Transcripts
1. Intro to Abstract Painting: Hi there and welcome to
my Skillshare class. My name is Avraham and I'll be your guide as we delve into the world of abstract
Abstract Art, it's focused on lying, shapes, colors, and emotions. And not so much realistic
or presentation, offers a unique
opportunity to break free from the constraints
of traditional media. Delve into the realm of
pure creative freedom. Whether or not draw
realistically, you can create beautiful
pieces of abstract work. In this class, we
will delve into the fundamental principles and techniques for
creating abstract car. Even though abstract
Art can have a lot of randomness and reckless
abandon to it, there actually are methods
and principles to be aware of that can help make
your work really shine. Whether you're a
seasoned artist seeking fresh inspiration or
complete beginner, eager to embark on
a colorful journey. This course is designed to
unlock your artistic potential and guide you towards creating captivating abstract
masterpieces. For this class will be
using the Procreate app, which is available on the and
I recommend Apple Pencil. However, you're also
welcome to follow along using traditional
media as well. So if you're ready to explore the exciting world
of Abstract Art, I'll see you in the next lesson.
2. Tour of Default Procreate Brushes: In this lesson, I will
go over the different Procreate brushes and how I use them to Create
Abstract Art. So let's begin first by adding
a background color just so we can see the effect on
a non white background. So let's take this drug is
blue and drop it in here. And we'll start with
the first color. In the Inking set. We have pen dani, which creates a really
beautiful watercolor effect. So let's, let's change colors. Actually be helpful. Goes something lighter. I'm varying the
pressure as well. So I'm pressing hard and
soft and work in the edges. All just one calibers add
in something else here. Let's go with this green. Skirt, it less neon, green. Like this. Here we are answering my screen and put
them together here. Of course, when
you're doing Abstract work up mixing different
effects together. But I just wanted to just
focus on one brush at a time. So you can feel what
that's going to be doing. Depend on your brush. If we put the opacity all
the way up like this. For deeper green, more Standard Oil, standard
against that blue here. So I'm seeing even when
I press very lightly, even though it's a full opacity, we still have a little
bit of transparency. So there's a burst. I find
this really lovely texture. And depending on
how much you press, you'll see that there's a
little bit of opacity as well. Another brush I really
love using is Thylacine. Use me this use all the time. Right now I have it also adds
a little bit with opacity. I recommend you should
try different settings with the brush to see all the different
things that can do. So if I press hard, it makes it a circle sometimes. And if I go lately, so I have these lines, it's basically a line brush, right? That it's got multiple
lines and it adds a lot of cool textures. Let's go. Full opacity. And smaller. And smaller can also
mimic a little bit like, um, like grasses and
things like that as well. If you're doing some
abstract landscape work. A great way to get to Learn
where your brushes can do. See her words very large
also gets a little blurry, as if it's a layer
above everything else. Is that pretty cool? So even knowing anything on
the same exact layer, it looks like I have, it looks like using
different layers already. Suppose if we go straight
lines as well, right? You change the color for that. The pressure. So this is what the thylacine
brush can do. Just by itself. Of course, you can add it with
other brushes as well. Another brush I like in the
drawing section is Blackburn. So Blackburn with applying a light pressure can give you this really amazing
texture. Brush even larger If you press harder, I think gives you this
tip of step effect. And in the small strokes can give you this
rough look like that. Here's what his forces around. If we change the opacity. So we can see what's
underneath it. And we can layer
things over here. Pretty much like grasses. Just like that. Full opacity. And we can add in some flowers. Splitting, splitting the
flowers a little smaller. Then you have these
lines for mark making, varying the pressure
of hard and soft. Larger again, some
splintering over here. All this is with one brush. It's really
impressive, isn't it? So incredible. It always are going Effects you can
create with a single brush. Abstract Nature illustration. There was a third brush. Another brush we can try is
in the Painting Brush set. So let's first add in the background and clean
for the old brush. So this one I really
like to use, tapping, it gives a really cool texture, like tapping or textures. So this might be
the best for you. Let's go ahead and
something else here. Sharing with it the
very painterly stroke when you paint with it. Also, visioning like turbulent waves. See. This is looking
like to go see, we can add in here
and tap on that. That's what we have. This
yellow is gonna be exactly, but we're just
looking at the point. This is experiment the
brushes and show you what we can do with the default brushes that come with
Procreate. A nice effect there. Turning up water or something. Okay, we can make it smaller. I find that this brush, when
it gets to a certain length, to a certain size, it sort of loses the effect. Here. The nice things that the Painting Brushes,
it pulls color. So you can see I'm pulling these oranges and reds
that we made before. I'm pulling them through
to other things. Procreate isn't actually
mixed colors like red and blue together.
Went look like this. Be more than a purply color. But here they haven't
really mixed it, just serve it to the next
because it changed the opacity. Let's go something dark. And this gives a
very late effect. I wouldn't use this as much. I don't think. You
might find it use work. I prefer it's darker. You can see it
shows up stronger. This brush. Another brush
we have is the dry brush This one, when you tap
where it, the texture is, when you tap on the dry brush, the texture is a lot more
delicate or sparse, right? It's very thin compared to
the old brush when you paint with it. Long lines. So this is the type of
thing that you can get when you're using the dry brush. Another brush we can use
is the turpentine brush. Let's see what that one does. This one is a very
watery style brush. They find has an amazing
texture when you tap. Work to do with this
Brushes like to tap it and then pull with it a little bit. So it's sort of like a paint
that is running effect. Let's see when we
lower the opacity. Prey also go with the
stronger opacity, a proper going full
opacity a little more. Each, everyone has
their own preferences and was elected using the tools. The important thing is
annoying what they can do and then you can
apply them as you'd like to the situations you want to get the effects
that you're looking for. Maximum size. Okay, Moving on into
the artistic section. So there's hearts. Let's go post color here. This is a very nice texture. Larger stamp a little bit. This one already has the field. When I'm thinking of
it, Abstract Art, this one shows up. All of this one is
really amazing in mind. But here if I tore the opacity, so we have these textures
and layers like that. Let's see how we make it. A darker brush will be
same type of thing. Well, Very cool. Suppose we can go and
we're here and add in flux like that. So this is the Hartz brush. And then we have Tara,
Leah. Very nice. I love using this for stamping.
Press really lightly. You get different
different intensities. Even though it's
at full opacity. If you draw with it, you get these little
textures as well. If we change the opacity. So then you get a
similar style to it than just takes a little longer
to achieve the same effect, which is more delicate and
what you're looking for. And that gives us just using
the one brush by itself. We can always combine them
and put more together. Okay, next brush. Let's go here. Staying in the
artistic brush set, we have all Beach. And albeit it's got this nice. See that it living it happens, has a tip of the edges, have this multiplier effect. It's harsh, roughness
and it's very cool. Mostly using the Multiply. So if using the Add
effect or something, because it's like really stands out, becomes very vibrant. Take a darker color
and see what happens. We use that if I do a lighter color on it. So I personally went see this as a main brush to do
the entire Painting. Usually drink Paintings you'll switch person's quite a bit. This brush, I think it's
like an accent brush. I can add a really
cool character and interests to certain areas
that are really cool texture, some in different
areas of Painting. And then another brush I'd like to use in the artistic
section is called SASA first. Love the rough edges and the different textures
you get with it. Let's make this full opacity. And you see that even at
full opacity is still giving different layers of levels of opacity based
on what you're pressing. We can small and see how
that works. Breeder. I like how there's little
lines going up in the middle. It's gonna be a little
textures inside. Then another brush is cool. So here, this also has
a really nice texture. Varying the pressure.
