Learn how to turn pet photos into pet portraits in Procreate

1. INTRODUCTION : Okay. Hello, everyone. Michael Hughes here, AKA Hug, and I want to give you a quick tutorial on how to turn your pet pictures or photographs into those pet portraits, which look really authentic and cool like this one here. I've just done this one. I'll be taking you through step by step on this same doggie here. You can see this one here actually took me 57 minutes, probably closer to 50 minutes because I've been back on message about, but Yes, a quick process by the end of the course. Hopefully, you'll know exactly what you're doing. I provided all the brushes you need because I think that's quite important when you're doing pets with the fur, it's a little bit different to doing skin. This whole course is a little different from my photos to cartoons one, if you've done that, as that one is a little more forgiving the cartoons. The slightly different process for this because we're going for a more realistic look. Like I say, Hopefully, you've downloaded your brush pack, which is pet portraits. I've given us a splatter brush for the background, just to liven things up, a bouquet brush just to do the bouquets, which you see in so many digital art pieces these days. Some shine for the eyes or the tongue, some soft dark fur and a brushing lightly at the ends we'll be using. We've got some hair strokes. The main one we will be using is the clumpy fur too, which is a brush I made, which is perfect for blending out the photograph and it's nice and wet, not too wet, that it gets too diluted. It's just right for what we need. So it's been specially designed. As usual, most of my brushes are usually based around the blending ability. But some of these are not like the glossy shine is definitely one is right for painting like the hair stroke. With this one, I'm going to be taking you through the step by step guide. And this one is a little bit different and there will be some elements of drawing involved. If you can see the little white hairs here, I've drawn all them in on afterwards. You can see they're nothing technical, that the brush is perfect for it. I'll show you when we get there. There's the glossy shine on the tongue there. And, download your brush pack and let's get stuck in. 2. PHOTO ENHANCEMENT : So, guys, Hugsy here again. Let's get street and then to part one of our pets or our photos to pet portraits. Let's call it. So this is a photograph which I've found of Pexels, is a free image. I think it's quite ideal for what we're going to do because it's a little bit tough. You've got fine fur, which I know can be a little problematic. So this is the photograph, bog standard as it is. No editing been done to it yet. I've also provided this photo so you can draw along with me and do as I do. The first thing we need to do is edit this photograph and get it a little more rich in color. And get the saturation levels up slightly. We're just going to hit edit on the iPad and click this little magic wand. It'll just give it a little pop and bring out some different hues and brightness. Now, as we scroll down, we have lots of different options here. Depending on the color of the animal, you may want to add a if it's a really dark photograph, if you could just slide this brilliance up, it can really bring out a lot more color and detail. We'll be keeping eyes about there for the date. There's no sort set method to this. You just got to go with what you feels right, but our main goal is to make the colors pop a lot more than the photograph. Let's just check out a contrast. That's fine. Let's check out a saturation. It's really low. We could probably push a little more, get some more colors out. I've got up to 29 there on the saturation, if you are following along, vibrancy. Yeah, we can give that a little push. I've got up to 39. Warmth. I think that's quite a little bit cooler. I've got -17. Tint, I'd like to go for a cooler color. Tint, I've gone up to 49 there. I'm happy with that. I don't really mess with noise reduction. Usually just keep it off, sharpness, I'll keep it down. It's only really the vibrancy and saturation, tint sometimes brightness, contrast, shadows. You'll also see black point. If you've got some pictures which are really gray, you can increase the black values. If you want it, obviously, ours has already been taken care of a really good quality photograph. We're fine. As edited, I'm happy with that. That's good to go. I'm just going to double check the saturation. Okay, I I 44. So happy with that. Good to go. Photos ready, done. I'll see you in part two when we prepare to do our blending. 