Learn to draw Funky doodles

1. INTRODUCTION TO FUNKY DOODLES: Hello everyone and welcome to my new tutorial. I've decided to call this new, this new method or style, funky doodling. Because that's exactly what it is. We're sort of not getting too serious with details. We're letting our expressions free. We are creating some fun and exciting pieces using this style. So here's one I did just previous to making this video. And you can see it's kind of loose, but it's vibrant and bright. And it's still looks good even though it's loose. So I'm gonna be taking you through a few methods because we're not just limited to buildings and landscapes. We can use this method for anything. You could draw literally anything in this style. That's why I was so excited to get it shared and share it with you lot. I provided some brushes which are going to help us through this sort of carefully crafted for this specific style. Yeah, So I hope you guys enjoy it. We're going to start off the class. First off, we're going to learn the actions and the functions of the brushes I've created. So knowing when to use them and et cetera, et cetera, how to use them. Then we're going to get straight into the line art, which is that part. And then we're going to learn how to best do the color. It's really simple. It's not like other videos I've done which are quite technical. It's a fun style suitable for, for everyone who is suitable for the experienced artists want to just try something new, right down to people who have literally just purchased their first iPad or digital art application. And they can pick up their pedestal and get straight into this. So yep, so join me in part one, guys and we'll get stuck in. 2. HOW TO USE BRUSHES: Okay guys, Welcome back to part one of funky, funky doodles or funky doodling, whichever I decided to call it in the end. So the first thing we need to do is I've provided you with some brushes for this class. I'm just going to quickly go through some of them brushes. There's nothing special, nothing fancy. Maybe one or two. You may need to be taught on. But most of them are just generic brushes, quite wet. And I'm quite size variable, so we'll have a look at them. So the first brush I want to show you is the lineup brush, which is what we're gonna be using. First off, I've created this one which is hugs the ultimate lines, ignore the 112 is just because I've got it in other categories. That's all. So this is the first line art brush, and it's just a generic pressure weighted brush, which so of gets thicker. The harder you press. It's got a nice bleed to it. We go for that real genuine inky look. I mean, you could even put it on a paper effect Canvas if you wanted to. I'm gonna be working straight on the actual procreate canvas for this one, it's very, you can get some really thin strokes. Some really thick strokes using exactly the same brush size. So perfect for what we want. Really lively. Sketching brush offers a slightly different finished look. It's more similar, but it's more, if anything, is a bit neater. It offers that sketchy pensively sort of effect that the finish is just an alternative. It works along exactly the same lines as the other one. Only it's got a bit of flow on it. So the lighter you press, the lighter, the brush strokes or B, whereas the other one is more inky. So it's got a bit of a tilt to it. Tilt it. You'll get a bit of a bit like a pencil. I mean, it's my sketching pencil, which I've just included into this nosy blood. If you could do that. Right. The meanwhile, I think we need to learn these two, which are the two colors. To color brush. We're gonna be working with both colors up here. And I'll show you how it works rather than try to explain. So let's say we wanted pink, sunset or sky. The color will be a more orangey, say, lighter color like this. So we've got two colors up there. These are the two colors that our brush is going to be using. The harder you press, the more you're going to go into the other color. The color you've got selected up here is the color you're going to start with. The lighter pressure. The lighter pressure would be that color. The harder you press. You're going to start going into the other color. So you can start with whatever you feel comfortable. You can start with the darker one if you want it. In which case, the lighter, you press harder for the other color. It's just personal preference. You will probably find that you will stick to one method that suits you. I would like to personally start with the lighter, press harder for the darker. It's kinda what I stick to. So that's how that works. It works best if you're doing C or sky and you want to just put subtle changes and it adds instant variation. So you can add lots of lots of variation to your colors. Without picking and choosing new colors and blah, blah, blah, blah, which is super bowl you want because we just want quick, quick fire funky doodles. So that's that one. The other one is exactly the same lines. That's the softy. In fact, I'm just going to rename this now right here. So to color. Otherwise, how will you know? There you go. It's exactly the same as the last one. Works on pressure. Like so. Okay. And that's how they work. I've