Pressing hard and soft. I'm just going along. Some tapping. The tapping
you see is like this. The strokes are very
sharp and angular. Remind me of like rock, the rock face or something. That's, that's what
that looks like. And here for different opacity. It's also looking a little
bit like a watercolor effect. The same thing that
we can stronger complete this nice blending. And these are just the how the brushes are great advocate. We can make changes
to it as well. Using leaking. By modifying the brushes. You can play with things
like that to all the Brushes The goal here is
I'm showing you how we can use the default brushes that already make
really amazing things. Let's will pick. Another brush is under textures. Texture section.
We have Tolkien. What's cool buck
Tolkien is it gives you because you're very narrow, vertical line paper texture. So it's something you
can add into your, your work to make it look
like it was done on Canvas. So I would use
this definitely as a layer in combination
with other Brushes. Just to repeat again, We
definitely like to use lots of brushes for different effects when we are making
our abstract work. Let's pick a dark
version of this. Damping some smaller. I think that you
do this as well. I would primarily be
using it just to play. So that's all
texture to my work. Another brush is in background. Let's, another brush
would be melaleuca. It's also has some
added texture. I find it's a really
nice for stamping. If we change the opacity. So much of a difference when
you change the opacity. But it's good to
know full opacity. So there's, there's
a difference here. Pressing hard and
it's making layers. If I make it full opacity
like this and dark. So starts right off like that. But again, if I can
tap and go something, you can still get a pressure sensitive brushes one so you can get different levels of opacity just by how much you're
pressing the brush. Next brushes, one
of my favorites, in fact, called rectangle. Rectangle I find works
really well when it's large and you stamp
away with it. So it has a harsh edge. But as it fades off. And what I really
like to do with this brush is blended out
because as you can see, it has these little lines in
the middle of every stamp. Which to me it takes away a little bit from
the effect of this brush. So I like to go and
just blurt out. Nice and tall as lines
as well like this. That's how I use this
personal lot like that. But if we're sticking with
just the brush by itself, go like this, we get smaller. See, we can draw with it to me. I primarily will use this
as a stamping brush to apply some very
cool sharp texture, which I didn't blend out with. Another burst and
I like to use that is also not using conjunction
with other things. We can declare here is
under spray paints. There's the splatter brush, which gives a very
nice textures effect. I'm not such a fan
of how it changes in hue. Even as it is. It's a very cool brush to use. And then another brush. The same family as flicks
inflicts is similar. This one, this is much more delicate for it than splitter. And I love the
effect that gives. I'll usually use this on top of Paintings as I'm sort
of nearing the end and trying to bring
some cohesiveness by carrying Colors together
and mixing a little bit. That way. It's a great brush. I can change the size as well, change the size of the brush, and get some smaller flicks to change the opacity for a subtler effect. So there we are 16
different brushes that you can use for
making your Abstract Art. And I'm sure there are more. These are the ones
that I've discovered and can be very busy
when I'm doing my work. If you find other
brushes that you'd like to use and their effects, I would love and
she shared that in the comments or and with the
other students so we can all learn and grow
together and how to make Abstract Art using the
default Procreate brushes
3. Mark Making: The starting point of every
Painting is a blank canvas. And we're the best
way is to start with your Abstract Painting is
something called mark Making. Mark Making has a lot
of different aspects, but the basic idea is to
get any marks on the paper. No marks can be a bunch
of different things. They can be lines, but they can be other
things as well. So let's go over a few different techniques
of how to do mark Making. The first one we'll
say is making lines. So let's pick just
some dark color here and a brush, dry ink. And we're make some lines. Okay, so this one
is sort of like hatching lines or straight
lines that don't overlap. Okay. And you can make them
different thicknesses. If you're a pressure sensitive brushes kept pressure
sensitive brush, we can take the studio pen. It's a ghost, big and small. Light is a little bit different
technique, but whatever. So we have hatching
and then because have cross hatching and
crosshatching is when you start to cover over two in one line and
another one like this. And this is to, to build up areas. And this could already
start to be the basis, the skeleton as it would
for your painting. You can take some colors. Okay, it's been coming
layer, drop underneath. Pick a color, pick a brush, and start painting in areas. And doing something based on the lines that
you're seeing here. So we can serve like
this and build things up and just continue from here. However, let's go
back to our mark Making and discuss little
bit more about this. Okay, So this is already
looking pretty interesting. So we've discussed hashing,
hatching and crosshatching. Another technique that we
could use is called stippling. For stippling, what
you would do is I think we can also refer to as stamping because it's
pinned up down dots. Okay? So if you're brushes, a circular is a circular brush. So you can just put
lots of dots down and maybe different
colors to write it, put in random locations
in different sizes. Actually make, if you want, we can modify a brush and
make the brushes even larger. Let me show you how
we would do that. So let's take our studio pen. Actually, let's go to
the calligraphy pen and the monoline, right? So the myelin has
a maximum size, which is actually here. Let me show you what we're
going to duplicate this, make own brush by X-linked
to left and hit duplicate. And I'll create a new version. The book. Tap on that to it. So what we're gonna do is take
the spacing and team from 17 to much larger max. So now what happens is
when you draw with it, it's gonna be little
dots in the middle. Okay, so you can use like that. But the idea for stippling
or stamping would be just to press name to worry about. It gives you move your
pen back and forth. It's not going to accidentally dropped more than one, okay, so we can take this
and you can step away, stipple away, and
make different sizes, make it big or
small, and Colors. And we can take this
one step further with our brush and say that if this is not
large enough for us, we can go and back to edit it and change the properties
and say maximum size. That is very big. Okay? So now if we're paste with this, typically this is, that
is a very big brush. So I don't need it so large, but that's the idea that
you can change whatever you want and the maximum, minimum. And now we've just made
our own stippling brush. And so there's another way
of making marks on the page. We can do further with
this if you want, is we can make it add some randomness and sensitivity so we don't have
to like right now, every time pressing, it is
always the same size, right? And if I want to change it after manually change it every time, Let's say I want to
make it towards be pressure sensitive.