3. CANVAS PREPARATION : Hey, guys, welcome the part two of my photos to pet portraits. Now, this is the part. We've already added a photograph, and we want to get stuck straight in. So we want to be looking for an end result like this one. Let's open up a canvas. I'm going to use a large square, which is 5,000 pixels by 5,000 pixels. Okay. That's going to do me. Open that up. Now, when you download or when you receive your photographs for commission, always keep or duplicate it straight away before you edit it. You've got the unedited version and you've got your newly edited version. What we're going to do is we're going to add them both at the same time. It does this a lot, why? If I close it, go back on, I should work. Yeah. So it non edited, go in there it's only done the one, which I think was our edited, so we'll add the unedited. We've got both photographs there. What we want to do is select both, and we want to resize them both together to keep them at the same size. Okay. Okay. So excuse me if I sniff slightly. I do suffer a terrible hay fever and it's been awful the last few days in the UK can't complain, though, the sun is out. So place your pet wherever you like. I'm going to place out there because I'll be dragging Some of his fur over anyway, so that'll be fine. Okay, so he's going to live there. So purely for reference purposes, this original photograph. You see, we turn it off. There's our edited version. There's the original photograph. The first thing we want to do is get stuck straight in on our layer, the originals off now, and we just want to cut out this background, using the S to Make sure you're on free hand and don't go too mad. You haven't got to go too, you can if you want, if you're inclined to but just loosely and roughly cutting out. Try not to get too much background color like that because it'll it'll play with the colors which we don't want because the main step is getting the correct colors Try to stay inside the colors of the dog. Or rabbit, or whatever you're doing. Don't worry too much about losing all these loose hairs because we'll be pulling our owning at the end in one of our steps anyway. Mang gets to get the mean shape of the pet like so. Okay. And that's where we run out of room, straight to the bottom. If you click in a position, it'll snap to a straight line. If I click now on this circle, it's, we want to hit invert the finger swipe down clear layer. There we go. Dogs ready to be worked on. There's the original and we're ready to go. Just going to do one more thing because I thought I had. No, not sorry. I was going to just pull him down, but it's okay. We'll grab that anyway. There's no problem at all. All right. So that's the end of part too. Our dog is ready to be worked on. So for the next stage, we're going to be going straight in and blending this body, and it can appear tedious. It can appear like a big job ahead. It's really not. You've seen my picture, I just showed you it took me 50 minutes, and I did play about quite a bit on it as well. So with the correct brushes, it really does make it a lot more efficient. So, see you next part, guys. 4. BLENDING THE FUR BODY: Hi, guys. Welcome back to my photos to pet portraits. So we've edited our photo. We've enhanced the saturation and the vibrancy slightly, and we brought out some of those dark tones a bit, so it's a little bit more detailed for us to work with. It's in position, and we got our reference ready. We've cut out our dog, so he's good to go. Now it's time to start the blending. Okay, so Okay. Okay. Click on your smudge tool and you want to be using. The brush I provided hugsy clumpy f two. This is the base brush for all the blending. Check the size six seven, is quite a watery soft brush. It's not as powerful as the ones I've used previously in my cartoons, think be going for a different type of effect. You can see it is quite washy. It does dilute slightly, but it's what we want for the soft painted finished. That's going to be too big for us. Let's try seven. Too small. 11. We're just going to get stuck in then on size 11%. Let's go. When you're blending in, try and work on the darker areas first because more than likely that's going to be the area underneath. The fur. You're going to be coming back on top of it later on. It's always better get the darker areas just smudged in first, and we're just going with the flow. Don't worry about losing certain white hairs and stuff. We're going to be using our reference later to add them back in. There will be some drawing involved, but it's really basic for the finished product that we're going to get. Here, I'm just keeping the colors. And I'm just stroking in. Same as my other one. We're getting rid of that photo fuzz, which because we want it to look painted like a painted portrait. I'm getting rid of that at the same time, just following the way, single strokes. I'm just following the way that the fur is running this dark area there. I'm just going to wash that in there because I'll be coming back over the top, like so. All this dark area here. In fact, I'm going to go slightly bigger for this area. I've just go up to 16 there just to get all this dark area. Washed in. Then we can start bringing this shade down over the top. Just following the flow of the hair. I know it's a bit soft and a bit washy. It's okay. A will be explained. The main focus is not to wash away too much color. That's the main focus for the moment. Don't worry about the little hairs and I just washed all those little white hairs away. Don't worry about them. We'll get them later. That's why we got our reference in place. Just flick up and down, keep some of the brown tones hues he got there. S at the bottom where I cut out here now, S his hair starts to swh over to this side. We'll do the same. We'll over follow the hair. So you can see what I mean with this brush, it's just perfect. It took ages to do. Probably one of the brushes that I've played about with the most because I didn't want it to diluted and too wishy washy. I have to have some power to it, but not too much power. We can get best of both worlds with this one. We can get nice soft fur