added one of my favorite all-time brushes, my soaking. We soak in water colors, which is from my water pink SAT. So I've added that in for a bit of a static and a bit of background noise, you do some good blockchains and it's just there if we need it, don't always need to use it. Provided some brush flux, we want to add a bit of a static inky paint splatters, whatever. Good old fashioned round brush, which is my round brush. And I've added that in as well, just for the **** of it. So there you go. That's our brushes. So join me in part two where I'm gonna be showing you exactly how I start. These are really quick. They're not long, tedious processes, like with the portraits where you need to take a bit of time on certain things. Super quick and fun. You let yourself go. You haven't got to be neat. So grab yourself a coffee. Join me in part two, and that's what we're gonna be starting the process. All right, Cheers. 3. HOW TO DOODLE A STREET: Okay guys, Welcome to part two, which is technically part one. We're gonna be starting the process and I'm going to show you step-by-step how I do this. So like I said, this process works for anything, not just landscapes, houses and scenery and things like that. You can literally draw anything in this style. Which is why I've added a couple of miscellaneous random things just to quickly show you. Now, let's start with, let's start with this one, which I've just done, because a good one to show to start things off. The photograph where you want it into the middle. Like so. Lower the opacity. And we're good to go, go up a layer. Select your line art color. If you notice where I'm just deep blue, they're quite unsaturated. I want that authentic inky color. That's why I'm down there. And let's get going. So I'm going to show you two ways. Sketching first, going to find more, right? So what I like to do is start thick. As we can see you as we taper off, I'm not gonna be good doing the whole picture because that took me 30 minutes just now. So I will take up most of our video. I'm just going to quickly start so you can see my strokes and how I'm doing it. So let's start off. Less. Pop in and literally just go with the flow. Draw quick. Easy strokes. Neatness absolutely is not wanted for this method. Not at all. We're just enjoying ourselves creating some good old-fashioned. Yeah. That's what we like. And always be all deadly accurate. Too stressful, anything like that. I don't own extent mistakes. I mean, I live there. It's up to you at all. It's kinda fits in with this method to be fair. They mix it up a bit more authentic. Try and be pretty with the strokes. It's a difference with doing this loose style. But don't be all very much the same, same, same holding the same pressure and taken off or lines like that? I mean, I wouldn't look pretty tried to stick to clean curves and lines. And it'll give you a nice finish, a really nice finish. Just gonna do a bit of this house and I got a bit of income. We'll move on to the next one. We're not going to be doing a full masterpiece here, just to teach you guys the method dream pipes. So I'll tell you now that when I usually do it, I usually use my inky brush, which is the ultimate lines one over this one. But I wanted to give you a quick look at this 1 first. Then I'm gonna do it in the inky lines so you can see the different facts you get canvas around so that you're always comfortable, never go into uncomfortable positions. Were super sort of keep the same repetition going. Again, young gonna be perfect, but just to get those nice strokes. Not really too fast on the details. To be honest. I mean, if you wanted to, you could go nuts and really go for it with this. And you could keep it will get it right and get it right if you wanted to. But that's sort of start drifting off into a different kind of style. If you go to meet, you start drifting off into the it's got to all be perfect scenario. You can glean about a bit of it perfect. So that's why this style is better. It's all messy and it's all loose. So fun. Messy is the wrong word, isn't it? Fun is the word, start to drift day and I'm probably going to lower the pen size just to give it a bit of variability as I go further back into the picture. Okay. Just get a little bit of this side. Now, I'm not going to be lying in the sea or anything like that. That's going to another paints do that. I'm just getting the sort of building structures in place. As you see it goes fast as you want. It all looks good. Pushes down there another night because we're getting a bit nearer now. I think just gonna do this a little bit and I'll finish off for that part. Please. As Louis slew slope fun thing about these sort of things is boost to character. It brings character to a piece, reads those. So you've seen, I've done there as long as that taken. Besides showing you the brushes and stuff with 30 minutes in, I probably spent eight minutes without explaining the brushes. So we've got a lovely, lovely base doodle to start painting. Start painting. We call the layer below. And this is where the world's your lobster. You would just have some fun. If we just quickly grab our reference photo and bring it to a reference just so we can color, pick and