How would it do that? Can go back to our edit brush. And we go to the
Apple Pencil here, which is pressure and the size. We can make this max. And now what happens when I do is if I
press a little bit, makes it the size
and principles hard. If I press lightly, makes
it one size, I mean, press harder, makes
another size. However, the small size there, it was very small,
very gentle, and big. So now I'm getting
different sizes based on how much I'm pressing. Also very cool. And this
is a very nice alright, that we can also just made more things we could do
if you want as well. We could change the opacity to be changed capacity based
on how much we press. Everyone do that. I'll go back to our brush. And here the opacity
right now said none, which means it's always
gonna be fully opaque. If I choose up to 100% If I press lightly,
it's very hard to see a person more, see it more. All right, so this is a
***** stippling brush. What I recommend
doing is looking at different brushes because every brush as
different qualities, and we learned about our brushes and we can use them to make the pictures we want by understanding what
each brush does. So for example, if I would
go to this blotchy brush, Let's change our color again. So I try stamping or
whatever with it. So I get a feel for
how this works. A burst that I
particularly like is under the artistic section
Kaltura Leah right here. And this, for me, is such a beautiful brush. So let's go pick
another color here. And I haven't had not full opacity because I
want see what's underneath it. You could make it
fully opaque and then it would cover
anything underneath it. But if I do a minor, not fully opaque, and
then we get pretty large. Alright, I'll make
another new layer here. So no, it can stamp it around. And you see here,
what's happening. This is really cool. So I could do is just
for layering that would put down the stamp, maybe not this much of
the stamp at one time, but I would start off with
a medium color value, then potentially switch towards darker one and
stamp on some more. And afterwards I would go
and choose a lighter one again and paste the sun, make it a go more opaque.
Like to call these. You can breed her colleagues,
splitter highlands. That's a very cool effect. Let's look at that. Because this is just
using one brush. If we didn't other Brushes, like Hartz brush and do
that one for full weight. Right? So we have so you just tap away and get some
really cool effects here. I'm just working on this
part of that canvas here. We're looking at
the entire canvas. You can continue doing and
pulling up more things. So this is the effect
of splattering. It's, it's, it's not exploding. You can't really do
and digital medium. But the idea spidering
is throwing paint or flicking paint at the canvas
and see what happens. So it's very random. So the way that through
Procreate though, we have these brushes there
every time I stamp down, it's going to be
in different way. It doesn't show up the same way. So that's a approximation of this type of idea
of splattering. One other technique is
we can call scribbling associated darker brush
again and go to a smaller. Choose a brush that's
more for a fine tip. So it's going to
into drawing here. And actually it's
cool under sketching. Sketching has more
for scribbling, I guess, but we can do
with other things as well. We'll start with scribbling with our six B pencil and just being a new layer and just
start making some random, random marks here. Now we can do something. We could do marks that are more controlled or in guiding the pen and making
some scribbling marks. But you can also go and
pick a different color. Now, go, hold the pen
from the very back. It's hard to press
with it like this. But you get much more
random RAF types of marks because you
can't control the pen. You can also the blue, use your non-dominant hand
and try to draw as well. And that will also give you some very am scribble effects. I'm doing everything
at the same size here. So if I were to go to, will say back to studio pen, which is pressure sensitive, and then start to draw. You'll see now is based
on light and dark. I mean, it'll be larger and smaller based on
how much I'm pressing. And some brushes are even
more pressure sensitive. We can affect her pressure
sensitive brush by going to, let's make a duplicate
of this one. And advantage. And we could do
again is we go to our properties and here
the maximum size is 21. If we bump this up
and now draw with it, Let's go with
another color here. So we can see it. My
non-dominant hand either again. So we can see we're getting much larger variations
in the pressure. And just by demonstrating these different ways of
making marks and mark Making, we've already
started to come with a pretty interesting
abstract piece. My mind went do at
this point is take this layer and change
the blending modes because it's very, very opaque. I like the other texturing, so we're missing a little
bit of what to high. And so if I go to our
layers and I can play around by later with the layers and just move around
and see what happens. So here, see darker
color will start to see some beneath
it. Your burden. As little intense, I can
make the opacity a little less if I want Color Burn, that's introducing some
interesting colors that purples darken, multiply will go into
the later section. Screen. Color dodge. Overlay is looking very cool. Very cool. So the main idea though, is, the first thing you
wanna do when you start Painting is get some
marks on the page. And we have numerous techniques. As we mentioned, it
does hatching and crosshatching and
stippling and stamping, and splattering and scribbling. And these are all different
ways you can create the basis for a piece
of your Abstract Art. Or in our case here you can see it can even get
you most of the way. One other thing I
want mentioned is their idea called graffito. Graffito is the idea of taking these scratching into wet paint. So again, we can't do that
exactly with Procreate. But they have a brush, they have brushes in
the paint section. I think, maybe approximate
that to some degree. So if we go here and
go to say turpentine, so we need to do is mimic or simulate this idea of
what's going on here. So what we're going to do is take our layers and merge
them together so we can, so our brush will
affect all of that. Actually sits. Let's see. I put together, I see it's not it's not
working right for me. So I want to do in this case, we can do is swipe down
with three fingers, say copy all, also copy all
the layers that are visible. And then we'll hit
straight dominant swipe down again with your
fingers and click Paste. So now we'll have a new
painting on top which has exactly the interaction between the layers that we were looking for or that
we were had before. So now in this layer, we're
going back to our turpentine. And if we're going
to be scratching as if for scratching
to what pain will take a lighter color to simulate revealing the
Canvas beneath the paint. And then we can scratch
back-and-forth a little bit. Because even small little brush. Okay, Let's undo that
here in Scratch. Make it opaque and scratch
back-and-forth. Even smaller. Okay. And it's sort
of as the idea of we're pulling
the paint along. See, we get these
purples in here. And the reds. I'm painting
with a white pink diverse the color and choosing
his white nonetheless, because this brush has
some elements of a pole, it is doing something that's approximately what I think
this graffito technique. So you'll see people do this in real Paintings as
well as they'll have their background here
and then it can start to draw something that's
even brighter. I'm full weight here, right? And they're sort of
edge into the Painting. Different things. So here's sort of like a
flower or who knows what? Another leaf, something. It's very cold, it's very cool. It gives you another tool for your toolbox of
things you can do. Of course, we can also pick
a different color, right? If we go with a darker purple
now and do the same thing. So it's gonna be Painting
With this purple and still pulling some of
these other colors around. So the digital, you
