9 inches, 256 gigs, but you by no means need to have
an iPad Pro as well. Any iPad that supports pressure sensitivity
will be perfectly fine. There's a list right
onscreen of those, and you'll also need
a compatible stylus that supports
pressure sensitivity. My recommendation is
the Apple pencil. Third-party styluses can just be extremely unpredictable
and inconsistent, so that's why the Apple
pencil is my recommendation. I'm often asked which
accessories I use. I want to give you a
quick overview of those. I do use a screen protector. I use the paper like
screen protector and I've been using it
for over two years now. I definitely recommend it. It's so much better
than drawing on glass, more than you realize it would make a difference
once you have it. It does give you that
really nice texture that makes it feel like paper. I also use the paper like
pencil grips and I loved them because you can keep them on your Apple pencil while
you're charging it. Other grips you have
to take it off. If you're looking for a more affordable option
for a pencil grip, then the Nimble grip would
be my recommendation. You will have to take it on and off when you charge
your Apple pencil, but they really make
wonderful grips. Then finally, I've
been asked a few times what I use for my iPad case, and I actually just use
the Smart Keyboard Folio. I have the keyboard at my
disposal whenever I need it, and then it folds up and
doubles as a hard case. I've been so happy
with it and I've only ever used that as my case. I haven't explored any
other case options. That's the one that I use.
What is messy watercolor? The messy watercolor style is a loose style of
watercolor painting. It's a really messy aesthetic
where there's a lot of wet-on-wet work and a
lot of paint splatter, but the subject of the
painting is still very easily understood
despite the messiness. There are a lot of
color blends and bleeds and washes
and once again, all that paint splatter and lots and lots
of loose strokes, and why are we doing this digitally instead
of traditionally? Being a digital artist and also loving the traditional
side of watercolor, there are several
advantages to working digitally and one of my
favorites is the two tap Undo. So a traditional painting, if you make one mistake, you have to figure
out how to correct it and then you always
know that it's there. With digital you just two tap Undo and then it's gone like
it never even happened. You also have editable layers. You can keep all of
your elements on separate layers so you
can make adjustments with elements that are close
to other elements without affecting those other elements. Then there's blend modes. You can change the
type of blend mode associated with every layer, and this will change
how different colors blend with the colors
underneath them. You can also recolor
elements really easily with a few
quick gestures, you can recolor any element
to any color that you'd like. There's also what
I call impossible color because we're working
in the RGB color spectrum, which utilizes light
instead of pigments, you're able to achieve more
vibrant and saturated colors because we have a wider
color gamut available to us versus pigments found in traditional watercolor
painting and then it's already
ready to print. You're already in
the correct format to repurpose your artwork
however you'd like. You don't have to scan it in. You don't have to make any
adjustments in Photoshop, your artwork is already digital and you can
apply it however you would like to a variety of different things.
What will you learn? The messy watercolor aesthetic, I look at as three different
levels of messiness. Depending on your
personal preference, you can choose whatever level of messiness you
would like and I want to show you what
those different levels of messiness look like, how to apply them, where to apply them, when to apply them. There are three
levels of messiness, increase in messiness
as they progress. The first level is
our lowest level. It's just a little bit of mess and a little bit
of loose strokes, and then we've got our
regular loose and messy where the majority of
our strokes are in a more loose style and we've
got some messier areas in our painting and
then finally we go to extra lose extra messy. We've got a lot of
loose wet-in-wet watercolor areas as well as
lots and lots of messiness. All of that paint
splatters in there but where it is is very intentional. Because this is an
introductory course we're going to go over how you can apply this over the course of two
different projects. In the first project
we're going to take a traditionally painted
piece of artwork. I painted this leafy branch and we're going to replicate
that leafy branch and then we're going to apply the three different levels of messiness and it's a great exercise
to experiment with because once you see
how and where to apply the looser strokes and the messy spatter because everything is done
with intention, then you'll know
exactly what to do with any other subjects that you
plan to paint in the future. Then in project Number 2, we're going to
take a photograph. We're going to adjust the color so it's more saturated
and more appealing in our painting and then
we're going to interpret it in the messy
watercolor aesthetic. We're going to include
tons of textures. We're going to play
with blend modes. We're going to be
warping things. We're going to have
a ton of fun by incorporating texture
in different ways in creating artwork
that could be mistaken as a traditional
watercolor painting. Now it's time to get messy. As you go through the course, if you decide to post any of
your artwork on Instagram, I would love it if you
use the #Procreate it and messy watercolors
and also tag me, my handle is every Tuesday. That way I can see it
and send it some love. That is a quick
overview of our course, so let's hop in.
3. Bonuses + Install Instructions: In this video, I'm going to
show you where you can find your class freebies and how to download and install
them into Procreate. First, you'll want to head over to the URL
every-tuesday.com/messy-bonuses. That will bring you to a page
that looks just like this. Once you arrive at this page, it's password protected
because this is a freebie that is only available to
Skillshare members. When you get here in
the password area, you want to make sure
you turn your caps lock on and type in M-E-S-S-Y, it's just MESSY and then hit Go and that will bring
you to your freebies. You can filter the freebies or you can just
scroll into them. The very first one right
here is your brush set. Throughout the course videos, you'll see me using and accessing the full messy
watercolor brush set, which has over 200
brushes in it. But don't worry, I've given
you all the brushes that you need to complete all the
projects within this class. This sampler set right here has 31 brushes from the
full brush set in it. You'll download this
one as a brush set. Even though you see me
using the full brush set, you still have all the brushes that you need to follow along. In order to install this, you're going to
tap on this image and then hit the
"Download" icon. This will download
the brush set and it looks like nothing's happening. I'm in Chrome by the way. I highly recommend using Chrome. Safari is just really
inconsistent when it comes to downloading
Procreate brushes. Please use Google Chrome as your browser and it'll
work every time for you. Once you hit that
little download icon, even though it looks
like nothing happened, it's down here at
the very bottom. You'll see it listed. It is a larger download. It's almost 30 megs, so it may take a few
seconds to download, but it'll be right down here. Then you just want
to hit Download, then hit Open in and you'll get Procreate as one
of your options. Just tap on Procreate and it'll be installed in Procreate. Whenever you go to
access your brushes, just tap on the brushes. Up here at the very top of
all of your brush categories, you'll see it listed and it's
called messy Skillshare. Just tap on there. These are all the
brushes that are used throughout this class. Now you'll have all
of them installed. Let's hop back into
our bonus section. We've already
downloaded our brushes. The next two are images. This one is a painting that I'm providing that we're
going to replicate. We need to download the source
image because we're going to be recreating this
with our brushes. Then this one is a source
photo from Unsplash. Let's start with this one. This is artwork that I
painted and provided to you. You don't need to
download this from a specific website
like with this one. What you'll want to
do is just tap on the image and then download. It'll open this image within the same window
and all you want to do is tap with your finger and hold for
a couple of seconds. Then this menu will pop up and you just want
to hit "Save Image". When you save the image, it'll save it to your camera roll. Then when we're inserting
it into Procreate, you can pull it directly
from your camera roll. To return back to
our bonus section, just hit the back arrow, and now we're back here. The next image we
need to download and save is this watermelon image. Tap on the image and then hit this little download
icon and it's going to redirect you to Unsplash. Because this isn't
my photograph, I can't redistribute it. I'm providing the link
so you can download it directly from
Unsplash's website. What we're going to do
is hit "Download free". This will open in
its own window. We need to remove
this bottom bar down here from when we
downloaded our brush sets. Just hit the X and you
just want to drag this up and you'll see a little
"Open in" right here. Drag this up, tap on "Open In", and then select "Save image", and that will save it
to your camera roll. Let's head back to our
bonuses once more. The last bonus is a link to the Pinterest board that
I created for this class. If you're ever stuck
along the way or unsure what to do
with your textures, it can be incredibly helpful to reference traditional
messy watercolor artwork. This Pinterest board
has the artwork of messy watercolor
traditional artists. You can get a lot of inspiration and pick up a bunch of
tips just by looking at their artwork and
how they've chosen to inject messiness
into their work. If you tap on this and then tap on the little download icon, it's actually a redirect link. It'll bring you to
the Pinterest board. You can scroll through these, tap into them, and save
whichever ones you'd like.
4. Canvas Size + Resolution: In this video, we are
going to be talking about canvas size and resolution. I'm basically in the
gallery view right here. In order to create
a brand new canvas, you're going to
hit this plus sign and it comes with a lot
of default canvases. But for the purposes
of this class, it'll be really helpful to
create your own canvas, that way it can be custom to whatever artwork
you're creating. In order to create
a custom canvas, you'll want to hit
this icon right here. This brings up all
of your settings and options to create your
own custom canvas. Most people's biggest concern
when they're creating a brand new canvas
is how many layers they're going to have access to. This is where you'll see
the maximum allowed layers. The number of layers you have is based on the dimensions
of your canvas. The resolution, which is
the DPI or dots per inch, as well as the RAM
that is in your iPad. Because there's so many
different iPads now, even if we have the same
dimensions and DPI, the amount of layers that I'm showing on my screen could be different than yours because if we have different iPads
with different RAM, that's the reason why. For all of the projects that we'll be creating
in this class, we use source photos. The way that I work, I always keep my source photo to the left of the artwork
that I'm creating. For that reason, all
of my canvases are going to be wider
than they are tall. I would recommend just
sticking with me, follow through the exercises
and if you find that a different canvas
size will work better for you and your needs, then by all means, please change it up however
you would like. If you have certain specific
goals for your artwork, like if you want to print
them on a certain size, that's something you need
to take into consideration before you ever
create your canvas. Because once the
artwork is created, you're not supposed
to ever scale it up because that's when
you're stretching pixels, that's when things
start getting blurry. You really want to
create your artwork at the largest size that
you'll ever use it at. But you could be restricted with how many layers
you get access to. Your walking a fine
line depending on your iPad specs and the
size of your canvas. We always want to
use a DPI of 300. Three hundred is the print
standard resolution. If you ever have any
plans or think it's a possibility that you could print your artwork
in the future, you want to keep the set 300. It'll just give you a much
clearer, more beautiful image. Let's talk about
width and height. Because I am in the US, I work in inches, and because a lot of this artwork I would
intend for printing, that's why I keep it in inches, but you could also work
in pixels if you're more comfortable or the
metric system. But I'm just giving
you a heads up, I'll be working in inches just because that's how my brain
works with printed items. A really good size that I've found works well for a lot of print applications
that will give us the maximum amount of layers that we'll need
for this artwork, is 8 1/2 inches wide
by six inches tall. I'm going to switch
to inches and right here I'm going to put in 8.5 and then a height
of six inches. Because I am on an iPad Pro
that's got the M1 chip, that's why I'm getting a maximum
amount of layers of 178. Whatever you decide to use for your
dimensions right here, my recommendation is
to make sure you have at least a 100 layers. For the projects
that we're creating, if you have a 100 layers here, you should be okay. Anything more than that
is just a bonus for us. It just gives you a
little more peace of mind that you can
experiment more or add in more layers and you won't
have to merge layers together to have access
to extra layers. That's a quick overview
on canvas size and resolution along with the
maximum amount of layers. In the next video,
we're going to talk about color profiles.