stuff. Okay? And if we grab a brush, I say are two colors softly. Let's grab a local color of our photograph, like so. So that's one color. Next color, we want something similar. I don't believe so. Kinda go a little bit lighter. So I'm just variant and C. And I will go even lighter on that one, even darker on that one, starting on the darker this time. Because I want to get some of that in harder. I press it to the theory. Okay. They probably think that looks all for what she could do it grab your smudge or I'll add it to smudge it out. I haven't added it yet. Okay. No drama. Biggie. Gone. Okay. I'll be adding this, smudging. You pick softly blends so that'll be included anyway. Let's just give it a little. Nothing much, only the old phone strokes. Now want to take it all away from it. Just like that. I'll do sky, a scrubber, local color. Let's grab a lighter color to that so we can see where we are on the hue. You want to go near there. Maybe go to gray to white. And let's go a layer above that line, sort of starts the case and they wouldn't be working in that box. Let's just begin. Let's get lots of variation. Maybe a bit more gray, a bit more blue. Just really not care in the world. More blue, less gray. Mixing it up. Give me a good smudge. Like that. Looks like a nice whites will get added. Some nice white breaks in the clothes there were just try and get a bit alarming. Okay. We'll do that. We'll do our background is in place. Now we just want to do the buildings. So we're going to do the same process layer above. And you can color them you haven't got so you could just delete and I'll show you what I mean. Gabby, as tool. I'm going to show you, first of all, I'm going to just merge these two together. I like to keep it clean. In fact, I'm going to call an end to part one there. I call them apart one there. I don't want to bog you down with big long paths. So join me in part two. We'll, I'll show you how we approached the buildings. The background was the easy bit. Okay, Cheers. 4. HOW TO DOODLE EVERYDAY THINGS: Welcome back guys. So if you remember in the previous part, we started our process of a picture. We managed to get all the line work and I will call background in as well. Just while we're on the subject of background, I want to show you one little trick. I do use some times just to add a bit of cloud break, Sunlight, breakthrough, things like that. So go on a layer above and just just pop in some white some white cloud breaks like so. I just want to show you how we use this. So give it a little smudgy smudge. We do. What we can do is go to bloom. And we could just bring it out. If you want. The drum got to go nuts. You could just blew me out a bit and give it a Gaussian blur. Just to get some, some clay bricks and lights that you can use that in any scenario just wanted to show you that's all. Buildings. Go layer above. And whatever color your buildings are going to be. Select the local color. Going creamy. Color there. Get your S Pen, has shaped tool, and I'm not unfree. Go to free hand and have some fun again. To worry about being too neat. Same principle as our ally. Not just loosen free, loose and free like so. Not really. I mean, I didn't really finish that part down there, so I'm just not even going to let it entertain me. Yeah. This is how I approach that. That's just get rid of background and felt. So we got that sort of thing going on. See where we're sort of working now, let's highlight everything a minute and I just want to shimmy it down a touch, move it down a touch. Like so. And I want to blend in some of that background to be so dramatic. I mean, you could got this now we can alpha lock it and we can only work within buildings. So you could keep it. You could make it white and not even color it in if you want it like this. There are a lot that adds quite a nice effect to be fair as a really quick, quick RT doodle. If you want to do that, what I would suggest is to just blend out some of your edges which you want to, want to be on alpha lock for. And just, just soften some of them just to give it a bit of a genuine genuine luxuries, not too sharp. So now you can leave them, stick their stay at that if you want it to. Just add a little bit of color, which is what I did on my last one. I just grabbed some green. Grab some more green. Grab a two color brush. Just dab, let's go a bit deeper. So starting on the darker color, the lighter I press, the darker, the harder I press. We're gonna be going up to my lighter green. Just adds, it's just a speedier way of just adding variation to your colors. It's nothing more, nothing less. I know there's some yellow is on. Hello play with maybe some orange flavor. Okay, So that's kind of the process. Once I've got a bit of debate of painting, I usually give it a bit of a smudge over just like this. For static, you could throw some brush, brush straight back, flexing if you wanted to. Okay, so that's one method of our do it. And that's how that method looks compared to the inky brush lines, which is more dramatic and thicker. And thinner because of the shape of it. I did actually complete this one though. So it's a slight variation in the style of loans, whatever you're going for. But as you can see, we've spent minimal time on this and we create something quite, quite attractive. 