have more options than the traditional version. But that is the
introduction to mark Making
4. Ways of Adding Contrast & Visual Interest: When it comes to
mixing Abstract Art, one of the things that
makes it most challenging, least for me, is that we don't
actually have a subject. There's no clear topic or recognizable entity in the
work that you're creating. So because of that, we have to rely on
other techniques make our work interesting
for the viewer. So one of the best ways of doing that is by using Contrast. And this lesson, I'm going to go through
different ways to add contrast to
your Abstract Art. These techniques will also
work in your regular artwork to make them also more
interesting and appealing. Because as we know, looking
at something that's very uniform, not so interesting. The eye likes to see is always
looking for something that stands out and catches
the attention. So where's the different ways you can add contrast
to your work? We can play with the size. For example, if we have here, Let's go to Painting
and flip brush. Okay, so we can
have something that is very large compared with something small
over here, even. Okay, So this is a way
of adding some contrast. Something else we could do is we can play with the saturation. So we can have
something that is very vibrant and contrast with
something that's very dilute. So if we have on
the left side here, there's very strong
color of brown. We can go and dilute it
by bringing it closer to the gray area and
paint with that, let me just happened
to obtain this larger. One way that you can
also dilute things is if you want go
to the adjustments, It's actually for
select it first. If we select this area. Okay, and then go
to adjustments, hue, saturation brightness
and take the saturation down. I think I have to change the
brightness also to make it match what's going
on the other side. But the idea is that you can dilute a color this way as well. Somebody else we could
do is we can have sharp versus blurry objects. So here, most of
the objects we have at this point are
very sharp edges. But if we want to add in
something blurry, Let's go. And I think the wet acrylic is a little more in the
blurred side, right? So here the edges
are not as defined. We can start adding
in things that are slightly different in style. Coppola's, it's
called back in again. Next. So this is a way of
Adding Contrast by having blurred shapes and
sharp edge shapes. Another thing we
can do is we can add in color temperature. We can have warm
versus cool colors. So for example, if we take warm clothes on the color
wheel are usually from the, the yellows to the
red over here. And the cool colors
are on the other side, these purples,
blues, and greens. Okay, So if we start off
with something over here, let's go with a
nice warm yellow. And let's pick up right
at Nico role here. And then we can
add those yellows. And to contrast that we can add in something in the cool side. So let's go with this purple and make it a little smaller. To show the real Contrast, you might need larger
areas of it as we're playing with different
things at the same time. So let's look here. Okay. So we have things
go on, like this. Yellow in covering up the
whole area over there. Let's begin. Okay, so this lets
you know, okay, Also what we're looking at this, we have lights and
darks because in fact, let's just switch to this
brush here and here. So this yellow is very light, and this brown is
very dark, right? So we have a conscious
of light and dark way on right here as well. Another thing we can
add in, there we go. It started to as well as we
have Contrast and texture. We have this yellow is a rough texture over here
versus compared to it, like these other areas
are very smooth. So we can add in texture
like that as well. Another thing we're going to
add and do is line quality. So if we want, we can make things that are
smooth lines like this. Smooth everything
Contrast that with jagged lines. Here we are. Also, um, we can Contrast, have a Contrast because
right now we're doing diagonal lines that we can contrast that with
straight lines. Let's go Adding a straight
line that what we'll see they over here and right. So now having
straight lines with our diagonal ones, I wish
I'd like to do that with. It's the opacity a little bit down to see what's
underneath it. Because I tend a little bit of texture road texturizing
here, layers. But we see here we have straight lines and
diagonal lines. Another thing we can
have Contrast with is the fact we have
lines versus shapes. So here we have some of these lines and we can
add in shapes if we want. And another thing
we can do is we can vary between
the line thickness. These look like
relatively thin lines, but we can actually make even thinner lines and make them thicker than In that sense. So let's go and get
resample already here. And if I added it
really thin lines, once a second school,
I didn't brush. And by doing this, those thin lines have now
become artistic lines. Look at that. So no, right, those lines that looked so
thin before, much thicker. So that's an example of very various techniques that we could use to create Contrast. And by going through
the example, we can't with a
pretty interesting looking piece of abstract Art
5. The Meaning of Colors: When it comes to Abstract Art, while there might not be a
subject per say, in my mind, color, please, such
a critical role in the final look of a piece that I always consider
that a subject. So I wanted to go
over in this lesson a few different
meetings that color has when we're applying
colors to our work. So starting with red, red is a very warm color
it in the spectrum. And for me, it's folk's
feelings of warmth and love. It also can mean
anger and danger. It can also mean passion, speed, strength, and energy. So these are all made
different meanings and feelings that can come
up when you're using red. Next color, we have pink. So pink is a very
feminine color, a very gentle color of nurturing and caring
and expressing love. None the same level was red, but it's the
affection that color. The color orange is a very
cheerful, bright color. It expresses enthusiasm
and creativity. It's a very optimistic color. And then kind of stuff
onto your piece. Yellow with a color that
expresses liveliness and happiness, energy and optimism. Attention grabbing color and
really pulls the eye to it. Green is a color of
environmentalism, Nature and come. They can also
express harmony and freshness, durability,
and well-being. The color blue is
often associated with piece loyalty, reliability. But also called us and winter, because this color is on the pull side of
the color wheel. Purple is a very special color that's associated
with sophistication, royalty, magic,
luxury, and power. The color brown is engraved, earthy color associated
with Nature, endurance, relaxation. Also, confidence and reliability in gray is a very
conservative color. What about being serious? So too old and
uninteresting color that I wouldn't use too often in my work because we're
colorful things. But if you're going to
evoke a feeling like that, this would be a color
to consider using. And then we have black. Black is a very dark color. May times associated with
something more turbid. Death for sure in the nighttime. Also, sophistication and
elegance for melody, and also power and strength. And lastly, we have wait, wait, a color of
representing purity, cleanliness, piece,
innocence, and simplicity. These are the ideas
behind colors that you can think about when you're exploring
your abstract piece and laying down colors. And one of the cool things about Procreate as opposed
to traditional media, is that we can use
did adjustments, sliders to make changes to the Colors and try out
different ones and see if maybe a different
mix of colors or blend brings out
the work even more. In the end of the day though, it really just comes down to your personal
preference and feel, especially when we're
doing something like intuitive, abstract, you just really go into the flow and feeling the piece
as you go along. There really isn't
a right and wrong when it comes to Abstract Art.