5. Color Profiles: We just got finished
talking about the dimensions of our
canvas in the DPI. These dimensions will sometimes change depending on the
artwork we're recreating. I will let you know
at the beginning of every project which
dimensions I'm using. If you want to follow
along exactly, you will always get that
information from me. Let's talk about color profiles. If you come over here and
tap on Color Profiles, you will see that you have an RGB category and
a CMYK category. RGB refers to anything with
a screen because that's how color is interpreted on digital
devices, is with light. Then CMYK is your
traditional printer inks. Cyan, magenta,
yellow, and black. Whenever you are working with the light spectrum or the
RGB spectrum that gives you a much wider gamut of colors because you can have more
saturated and intense colors. You've probably noticed it
on any computer screen or iPad screen your colors
can look far brighter and more saturated because
they're created with light versus anything
you've ever gotten printed. There's no way that
you can obtain some of the saturated colors
you can see on screen with printer inks. That is the main difference
between RGB and CMYK. The rule of thumb when you're creating artwork is
you always want to create artwork that has the widest range of
colors available. That way if you only ever use your artwork for
display digitally, then you're able to
take advantage of all the possibilities you
get with the RGB spectrum. If you create your
artwork in CMYK and you're always posting it
in a digital environment, you're missing out on
the opportunity to use more saturated or
vibrant colors which could really make your artwork
stand out that much more. You can always go from a lot of colors down to fewer colors, but you can never start
with fewer colors and then magically create all the
extra colors that you need. If we start with RGB, which has a widest range of colors and we decide
we need CMYK later, we can change it to CMYK and it will reduce the amount
of colors we have. But if we start with CMYK, we can't then expand those
colors by switching to RGB. We're stuck with whatever we had access to at the beginning. That's why we always
want to start with RGB, because you can always come
down but you can't go up. Hopefully, that makes sense. This might look a little
bit different to you depending on which
type of iPad you have. If you have a newer iPad, the newer iPad screens take advantage of a wider color range because the screens
allow us to see an even larger gamut of colors. If you really want to nerd out unless there's a lot
of helpful links, especially in
Procreates website that explains all the
different color profiles. But for the purposes
of this class, I'm going to be working in
the Display P3 color profile. But if you don't have this, whatever is showing up
as your default RGB. If you tap on RGB, and the one at the top it
might be this one right here. It's whatever the default
sRGB color profile is, that's the next best thing. Just use whatever it's
defaulting to when you tap on RGB and you'll be all set
for the rest of the class. Now that we have all the
settings that we need, we can even rename this up here. I can label this as my default messy because it works for so
many applications. This is the size that I'll be using for most of our projects. Now that I have this
called default messy, I'm going to hit "Create". I get this new canvas, if I come out of this canvas and I go to create a new
canvas in the stack, I can just hit the plus. If I toggle all the way to the
bottom of all my canvases, you can see it right
here, default messy. Then I can just
choose this whenever I need a new canvas, and then it's sized the way that I needed to begin
working in this style.
6. Rights for Using Reference Photos: Using source photos, there are two different scenarios
for using source photos. The first scenario
is when you're creating artwork that's
based on a photograph. Then the end goal
is that you'll sell the work that you produce that's based on the source photo. If you are using a free photo, you want to make
sure that the rights are listed clearly for it and you want to look
for certain words when you're reading
through those rights. First, you want to look
for permission to modify, reproduce, or copy the image. Those are the three main
keywords for what we're doing with the photography
throughout the course. Perpetual, you don't
want any expiration or end date to the
rights that are listed. If the rights aren't listed. The best course of action is to always contact the
owner of the photo or the website
where the photo is available and get
written permission, which is perfect with an email, you will have your
written permission and then you'll be all set. If you are using a paid photo, if you went out to a stock photo site and
you bought a photo, so you can use that
as your inspiration. Or if you're planning
to purchase a photo, you always want to
keep in mind that when you believe that
you're purchasing a photo, you're actually buying
the license or the rights to use that file
in specific ways. You want to make sure that the rights that are included in your purchase cover
those three keywords, modifying, reproducing,
or copying the image. You want to look for
any limitations. These can be the number
of items you can produce, what you can produce, how you can produce them any
expiration for the license. When you're purchasing
a photo the rights can be extremely specific. You just want to read
through them and make sure that they're going to cover whatever final usage
you intend with your artwork. There's usually
different licenses based on how you plan
to use your image. An example of this
would be if you're using it on a website, in a blog, or in a magazine, that can be a different
license than say, getting it printed on a mug
and then selling that mug. Just read through
the different sites and the different
licenses that they offer. Make sure that you're purchasing the license that is specific to the usage that you intend
for your final artwork. Once again, if anything
is ever unclear, always contact the
photos owner or the website where the
photos rights are sold. Explain to them how you
would like to use it and let them tell you in writing what
license you need to buy. That way you always
have a record of that directly
from the source. Scenario Number 2
is when you would be creating artwork
based on a photo and you only ever plan to
use it for personal use. By personal projects, I mean anything you create for family that
you never plan to sell. Maybe you want to
practice with it. Maybe you want to just create
some artwork for your home. All of those would be
considered personal use. Because you have no intention
of ever selling it. If you are using a
photograph that doesn't explicitly state its
rights like on Pinterest, just realized that if you change your mind and you want
to sell the artwork, you may not be able to, or it may be difficult to
track down the original owner. Then finally, I just
wanted to throw this in, if you are planning to create
artwork for a non-profit, a rule of thumb is
to just treat it like a commercial use
that way you will always be covered
since a non-profit is more of a business usage
than a personal use.
7. Influences + Inspiration: In this video, I want to share some inspiration and influences. These are some of my favorite traditional
watercolor artists that work in the messy
watercolor style, and I've broken them up into our three different levels of
messiness for each artists, so I'm sharing three
different artists in those three different
versions of style, even though they do
crossover a few of them into the more messy
or the less messy. I definitely encourage you to
check out their Instagram, their websites, their Etsys. They're just incredible artists. For our first artists
showing a little loose, little messy style
is Inga Buive, and I just love her
color palettes. She uses kind of
a limited palette for the artwork that she creates and there's a
little bit of mess, and she just has these
gorgeous blends. It's so captivating when
I look at her work, I can't stop staring at it. [LAUGHTER] It's just so pretty. The way that she shifts
from one color to another, especially in this leaf
image on the left, is just so beautiful. I love the way that
she blends her colors and she adds in her messiness
in really subtle ways, a lot of times it's just a
little bit of paint splatter, sometimes she has
a little bit of extra washiness attached to it, but for the most part, her artwork is very
crisp and clean, and then it's got
that little injection of messiness and a
few loose strokes. Next step is Sophie Rodionov and I put her in the loose
and messy category, although she does have
quite a bit of artwork that is in the extreme
messiness style. I definitely encourage you
to check out her artwork. You can see a
noticeable difference between Sophie's work
and Inga's work. She uses a lot of wet-on-wet in her artwork which I
love that juxtaposition between those hard lines and
really super soft lines. She has some really gorgeous, beautiful background
washes, and once again, just having those areas
of extreme mess next to those cleaner lines makes her artwork just so interesting, and there's just a
lot of points to focus on and just
get sucked into. She also posts quite a few process
videos on her Instagram, so if you're interested
in seeing how she works in develops
her paintings, it can be really
helpful when you are reinterpreting that idea
into the digital format. And then finally for the extra loose, extra messy version, I've chosen Dean Crouser, and you'll notice right
away the difference between his artwork and
the previous two artists. He's using what I like to think of as like a
rainbow palette. There is so many colors, the range of colors and he
uses them in such intentional, wonderful ways where you're not getting muddy
colors at all which is one of the most difficult things to do when you're working
with watercolor artwork, especially when you're
working on wet-on-wet. I love he just has these
gorgeous bleeds of color, tons and tons of spatter, and the vibrancy
and saturation of his traditional artwork
is really impressive. Just like Sophie, they
go back and forth between the mid-range messy
and then the super messy. Have a look at their
different artwork, I've pulled the examples that
go with these categories, but they have so much in their portfolios that are really worth taking a second look at. As we move along, if you get stuck along the
way or you're not sure how to make a messy
bloom work or a wash work, or you just need to look at
something that was created traditionally so you
can see how the water was flowing and reference that, I do that all the time, I created a Pinterest
board with some of my favorite messy
watercolor inspiration, traditional watercolor. If you want to look at how the real water and
watercolors are moving together and you
want to replicate that or do something similar
in whatever you're painting, it can be really helpful
to refer to those images. That Pinterest board is
every-tuesday.com/messy-inspo, and that has a large collection that I'm just going to
continue to add to, so if you're ever looking for some extra inspiration
or needing a spark, then head over to that Pinterest board
and I got you covered.