20 minutes, probably about 15 minutes max. It took us to do and it's great fun for cards and just letting go sometimes when you just want to draw and release your brain. I do it most mornings. Okay. Let's move on and quickly do something else. Let's add another picture in. Um, we got this, We got my daughter's prom. Random miscellaneous. Funny shape actually, isn't it? So drag that up a bit. Make it a bit more to normal. Looks funny. Okay, kids prompt. Lower the opacity. Upper level. Grab a pen, whichever one you're going to use. I'll use the inky one this time. Such as thick as a bit heavy. The middle. And off you go. Yourself. Enjoy yourself nothing, nothing too heavy. Keep your strokes attractive. Don't have no sharps, stops. Let it flow. Which is easier to say than do, but you will get there. This looks fun. Curves like that can be a challenge. They're actually easier with the sketchy pen to do curves and things. If you do struggle with this one, just skip the sheep, the basic shape of that clip. So the base bit of a funny angle, this photograph dominant wrote to me now my circles and then you could see, look, this is how we want it. We don't want perfect circles. That's boring. It's not interesting to look at is boring. So there are some spokes to get in. Spokes. I had some really fine lines now just put a bit of interest. This is just trying to accentuate the flow of the picture rather than anything else. Just randomly adding items. Just adds a bit of a bit as something should we say. We've sketched out there now, you're probably thinking, wow, that's a pretty bad drawing, but I'm sure you're not. You can see that it's fun slightly. It's just looks like a cool sketch to me. Let's get some color straight in. Grab the reference. They were funny shaped. Prime minister took it on widescreen or something. I don't, I don't know. Grab the local pink, which is the baby pink. And a secondary color is going to be just a bit deeper there. And let's use the two color Sharp Brushes time. Why not? I'm starting on the darker of the two pinks are the harder I press lighter it will get. So you know, that, that's how I like to do it. You might prefer the other way. Start with the light and press for the dark. I mean, to be honest, I don't really think about it that much. Which is sort of whatever when I'm last on is kinda what I would do. Let's go a bit darker. A bit like that. Now I'm on the light. You see whatever is up there is light light pressure. Yeah. Some light likeness and then that's a different pink altogether as and as more and more electric is more electric. So we will, we will go more electric too. But let's just give it all a big smudge, smudge your G. So let's remove that because I wasn't intended. Okay, we got some whites and grays now. Been white. Bit of a darker white. Let's just let's just put the spokesman. I wanted to do this one because I just wanted to show that you can actually draw anything with this. With this style is really, really versatile. It's a sort of graphic designers have been still, they still use this style to this day to design their cars and stuff. It's obviously got something in it. It just creates life. Let's go a bit whiter because wheels are actually waiter spoke. Okay, we got a bit of a pink going on. Pink clip there. Right side, a bit of depth and shall we the dark gray. Some areas just to get some variation going. This other bit of lightness to the matter. You could use whatever you want to add the lightness. I would use the software. We're just going to add some highlights. Certain areas. White. Give it all smudgy, smudge. Background noise if you wanted, or you could just add some static pink splashes wherever you want. Obviously, it does look like a funny shape prime because the photograph was quite, quite distorted. So it's not great. It's not great. But it is what it is. And that's how you do that. Join me in the next part. What everyone did that too. I just didn't take long at all, did it? Let's have a quick gander. Luck. Eight minutes. Eight minutes to create that little fun piece there. I know it's not the best, but just getting you used to what the process is rather than how it's up to you then to put the time in whatever you wish. The next part we'll draw a, another scene. 5. HOW TO DOODLE OLDER BUILDINGS: Guys, welcome back. I actually had another little goal, spent another ten minutes on another parameter. We also took a little break and I think it's just an oddly shaped photographs. So it wasn't really given us the real vibes. So let's go straight in and do a, another scene. In fact, it's doing a landscape. Landscape berm see. Well that looks pretty, pretty cool. Lower the opacity. Get your ink color. Ink, pen, whichever you're going to go with this one. I go in. All guns blazing. All guns blazing. Not care in the world at this moment in time. Really good for the field of mental health. This process. Mrs. actually loves doing this as well because she's did you still enjoy coloring which candidate and stuff? But this is sort of a similar along the same lines, isn't it? You work in the same brain parts. You just mindlessly that