whilst still keeping some sort of form, if you know what I mean, and the way the fur runs. I'm just going to go up now Try and grab some of these browns. Brush in there. Some browns up there. Some brimby color went down, what we have. Again, deepest apologies if I sniff. It is heavy hay fever season. Unfortunately, I suffer with it. We can't have it all come here. So just going up to there. We'll sort the chin out in a minute. I don't want to get carried away with a chin just yet, because that's going to That's going to have his own part to play. Main focus is the body at the moment. You see he's got a lot of white fair with a lot of brown tones in it. I sort of in all different directions there. Okay. Okay, have a quick check. See what you're up against. Yeah. That's good. Remember, just trying to keep the color. Now, it's very easy if you've got white with this pen to brush in too much mud distort it a bit. That's no problem at all. That's to be expected. Do your best. We'll sort that out towards the end. That's not a problem at all. If it happens, don't panic. In fact, is to be expected. I'm just going to get some of this darker area over this side first. Before I go bring out the fluffy belly. I'm just bringing them out there. This kind of process. I mean, it'll work with all pets. Curly, whatever, this brush will do it. If it's curly, you're just following the curls instead. I know it can seem like a long process. It's really not. It's a lot quicker than actually painting it, I can assure you. And you're getting very, very good finished result to really really appealing and efficient, no matter your skill level. Just going up there now. Get that brown there. Some of them brown black hair. You can remember he had really fluffy wild hair coming off, didn't he? We won't go too mad, but we know where the wild bits are. Just that brown. Brown bits there. Again, just dabbing and pulling. Same as you know, I showed you in the cartoony tutorial. I will be doing another tutorial soon on. I do the more realistic humans. Again, it's slightly different to the cartoon. Same principles, different brushes and slightly different strokes. I'm going to get right in there now to that point. Okay. Like so. And I'm going down slightly. So I'm down to 9%. I don't want to bring a bit of this white to fur over. Like so. And then the black side of the head can just pop over. Like this. Okay. So Now, I'm just going to give it a little once over. Maybe go a little bit smaller and get a bit of that chin hearing. Okay. Adds to the effect when you're going to pull some little hairs in again. You haven't always got to go mad and detailed, things will catch your attention. Things like the fact that we're following the stroke of the doggies hair and it's quite important. Now, we sort of went too far with the black because we wanted to make sure it was going to be covered, so it's going to be covered. Let's just pull out some of this white hair. Just have a quick check where we're going? Pull out some of this white hair. Again. Anymore. I mean, you can see there, for example, if you look at this photograph, it's got the white over there, mine is looking a bit gray and a bit, bit muddy, we'll be fixing that. There's no problem. No problem at all. Okay. Ok. Now, he has got really wild hair coming off. We may as well do it while we're here. We'll just pull them out and swoop them around. Just like our doggie friends got. Oh, what actually happened there. Like that. You can see does get a little bit wilder up here. And I'm sort of if I just grab a pen for a second, I show you kind of in these sort of directions for these loose hairs, okay? Let's have a look just to make sure what's the importance of a reference photo, see. It's not just a simple we're not just pressing a button and editing a photo. You're still putting a lot of work into this to get a nice result for people for commissions or for whatever. As long as they know what they're getting absolutely no problem at all. Okay. I'm just going to go up to the top of this ear and we will be calling this part done. With the brush strokes, I just want to say. It's got a bit of fall off on it, so we will die off anyway. So I'm just pulling the brush off at the end, so be mindful of that. Working to a thin point. If you will. Let's just look at the top of this I've got that wild sort of here at the top there. Lovely jobbly it really gives you that soft beautiful sort of finish as well, this brush. So it really does look like not just any old painting. It looks like a really nicely done painting. You can really impress people with this. Okay, I'm not going to delve into that part yet. That's going to be the next part for his head. You can see where we are and you can see how good it's going. It's a fantastic technique. This is where we are. Now, well, I'm here, we're just going to grab a nice thick brush. I mean, this one will do it. We just want to pull the rest of our doggie over here because he wasn't quite on the page, was he? So we're going to fill it up. Again, you can see minimum method. This is why. I wasn't too worried about the positioning of him in the beginning. He was always going to be filled in. Cumm Just have another little go. Again, you can go over as much as you like. You're going to get it done in double quick time, which gives you even more time to double and treble check your doggy pick. Just