8. Proj1: Replicate the Painting, Part 1: We are ready to begin
our first project. In our first project, the purpose of it is to go over all the different levels of
messiness that you can add, how to decide where to add them, and how much to
decide to add in. We're going to
accomplish this with a fun painting exercise. We're going to take
some artwork that's already been painted
traditionally, and we're going to replicate it and then add messiness to it. So we need to create
a new Canvas. I'm going to hit the plus sign. If you watch the best
practices section on Canvas size, resolution, and color profiles,
then you already have the default messy, Canvas already set
up and good to go. The size of this is 8.5
inches by six inches. It's in the Display
P3 color profile, and it's at 300 DPI. I'm going to tap on
that and open it up. Next we're going to bring
in our source photo, which is that traditionally
painted watercolor artwork. I'm going to be using the
leafy branch for this. If you missed how to download
and install your bonuses, make sure you watch
that video first, and then you'll know that you
have to come to the wrench, hit the Add Category, insert a photo, and grab
it from your camera roll. This is the leafy branch that we're going
to be replicating. I'm just going to scale
it down a little bit and put it off to the side
right around here. I'm just making sure
that it's the size that I want for my final artwork, which will be created on the
right side of my screen. I'm making it a little
smaller than I normally would because I want to include
some messiness around it. I want some room at the top, the bottom, and the sides
to include that messiness. Before we start painting, there are a few gesture controls that we'll be using
throughout this entire class. I want to make sure
that those gesture controls that I'm using
match up with your settings. In order to check,
we're going to come to the little gear icon, go to Preferences, and then
tap on Gesture Controls. Over here on the left side, you've got all of your
categories under Eyedropper. Make sure the little square
plus touch is turned on, as well as the little square plus Apple Pencil is turned on. This is going to allow us to eye drop colors from our
source photos really quickly and easily
that we can then incorporate into
our final artwork. These will probably
be on by default, but the next setting
probably won't be. So come over here where
it says layer select, and you want to
choose this touch and hold and toggle that on. I've got my delay
set at 0.4 seconds. As we create this artwork, we're going to end up
with a lot of layers. If we ever need to
find a specific layer, all we have to do is touch
and hold on the screen for the item that we want to
find in our layers palette, and it will let us
select it immediately. So it's a really handy gesture and I highly recommend
getting this turned on. That's it. Let's hit "Done". Now we can start painting. With every source photo, we're going to start
with an outline trace. Then we're going to bring it
over and then we're going to paint everything
from scratch. Let's create our
outline trace now. Come into your layers,
create a brand-new layer. We're going to
switch to the black. Double-tap where black
is to select true black. I'm going to come
into my brushes, and under the Messy Extras, this is where all of your
painting brushes are. I sometimes create
my outline with the Tuesday water brush
or the sketching pencil. Either one of those
is totally fine. I'm going to stick with
the Tuesday water brush to create my outline for this. Once again, just make sure
you are on a brand-new layer. Now we're going to trace as accurately as we
can this artwork, and this is what's
going to allow us to paint so similarly when we recreate it [MUSIC]. We can preview our
outline and make sure we didn't miss
any obvious spots. I'm just going to toggle
this on and off and see. It looks like I've got all the little holes or
gaps in the artwork. The next part of this
outline is seeing anywhere where the
color changes. I like always notating this in my outline because it just
sets me up a lot better. When I start bleeding colors
and do another color, I know how far they need
to go based on my outline. Right here, I can still
see I've got quite a bit of brown coming into
the blue right here. I will note this knowing that it does extend
a little bit further, but the majority of it is
going to sit right there. It doesn't just stop
along this edge. It does come into
the leaf and then it fades out a little bit more. I leave myself some
visual notes by just showing where that
extra color bleeds into other sections. This one is pretty subtle. I do have a bit of a
line right here that I can leave myself a note about. Then this part comes
out a little bit. This is probably the
last little area. I also see that I've
got quite a bit of this dark blue coming from this
leaf into the light blue leaf. I'm going to give myself
a note for that as well. I think that's probably
the majority of it. This one's pretty subtle, but we'll put it in there. Now that I have this, if I turn off my outline, if I turn off my artwork, I can preview that outline. This gives me a game
plan right away for creating that final artwork. Now I'm going to
take this outline and drag it straight over. When you select it down here, the only thing I have
selected is snapping and that will allow me to keep it
straight as I slide it across. You'll see these orange lines, see that middle orange
line that shows up. That's letting me know that I'm perfectly straight
with this one. I can slide it over until I'm happy with its
placement over here. Now we can start painting. You just want to make
sure that you're never painting on
your outline layer. Let's label this one Outline. I'm going to create
a brand-new layer. I'm going to Eyedropper, which is one of the
gestures we set up. If I tap on this little
square over here and then put my either pencil on top of the area I
want to color drop, or I can use my finger and I can color drop that way as well, I can just slide it over
and grab the color. I know that I have different shades of this color in here. Like it's a little bit
lighter here than it is here. But the way these
brushes are set up, they're naturally going
to have areas that are more transparent and
less transparent. I usually gravitate
towards more of the mid-range color
or the darker colors. This is much darker right here. I'm going to grab more of a mid-range blue
right around there. I'm still going to be
using the water brush, the Tuesday water
brush for this part. This is the leaf that I'm replicating and I'm just
going to paint it in. This is more like
color blocking because we're going to add more
detail to it later. When you're using these brushes, you just want to make sure
once you start painting, you keep your stylus
on the screen. Do not lift up until you're
done painting this section. Otherwise you're going to
get a wet-on-dry look where your opacities are going to combine with any new
strokes you put down. That's painted in there. We can preview and compare by turning off our
outline layer. This is the start of replicating
this artwork digitally. Now we're going to move
on to the next leaf. Whenever I'm
creating a new leaf, I'm creating a new layer. We will end up merging
them together later on to merge some of these colors together and bleed
them into one another, but it's a really good
habit to get into with breaking everything
up by layers. That way you can change and fix and adjust
things really easily before we flatten and really
start making this messy. I'm going to create a
brand-new layer and let's move on to this leaf right here. Once again, I'm going to
grab a mid-range color. I can see that my
brown is going to go all the way down
to around here. I'm just following the guide
that I drew my outline. Once again, I'm going
to keep the stylus on the screen until I'm finished painting in this entire section. If you go outside of the line, don't even worry about it. We can always fix that later on. I've got my brown leaf in there. We can preview it again. I'm just going to continue
painting all these leaves in. I'm going to speed up the video, but every leaf is going
to be on its own layer. Then we'll move on to
blending the colors into one another. [MUSIC] We can turn off the outline
and see what that looks like. We've got our first
layer of color down and we're definitely on our
way. We're getting there. In the next video, we're
going to talk about how to bleed these colors
into one another and also how to introduce
the lowest level of messiness out of the three levels that
we'll be creating.
9. Proj1: Replicate the Painting, Part 2: We are right where we left
off after the last video. We've got our base painting in, and now we're going
to start pushing these colors together
and blending them and then we're going to add the smallest amount of mess
out of our three levels. Let's take a look and
create our game plan. Right here this is one of
our largest blend areas. We can see that the blue
is coming into the green, but they do blend
right along this edge. We need to push some
of the screen into the blue to create a
smoother transition here. We need to take the blue from this and push it into the
green a little bit more, and we need to take the green
and push it into the blue and create that nice
seamless blend right here. I created a brush to help
with this specifically. If you come into
your smudge tools, tap on the little
smudge and then under messy extras you want to choose the bloom and bleed brush. I'm going to reduce the
size of it a little bit. We might need to tweak
it a little bit. I'm going to come down to
about 30 percent and see how that works and we will
adjust from there. Let's grab this layer
and a really quick way, since we've got quite a
few layers built up now we can use one of our
gesture shortcuts. I want to select this blue. All I have to do is put
my finger on the screen on top of this blue because
that's what I want selected, hold it and wait, and
you can see I can just slide this over and now
that layer is selected. I don't even have to go to my layers palette
and there it is. Definitely a handy
gesture to have selected. We need to push this
out a little bit, I'm just pressing and
pushing slightly, pushing this color
into the green color. Now we're going
to take the green and push it into the blue. I'm going to put my
finger on the screen, select the green, and I can push the green back into the blue. I'm just going to go
back and forth like this until I'm happy with
how the blend looks. You can see that I'm losing a
little bit of texture here, but don't worry
about that at all. We got a lot of tricks that
we can use to get that back. We've got this blend
happening right here now, and now let's focus on this
little blend right here. Let's come to this one. I'm going to tap on the screen, get that brown selected, and just push with my
smudge brush on the brown, and then select
the blue and push. I'm just pushing a little bit here because I know I need more brown coming into
the blue and than the blue going into the brown. I just go back and
forth until I get this happy medium
of how I like it. I think I pushed too much
blue into the brown, I'll just return back
to my blue layer and push this back
into the blue area. Always come back
here and see what's going on and see if you
need to adjust anything. Let's see, I think that's
looking pretty good. I can push the brown back, just a smudge and there we go. Onto this blend right here, we're just going to keep
doing the same thing. I'm using that gesture control and I just press and
push a little bit. I press with a lot of
pressure and then push it up. That's just pushing the color in the direction where
my stylist is going, and it looks like I
need it to be more subtle around here so I can push it back in and use less
pressure and you'll push less color when you
use less pressure on it. I can see how the blue and
the brown hit each other. I'm constantly going
back and forth, looking at my original artwork. Push this lighter blue down a little bit more
into the brown. Let's compare. It looks like I need
a little bit more light blue in this area. I'm just going to push that in and pull the dark
blue back a bit. It will take a little bit
of practice and finessing. But once you get in the rhythm and you see how the
colors are moving, it'll definitely click and then you'll know exactly what to do. You could play around with
this and adjust it all day. If I push where there
isn't any color, I can push into the color and reduce the amount of