can stressed going with the flow. And that's the key to this whole process is flow. The word twins foliage can be a bit of a challenge to be fair. Kind of works its way out. In the end. Just kinda bubble and double around. The outlines is how I do it. Windows. Be careful if you do at some point, we're going to take a bit more time on this part or that part risk than losing the style. I've mentioned before, you start to go down into a more serious architectural type of style which has to be all that way, then doesn't really work. It can work. If you if you work out, it can be cared for. So I'm saying rough road in drifts off it back around foliage, grass. And we just got pure scope down. You just got roles and roles of trees in the background. Let's just add some, some fun, some fun lines to the thing. So long is that going to sketch that out? You've seen the effort that went in. It was minimal. Three minutes. Three minutes. And that's with waffling. And we've got a fun little doodle to color. And it's going to look fun. Guarantee it. Let's get our reference. So I must reiterate that when I say, be careful if you're going to start going neat, you can take longer than what I'm doing. Two, this is more for video purposes. You can put a bit more effort in to your strokes than I am. You haven't got to go this loose. You can go to your preference. You can lower the brush size down and stuff, but you do risk. Again, falling into the category which I've already spoke about. Just go easy, breezy, go with basically doing what you enjoy, right? Let's get all that greenery and in the background. So we got some crazy colors going on. We've got dark brown, and then we're going to go dark. Dark green to start with, shoes I were to color. Unless it just comes straight over the top. That silly. Let's just get our base dark colors in place. Like so. And then I scale a bit more of a dark color. Let's give it a little blender blend. And let's bring some of that brighter colors in their case. So we go that yellowy color. I think it's gonna be very similar color for the next one. Yeah. Let's go again. Bring some of that lighting. Just be careful with over blended, which I just did. You can sort of get a muddy volume which don't really want it. It's a bit of orange oil coming through. A bit of orange down. I think what I'm gonna do is I've gone a bit too a wire on the dark green. Bring it up a bit. Bring it up a little bit. Maybe even switch the hue just to add more green color, right? So that'll do with my background to be fair layer above S2. And let's start cutting out our focus point. The building behind. Follow down that path back around. When building D will get foliage going on there. Just so keep that as it is. And we'll go with that color, is it? It's like a brown and gray, isn't it? So we'll go with that and then we will have very similar color. I'll go in with a two tone again. I will just vary it up and see how it looks. And then we'll just go a bit more extreme with the colors. Just for pure variation. So it looks like we put loved the best fitting. We haven't. It's also good for bricks and stuff because bricks are obviously carry different views. You can just dab on variation, get some good effects. Darker there, isn't it? Darker than the roof looks a bit of a color. A different color. Gray road. Blue is a cool green room. You become greenery, but over a bit, that way we still got a cut in a bit of this building. We don't want, quite best. Guess my greenery back as well. Losing our frame, if you know what I mean. Kind of sticking into this little frame. What I said earlier, we could do we could bring in some of that orange, really bright orange color. Um, we can we can work with it using our Blum, Blum that up. Now, you can get some sort of light going on. I can zoom blur effect. Maybe went too far on the bloom there to be fair, I'm going to bring back a touch. It looks really cool, looks good. Through some aesthetics down if you want to think about some more lines, if you wanted to. This is just like I say, just the process. I'm not really going mad with it. But they've seen it took us 12 minutes to do the whole thing. And I mean, minimal efforts gone in. It's just fun to do. I could go back in on that and add a bit of texture to those trees and stuff. But I'm only showing you the basics. So join me in the next part. We'll do another one. 6. HOW TO DOODLE MORE ADVANCED SCENES Part 1: Hi guys. Welcome back. I just had a thought. So I thought I'd go back and show you some of my older versions of this that I've done. And this was one that I did at my local city and kinda picked off the best. There's not many the best landmarks that we got to offer. And kind of exactly the same style I've been showing. You. Just come up with this. I've actually got this on my wall and it looks awesome. On the wall. It looks modern, funky, fresh. So it's the same sort of thing that I'm showing you. I've just added a bit of an overlay layer over the top just to bring some of the light soap on this one in particular, which you can do that as another one of the Church that we go to. It's an old church. Took a bit more time on the liner on this one. Where is the line emerged? Yeah, it's