before you send it off to the customer or to your family, whoever. Okay. Okay, so I'm just going to finish off this body here. Pull some more lights back over. I've got a bit of purple going on. I like that. I like to have a bit of purple. Goes with anything. Okay. Especially on a black dog. It's good just not to be all black, be a bit boring and a bit amateurish. I've got some big clumps fear coming out there. And I'm just going to go up slightly to vary it up. I'm just going to go with the flow like so. Okay. Okay. So you could sort of really get carried away if you know what I mean. You could you could go full on and create a a masterpiece if you wanted. But there you can see the body is done. That's the end of this part. Happy with how it's going. We've done up to that ear is done. It's just his head and that right here ear now. I'll tell you something now, we're going to be using the same brush, the clumpy fur to, to do even his eyes and his nose and all of his mouth. This brush is going to be used for the entire next part. It's only when it comes to actually drawing in our details, that we'll be switching up. This is how we're going. There's the photograph, beautiful dog mind, really healthy looking. There's the dog. And this is where we are. So we're doing right. We're doing good. And I'll see you in the next part. 5. BLENDING THE HEAD & FEATURES: Hi, guys. Welcome back. So just a quick recap of where we're at. So we've got a doggy photograph of our free site pexels, which provide thousands of great free images. You can use. And we've enhanced it slightly with vibrancy and colors and brought out some brilliance, just to make it slightly different from the original picture. Then we've cut it out after add it into procreate. We've cut him out, knowing that we're going to be going back over the edges with some soft fear anyway. That's just why we didn't have to be too neat there. We've already blended in all of his body and kept all his tones and colors, and we've just got his head to do. Let's crack on. Let's get stuck in now. With the head and that last ear. Size, I'm still 8% 28%. Now, I don't know if this could sort of maybe make your arms ache for some people who are not used to it. Because it's a lot of a lot of this, you know. So I think when I used to start doing it, I think I did get a bit of arm burn. It's it's not a race, you know, put the pen down, come back, certainly not a race. I mean, I'm going pretty quick to try and show you know how quick they can be done and have a video size that's uploadable but when you're sort of doing it on your own, just take your time, there's no rush. If your arms aching, take a little break. I think when I first started doing it, my arm used to ache, but I kind of do 1 hour sitting now pretty fine. You get used to it. Even more. I'm on 7% for around the eye. Using this brush and it's quite a powerful brush even though it's diluted. The content of 5% actually. Yes, a powerful brush for wetness. We want it wet because we want to pull th multiple hash keeping colors as best we can. Okay. And now I'm just kind of doing a little dab push push push along the edges there. I can have a little trick to keep the color there. I just blend out that photograph. Like pupil in there now at the highlight. It's very watery watercolor effect. This brush will give you a beautiful. Really give you a nice painted look nice and washed, gives a beautiful effect. We'll be having another look at the eyes in a bit. You know, nothing major. We're not going mad, but we will be having another look at them. There's one tricky little part done. The eyes are always daunting for out three bodies. So we'll get the other one done out the way too daunting part. De The daunting be you'll find the when you're doing it, there's nothing to be worried about. Nothing at all. What's the worst that can happen? You'll have to double tap. Double Tap, no. So over we go. Sorry if I'm waffling guys. Or helps me concentrate. Been doing a lot of traditional sketching and drawing lately just to keep the demons fulfilled. They do like to wonder sometimes. Again, when it comes to commissions, this is my method. This is why I made it, sufficient quick produces fantastic results. So back to the wishy washing of the eye now, keeping color without pulling color away. Da, you know. Just dabbing without pulling the colors all over the shop, kind of keeping them where they are. But losing any trace of photograph. Like pupil A bit of subsurface there. See if I can grab that bit of pink. A bit there too a bit of blue. We'll keep that bit of subsurface scatter, by the way, sort of next to light on things like eyes and skin, you'll get really saturated colors. Next to lights on skin and eyes on a lot of things actually. Okay tip for you. If you want to really make your pictures pop. Okay, so two tricky parts done, the eyes are done, always the most daunting bit because you know that if you mess that up, your whole picture is not going to look good, all right. Nothing to be scared about. You've seen what I've done. I just dabbed and washed in the colors stayed in exactly the same places as they were, another daunting part of pets is the nose, I suppose. Don't be scared. Get stuck in. I think to be scared about. I'm just going to go straight in now. I'm going in a size four because I want to get this outline. I'm trying to drag the darker colors