6. Full process: Abstract Painting: Hi and welcome to my
channel will be making this intuitive Abstract Art using only native
Procreate brushes. Let's begin by
creating new canvas, 4,000 by 3,000
pixels at 300 DPI. And we'll see if I start with a, I'm liking this dark bluish
color, blue, turquoise, teal. And what brush we'll start
with dry ink right now. And I start off with
doing is mark Making. Mark Making is just
a way to avoid blink paper paralysis is that you're not really
sure what to do here. So I'm just to try to take
my pen, my Apple pencil, hold it towards the back and
just do some random lines. Okay. So it is I don't really
care how it's coming out. Just trying to fill the
page a little bit though. And here we are. Very good. First step, right from here, let us go and pick
a brush marker. Okay, let's see what
happens with marker, and we'll put it here, will change the color
slightly brighter. Very cool. Then we go over this. The cool thing about
marker is that it has a, It's a blend in it. So as I go over the
previous lines, you see that it's
not hiding them. So, you know me on
the same layer, I'm getting this layered, even though, even
though the same layer I'm getting this layered effect. Once they, I see though it isn't have a pressure sensitivity. It's it's very blatant where the two where I lift up my pen and replace it again. So I'm to take my blender and I'm using the
charcoal block. I'm going to go over
here but, and tap. Okay, Wow, beautiful. Okay, and that's going
to put a little bit of a transition between
the two areas, which I liked very much
when kids go in here. And let's go adding
some more here. Like this. This is
really went well. This is a mercy and love
potential with this. So I'm just going to
continue with the same, I'm trying to keep
the same colors. I might imagine we'll go with
too many wild colors here. And we'll see some sort of filling this end
using these lines as a guide is you
can tell I'm also nothing so particular
if I stay in the lines. Look a little better,
but I'm going for the look I'm doing right now at least is not as precise. More messy. Sometimes, even though we're
using a digital tablet, testimony they didn't look
so digital is also cool. So let's go back to our blender. You can also push back and
forth like that squishy. But I liked the more
of the texture look. I'm a texture guy, so tapping away, okay, I'm at here. Ten. We get a little bit bigger,
maybe see what happens in a little too much for me. If I get a little bit where it mixes the Colors
back-and-forth between them. I can also that, okay, good. I think we've just a
little bit more of our brush in one more area, maybe two areas
about here and here. Then add in a little
bit more dark and blended it and
looking very nice. Okay, very cool. Let's go with a new
layer and put beneath, because I wanted to hold
onto these, these landmarks. But I want to switch now
to the Painting tool. And we were going to try, Let's see what happens
with old paint. This one's going to have a
completely different look. It's gonna be very painterly. Look at that. Look at that. There was a mixed
with the layer above because rent different
layer but male mixing soon. But right now I'm doing
something similar of using the lines as guidelines for Painting
shapes filling the area. And I really like
is how it brings in the background color, white, and sort of blends
it in sort of like a paintbrush mixing
lot of texture. Right? So that's a cool, really nice sum over here. I'm trying to
balance the Painting by putting these brushstrokes distributed across the canvas. As you can see,
I'm not Paintings directly next to each
other too often. And I wanted to put a balanced like I have to on the
top and on the bottom. And the previous marker brush we did also, I moved it around. One more over here. Just having FUN filling the canvas and playing
with the shapes. These paint brushes that
come with Procreate. They're still cool.
It works so well. I love them Okay, and now let's
go warmness of a little bit with
some lighter green. Let's try this green to happens. Tapping and placing here. I'm doing a tap and
drag with the brush. Because different effects using the same technique in each
of different sections to hopefully bring consistency. Now, I'm going to switch
down to turpentine. A little bit brighter
brush and tap with that is if really tapping,
tapping paint. It adds a lot of, I love the texture
of this brush. Here we are. Over here. Change the
color just a little bit to simulate that
when you're painting, you get different effects
in different places. It's not always
exactly so uniform. Digital. If you don't change, the
color is not changing. But in paint, every time
you mix the paint and read up your palette,
pick up more paint. So you get slight variations. Unless using a pure color, but that's a pure
color. It's boring. I wanted to do pure
colors all the time. I really liked the
idea of layering and creating
interesting palettes. Thinking things
visually interesting. I don't want work on
this too much just now. I want to continue
building up other things. So let us go and switch brushes. Yeah. Another cool brush in this set. Let's see, Let's try Salamanca. I've used in the past about
number so well how it works. But there's a good way
to learn how to what your brushes all about, right? This is a very delicate
color right now. I can't tell if it's doesn't
work in full opacity. Like the market brush
we used earlier. Or this is just a very
light and close to white. So maybe that's what's
happening here. But I'll put this down here.
I liked the color though. I think it's a beautiful
color and very subtle and can be a
good basis for things. So I'm going with it this year and a
little more over here. You have to worry about
this layer because this is not the same way
as our paintbrush. The other Painting like here, it's going to refer
a little bit. Now and go from
here. Let's keep, let's now switch to
something a little blue and see what happens. The light blue is a
very delicate brush. I'm gonna make it darker
in a moment and then, and see what's going on here. But right now, it's very cool. I'm linking the contrast between the darks
and lights also. I think that helps bring out some more interesting
thing at the picture. Alright, so here actually I lifted my pen and
when it came down again and add a little
bit more darkness. So that's cool, amigo. Add that in over here to sort
of like the paint strokes. We can see the paint, the paint marks here. Okay, Now for the
moment of truth, we're going to make
this much darker bang, okay, and add in some here
and see what happens. So I can tell you that
based on the color I chose and what's coming up
on the paper or canvas. So it's definitely not a
full opacity type of marker. Brush. Look, I'll Dark Ages. And this wasn't showing up here. So I suppose if I
layer many times, I'll get this, but
right now I'm not. So let's go over
here and let's the changes just a little
bit here, like that. Okay. Cool. I want to do I personally, I'm very familiar
with which I highly recommend everyone
get to learn about is rectangle under
the texture is set. This is an amazing brush. This is so cool. I love the
swatches and when it has a tendency to look a
little bit like a stamp. So because of that might make
a new layer so that I can blend it out a little bit to hide that element.
But watch this. This is a very cool brush. It's, it's such a cool brush. See right there
will happen there. You see those lines and spaces in-between
that negative space. It's very clear that i'm, I'm stamping a brush to
get rid of that problem. As I said before, I'm
going to take my blender and this time not
stamping my blender, I'm just going to swirl and apply a blending brush to blend it in a little bit
more of the background, but retaining some of
those strong lines. And I could delete some of where it's overlapping
the other layer, but I don't mind if I do later, maybe elbow, but we're
looking, I'm looking for this. I'm liking the effect right now. And so it's gonna go with it. Okay, cool. I think in this area with
these a little more. And so we're going
to do something brighter here and blend
this in just a bit. Having that one little
line there is okay for me. Looking nice. Okay, let's blend all this
together so far I can, I do want to keep which
letter has the lines, these lines, I don't want
blend that in because I want to lose those
lines at this point. Maybe I'll do something later, but right now is we're ER and time to move on to
the middle area that Let's go we're going to
go in this area right now. Okay, and look at this
color we could do here, so it's that color and what's
a little greeny I see here. So let's do an add
in some green. And let's try talking.