color in that area as well so the joys of
using smudge brush. Wherever two colors are hitting, especially because
this was painted more wet on wet than it
was wet and dry, that's why I'm getting
all these pretty blends. So I'm paying
attention when I see I had this little area
where they were touching, I knew that I needed to blend
them together a little bit. Now we can focus on this edge which is a
little bit harder. This is more wet on dry, but you can see
we've got some dark edging happening right there, which we can definitely
incorporate in a bit. But let's just smooth this
out just a little bit. I'm going to grab
my green layer and just very minor amount
of smudging here. Let's see what happens
where the dark blue hits the dark green. We have a little bit of bleeding of the green
into the dark blue. Let's see if we got anything
else just down here, I think which is really subtle. I don't have to worry
about this part too much. We just want these two to
transition into each other. Now I want to show you a
little trick for creating this really dark edging which is prominent in a lot of
watercolor artwork. You can see this
really fine edge that's really dark and we
also have it along this edge. We've got some dark areas, I'm going to show you
how to put that in. First, let's color drop this dark green color
that we're going to need. I'm going to hit
this little icon and grab the dark color. When I come back over here to my artwork and I'm going
to select this layer, tap until you find
it, select it, and now we need to create
a selection of just this. I'm going to tap on my layer thumbnail
and choose Select, and down here make sure
color fill isn't selected, otherwise you've
got to redo this. You only want this
Add icon highlighted, otherwise it won't work. Then you're going to come
back to your layers, create a brand new layer
right above it and I'm going to select my water
brush again up at the top. What this is doing is
it's only allowing me to paint within the
bounds of this leaf. I can't paint
anything over here. It's only going to allow me
to paint within the leaf. This is what's going
to let me paint very carefully along
the edge and give me that really dark line
and it's going to be perfect along that edge because
we created the selection. I can be painting over
here and the edge of my brush is just
starting to hit it, so I can make it nice and fine and I don't
have to worry about going out of the lines and I can get that more
realistic look. Look back at our image
and we also have it around this opening so I can
paint it in there as well. It'll help to have your brush on the smaller side
for parts of this, especially if you're
in small spaces, I'm at eight percent. We have quite a bit over here. I can paint this side in but I also want to show you
something else you can do. This part bleeds a little bit. You can see this curve where
I've got that darker color. I think I put too much
dark up here so I can just erase some of that away. Put it in a little bit lighter. But over here, I can take my smudge tool and I can
smudge while I still have the selection active and
that will allow it to not smudge outside of this leaf. I can just push right here. I get that hard line, and then I also get this blend that's happening
with the dark green into the lighter green. You can see that that's
matching up really nicely now. If I need to add more color
to switch to your brush, add a little more to the edge. Push if you need to push more. I want to make sure I still keep this dark edge after I'm
done blending it in. That's looking really good. I'm happy with that. I need to come up this
side just a little bit more before I deselect. I'm also going to darken up
this edge that was smudged, which I can also do
because of that selection. I can even smudge a
little bit over here too. Now we can deselect and we
can look at what we've got. If we want this to stand
out just a little bit more, just change your
blend mode of this, these are our details on
this leaf, to multiply. Tap on the "n" and then choose "Multiply" and that'll make
it a little bit darker, so it'll stand out a bit more. We've got this along
this edge right here, and a little bit
along this edge. We need to add quite a bit of smudging to the
top of this leaf, and I can come around this
edge and this edge too. I'm going to speed up the video, but I'm doing exactly what
we just walked through with this leaf and I'm applying it to the other leaves in my
painting over here. I'm going to start
with this leaf first. Create a selection
of it by tapping on the layer thumbnail
and choosing Select, create a brand new
layer right above it. I'm going to select
the color that I need. A dark color. Let's find it. Then I've got my water brush. Look where I need to paint it, right along that top
edge, and paint it in. This part could take quite
a bit of time depending on how precise you want it to
be compared to the original. It's your artwork, make it as precise or as imprecise
as you would like. I can also just put
in a block of color. I noticed that I have quite a bit of darkness
happening over here. I just gave myself a splotch of color and then
I'm just going to use my smudge brush
and smudge it out. I can smudge it in, I can expand the darker color, or I can bring it in by
pushing in from the outside. I can reduce the intensity of it but then I can put in that
shadow really easily. It's locking into the
selection of the sleeves so I take on the texture
that's in the leaf as well. That's another really
handy tip for adding shading and staying confined within the bounds of a shape. This is looking more similar to this area now because
of that darkness. Let's select the brown layer. You need to create
a selection of it. Tap on the layer
thumbnail, select, create a brand new
layer right above it, and then select the color I'm
going to be painting with. [MUSIC] I think that's pretty
good for the brown. I have a little bit of
darkness that I want to add in over here. I just noticed I've
got a little bit of a stripe there and a
little dot up here. Add that in and smudge. Let's move on to the blue leaf. Tap "Hold", tap "Select", create a brand new layer. Grab the color that we need. [MUSIC] Next leaf, tap "Select", come to your layers, tap "Select", layers, create a brand new layer. Grab the color that you need. Once you do this five times, it'll just start coming
really naturally. [MUSIC] I'm just softening
this a little bit and I'm going to go back in and harden it a little
bit more so I've got a nice transition into
that darker color. This last one is probably our most complex because we've
got a lot going on here, especially this one stroke that comes almost in the
middle of the leaf. Let's walk through exactly
what we need to do. Let's select our leaf, come to our layers, tap on the layer thumbnail
and choose, Select, return to your layers, create a brand new
layer right above it. We're going to grab that
dark color that we need, which I can just grab
this dark color up here, come back over, and let's see. First we don't need any
hard line along this edge. We need some hard lines in
here and some darkness. Right along this edge,
we need a hard line. We need to add a hard line right here and a lot of
smudging up here. Let's take care of the top first since that's the easiest. I'm just going to
paint a block of color and will smudge it out. Now we've got a little bit
of color that comes down. I'm just going to smudge this color down
just a little bit. We've got this line that
comes along the edge of this little gap and down
to the bottom of this gap. I'm just going to put a small
line and we're going to smudge that nice and gently
only on one side of the line. We need to add more
darkness down here. Let's see. I got a little bit of our line coming like this. Now we need to add that hard
line right along this edge. Let's see. We also have a little bit of
darkness right there, but not as much as up here. Do we need anything over here? Maybe just a little bit here
and a little right there. Then this one will be done. I'm going to deselect. Now we've replicated a lot of our smudge areas from the original into our
digital version, and it's looking more and
more like watercolor. The last little part would be
along the stem right here. We've got a hard edge and
a little bit right here. Then we'll be able to move
on to adding our messiness. I'm going to select my stem, tap on the layer
thumbnail, choose Select, create a brand new
layer right above it, and grab that darker color and paint right along that edge. [MUSIC] I'm constantly going
back and forth between the brush
and the smudge. Once I have this selection
that's active, deselect. In the next video
we're going to add in that little bit of messiness, and then we will continue adding more and more
messiness to this.
10. Proj1: Little Loose, Little Messy: Now comes one of my
favorite parts of this style is adding in
all of our messiness. We're going to do the first
level of messiness first, which is just making
it feel a little looser and adding
just a little bit of mess and then we're going
to progressively add more and more to this project. For our first level
of messiness, I want to show you a
few tricks that you can utilize to make it
feel a little bit looser than the
original painting and to start making
it feel messy. First we need to look at
areas that are really obvious for blending
or hard edges. That's what I first focus on. Right here we've got this
blend area that I talked about before bringing in
some extra texture to. We need to bring in a little bit more attention to this area because it is such
a large blend area. We could create a little
bit of a bloom out of it so I'm going to grab this color, I'm going to create a brand
new layer up at the very top. I'm going to go into my bloom
brushes, so messy blooms. You can see we've got
a lot to choose from. This area wants more of like
a circular or an oval shape. We can try a few of these
out and see what we like. The first one that I'm
drawn to is Bloom 07. Let's see what this looks like. Whenever you use these stamps, the important thing
to remember is you always want to stamp
it in with your finger. If you stamp it in
with your stylus, it'll automatically take on more transparency than it was
originally programmed with. You may not get
the opacity level that you're looking for. You can always come down, but if you start out with it too low, it makes it more difficult. You have to start
duplicating layers. It's just extra work that
you don't need to do. Let's just jump on our Canvas. You want to make
sure that it's not bleeding off of
any of the edges. If it comes in too big, just reduce the size and
then stamp it again. But the size works. Now we can select it, make sure uniform is
selected down here. We can scale it down and
position it into place. This is going to add
in extra texture and make that blend
a lot smoother, because this brush, the stamp was based on an
actual bloom in watercolor. We can't see that very well, but we're going to change the blend mode of
this to multiply. Tap on the little
n, drag this up to multiply and now we can see it's quite a big
little splotch right here. But we can move it
around and see how we feel about it and we can even smudge this
out a little bit. We're calling more attention to this area and we're creating
more of a focal point. I still think that's a little
too dark so we can reduce the opacity and find a
nice middle ground for us. So that feels a lot better. I'm at about 40 percent. Before and after. We're getting a lot
closer to the original. I also mentioned hard edges. We can see we've got quite
a hard edge right here, and we've got a hard
edge right here. Another trick that you
can use for these, let's look at the
brown one first, I'm going to grab the
darkest area of that brown, create a brand new layer right above the brown leaf
layer over here, I can even put it
above my smudge area. Then go into the
soft stains brushes. Tap on there and we need
one that has a slight curve to it because we're
going to follow this nice curve up the leaf. If I come down here, I can see this ones got a
nice curve to it. Let's try that one and we've got some other ones we can try
if we don't like that. Let's try Soft Stain 11. I'm going to stamp it in
with my finger once again. You can see it's
bleeding off the canvas. We don't want that, so undo, reduce the
size a little bit, stamp it again, and now we can size it down and rotate it. You always want to size down, you don't want to scale up because then it's
going to stretch the pixels in the stamp and it's going to