of his nose around to create some sort of outline here of his nose. I'm not too worried about the little dots and things like that. It's not this style. I'm just trying to get the lights in the darks. We're going for that painterly vibe effect we're going for. It's a beautiful vibe to the painterly pictures. Beautiful. Daba. Try to keep them shines and lights so I know where they are. I'll enhance them in a bit, so they're even shinier. Okay. Shadow by there. Light. A bit of a high light by there. Obviously, we've got a reference anyway, so when we come back in later, we can we know where to put our shoes and stuff. G light in. I go to go a bit six. Just to get this done. Okay. Okay, and I'm just going to do the actual nostril now. Like so there's no little hidden fuzz in there. It's small I like to get this barrier in. Like So the most daunting parts now done. The eyes and the nose. Most daunting parts, probably on humans too, because it can make or break pieces. The tongue, start with the darkest bit. To go a little bit bigger at 10%. It's just the color I'm after. Just the color. Light. Darker there. Okay. Smaller of this back pit, go right up. As close as you can. We'll be bringing them little hairs back over at the end, a lot of places in areas like that, go right up. Wh it all in. Okay. A little bit smaller and back at 4%. You kind of have a rule of thumb, you could kind of stick at 4% for your fine around the edge detailed areas where you want to get stuck in around noses and eyes and tongues and things. You really want to go much smaller than 4%. You maybe a while Okay. And that's his tongue done. Okay. Happy with that. Okay, back to for I'm just going to guess some blend into these teeth here. Try to get all the different tones if I can, a bit of pink, a bit of yellow. Dark area. D bring the teeth back out, wash it over. As soon as you start using this brush, you'll realize wow what a tool for the job. I thank you. I'll just say thank you because I did work hard on this brush to get it to suit the purpose, and there's millions of f brushes and all sorts. But none suited the purpose. So we've got to be a pink gum Dark too. Da da da. Again, like we did with the eyes, we're just kind of doing that dab wash sort of thing, kind of effect. Da push. Really give us a nice genuine sort of effect going on. And Try and remember where you're going as well as you're going, you know, try and work your way navigate your way through kind of memorizing where you've got where you've gone and where you've been. You don't want to be wasting time going over the same area. Not just that, you don't want to be washing away too much color. You want to verblending is an amateur most common fault, I'd probably say, as soon as they discover the smudge, whether it's real life or on procreate, if they got a bit of tissue and a pencil. Myself, I've been there. You still got guilty of over blending and washing away detail. Not everything in life is smooth. Put it that way. Remember that tip here. Okay. I'm going to lose that because that's just a here, so I'll be bringing out back in. Da. I am being a little bit pedantic with this mouth. I'm not going to lie. I didn't do this with my trial run earlier. I did it from up here. So I go a little bit more overboard on the detail to be fair, so we should get a much better finished looking piece. As for short. He's got some darker underneath. This is the last stretch now of the blending. Is right to. I've navigated, so I know exactly what I've got left. It's just right or left, whichever way you're looking at him. Right up to the pink. I just bringing in some suggestions that the hair is running that way. Okay. Ok. I. Let's do that here. Did we do the There you go. Didn't navigate very well, did I? I think we did actually. I think we just rushed through it, didn't we with a big brush, well, bonus. So for this sort of stage, I'd just like to have a little look at. I mean, I'm sorry, I'm just going to blend in these hash cutolines which I can still see, which are playing on my mind a little bit, like that. I want it's soft blend them out. At this stage now we're pretty much done. We've blended in the whole thing. I'd like to have a little recap. We're going to end this part now. I'm just going to have a little stare at it. There's the original. There's mine. There's the original. There's mine. There's the original. There's mine. I'm just going to have a little stare at it. I'll see you in the next part where we'll be adding some details to the doggie portrait. 6. ADDING DETAILS: Okay. Hello, guys. Welcome back. So I hope you've had a good comparison now and just zoned into the photograph and your painting, the photograph and your painting like I'm just looking at it now and you can see that he has got some wild loose gray hairs. Firing off everywhere. We can see our white coat. Maybe not quite as one color white as the photograph. The white around his nose. We can have a little look at that. The main thing, we just want to add some loose hairs, don't we? This is the trick for the next one. The first thing we want to do is we want to open up our reference photograph, and we want to lower the opacity. Let's see, we want to see those hairs. I'm just looking at this hair in particular for now, if I just put it back up. Lo at, little area here for now. I want to be able to see that. If I go down that far, I can