See what that does. It looks like if I
add some texture to it does have some texture. Okay. I think we're going to
play this, this tape. I have this texture, but
then we're gonna use a paintbrush to serve
hide it a little bit. Okay, so let's go back to our paintbrush
Painting and we'll take the oil paint again and see if that
will pull things along. So it will make the brush, yeah, So here it is hiding a little bit about texture
and blending it in. I'll make my brushes
a little bit bigger. A little bit. Okay. It's not achieving the
effect I want so quickly, but we'll go that right now. And another layer or another
brush effect afterwards. See, let's click this to make some file the shapes a
little bit so it's not looking so just like random circles and sort of brought that blue
and that's so cool looking, loving that. Yeah. I don't find that Procreate
has real blending and mixing of colors. If you put like this, what would you call this, even? This orangey, this dark orange. If I have a better name
for it some point, but right now if you mixed
orange and blue together, you get gray because they're opposite and come
on, the color wheel. Procreate doesn't
really do that. It will just pull
the colors together. And so you have little bits of blue and green together here. A blue and orange together. Here are green also, but
just putting the colors in, it's not really
doing any blending. You put yellow and
blue together, you do not get green. These I've and found that
if you know what to do it, please leave any comments
I would love to hear. Because that's a be
a very cool effect, to be a blend in like that. At this point, I'm
not seeing it though. So whenever each medium has
its pluses and minuses, if you're using traditional
watercolor after it dries it also I don't
think blends in so much. So it's not unique to Procreate. Just as happen more
often I imagine. Okay, So let us go to a lighter color here
and green again. Just a little bit of
green. What I'm trying to do things unconsciously. But the idea is, as I said, blues and oranges are complementary
colors on the color wheel. And so while you
don't necessarily want to mix them together, because that would
create this dull gray. But if you use
them side-by-side, so then they accentuate one
of each one, the other one. Extra Contrast similar to
how these darks and lights, right, right, and how these
darks and lights on our page. The blues are very
heavy and full. And yet the oranges that we
have here are a lot lighter. So it's also a Contrast
idea. Let us go. Another brush that I've used before is under
artistic to Talia. And this is also a very
nice texture brush. I'm going to write
on this layer and see what happens here. Those bad choice, but we'll
just call it for now. Let's make a new
layer on top of that and make it totally white. I can blend that
in a little bit. That's looking so cool. I love textures. I brushes
that every time you use them, they act a little bit
differently and unpredictably. So it serves like a
watercolor effect in work. Well, you don't know
what's gonna happen. You put the water in the paper together and
just enjoy the show. So I enjoyed Brushes
like that where you get these really cool textures and just enjoy how things develop as you're, as
you're playing with it. So here of this, I'm going
back to the previous layer and blend this
part a little bit, also, looking
really, really cool. Okay, I'm liking this a lot. I want to add in a
little bit more, right? Sorry over here to break, but we can blend It's incentive
layer here like that. And over in this area also needs something doesn't
little bit stronger tab sometimes for something darker, I mean, for more opaque white. And if I type gender, it's less opaque,
more transparent. So if that's what
I want to do now, I think is merged these layers again and add a layer
above everything. We're going to what
I'm considering a finishing brush under
spray paints and flicks. But I loved doing is
taking the Colors, Making a little bit lighter or darker than
what I just chose, and then spring them on here because flexor
a little bit small, Let's do a little bigger. Let's won't, Let's
continue a different area first, here and there. Now let's go really light and really big. It's a
little bit here. That's really cool
looking, look at that. It's like paint splatters. It's a very cool,
you can always get where you want because
it's a random. When I liked the random, since it's on different
layer though. So you can, if you
want just erase, we don't like like that. Or you can take your blending brush and just make it a
little more subtle. In those areas. Like real paint effect where like whoops,
you've made a mistake, then going grab some
paper to dry it up. We can't completely blow it out. So that's an effect you
can also have over here. It's up to you, your Painting. Okay. So I've got the splatters. Let's continue with
some more suppliers. I'm choosing colors
that are in the area. So it looks like the paint, the Brushes Just a little
bit messy or whatever. Look at that. Good. Okay. There's a little bit
a little bit too uniform, so let me just get rid
of that a little bit and come down just to hear. Okay, and then we're gonna
go again with some brighter. You see those at all? I don't see anything. Let's go over here to see it. Yeah, there's
working over there. All right. That's
good. Blend this in. Let's see, over here. I'm almost erasing it
and planting so much. I like over here, this area
I'm working right now. The way these yellows, these greens are coming onto lips are going right
and top of this blue area, it looks like the water or
something like bubbling water. Okay. So name of the game
for me though, is sort of like
subtle and delicate. I don't want be
overpowering in your, in your face too much. So I'm trying to make it
sort of like a texture of a sort's looking very
cool, really nice. Okay, and let's go
for something white. And where do we want this? Smaller again? And we'll go over here. Gentle. Wow, look at that. So cool looking,
loving this effect. Okay. Okay, I think we have
enough of that right now. So let's go Adding
something else because I think it's still
need something. Let's go make a new layer here. And what brush do want to go to? Aa, I know, I know there's another brush that
I've used before that I really like it's
under the inking and it's called silencing. This is a very cool
brushes for me. I love it. So I'm doing
it not full opacity, doing quite large, fairly large. And we're going to put in
once what happens here, this is a really
cool line effects. Look at this, Look at that. I'm adding it in. It seems like it's
working really well in the darker areas here. And I think I want to make another layer on top of
everything so we can actually see it on top
of our, this layer here. And I'll make it, let's go
different color a little bit. Let's stick in the blue
family a little bit. And none a blue doesn't
show up enough. Let's go back to
where we can do. Yellow was my initial thought. It's not like that
yellow either. Okay. There it sits better. Here. This is a very cool
mark Making effect. Your next, OK, and now
we're going to blend it a little bit. Some areas. Well, my earlier that would
be wise not doing anything for their look at that. And then some texture. Okay, I think I went to, I forget how many
brushes like this. I love them so much. Okay, here. Good. Now that we've
reached this point, it's not blending and also
it must be the other layer. Where was it losing myself here? This layer? Yeah. Okay. Actually,
I've set up I made a shortcut that can figure
out what layer things on. If I press and hold
on the little button, the color picker button. If I press and hold on it and then tap with my pen on a layer, it shows me what layer
I'm, I see that. That's very cool. And if I hit more than one thing, I
think it'll show me. Here. It'll show me if
there's more than one thing. So now I'm on a layer that
is being affected by two, I want to section of
the Painting that's being affected by
two layers and I can go and select either one. And then once I've
selected it, now, anything I do on that layer will happen specifically
on that layer. See that very cool way of looking at how
do I set that up? So if I go into the wrench
and then Preferences, Gesture controls, I think it is. Layer select. The area that makes sense under the layer
selected menu option. I've activated the square plus Apple Pencil so that
invokes layer select. So you just turn it on and then you have this option.