gonna be more total that line out on that one, um, as you can see, but was worth it, got slightly different effect in the end. Using the same brushes. Same thing, spend a bit more time on the line art. It's not a solution free. But same process. Just used my wet paint brush to fill it in. These are actually the same. No, that's not that is not another one. Yeah, super loose. I mean, it's quite a nice reaction. And Facebook groups, which if you haven't, by the way, join my Facebook group, Procreate, learn and share with all learn together. This is exactly the same principle of what I've been showing you. We've got our loose line art. Then we slept in some base colors using a two tone. We put a bit of an overlay on to get some shadow. And then we added some light. Simple. So let's do one more. Let's do one more. Let's do one more picture. Let's do two. Let's do this. One. Looks super daunting when you look at it, but you've seen a quick we've got these done. I like to have a bit of backgrounds. Don't like to fill the whole page because I want to keep that rough edge around the colors. So I'm actually not going to be drawing a lot of this picture, so I'm going to cut it off. I'm going to just draw that part. Yeah. That's what I'm going to be doing. Let's get rid of that. Lower the opacity, go up a layer, pick your ink, color and brush. Gets stuck in booked. Going to say I got all experienced drawing boats. Go. Absolutely no muscle memory to go on here whatsoever. Theory and stroke. Sensitivities. Things hanging down. Does say much, I know great books because some things hanging down. That's about it. The only way I could scrape them really small and just get some let's just get some wiggles on. Over there. You get the shape of the actual island. Like so. Get this bolt in. I'll do we'll do some ink on it. Reference book. Oops. Let's get this base color, crazy sky, dark color, the white there. Let's have some fun with that. So with DAC for the lights are so we're just gonna we'd all like to over this side. In fact, we read in some parts, shrink it a bit of that pink, going running through a lot or a little once. I'm bringing it back in a bit because they're not going to be one high or far over. We got some very dark colors over there. I mean, it's just going to go down and that's that. So maybe a sharp, sharp brush, soup better. Rough. Maintaining atmosphere. Still gonna give it a little smudge though. Water. Next, we've got a blue and I'm going to just stick to very similar and go darker. Start on the lighter. You can see the variations. You can just pick up just effortlessly. This is why it was making the pictures interesting, is the color using light colors coming through there. Then the bottom, lighter because of the sky is pink. So when I just want to add some some slightly darker sketchy lines just really through running through that water. And some light switch will add now on a new layer. Some orange lights. Very, very ready. Already shown the one. Very light orange on the other. We'll just throw them in there. Just give it a little bit all little DOB and adapt. So it's not so hard. Could even give it a little wiggle if you wanted to because it's in the water. Like so. Should we give it a bloom? I suppose it wouldn't. There's no harm in C and I, what Bloom would look, is there. Just get some white and yellow bloom would look. Yeah, it looks pretty cool. Like get your Bloom, Right. So I mean, to be honest, this is how I do this one. I come in here, I cut out our foreground, which is the rectangle, the back cover, and just cutting in line with something very loosely draw. Okay, so that's that voltage alone. Okay? Never mind. Let's just fill out in white for now. I'm seeing layer. That's got boats. Boy and his little friend boat with their background, a little something over there. Just fill that in. Let's grab the local color, blue color. And then let's go a little bit darker or lighter, sorry. And let's just give it a little okay. Yeah, I still got to select it. So just only the boats alpha lock step to that media. We go we go just collecting just going to leave that there. So guys on the parts to go onto long as you know. So join me in the next part. Well, a complete this and we'll just go over a few, a few things, okay? And a few little tricks and things like an overlay layer and the bloom to make sure you understand that. And then we'll call it a day. See you in the next part. 7. MORE ADVANCED SCENES Part 2: Welcome back to the next part. So no break them straight back into it. It's fun to do as enjoyable to do. It sounded better liked variation into my work. They were sure. Give it all a little. Blend. The Blend. Blend, blend like so. When we pet hates is actually messy canvases. Just blend a bit of that bucket and like that, okay, little bit of depth here and there. This is the beauty of working like this. You can see little simple things that might help. Or we can see we got to shut the window boat so we'll go darker. We'll give it a little little weird stuff. Like So. I quite like it actually quite like, Oh, this one's going to turn out quite nice. We may as well go the whole hog key out of me and I'm some greenery going. You can see we got a bit of