see it. I can also see where I'm drawing because I'm going to be drawing on our layer. Sorry, I'm going to be drawing on a layer above. We may as well because we've got the space. I mean, with only two layers in, we may as well. Let's grab a pen. This is the hugs a stroke stunning stunning brush for eyelashes, eyebrows and single has. Just stunning. We've got our brush. We're not on smudge anymore. We're on hair we need to pick a color. Is white going to be too strong? Probably. We can have a bit white, but not for the moment. What we want to be doing is just grabbing a color from over there. It's kind of a yellowy yellow off white is what we're going to be going with here just for the loose ones. Maybe a bit lighter than that. Yes, that's the one. Yes. We got the opacity down here on our photograph and it's a perfect guide. This is why we did what we did at the beginning. It's exactly the same position as we edited photograph. We can easily add what we like. Just going to start adding in. Some hairs. Now, less is more, maybe maybe go with that attitude here. You haven't haven't got to add in every single here. You can see that it doesn't look like I've done anything, but as soon as you turn this off, I have. That's the bottom line of it. Go easy. Otherwise, you're going to be lowering the opacity and smudging it back in. I'm just lowered the opacity even more actually. I'm on 60% there now, and I'm going to go down a touch to 4%. Let's crack on. Following the hairs, just loosely brushing in the way that this fella's hair runs. That's all. It's nothing. And it just adds such a massive effect to the picture at the end. And it's just absolutely nothing. Okay. So mad hairs there going on. Just going to go a little bit white for this part. I want to see it a minute. Let's grab that. Let's go slightly off. Okay. I'm py with that. Very fine hair by there, so. We'll go with that and we'll run with it. Doesn't look like anything's happening. I am actually still drawing on my layer with very fine hairs as you can see, or for the effect. So very fine hairs over here, too. Hasn't always got to be the light to hairs, you know. You can add in some wild darker hairs, too. Okay. So whites. Just a. Just going to go up on the opacity to touch there. I think I want a bit too mad on the opacity. If you go too mad can really see where all these little hairs are. Not all of them need to be super bright and white. Mix it up, said that. I don't really know what I think I pressed the button there, such a such a pro idea. D have a look at that. Yes. That's okay. Probably got a bit too mad. That's what I mean. Less is more. That's okay though. I'm happy with that. We're going to give it a little blend anyway. So No panic done. No panic. Face. We can have some white hairs on his face. Maybe not. Very fine to suggest more than anything. Just to suggest. Let the mind of the viewer do the work. They'll fill in the banks. Okay, look at that bridge, there. And, you know, like I've tried to see before. Absolutely to worry about it, is there. I think the worry about. It's just easy. Just go with the flow. Got a little bit of gray going on there a little bit of gray, so we'll have a little bit of gray, very fine. Just mixing up the stroke slightly. So all kind of running exact. Okay. Hey. Just adds to the effect. I mean, to be honest. Looked pretty cool before we started doing this. To be perfectly honest. Okay. Okay, I think pad struggling yet again. Really is on his last legs, this old boy. Okay. You can see I'm kind of selecting Where I want to draw these hairs. I'm not going to go mad absolutely everywhere. No need. Like that's just way too light. I'm not going to go with that. That's more like I think. I'm just going to suggest. Just suggest that his hair is running that way. It takes all it takes. I haven't got to go mad. I am going to go a little bit more mad though with the white, maybe a bit of a yellowy white. Just coming off his top lip there. I'm just going to use mine for this. Pretty much know what's going on. Just going to be some very fine hairs. Coming over adds to the effect really greatly. In terms of it looking like a drawing, which is what we want it to look like a painting. If we wanted to just to be an edited photo, we just use an app or something. We're putting a lot of effort into this, you know, pro of it. Okay, we're going to have a little. A little go right there too around this chain. Adds to the effect, isn't it? Yeah. Okay. Okay, guys, I'm going to literally call at the end of this session. Pretty happy with it was gone. So at the time, Canvas information statistics with an hour in. We're an hour in now. We're slightly behind schedule, but this is a higher quality piece than what we're usually dealing with. There's the photograph. Let me just turn the opacity up. There's the original photograph of the fella. This is where we are Okay. Okay, so it's looking great. Join me in the next part. We're just going to add some more detail. We're going to bring some colors out and add a bit of depth. Using brushes, no layers, no multiply layers or nothing like that. Just going to add a little bit of depth to the darks and bring out some lights, put a bit of gloss, shine on his eyes, and on his nose. Bit of background, and then we're good to go. Not a lot left. Thank you, guys. 7. CREATING DEPTH WITH DARKS & LIGHT: Oh. Hello, guys. Welcome back. So