So I like it very much. I, I don't use it very often, but there are times it's totally saved me because if you
have a lot of layers, I don't always work
without layers, but if you've a lot of layers, you can easily find what
you need to get to. So that's really
helpful in any case. So what we are doing
right now is I am merging these layers
and these layers. And we still have
this one here which has the mean lines on it. I'm still debating when do I want to start to put
that altogether? So let us Let's try. Okay, I'm going to
merge everything. And then I can take
the blending brush and start to blend a little bit and blend it out just a tad
and see how that works. Sam. No, I'm not
liking this right now. I think it's maybe
premature to merge these layers or just
undo that little bit. So I'm doing to leave
unmerged or layers. But I'm going to take
everything on top. Let's see. Let's keep this layer
underneath ellipse group, which they move it down. Here we are. And we're
going to put in some more. I went, this layer is gonna
be on top and it's going to essentially cover up those lines if I paint anything with it. So let's go back to our textures and rectangle and bring this in and
tap away with that. Very cool, Very nice. Okay, So again,
my goal is to be, well, that's crazy there. I will see what happens
if I blend it up. Okay, Let's cool. Blend it with some areas here
first, tapping blending. Look at that affect. Look at that. Don't always
remember where I did all my previous strokes. Now, that's good
because I'm just looking at it to
see what do I like. So here though, this area was a little bit
too much for me. Just erase a little bit there
anywhere I can tap away. And I wanted to go, actually, let's go to that
layer now and template here. That's looking good. Yeah, Well, that's a nice like water effect, like there's too much
water gotten to it. It was the mark I used
is water-soluble. And then as I'm playing
playing the paints, it's blurring it out. So that's, that's the
effect I'm looking for. Nothing to mechanical
or digital, looking, trying for
the digital look, even though we're using
a digital tablet. But that's when the
beautiful things about Procreate is you can fit all these amazing
effects and looks. And so that's what
I'm doing here. I'm trying to, I hope. Okay. Why am I liking is more
than wedges a second ago. I don't know, but I'm
enjoying it. This is good. Okay. And over here, when it a little bit Blindness. Oh, good. I think here's a lot going on. There are bitter over
humanly that line. So much. That's happening
inside of here. Cool. Okay, So I
want to take now, I'm thinking this dark purple. Take that dark
purple and we'll go and add in some more
marks with this. So what should we use? I think we'll go back to
our very first brush, which was, it wasn't
six B, they think. Okay, is this purple? It's
not really going purple. I do want make it purple and
dark and on its own layer. So let's put it over here. Adding a little bit more about
that line, but whatever. Okay. And what were
some things out? Plural, a lot of it
out. See lifted it. And we're done with this. What's like erase
the whole thing. Maybe it's gonna, it's
gonna give any effect Over there. Over there. Okay. So see how that looked.
If I go before and after. Yeah, there's a little
bit going on. There. Brings, brings the idea
that actually this part, we want to blur it a little bit and it's part of my
blur a little bit. Yeah. Okay. Good. Anything else? So I think we're about
rounding up here. The Lord will lower
right corner. I want to add a little more in. Just go back to this layer
and choose this green. Make it a little bit darker. And for will go back to the tar. Leah dropped it in a little bit. Good. That's coming
on top now. Okay. And a little more
over here maybe. Yeah, That's good. Nice. Maybe a little bit harsh. Something more that
more than I like. So I can do a combination
of darker and lighter and then
blend them together. And that sort of
sometimes fixes it. I think also maybe we'll
do a little bit more of that is flicks and
that will help. In this area. I think it's bigger again. No, Not yet. Not yet. Let's go and darker and flicks. And this area there
we are like that. And go for some later. Let's go add those colors
also in down here. I'm liking how that's looking. A little bit like that,
and a little bit of this gold, darker and smaller. I think also leave some
white or off-white. Yes. Very good. That's looking great. Great. Okay. Blend bummed land. I think the whole point was that over here, sorry, I
missed that point. Carried away. Oh, cool. Okay. Anything else? Tough, right. Also need some more something but I
don't want to do flicks. I keep it contained
with different things. So let's go to or
textures again. Tango, yeah. And choosing blue color here. My new layer by layer
enough they can blend it. Does the important thing. Okay. Purple is purple balance
out a little bit. What's happening on the
left side of the page. Also, tap. And I want to do some
more turpentine tapping, Painting and turpentine,
a new layer. And we'll keep it with
this dark purple. So big. Nothing there so much. I want to focus it on this
area, these things. Some weight or late purples. Very nice here. And then because on this, this arrow over here, I'm not so particularly fond of, so I'm gonna go and
take this darker purple and drop it in as well. I think we can
also get away with under inking this tyrosine
again, thylacine. And put a little bit this in here. Very nice. Okay, I think this is
really good and we're done. So thank you so much
for following along with me and this process. I hope you learned
a bit about how to use Procreate, the
different tools, different brushes that come needed with Procreate
and how can use them to make your own original abstract
pieces of artwork?
7. Full process: Abstract Nature Painting: We'll make another
abstract piece of art began with a new canvas, 4,000 by 3,000 pixels, 300 DPI. And if you want to
set up yourself, you go to the wrench
icon and then Canvas, crop and resize and settings. And over here you can put in the dimensions that you like. I try keep it 300 DPI
just because that means it's better print quality if
later I want to print it. Okay, so what do we
want to start with? I like to reduce
the screen size. So you can see the whole
canvas to start off with. And let us pick a color. Because some deep blue. This what brushed we
want start off with, let's go with let's
try something. Underpainting. Dry
brushes because the large brush and one
from back of the pen, just some nice lines here. I'm pressing quite hard and then lifting up excuses, nice marks. I like what's going on here? Okay, try to think
about composition. Maybe it's ultimately
lead to competition. Some contrast here, more concentration on the
left side right now. So you have that. And then we're going to stay in the blue cool areas and
adding who will do that? For another back-and-forth.
Over here a little bit. Let's look here. Move something good for later. I have a tendency to break. I like to use analogous colors. Those are close there, on, near each other on the color
wheel, or monochromatic, staying within one color area and making little more
towards the white, the number towards the black, and staying in that area. And it gives a harmony
to the picture. Here. Switch to a different brush and different color
called oil paint. Leaving some white. So cool. I like that one. That looks really cool there. Even though my color is blue, it looks like I'm painting more weight than anything else. I didn't yellow as
an accent color. Maybe. I'm getting a
little close to this blue, which is almost like purple. So the careful because when you bring complementary
colors together, you end up with some
muddy, muddy gray. I don't want that. We want to do something a little
more splattering. So the driver was
the old brush if I split her that you're
looking at, Wow, look at that texture.