make it blurrier, especially if you want
a hard edge right here, you don't want it to end
up blurry just because you're scaling up
instead of scaling down. That's why I always stamp
it in larger than I need it because I can reduce the size and fit it
the way I need it. I'm just rotating and adjusting. I think I want this curvier
part to be down here, so I'm going to flip it
vertically, then I can rotate. Make sure you're
grabbing the green node and not the yellow one. The yellow one just
changes the size of your bounding box, you
don't need to do that. We're rotating it
with the green one and now I can move
it into place, rotate it a little bit, and pop it in here. Now it's time to take
creative freedom, you don't have to
match up with the original exactly because now we're going to start adding
in our messiness and what we want to see as far
as details go in this. I'm going to make
this one a little bit darker so it stands out more. I'm going to change the
blend mode to multiply, but this is too heavy, so I'm going to reduce
the opacity slightly. I'm going to come down
to about 50 percent. Then I'm going to smudge
some of these areas that I don't want to
stand out as much. If we look over here, I don't need a hard edge
right there or right here. I'm going to come
back and remove that just by smudging in, and then I can
smudge up here too just a little bit
to break it up. I've got a nice
hard line detail, which is making
it look more like real watercolor and
it's feeling looser in its style and I'm adding in that detail too
and breaking it up. Let's do the same thing over
here with this hard line. We can bring in
another soft stain. Let me grab this dark green, create a brand new layer
above that leaf layer, head into soft stains
and I need one that's a little
straighter this time. Let's try Soft Stain 14, stamp it in with your
finger and that size works, and scale it down and
move it into place. You can see, let me deselect and make it multiply
so you can see it better. I need a little bit
of a curve to it that I'm not getting right now. We're going to warp
it a little bit. I'm going to put it into place
down here where I need it, then I need this part to
push up a little bit. We're going to tap
on warp down here in my selection settings
and with this boxes, I'm just going to push it up and then pull this one
back down a little bit. Then I can introduce a curve to an otherwise non
curved element. It's not extreme, it's subtle, but it's going to
fit in and make it feel looser through here. I'm just going to smudge
this area right here, break it up a little bit, I don't want it to be this
hard line all the way through. It looks more natural if
it's broken in areas. Now we've got more
detail in there. You can really go
crazy with this and add in a bunch of soft stain. Soft stains are a
really nice trick that I like to use when I'm replicating art work or bringing in a more messy feel. Now we've got some of
those details in here. We can add another bloom
over here if we wanted. But let's keep moving
along and adding in our little bit of messy details. For our little bit
of messy details, I'm going to add some
splatter and we're going to smudge the splatter. We've already started
by loosening up the field by adding those soft
stains and adding a bloom. Let's add in some spatter. I'm going to grab brown since this one is
sticking pretty high up, I could use dark blue, but I've already got some
dark blue areas and brown is the one color that I don't
have a tone of here. I think it'll be nice to
have some spatter on top of these other blue or
greener elements to call attention
to the messiness. You can do any color you'd like, I just decided to go with
brown here and that's why. I'm going to come all
the way to the top, create a brand new layer. I'm going to grab
my brown color. Head into your messy splatters and you can select any
messy splatters you'd like. I am going to choose, let's see, I think Splatter
04 will work well for this because I'm keeping a minimal amount of mess with this one and tap on the screen
and it's going too far, so I need to reduce the size a little bit and coming
down to 35 percent, let's tap again and see. Now I'm going to change
back to uniform, I can scale down a little bit. I just want to plant
this right around here. I like that I'm getting some
of these pieces right on my blue and then deselect. With this layers still selected we're going to grab
our smudge brush. For some of these
dots I want them to sit on top and
other ones I want it to look like they're mixing
with wet areas on the leaf. Since I'm close to a
wet area right here, I'm going to smudge this one
and I'll smudge this one. I'm not smudging all of them, but it's going to look messier
if some of these landed in the water of the leaves and
other ones hit dry areas. You can smudge part of your dot and leave the other one as a hard edge if you want. It's totally up to you. Because I am overlapping
some areas of brown, I want the splattered to
still show up on that, so I'm going to choose the
blend mode to multiply. Tap on the N, drag up to
multiply and that's too dark, so I'm going to reduce the opacity a bit
right around there. Now, it's a little, a bit looser than I first started and it's
a little messier. In the next video we're going to talk about bringing this up to the mid-level of mess
and some other tricks that I use in a
medium messy style.
11. Proj1: Loose and Messy: In this video, we're moving onto a mid messy style level, so we're going to introduce a lot more mess than
we currently have. If you want to duplicate your file and start
with another one, that way you still have your original little
mess version. We can go into our gallery, just slide this over to the
left and choose duplicate, and then we can open up the new one and that way we've
got this separated. If you're ever concerned about layers or
wondering where you're at with your layers because as we get going
throughout the class, we're just going to start
adding on more and more layers. Sometimes you wonder like, I feel like I'm getting close, how close am I getting? You can find that out really
easily by just hitting the wrench right here and then
hit "Canvas Information". If you toggle over
here to Layers, you can see how many
layers you've used, it'll tell you how many groups. It's got all information for you right here but the
important part is, you can see I've used
20 layers and I've got 158 left that I have access to, and the maximum
amount of layers for my canvas size, the dimensions, the RAM of my iPad, and the resolution or
DPI allowed me 178. This will always let you know if you're getting
close if maybe you want to duplicate your file and then merge some
layers together, that way you still
have access to those layers later that
can be really helpful. Let's move on. The next part is
going to require us to group all of the layers we've
done so far together, so I'm just sliding
them all to the right except for my outline layer and my original artwork layer. I can just hit "Group", I can toggle this up. Since I haven't used a
ton of my layers up yet, I'm just going to
keep this here, slide it over and
choose duplicate. I'm going to turn off
this original group. That way, I still have access to those layers if I want them, so tap on that group's
thumbnail and choose flatten. Now, all of this
is on one layer. The reason why I do this is
for this next level of messy, we need to start smudging some
of these areas and it will look more natural if they're all blending into one another
on the same layer. With this layer selected, I'm going to return
to my smudge brush. I still have the Bloom and Bleed smudge brush selected and I'm just going to start smudging some areas and making
it look messier. Looking at this area
is already messy, so let's just exaggerate
that a little bit more. I'm just going to come
over here and push out. [NOISE] The further I push out, I can start making a transition of that color
bleeding into white. [NOISE] That's what
I'm after here. I don't want it to be too crazy, but I want it to be obvious
that this is a smudge area. Let's see if we can
introduce another one. I feel like this hard
edge right here's another opportunity to make
this a little bit messier, [NOISE] so I'm just
going to push out this edge a little bit
where the water is maybe seeping into the
background and let's see. One thing you want to avoid is symmetry when
you're doing this, like if I have a
smudge right here, I don't want another
one right here, but I could put one up
here and have it off center and I like the idea of that so I
don't have one here, but I have one on this side. I have one on this side.
I could stop with two, but I think I want to
add a third just to have more opportunity to show you these little options
that you can add in. [NOISE] It's subtle, it's not
extreme here and I'm being really careful that I
have this area of smudge, but then I'm fading it out. [NOISE] I'm just grabbing
less and less color and letting it transition
naturally into the white. With traditional
watercolor painting, if you have these
areas that smudge out, you usually are left with a
little ghost line of where the color collects and dries
along that water's edge. We can add that in. Let's start with
the blue over here. I'm going to grab
this mid blue color, create a brand new
layer right above it, and head back into
the soft stains. I'm looking for more of a
curved edge to follow that, but it's definitely
going to get broken up, and up here I've
got some nice ones. The Soft Stains 2 will
work well for that. Stamp it in with your finger and you can see it's really subtle, but it's going to be
perfect for this effect. Bring it down and then rotate it the
way that you need it. I'm connecting where it
comes out right here. I need it to be a little smaller than having
it come out and I want that to be a nice
transition there so I can smudge this and
smudge over here too. [NOISE] You can see that
staining coming out and then it just looks
that much more realistic. I can add another one
down here is since I had this one on the top edge. Let's make this one come
on the bottom edge more. I'm going to grab
this in-between color and create a
brand new layer. Let's grab a different
one this time, let's grab Stain 06, stamp it in, reduce it down, angle it as needed. I'm going to smudge
this hard line because I don't want
it to be that hard, but I still want you to
see some of those edges. Then we just have
this one up here. Let's grab this mid brown, create a brand new layer. Let's grab, 08 for this one. You can grab whatever you want. I don't always know that the stamp that I choose
is going to work, but I try it out
and if it doesn't work or I can't make it work, then I just grab
a different one, and since we're on a new
layer, it's really easy. You just delete the layer
and create a new layer. I like how that looks, but I feel like
it's a bit strong so I can reduce
the opacity of it. I'm going to change the blend
mode to multiply so blends with what's behind
it in a darker way, and then I'm going
to smudge some of these areas to
break it up a little. [NOISE] Already you can see
we're getting a lot messier. I feel this edge needs
to get messier too. I've got this nice
spot but I don't like how it just comes
up here abruptly. I feel like this needs to be broken down a little
bit more so I'm going to do that and I can
just tap and grab that layer. I've got my smudge brush and just mess it
up a little bit. If I even stipple with this, [NOISE] I can make this edge
much more irregular and softened up so that's breaking
that edge down a bit more. That's feeling good
and we need to add some extra splatter to this. This time let's grab some
of this darker blue. Let's grab from over here, going to create a brand
new layer up at the top, head back into the
splatters and this time, let's grab Splatter 7. Tap with your finger, rotate this around,
reduce the size. Have it come over here maybe. I feel like I've got
a lot more splatter than I need with this. You can always erase some
of the splatter away. I don't want as much
as this gave me, so I'm just going
to erase a few of these dots to break it
up a little bit more, change the blend
mode to multiply. Just like we did before, let's smudge some
of these so they blend with what's below them. [NOISE] That's our
mid-range messy style level and in the next video
we're going to go all out and add an extreme
amount of messiness, but not take away from
the viewer's ability to still understand what
the subject matter is and what's going
on in the piece.