I've just had a little drink there, so I'm all refreshed and ready to finish off this puppy portrait. So we've done well. I hope you're happy with yourselves if you've drawn along with either my picture I provided or picture of whatever pet you. It's gone really smoothly. I usually does to be honest. So there's our photograph, we are. Now, we're just going to add a bit of depth and light to the dog just to bring some three D effect to him. So we're going to be using our park brush for the moment. I'm going to look at these eyes, and we're going to select a darker tome. S there. And this will come out extremely dark. Let me just on the right layer. Let's go on our actual photograph layer that might help. The opacity. I'm just going to go slightly darker. I'm just going to vary up. I'm going to go way down to just for this pupil lightly brush some darkness around the eye. Not all of it. Obviously, some of it, just to add some contrast variation, adds to the effect massively. Even if it don't look like much While we're there, let's add some light. CightGrab a light part. That's a bit huge. You can see it quite a progressive brush a little bit bigger. We don't need to go that mad. Grab colors and it'll light whatever to hue that you've selected. Let's go back to our dark. Let's see if we can go nicely around. I'm just going to go up this capacities on 70%. My brush is on three. Let's try to carefully go around, so we've got a bit of a nice edge to this nose. I'm going to go a bit. So we got a nice bit of an edge to the nose. And there a bit of darkness in there. Now I'm going down on the opacity. Bit darker around the edge there. Again, it just adds to the effect. It really does. Down on the opacity up slightly. I just add in some dark parts. Where needed a bit darker in there. The longer you take on this part, really make your work stand out. To be brutally honest with you. You could have called this picture done a while ago. But we wanted to do everything, get it all in, show off what we can do here. Okay. So we go a bit darker. Just washing in a bit of contrast, that's all. Once we've done that, let's just around the nose a minute, had a bit of a shadow. Just around the nose there. Again adds to the effect. Light Pick a light color, and let's just start That's a bit too big, isn't it? 5%. Okay. Just washing in some color, something there. 3%. You see you've got quite a dot dotty kind of nose dotty texture going on. So we can do that, my dot Dirty darts, little darts, and this is what's going to give us know effect. Okay, and finally, we will go a bit brighter and we'll add brighter ones in there. Nose done. Dark I'm going to get some texture on this tongue. Not too much, really washy. I just had a bit of depth. Add a bit of contrast. Like so. Little bit just goes a long way, really does. Like the guy's tongue, the guy. Okay. Way too big, some lighted areas in there. It's light? Yes. It's quite light running up against that dark line I thought it would not that much. Okay. Likeness on the teeth. More areas around his tongue. What's going on? I swear I swear that pad. He's snappy with me. He's just snappy with me anymore. I think he wants to leave and have a rest, and I'm not letting him. Okay. Let's add a bit of definition to the fair super soft darken and let's just grab black. And let's have a look at how much opacity we're going to need. Quite a bit by the of it. All right. I'm on 8% very large size. I'm on 70%. Just looking to add a little tiny bit of darkness to some areas. That's all. Adventurous adding a bit of contrast. A bit goes a long way. B there. Bit on his face there. I think I'm starting to sound like is it Bob Ross? Starting to whisper. Okay, okay. We can't play around all day, especially when it's done. Now we're going to add some contrast with the light. So we'll call it the white way down again. You know what? Let's go with our clumpy light because I think it'll give us a better effect. We're only looking just to bring a bit of color in that's all. Okay. Okay. Daddy Dad. Daddy da. He's got some nice shines going on there, isn't he on his forehead. So let's see if we can replicate a bit of that. Slightly. Not that much. It's not going to work, try this lighting brush. Okay. I just wanted to just emphasize some areas like so that's the one I wanted it. That's the one. Okay. Are there. Back to our clumpy bruh original layer. Now I want to make sure the hair around the edges is spot on. Lower the opacity down to where you can still see. But we're going to be working on our layer. So get your blend clumpy brush power, and I'm going to be at 6%. Okay. And I'm just going to be replicating some of this clumpy soft fur, which is coming off. And I'm going to be trusting. What's going on underneath. It's have a little. Okay. Okay. Okay. Okay. All the way down. Now we need to look at our hairs. We drew. Are we happy with them? Or do the opacity need to go down slightly? Maybe take it down. Just a few pegs down to 96. I'll take a soft lighting brush. I'm just lower the opacity, see if we can just soften some of them. We're on the wrong layer. Never mind. Yeah, just trying to just take the edge off some of them. That's all. Some of them a little bit strong. One brush of this sort that out. So you can see, give you a lovely lovely authentic finish. Soft soften guys, we're done. I mean, we're done there. We're happy with