Brick-and-mortar. Wait, wait. Now, cool, very nice. I like what's happening
here. Let's go to a new layer and add
in some meaningful, do some, some, some lines. So we don't have any
lines right now. So let's go with under
drawing and the sticks. It will go back to the
color like this and get a little even darker
and paint this on. Paint is on but like a, apply some of this to
see what happens here. We're cool later
or stay with this. Let's go to the Blackburn brush. Get some cool textures. Like what this
Blackburn brush is. It's a little bit
like a charcoal. It's got this cool
texture gone here, but if you press harder, then it's got a different look to it. A few different options and
how this brush behaves. Some building blocks,
texture on the left side, the right side is
still a little bit. Block. Still needs more work to do and look to see how we
can combine the picture, this picture into one
uniform picture as well. Orange. Orange,
again, warm color. Let's make a new layer for that. And it's complimentary
with the blue. So we have a few different
complementaries going here. I know I spoke about
monochromatic before. But compliments you also
gives some nice contrast. And so blue and orange
are complimentary, and yellow and purple
are complimentary. So we have a few different
things going on here. It seems style here
that went for dark, medium and light tones
of the same color. That's sort of my style
when I'm painting. You encourage everyone
to experiment and find their own what works for them
and what they like. I love abstract art or happy accidents and
experimentation. That's sort of the fun of abstract art is let loose and try things
that you wouldn't necessarily be able to try when you're trying to do something
that's representational or a particular subject. I'm liking how this is
looking like another layer and trying to focus
a little more on the rights of the painting. What, what can we do over there? So I'm thinking if we go
to spray paints splitter, we'll see we've taken
the problem with the splatter is
that the color it it it's like keeping the
ones specific color. You see it's adding a bunch
of different colors in here. So if I want to change that, Let's go and make a duplicate of this brush and make
our own version. So we're going to slide to the left and click on duplicate. Now we have our
customer spotter brush. So we're going to click on
this and we can edit it. So first of all, this,
the brush I see is a compound brush made of
two brushes put together. Nonetheless, you can only infect code dynamics on the primary
brushes at the top one. So we're gonna go and check that out and see what
the situation is. So I see here stamp color, jitter and stroke
culture or both. The hue has a jitter, which means it's going
to change colors. So let's, let's make
them both to none. Now we're going to click done, and we have our new brush
than this one should have no color variation
when I use it. Here we are, I see that. So what code do I use? Let's go with a blue. Something, a blue color here. Yeah. Beautiful. Colored blue. Later. Why? You don't see much at all. Came back to wipe. So I like to do, I'm calling
these splitter highlights. The add-in. It's like a stamping. It gives
a highlight effect. Okay, Good. Looking, pretty cool. What
else can you add in here? I think I want to
merge everything now. I'm happy with how
this is looking and we'll continue
with the new layer. Another brush. Let's
go with inner. Try some new brushes here. Not so familiar
with phrasing it, but we'll see let us, so we're
gonna go a little warmer, little more for the green. And places don't do something. Pressing hard and late, trying out different, seeing
how this brush works. Like how there's a little bit
of texture underneath it. They can see through. If I press hard, you
don't see anything. But if I press lately, it's like what's
happening underneath it. I'm not such a fan of the blood. And I want a little more
texture going on here. So it will keep drawing on. We'll try some other things. Mainstay with this
might not be evolved. Brush is very cool
for mark-making. I like the texture here a lot. I think we'll do is we're
going to go blend it in. I'm going to go, they're pulling things in. Haptic blend things in
with the background. Let's go for it again later. Almost Spearman color and see how some standing
we'll do in this brush. Next, I'm getting a little bit takes texture going on here, which is working out
well for me. I like it. I'm going to do now for
the thylacine brush here. And let's add that in to a new layer and put this
on some of these lines. Let's make it a little
bit larger, more opaque. One of my favorite
brushes for your brushes, but one is okay, and let's pull in some
other colors here. Let's get some purply blue I'm sort of running it through
the whole painting to give it continuity and bring
across also the lines. Get a lot of action. This is very cool. Let's go now. Waiter, I like to
do, It's not enough. I don't see that.
It's really wait. We are. Here's something really cool. One thing I didn't like is
this one right in the middle. So undo the second end here. Next. So at this point, I want to look at it a
little bit and see is there anything that we can
add in or what's missing? So what I'm thinking
about is in the top, we can add a little
bit blot for me. The texture is just looks at that initial paints that we did. I want to add in some more. And maybe we can pull
this bright yellow again and go back
to what Bush was it that we were using a think it was the old price and
we're stamping away. So we'll try that
because it's always fun. Adding some white,
lighter color. Pure white. Here, like that. Yeah, good. Lead the eye from the
top part and we've connected these
areas a little bit so it's movement and flow. Now, let's do something. Maybe on the lower left
we have this orange. I'd like to make it a
little more vibrant orange like that. Yeah. It's also a balance
of light colors. These warm, bright colors
to bounce off each other. Now stamping in a little bit
of watercolor Like that. Yeah. Beautiful, Really nice. Okay. Sometimes you're making some art and it's just not working. And that's okay too. It's merge these
layers together. And another layer, I think
on the bottom right, I'd like some more happening. And we can pull in some of
this darker purpley blue. And let's go with
oil paints again. It's not really well
people look at that. Not sure about this,
but try it out. And pulling in from the
other side of the canvas is like almost erasing it,
which is through a cool. Let's go actually
read something here. Erasing with rectangle
and large rectangle. That's good. That's
a cool effect. Too much. Okay, we
have that and then we can go and do something
similar on this side. Let's change the color
up just a little bit. Because in real life, you can't always keep the same colors. When you're mixing paints. And erase again with
that rectangle. Type it in. Really cool. Alright. What else? I think I think there's a
little area that we can still add some more
with another layer. And later yellow. They do a lighter yellow. And we're going to use our rectangle and put
that in a little bit. Let's Dance, working
well, and this would seek to this
brighter orange. I'll be over here
and also bring it in and blend it a little bit. And this will be maybe some continuity between
the two sides, even more subtle. There we are. Good, okay, now, merge
all this and let's get the turpentine brush
larger and weight and pull along some areas. Over here a little
bit more also. Now I want to go and edit a little bit more texture
in that area going. So let's go take this
dark blue, purply blue. Stamp this in a different layer for us because we might be blending like that.
That's good. Yeah. Uh-huh. Good. And then we can go and blend in a little bit later, stamp beautiful texture, and then we'll do
more over here. The same idea. The
lighter blue again. And also with this,
blend those together. I think I'd like to put
some thylacine back in. So to a smaller version. A little bit. I would certainly
this picture right now, I'm starting to feel
it for a little path leading towards the sunny area. And so I wanted to try to bring
it out a little bit more. So let's go with a darker color again and back into
drawing and Blackburn. Let's add a new layer and
try something over here. Not full opacity. So we will see
things beneath it. The layering effect, we'll
see how that's going to break more passively later. Or blue. So I like that. You're actually
could be good to do it at different passenger. White. Now, maybe we'll add
some to the scene. Let's hope not so intense. And maybe a little bit of
this orange color as well. So for that, I think
I'll go back to her old brush and tap in and puts a new layer
just to see how things go. It's smaller, some brighter areas, some darker. And really break to
match the break, we have this on this side. So by putting these
orange and the blue together with the
complementary color to make one, makes it stand out
much more about. It could make it muddy. Or in this case, I'm hoping that it makes one stand out more
against the other will bring me to also
for something that's a painting and go through
serpentine at that layer. Darker. This one erasing but
actually placed it. Okay. So here is a picture
that I'm pretty proud of. I think it's looking
really nice. And I hope you enjoyed
following this process.
8. Thank You and Class Project: Thank you so much for
taking this class on creating abstract
art using Procreate. I hope you gained a
deeper appreciation for abstract art and learn
some new techniques and principles and discovered
that's actually quite fun and enjoyable to create your own pieces
of abstract work. I would love to
see what you made. So be sure to upload it in the projects and
resources section. That way, we can all enjoy seeing each
of those creations. I'd also love to know what
brushes you found most useful. So please add them in the comments along
with your paintings. If you upload your
work to social media such as Instagram,
you can tag me. I'll be sure to give you a lake. Let me know what you
thought of this class. But leaving a class review, I'm constantly trying to provide better content
for my students. And feedback is very
important to me to know what I should do more of and where
I still need to improve. Lastly, please follow me
here on Skillshare to be notified of future
class releases and other exciting
Skillshare information. Thank you so much for watching and I'll
see you next time.
Avraham Nacher, Photographer & Procreate Artist