12. Proj1: Extra Loose, Extra Messy: In this video, we're
going to finish up Project Number 1 and add in our most intense and
extreme level of messiness. So I'm going to show
you some of the things that I do to introduce this next level of messiness in addition to
what we've already done. So the first thing that
I like to utilize are some of the wash brushes
that I've created for you. These ones really help
make the color look like it's bleeding beyond the
artwork itself and its subtle. You can see that the
color is bleeding, but it's not going to interrupt
some of the curves or the forums that
allow the viewers to understand what your
subject matter is. So the first one I'm
going to put near this green leaf because
I feel like this is a nice hard edge
that's calling a lot of attention and we haven't
messed it up at all. It's still super
clean and we're going for super messy here. So what I'm going to do
is grab this dark green, create a brand new layer. In the wash category, you can see there's a
bunch of washes in here. The top ones are mostly
for background washes. If you want to add a background wash texture to your artwork. But if you toggle down into the middle part of
the set of washes, you'll see more subtle washes and that's what
we're going to use. So I'm going to try out
wash Number 23 for this. Once again, just tap it in
with your finger and let's scale it down and place it right around here
and see what happens. I think that looks pretty good, but it's not as obvious
or intense as I want it, so I'm going to
duplicate this and that will double the amount
of transparency on it. Then I can merge
these two together. Just pinch them to merge them. Now we can reposition them if we need to
angle them at all. I like this one
being straight up. I'm just going to plan
it right on top of here. We can also smudge some of this, like I have this dark area, I can smudge this into my leaf to transition
the two together, make them seem like
they belong together. I also need to
smudge this edge of my leaf so it does look like it's bleeding
out a bit more. So I'm going to select that
leaf and smudge that area. Another thing we can do with
this area is at a bloom. So I can grab this
darker green color, create a brand new layer. Let's head into
our bloom stamps. This one's got a little
bit of a curve to it, so let's grab Loom
19 and just stamp it in and reduce the
size a little bit. Now I can plant this
right up on that corner. This edge is a lot softer that you couldn't do with a
painting brush in Procreate, but we can fake it
with a stamp brush based on existing traditional
watercolor artwork. So you can see, now I've
transitioned that edge. I'm maintaining
texture because of the stamp and it's bleeding out. If I change the blend
mode to multiply, I can blend it
more seamlessly in a dark way with
what's beneath it. So tap on the "N"
and drag this to multiply and we can
smudge it a little bit if you have a hard edge
that you're not crazy about. There we go. Now that is looking
really messy and this background wash
is really helping to tie it all together
at the same time. So we've got a lot of mess
happening right there. Let's add some
additional mess to the mess we've got
going on right here, because this is nice. That's a subtle mess,
but we're going for extreme messiness now, so we really have to
mess up this edge. I like that I have
this top corner on the right side of
my artwork being affected and then I've
got this bottom corner of the left side of my
artwork being affected. So I'm not keeping
things symmetrical because they're off
centered on both sides. I'm still creating
a balance with the amount of messiness
that I'm introducing. So let's add some
extreme messiness over here in the same way
that we did over here. We can add a bloom onto this and we'll also add in
one of the subtle washes. So I'm going to grab my brown. I'm going to create
a brand new layer. I want to use a different
bloom than I did down here. Let's try Bloom 23
and see what happens. That's going off the
canvas. There we go. We'll bring it up here, position it up here. I'm already noticing
that I've got an edge that I want to
make messier right there. But this is feeling really good. I like how messy that's looking compared to what we
had before there. Look at how much messier that feels and it still
feels realistic. Let's change the blend mode to multiply and we can smudge
this out a little bit. I also want to smudge that leaf. I'm going to break up
this hard edge just a little bit, nothing too crazy. Now we need to add
that wash behind it. Create a brand new layer. I still have this
same brown selected. Let's check out
our washes again. I'm going to try Wash 19
for this. It's too big. I like that a lot. Let's change the blend mode of this
one to multiply as well. You can see where it's
overlapping leaf. We're also getting some
nice extra lines of texture throughout this and if you want to break
them up a little bit, just smudge a couple of areas but leave some of
that line obvious. We're just adding to the realism
and the messiness of it. I also think over here we need some extra splatter because we've got so much going
on here. I like that. I've got splatter right here. I want some more
of it over here. I want to show you a brush that I made that I really love. So create a brand new layer. We're going to change this
blend mode to multiply. It's in the bloom category, so head into your blooms and it's like a bloom
splatter right here. So it's Number 25. Will stamp that in, reduce the size and bring
it up over here. It's subtle, but you can
see that there's spots of splatter that had mixed
entirely with wet-on-wet. So that is really
making it feel messy. Then the last thing that I'm noticing is down
here, this edge, I think I want a soft
stain along here since I've got some right
there and right over here. Let's check the stain
brushes and see about making that corner
a little messier. So I'm going to grab my green. I'm going to grab one
of the darker greens, create a brand new layer
headed into the soft stains. I want a slight curve to it so I'm going to grab soft Stain 12, reduce that down and
position it right over here. I'm going to change the
blend mode to multiply and reduce the opacity on it. Then I'm going to break it up a little bit with
the smudge brush. Then the last thing that
I want to add to this is just a paper
texture on top of it, so it feels more
like it was painted on real watercolor paper. I'm going to come to the
very top of all my layers, create a brand new layer, change the blend
mode to multiply, change your color to black. So tap on the color dot, double-tap where the black is, and then come into your
brushes to the messy extras. Let's try watercolor Paper 1 and see what that looks like. I've got the size all
the way up to max. I'm just going to paint
right on top of it. If that is not intense enough, you can see we're
adding more texture to all these different areas. If you want it more intense, just duplicate that layer. If it's too intense, you can always bring
it down a little bit. So now it's like one-and-a-half
instead of 2 times. There we go. So that completes
Project Number 1, where we recreated traditionally painted
watercolor artwork and we added three different levels of
messiness in a variety of different processes,
methods, and techniques.
13. Proj2: Setting up your File: In this project, we're
going to be creating a messy style
watercolor watermelon. We're going to use
the same format that we've been using so far. So hit the plus, and it's this default messy, which is eight and a half
inches by six inches, display P3 color
profile 300 dpi. Now we're going to bring in the watermelon photo reference. If you haven't
downloaded that yet, just make sure you refer to the bonuses and install
instructions video. I'm going to come
up to my wrench, hit "Add," "Insert a photo." When it first comes in, the watermelon that
we're going to use for this illustration is going to be this watermelon right here. So I'm going to make
it a little bit larger and filling up more of my screen and more
centered this time. We're going to work a little differently than we
have to this point. I want to show you
another way that you can put down
your base painting, and how you can strategize where you're going to place
your messy elements, when you're working
off of a photo versus watercolor artwork. Deselect, and now we've got
our watermelon in here. I want to make a few
color adjustments to this before we begin
our base painting. I just feel like this isn't
as saturated as it could be, and we can make it look
that much more appetizing. I'm going to come over here
where the magic one is, and select "Hue, Saturation
and Brightness." The color is okay, it's accurate, but I want
it to be more saturated. I'm going to increase
my saturation to an almost unrealistic level, because it's just going to call more attention to it and
look that much juicier. That's why I'm
increasing my saturation all the way up to 70 percent. I'm going to increase my
brightness very slightly, up to 53 percent. Create a brand new layer,
and in the next video, I'm going to walk you through this alternative method for
creating your base painting.
14. Proj2: Base Painting: Picking up right
where we left off, I want to offer an
alternative way, especially when you have a more detailed subject that you're painting of how you can
create your base painting. For this one, we have a lot of different shades of pinks
and whites and reds, and we've got some
black seeds in here. There's so many different
color variations that in order to make
it look more realistic, we want to include as many
variations as possible. But that can be
pretty tricky if we just create an
outline like we did before and then try and guess where each little
splotch needs to go. We can paint right on top of our subject just to give
us our base painting. Then we'll move our source
image out of the way and get creative and infuse
our own personality with the messy style. On the spread new
layer that we created, I am going to come
to my messy extras and choose the Tuesday
water brush for this. We're just going to
start color sampling. I can paint in my
green right here. I am purposely not being
exact with things. I just want little splotches
or areas of color. These are just sections. I am basically color-blocking. I am just laying down the
color I see where it's at and it does not have
to be perfect at all. I just know I've got a chunk of this color right here
so I'll add that in. This edge is dark green,
so I'll put that in. I am just going to come
through this whole piece and you need to keep your
image at full opacity, otherwise, you won't get
accurate color samplings. I know it's going to
be tricky to see what you've painted and what
you haven't painted yet. But when that happens, just come into your layers and turn off your source image. It's okay that you have gaps. I've got a bunch of
gaps between here. It's just going to
make the outcome look more original to you. Don't worry about that at all. I am going to walk you through exactly how to fill
all those gaps in and all the decisions we're
going to make after this. I'll speed up the video and
I am just coming through. I am basically working from
left to right and just changing this color sampling as I move along
and that gesture. Make sure you've got
that gesture turned on for color sampling. [MUSIC] Let's see what I missed. I am going to turn off my source image and I covered
more than I thought I did. It's completely up to
you if you want to add in this hard shadow, I want to add it in,
but I don't want to damage anything that
I've already done. I am going to create
a brand new layer and just paint that shadow area. That way I can easily change it if I change my mind later on. I am painting close to the edge of the
watermelon that way I can use my smudge to pull it out more and make it look
more like a shadow. Let's turn the source image
off and I am good with this. The next thing we need
to do to finish up the space painting is to
smudge all of this together. I keep my source image
off for this entire part. Whatever comes out, comes out, and that's what I work
with moving forward. At least I get all
that variation of color throughout my subject. That's what I am
going for because once we start adding on all of our texture and all
of our messy details, it's going to look considerably different than the
original photograph. I just needed a base
to get me started. That's how I look at this. I am going to come to
the watermelon layer first and smudge that out. Then I'll take care of the
shadow that way they go together more seamlessly since the watermelon is more
important than the shadow. I can even turn
the shadow off if it's distracting for me. I am going to grab
my smudge brush. I am using the bloom
and bleed brush again. It's obviously my
favorite smudge brush, so I am going to
stick with that. I am just going to
move throughout the watermelon and then we'll be done with
our base painting. I am just pushing the colors
that are next to each other into each other so I don't have any hard lines in between. I want all these different
colors to look like they transition into one
another pretty seamlessly. [MUSIC] Hopefully, your hand
isn't ready to fall off your arm like mine is right now. This is just another way that you can put in
your base painting. If you prefer the way that we've already used, by all means, feel free to do your trace
outline and then notate all the differences in color on a trace on the side and then paint in
your different parts. You can definitely
do it that way. This one just gets
you more realism, but at the expense of
your arm falling off. It's totally up to you which
way you'd prefer to go. I've got my watermelon
and don't worry if yours is starting to
remind you of a pizza. When I first created this, I kept thinking like, oh, my God, it's starting
to look like a pizza. I promise it all comes
together in the end and it will definitely
look like a watermelon. Do not worry if yours is on the verge of being
a pizza right now. I am going to come to the shadow layer and we're just going to smudge this one out. I am going to use a small smudge brush 20
percent as I am close to the watermelon because
I don't want these colors to get too muddy
here and I can get more precise with a
smaller smudge brush. I painted this a little further away than I probably
should have. I'm some right here to get
it a little bit closer. But I am going to use a
really large smudge brush for the other part so it looks
like it's a fading shadow. For this part over, I am going to increase
this brush size considerably to like 50 percent and just give
myself these long strokes. Obviously, these lines
are pretty distracting. Now I can smudge these and it'll just blur those
edges a little bit. That's an easy way to do like a transitional fade
that's directional. Remember if you're getting
too far than you would like, you can always use
the smudge brush to push things back out a bit. We've got our base painting
complete now and in the next videos where
this is really going to start taking on that messy look.