greenery here and there. Most, most here, they're just take the Nationalists off. Like so. Okay. Boats. It's kind of like a white color. So I'm just going to use my round brush for these boats here. I'm going to grab the blue back in. It's very dark at the bottom. I'm not being too pedantic with things like this. Windows. Give it all a little thing, little smudge, some bright orange. We call them. So far away. There's pretty much dark. It's pretty much dark because it's so far away, further away in the distance you go, you lose saturation. So bear that in mind. I'm just looking at that blue now and thinking it's way too blue. We're going to bring it back in a bit. We're going to bring it back in a bit. We're going to read boy, which is very, very dark red. See, an older boy is the last stupid. And we have a final piece of the jigsaw, which we are unfortunately going to have to cut again. So we're going to cut our new bolts for forefront of the piece back. So we can work neatly into it. Say neatly. Take a look. This is a bluey color because of the shadows casting. So that's exactly what we're going to do. Whatever to Tom brush I'm gonna go. Thing is that saturated trick somewhere? We're going to try that for status. I'm going to try that for starters. Maybe we'll go right to it in some. You can see we're going very dark at the bottom and in fact, it's just a different color. The masts extremely dark. Like so. We've got some little dark tremoring the edge. We'll go for it. Why not? We'll go for it will soften it. Go some blue sheet and going on. So it's a blue sheet and the next color is going to bleed. A very muted blue, that sort of thing going on. But I just want to go much darker areas into like that. Okay, so we've got a nice little painting going on there. We can just reposition a few things. We can bring it still selected. We can bring it into a better position on the canvas. Painting going on. We just need to know, maybe bring some parts of life, which we can do with an overlay layer. If you open up a new layer above, go to overlay. Now, this will take your darks darker and the lights lighter. So you just would end up black. I'm softly. Softly and just see. You can just go like that and it will bring that instantly to shadow areas using dark if you want to bring lightness, we go up. We can bring light. Let's come to their normal software. You're going to enlighten us to areas. So it's a very cool layer, powerful to use. So let's do that. We'll bring some darkness in. It's not going to hold full whack. Darkness in under their seats. Greetings and shadow all across this. But I'm going to just blend some parts into the ripples. We could just squiggling a few, few of them like so. And for the light, we could just squiggling a few of them like so. See what I'm saying. We could bring some lights, bring some more pink this if we wanted to. I were pink sky yellowing. If we wanted to. But yeah guys, this is my methods on creating funky doodles. You can use it for anything. And it's super fun to do. I guess more fun the more you do it and the more experience you get out it doesn't lose its firm. We've created quite a fun little piece. They're just overlay and some of those. And, um, yeah, I hope you enjoy it. I hope you'll go on and enjoy it as well as I did. Put your own spin on things. Draw whatever you want, practice and yeah, Please do please do share with me. I love to see really do some things there. Some duties. Maybe a little clouds gathering their bloom. Just draw on that layer. I did I didn't mean to, You didn't mean to do that? I meant to do it above. I have a play around, guys. This is your Canvas. You can do some magical things on this list application. You can even pop out things if you want it as well. You can. I mean, we could take this whole piece and change the whole dynamic of it. By just, we just merge all that down together. We could sort of, you could play around and create some popularity styles if you want it to. Most important thing is that you have fun and that you are happy with what you're doing and that you're enjoying it. That's the main biggie, isn't it? You're enjoying it. I'm just going to erase some parts back because I don't want to mess. It looks cool. I quite like that might be going on my wall actually. I'm just going to smudgy smudge a bit more about that folks. So yeah, if you're interested in creating these fun super easy doodles, we created a bit of a nice one there, which I am actually going to be putting on my wall. It's taken us 23 minutes and I'm more than happy with it. Well, I'm happy with how it turned out. So I hope you liked the video guys. Please comment and include your attempts and efforts on the Resources section. Any problems? Message me. We can find me on Instagram at hugs the arts, or you can purchase my stuff on GMB rolled again, hugs yachts. Do feel free to join my Facebook group, Procreate, learn, and share where I'm always on personal hands to offer advice and stuff and help you out. On a personal level. It's quite difficult to do that like this on Skillshare, but on a personal level, I mean, the Facebook group willing to help. Thanks for watching, thanks for taking part guys. See you in the next one.