that. We've got our strong hair brush strokes going in. We got it all going on. If you want it to just carry on and just pull out a few hard A few hair is off the main photo you can. You don't want it all to be soft. It's good to mix it up. It's good to have the odd odd flailing off really adds to the effect, especially this brush because genuinely looks like hair. Okay. Ok Coke. We are looking good finished. Now we're just faffing. Come back in the last bit, guys. Well, I'm just going to show you a little basic background. I'm not going to patronize you, you can do whatever background you're happy doing. I mean, you could just keep the original background of the dog if you wanted, what was already there because some photographs are nice. G and blur it out. Just duplicate your edited photo. Go and blur out if you wanted. I'm just going to do a basic couple of splatters and some bushes. We'll see how we go from there. Join me for the last bit, guys. Thanks for watching take part so far. 8. CREATING A BACKDROP: Hello, guys. Welcome back to the final part. So we've done really well. We've comfortably turned out a doggy photograph into a doggy portrait with no problems along the road. No problems at all. So this is where we are at. You can see we've gone a bit wilder with some of these hairs on the edges. No problem. No problem. It hasn't got to be exact. This just got to look not like a photo, basically, and still bear resemblance. This is where we're at. I'm just going to check one thing Whiskers. Okay, so Whiskers are no problem. We can add them in. I'm going to do them white, and I'm going to use my hair strong brush. Very small, 2% full opacity a couple of whiskers, which I didn't really notice, shooting off, so we're going to add them now. Got one there. I got a couple coming off there. We've already added some there, a couple of very small ones. So I'm going to go down to 1% for these ones which are just loosely coming off. Some coming off there and there's one shooting off over there, so we'll have it. We will have it there. Any eyebrows? I think we got that earlier, didn't we? Again, this is how I do my whiskers. I always fly them in at the end Okay, guys, we've done. Right. So backgrounds, you can sort of do what you want. I mean, depending on the color of the dog, the style of the photo, what do you think of what the customer wants? I mean, you can kind of go wherever you could go sort of dark backgrounds if it's a white pet, for example, because we got a pretty dark picture, kind of go down whatever road we wanted to, if you will, you could sort of go for a nice blue or green. I love in this sort of color at the moment for backgrounds. Kind of a teal. I think it is sort of color. You know, you kind of go down whatever road you want. You could kind of just do a base color like so. I've added you a little bouquet brush there so you could just kind of add your own little bouquets in if you wanted to. No problem at all. Okay. Give a little blue. Where are we there. Give a little blue, but you just going in again with some smaller sharper ones. Okay. You kind go with save that for. Okay. For the purpose, just to show how easy and quick that back grain was. Once again, my iPad struggling, really on his last legs, this boy. Save image. Ok. Oh, I think I've just made a mistake. I've just added all that bouquet in on a layer we need, and now there's no do. It's not pretty, is it? Never mind. Okay. So you'll have to delete this now. The other option is, of course, the splatter, which I just love. I don't love a splatter. You could just pit colors from your doggie. I've provided my ultimate splats brush, so be very grateful. You could come from behind, open up a new layer and just come from behind with some splats if you wanted mix it up a bit. You could call for that effect. You good. Go for the mad splatter effect. Do you what you want? I think for this example, I think it just looks quite nice with a solid color. A solid color, and some good bouquet. Okay. So good bouquets blurred in. Just wiggle these around with the pen still on and you can get any size that you wish. Any size you wish. Go. I throw a few smaller sharper ones in. Like so guys. I'm going to call that a wrap. There's just one thing that I have forgotten to tell you about, which is this fantastic glossy shine brush. So we're going to be right down on the opacity. White and 22% on the size. If you just want to add on the right layer. If you just want to add some lovely little wet details. I mean, this is the one is perfect. I'm just going to add a little bit of wet down there. It's quite random. I'll shoot out differently every time. Be prepared because every now and then, you'll get exactly what you're looking for. A bit of wet on his nose as well. Why not? But as you can see, it's a funny brush. Really funny. The opacity couldn't be any lower. And it still shoots it out. Add a bit of wet over the bottom of this eye. Like so and so. Lovely july. On the nose there. Right, guys, we have done. All that is left for me to do is to sign this fantastic picture, which I'm really pleased with. And well, sorry, but I'm going to use my brush to sign it. There you go, guys. Thanks so much for taking part. Really appreciate it. He hope to see all your finished doggy portraits, portraits, elephants, whatever you chose to do. I hope this really helps you as well. Thanks, guys, cheers.