15. Proj2: Adding Texture, Part 1: Now for the really fun part, we're going to go crazy
with textures and layering and just really
making this color pop. So we've got that base layer. Whatever we put on top
of it is just going to build color substantially. There's so much
creative freedom here. I'm going to guide you along and show you what my choices are, but please feel free to
alter them and adjust things as you go and make it your
own however you would like. The first thing I'm
going to do is pop in a really large texture to give myself a block of red
color right here. That's going to really saturate the watermelon and make
it look a lot juicer and it's going to add
texture immediately and give us something that we
can also work from. I need to grab a color. I need to color sample like a really vibrant red
that I've gotten here. This is looking pretty
good right here. I'm going to grab that one, and we're going to create
a brand new layer, and I'm going to head into the shapes so messy shapes
and messy shapes 1, they start out with
circles and then lines. But all the shapes in
shapes 02, this category. These ones are all
abstract shapes, which is what I want for this. You can grab
anything you'd like. Let's see, I'm leaning
towards shapes 60, so we'll just stamp that
in and see how it goes. I've got a lot of
texture right here that's going to go over
what I've already done. I can plant this right on top and angle it the way that I
want this texture to show. That feels pretty
good right there. Remember, we can always erase away anything we're not using. I'm just keeping in mind what a real watermelon
looks like and how I want to bring in all those
different tones and textures. I'm going to erase away the majority that's
poking out here, and then I'll just
smudge back whatever is remaining so it
doesn't look like I have any hard edges on it. Let's push this color back. Now is also a good time
to grab our source image. You could use it as
a reference image where you just have a
window with a reference. I'll show you what that
looks like. You just hit the wrench and then Canvas and then
toggle on reference. Then you want to tap on Image, Import, select the artwork
that you want to use. This is my reference photo
and I can zoom in on it. I can move it anywhere on
my screen so I can zoom in. I can plant it wherever I want. I can have it right
next to it as I'm focusing on different details, that can be really helpful. But for me, I personally
don't like using this because I can't
color sample off of it. If I need to grab color
at any point in time which we have adjusted
the color on this. This isn't very beneficial to us unless you want to just zoom
up on some of the details. That's why I don't
use this window, but if this is something that
will help your workflow, then that's how to use
it and how to get to it. I'm going to get out of that, and what I'm going
to do is just grab our original reference image,
toggle over to the left. I'm going to duplicate it. I still have one that's right
behind when I'm painting. I've got it full-size
if I ever need it. But the second duplicate, I can shrink this one down and just have it over
here on the side. If you have extra artwork that's interfering with your artwork
that you're working on, all you have to do is select it, drag it over to the side, de-select, select it
again and it'll crop off whatever was bleeding
outside of your canvas. I'm going to do that
on the bottom too. I just have this little
watermelon up in the corner, and I can color sample
it because this is based on the color adjustments
I made to this image. If I want to color sample anything, I've got
it right here, and I can constantly
be looking at it without having my
artwork on top of it. That's just a choice I made
for while I'm working. If I don't want
that corner there, I can erase parts of it too, just so I have a
nice miniature size, and I can put it
wherever I need it. Moving on, we've got that
first texture laid down, so I'm going to add in
another texture now, and I'm going to
keep the same colors so I'll come to the top. We can change the blend
mode of this too. Let's cycle through some
blend modes and see if we like anything. I like the color burn. That one got really
saturated, multiply is good. I think I really
liked the saturation in the linear burn
and the color burn. I'm going to stick with
linear burn for that. Create a brand new layer. Let's change this
to linear burn, and we'll put another
abstract shape in here. I'm going to have this
one come over here. Let's use shape 64. This one's on much
denser texture. We're going to get
variation in that way too. Actually I think I like it
over here better because I've got this nice long
line up at the top. I'm going to erase
away this extra bit, push this back and
I'm going to soften this edge just a little bit and keep some
of the hardness. I think I'm also going to reduce the opacity of this
one a little bit. I do want some of these seeds to poke through more than they are. I can just erase
away on that layer. I can just give myself
a little hole there and then make it more natural
by smudging around it, and I'm going to do that
on the other one too. Were already adding
a lot more texture. If we look at the source image, we can see we've got this
area, this highlight, that is no longer being
represented over here because we added in
that saturated red, so we're going to take
care of this now. I'm going to grab a nice
light, peachy color. Let's add another shape in here. Create a brand new
layer up at the top. I'm going to leave this as a normal blend mode
and then we can play around with blend modes
and see what works best. Let's check these out. I think with the
shape that this is, that shape 60 might
work well for this. Stamp that in, remember to
stamp with your finger, and then we can position this
right where it needs to go. Erase away this part, smudge. Now let's see about blend modes. I want this to stand out
more than it is right now. Whenever you use add or screen, it's going to make it lighter than the original appearance. It's going to make
it lighter than what the normal blend
mode looks like. I'm probably going to
use screen right here. I think that looks good. I also want to mention
up here towards the top, these are typically your
darker blend modes. When you're using
darker colors and you want things
to appear darker, head up to the top of
these blend modes, and when you're trying
to make things lighter, it's more like in the middle
of the blend mode list. I'm going to leave it
as screen and see if I want to soften any
more of these edges. Maybe just a little bit, but I like some of these
edges showing up still. We're starting to get a little
bit more color variation. Let's return back over here. I see this big
stripe of highlight, and I think it's a really
good opportunity to use one of my favorite
splatter style brushes. I'm going to grab one
of the lighter areas of this pink and create a brand
new layer up at the top. I'm going to actually
head into my splashes. We're going to be using a lot of these splash textures for this because it's so fitting
for a watermelon. The one that I was thinking
about was splash 23. So it's a pretty intense splash. I'm going to stamp it. You can see it's got a lot of splash to it
and you reduce the size, stamp it in there. I'm going to change
the blend mode before I position it because I want it to appear
pretty bright on here. Let's change it to screen. I'm looking at my source
image as I'm positioning it. This is going to give it a
lot of character immediately, right about here and I'm going to reduce the opacity
just a little bit. Down here is looking
like it needs something. If you can't find a
shape that you like, remember that you can always, let me go right above
this layer three, you can always color
sample from that area. I'm going to grab the
soft texture water brush. You can just paint in an area of color if you need a
little extra color and you don't want to
use one of the stamps. Then just smudge to blend it in with what's behind it
and what's on top of it.
16. Proj2: Adding Texture, Part 2: I want some extra
texture right here. I've added that highlight, but I love this texture and
I want more of it over here. I'm going to grab
this color again. I'm going to create
a brand new layer up at the very top, and I'm going to head
back into my splashes, and let's see what we can use. This one's a pretty
big splash, splash 14. I'm going to use this, stamp it on, and then manipulate
it as needed. I think this is going to
work really well right here. I'm looking right at
this area and matching up with the stamp where
I think it'll fit best. I want to show you another trick with these stamps
that you can use. This is a pretty
good position but the edges are really
well-defined right here. I want some of them to be defined and some of
them not to be defined. I can just smudge
an existing stamp. This is like what we
did with our splatters, but you can do this with any
of these texture stamps. It can still look like a
really nice splash right here but because we've
blended it a bit, it merges into what's
already there more naturally and it looks much
more realistic that way. I'm going to change the blend
mode of this to screen, reduce the opacity to about 50 percent and I'm going to come to this
other one that we have. We can use our gestures.
Just double-check. That's it and I'm going to blend out a
few of these edges. I'm liking how this is
coming along and I'm just seeing what else I can do before I come to the rind of the watermelon because I've got some big plans for this part. I just want to get the meat of the watermelon taken
care of first. I think this area right here
might be the last part. That's what I'm
going to focus on. I'm going to color
sample this little bit and we'll put some
texture right along here. Then the main part
of the watermelon will be complete and we
can focus on the rind. I'm going to create
a brand new layer. I think I want a
soft stain there. Let's grab something
that's going to be more on the subtle side
because I want to call more attention to the
red part and the rind. Let's do 11. I think that looks good. This piece right here is matching up with this
piece right here. That's what I'm
looking at. Let's see if we want the
screen blend mode. That seems too intense. I think I'm going to
leave this at normal. In this part, because I painted it in and
then I smudged it, I lost a good bit of texture. I want to bring that back in because when I look
at it from far away, my eye goes right here and
the rest of this looks great. I want to fix this before
we move on to our rind. I'm going to color drop
this area and just grab another shape to add in
there and let's see. I don't think I need
anything too crazy, but I do need a triangular-shaped
to fit that corner. I think this one might work, 73, so stamp that in. That's why I made this
brush set so massive. There will be an option
[LAUGHTER] for anything you need. I actually like
this irregular edge and I'm not crazy
about this part being on the watermelon
but this part is the texture that I want
and I like this edge, so that's why I'm
positioning it like this. I can erase this part, push this back, and just smudge a couple of
areas with this. Let's adjust the
blend mode on it. I'm leaning more towards the linear burn but I'm going to reduce
the opacity of it, so like 50 percent. If you remember earlier,
I painted that area, but I think I want to remove
it just because it's not as textured as the rest
of this and I want to make sure everything
fits together well. I'm going to turn
off the visibility of that one and maybe increase my opacity
now on this part, and I like that better. We are all set with the
meat of our watermelon, and now we're going to
move on to the rind. For the rind, we're going to add a bunch of soft staining. That will really
differentiate the colors and make it look more layered
and less like a pizza. I'm going to come up
to the source image and grab, let's see, softer green and create
a brand new layer. Let's head into our soft
stains and we just want curved ones for this or
slightly curved ones. I think I'll start with stain
11 to do the first level. Turn this. We don't have to fill
up the entire rind. It actually looks nice if
it's broken up a little bit. I'm going to put this right here and change the blend mode. I want it to blend a little
bit darker, so let's see. I think multiply works
pretty well there. I'm going to smudge out this
area and push back where it's bleeding further than I'd like it to go
into the watermelon. Now we're going to add
some darker green, add an area that's a
little bit darker. Create a brand new layer. Let's change the blend
mode to multiply and then we'll see if we
want to adjust it after. Let's grab stain 12. I'll put this one
up here and I'm going to let this one
bleed out a little bit. I'm going to let that be
part of my messiness. Let's see what other
blend modes we've got. I like the linear burn. We're going to keep that. But now I'm starting to have too many overlaps right here, so I'm going to smudge that out. Then I want to make this darkest green
area really obvious. I'm going to grab the green, create a brand new layer. I'll change this to linear burn, and will try stain 10 for this. I'm going to warp
this to try and push this part closer to the edge. Hit "Warp", push this
up and then bring this back and just see how far we can get
here with the warping. I also think I want a little
bit of a bloom right here, that's the same green color. I'm going to change my
blend mode to linear burn and let's just see
what that looks like. I'm not sure if this
is going to work, but I want to try it. Go into blooms. I'm going to try 17 and
see what that looks like. It just felt like it was getting
too yellow over here and I am still trying to avoid
the pizza at this point. Having some green here definitely lets everyone
know this is a watermelon. I'm just going to smudge
out the edge right here so it ends less abruptly. This is so pretty. I'm getting this line
which I don't like, so want to take care of that. Now I want to put
a bloom up here of this lighter color to offset
the heaviness down here. Grab that lighter color. You can see up here I've got quite a bit of
that lightness. Actually, let me color
sample from up here. We're going to pop up
bloom right up there, create a brand new layer, head to the blooms. I'm going to try 23. Before I scale it down too much, I'm going to change the
blend mode to screen. I'm going to duplicate it, make it a little more obvious, but reduce the opacity
on the duplicated layer. I'm going come up down to 30 percent and then pinch
those two together. Reposition as needed, and
then smudge to blend. We've come up quite a long ways in this video with
adding a lot of texture. In the next video, we're going
to add even more texture, start getting into our splashes, and finish everything up.
17. Proj2: Adding the Mess + Finishing Touches: We're picking up where we left
off and now we're going to start incorporating a lot of
our messy effects to this. We've already added
a lot of texture and color enhancements to
the main subject area. Now we need to start
bleeding some of this color outward and adding some extra mass
and textures externally. The first thing I
want to do is plant a giant splash along the Rhine to enhance the
screen that we've got, as well as some of
this red bleeding out. You have to be
really careful with red and how much
you splatter red. We don't want any
blood effects here. We want this to look like
it's related to a fruit. Whenever you're
painting a red subject, always keep in mind, does this look like blood
splatter or does it look like an element that could pertain to the subject like juice
with a watermelon. I did notice I had this line hanging off right here and
I want to take care of that before we add in
our splash and that was on the original painting layer so I'm just going to
smudge that back. Let's add in this giant splash. I think it is time to do that. I'm going to create a brand
new layer up at the very top. I'm going to grab some
of my greenness of greens and let's
find our splash. I'm going to head into our splashes and I'm going
to grab splash three. Grab that and remember to
stamp it in with your finger. That is a little too small, so I'm going to increase the
size and that feels good. I'm going to rotate
this down here. I'm going to reflect this
so flip it horizontally. Move this right on this corner. I want this little slash right
here to be on this corner. Bring it right in there, increase the size a little bit. I'm being careful
because I don't want to bleed off
the edge there, but I want it to be
really impactful. I'm going to try this
and if we need to, we can rescale it afterwards. I'm going to erase
the majority of this, but I'm going to leave this
entire edge that's bleeding off there so I'm basically going to just chop
this just like that and erase away
all this extra. Switch to the smudge brush
and push a lot of this back. Don't worry about the
intensity of this. We still need to adjust the blend mode and
adjust the transparency. I am right now just focused on isolating just the parts of
this splash that I need. I think I'm going to use
this green right here as an opportunity to make it look like color bleeding out from this area and we can do more
with this in a little bit. We're going to change
the blend mode. Let's cycle through
some of these and see if there's anything we like, think I'm going to use Multiply, reduce the opacity and come down to about 75 percent on it. I'm going to reduce the size of this and then smudge to
correct any weird areas. Let's add some wash right over here where the
green is bleeding out. I'm going to grab
the same green, create a brand new layer. Let's head into our washes and grab one of these
more subtle washes. I'm going to grab Wash 19, stamp that in and position
it right over here. That looks good. Change the blend mode and go with linear
burn for this one, erase away any extra bits
and smudge to transition. Now I want to add in
a little bit of color bleed happening right
on this edge so I don't have just the
green and then I've got this darkish red color that doesn't totally
match the watermelon. I want to a pop of
red right here. I think a bloom is
probably a better solution to this than using one of
these subtle wash textures. I'm going to play around and put a bloom in there and
see what happens. I'm going to grab my
intense red color, create a brand new layer. I'm going to put
this one underneath this wash layer and let's
head into our blooms. I don't need something crazy. I just want some extra
texture hanging out there. Let's try Bloom 11. I need to reduce the size. I'm going to go with multiply I think but I'm
going to duplicate this, so it's a little more intense
and maybe I'll change the duplicated one to hard light
so it's a little brighter. I like that better. I'm going to merge these two
together and then reduce the opacity a bit. I'm going to come
down to 75 percent. I don't like the massive
overlap I have on here so erase that back
and then smudge. It's still looking
too dark to me. Let's change the
blend mode again. That's what this is all about. It's just experimenting,
trying new things, seeing what you like best
and what works best. I think linear light actually
doesn't look too bad, but I'm going to reduce
the opacity so it's not competing too much
like I want it to be really obvious that the
watermelon is above this. I think that's a little better. But it would also help
if I defined this edge a little bit more and I can
do that with my shadow color. Let me come back down
here where the shadow is, create a brand new
layer right above it, change this to multiply and use my water brush to just define this
edge a little bit more so it's looking like it has more depth since watermelon
slices are usually pretty chunky and I
think that'll help with the depth that I
need to show right here. This is another way to make
your artwork your own, where you know that you can add something that maybe wasn't on the source photo that'll help
your illustration. Do it. There we go. That's
what I needed. I needed that hard line. I'm going to add a
little bit more to it. I really like what that did to, it wasn't popping up at all
and now it definitely is. All that's really left right now is to add some splatter to it. If you want to add
any extra washes or blooms, you can do that. But this is pretty much set now. I'm going to throw in some more splashes and just remember to be aware of
any red splashes you do. I'm going to stick to
a darker pink color. I'm going to hang
out right here in that area for color sampling, create a brand new layer. I'm going to change the
blend mode to multiply, so it'll blend with
the colors underneath it and head into my splashes. The splashes just have more energy to them
than the splatters do. Splatters are more
like dots in here, whereas splashes have
this intense energy. I really whipped the [LAUGHTER] paint off the brush when
I was making these. Let's see, now it looks pretty good and you
reduce the size. Remember, you can always erase any bits that you don't
want and you can also smudge other areas to blend with whatever
is underneath it. I want to add in some
light colored splashes. I really liked the splash
that I have going on in the middle so I want to introduce that a bit
more in here too. I'm going to grab a
really light color, create a brand new layer and
I'm going to try Splash 18. I've decided already
that I'm going to have directional splash going
this way so I want to make sure any
other splashes I add in aren't contradicting the motion that
this is moving in because these are like
energy slashes in my mind. I'm going to change the
blend mode of this. I'm going to stick
with screen and just erase the part that you can't see and
smudge the rest. I think we already
have quite a bit of splashiness on the inside that's making it look
messy and we've got some splatter on the outside. I can turn off this
extra source image. Let's add a background
texture to it. I've got a light
pink color in mind for it so I'm going to borrow somewhere I find really
light pink. There we go. Straight down here
at the bottom of all of these layers
that we have. I'm going to plant this right underneath our base
painting layer. We're going to head into the
washes and pick out one of these top washes to
use as a background. I'm leaning towards wash
number two so we'll see what that looks like.
That looks good. I think I can even reduce the opacity
just a little bit on this. The shadow that I've
got coming off of here, I'm going to have that blend a little bit better
so I'm going to change the blend
mode to multiply, reduce the opacity just a little bit and we're going
to soften up this top edge, so grab your smudge
and smudge it out. That completes this project
of our messy watermelon.
18. Thank You + Next Steps: So that's our class. If you've made it this far, thanks so much for following
along and for being here. In this video, I just want to offer up a couple of reminders and a few next steps to take your artwork
that much further. First, don't forget
to grab your bonuses. The URL is listed on screen and the password
once you arrive. Make sure it's all
caps M-E-S-S-Y, no space afterwards
and you'll be able to access all the bonuses
within this class. And if you're not sure
how to install them, just refer to the video
titled bonuses and install instructions and you'll know exactly what to do.
For next steps. Some great ways to expand your
skill set is just to start experimenting with
different types of subjects and photos, edit them however
you would like, change them up,
make them your own. If you plan to sell anything
that you're making, just make sure that the
usages for that photo are listed on the
site or you get permission to use them in
the way that you would like. Make sure you're experimenting, play around with different
levels of messiness, different styles of brushes, and different messy
blending methods. We went over a few
in this class. So play around with
them and combine them and see what you like best
for your own unique style. If you're up for a challenge, a great way to do that
would be to create your outline from
scratch instead of tracing on top
of your subject. For those visual notes, change those up too and see how it affects your
final outcome. As always, keep practicing your
layer navigation, your warp intuition, your texture selections,
all of it will improve the more you
create so create. With every new piece
that you make, you're going to see a noticeable difference in your artwork. Finally, our class hashtag, we have two of
them for this one, please use procreateit and messywatercolors
and also tag me. My handle is everytuesday
that way I can find it and give it some love. If you're looking for
more Procreate tutorials in this style of teaching, then you can find
literally hundreds of them over on my
YouTube channel. The URL is
Youtube.com/everytuesday. If you're looking to expand your knowledge of
painting in procreate, I have lots of
information on that over on my website every-tuesday.com. Once again, that free Procreate
for Beginners course, if you just tap on
my profile image, you'll be able to find
that along with all of my other Procreate
Skillshare courses. Thanks again for
being here and I'm really excited to
see what you create.
Teela Cunningham, Hand Lettering + Graphic Design
