Learn to Draw with Procreate

1. Learn to Draw with Procreate: Hello, and welcome to Learn to draw with Procreate. Now, let me tell you who this course is for, what we're going to be covering, and what you can expect to learn. You're going to learn how to draw. You're going to use a mix of traditional techniques, but also you will be learning never before seen digital techniques to help you on your art journey. You will need an iPad, an Apple pencil, and a copy of that wonderful programme Procreate because we're going to learn how to draw in the digital age. Start by drawing Gladys the great white shark. Plus a simple Apple just to ease you into the principles of digital drawing. But from there, I have plenty of projects for you. You'll be sketching out the proportions of the human figure, and you'll be drawing the human figure in dynamic poses. You'll be creating street scenes using one, two, and three point perspective. You'll learn how to prepare digital photos so that your life is made easier when you come to draw from them. You'll have projects where you'll learn to make shapes look three dimensional by using something called volumemetrics. We'll go hand in hand while you learn about shading digitally by creating a semi photo real still life, we will create an accurate sketch of some fruit using a never before seen technique called Kim's sketch. You'll be drawing shapes, spheres, dolphins, and in our final and extensive projects, we will create a beautiful drawing of a puppy using the various digital drawing methods we have learned on this course. You'll be able to post this plus any other images you've created on the course on the online gallery right here at Skill Share, you can expect to learn the foundations of drawing traditional and digital. You will be learning an effective workflow. By the end, you will gain confidence to tackle your own art projects. And if you want to upload them right here on Skill Share, you can do that, too. I'd love to see. My name's Simon. I've been a designer for nearly 40 years. But with this course, I've taken those decades of knowledge, and I've condensed them into one extensive course. And I'll show you existing techniques to learn how to draw, plus new techniques you will not have seen anywhere else before. Okay, so in the next video, we're going to be setting up our iPad and Procreate to work the way we want it to, and then we are going to start scribbling. Okay, I will see you there. 2. Set up our iPad...: Okay, so just before we start diving into Procreate and getting a feel for the program, I just want to take a quick look at a few different things that we can do to make our learning experience a little bit easier. I will swipe up words to go out of Procreate and come into settings on my iPad. Okay, so the first thing I'm going to do is come to where it says Apple Pencil. It looks like it's copied my settings from my old iPad, but I'll go through them now. For actions, where it says, double tap. Make sure that is set off. The reason is when you are drawing, you will end up doing double taps all the time without intending to, and it can get really, really annoying. But this is a new one because I've got the new Apple pencil. Squeeze Show tool palette. Given I've only just got this Apple pencil, I'm going to hold off doing anything with that for the moment. I may come back to that later, though. Okay, now, the next thing you definitely want to come to display and brightness. And again, it looks like it's copied my settings from the previous iPad. The brightens slider, this is an important one. You want this set somewhere above 50%. But I suggest not making it completely bright like that. So maybe somewhere around 60, 70%, but just in case you're wondering, there is no one perfect setting for that slider. Because, we'll think about it, this controls how bright your screen is. But if you're drawing in the real world, how like the environment you draw in varies a lot and how much light falls on a piece of paper when you draw, that varies a lot. So there is no one true setting for that, fairly bright. And again, you might want to adjust that like if you're drawing in a very light room, you might want to make the slider a little bit brighter if you're drawing in a darker room. Somewhere a little bit darker, it really doesn't matter. But definitely turn off true tone, make sure that's off. And also night shift, you definitely make sure that is off, because that's going to shift the colors of your screen around depending upon the time of day. You do not want that. You want accurate colors as much as possible. Okay, so that's my iPad settings. Now, what about within procreate? I'll come back into Procreate now. Oh, no. Actually, I'll just give you a couple more seconds to take a sneaky peek at the various apps I have on my iPad. We've done that good. Back into Procreate. So the first thing is, in the top left hand corner, you can see something that says Gallery plus one, two, three, four little icons. You want the icon I'm circling right now, the wrench icon. That brings up your actions palette. And what you want is to come to the icon I'm circling now. Preferences. Depending on which hand you draw in, I am right handed, so I have a right handed interface. If I was to check that, the little slides on the left, go to the right hand side. That would work if you're left handed. I'm right handed, so I will take that back. But the thing I want to come to is this one I'm circling right now, gesture controls because you have a number of different options here. Now, by default, I believe, if I come to copy and paste, three finger swipe will bring up the copy and paste menu if I come and show you this. Now, this is why I prefer to make a glove which only has the little finger covered. That leaves my other three fingers free to come to the surface of the screen and swipe down. And when I do, that brings up the copy and paste menu. That's the default, but I'm not so keen on that. Instead, come back to my wrench icon, come down to my gesture controls. Instead, I prefer the quick menu so that when I do use the three finger swipe, it will bring up this thing called the quick menu. But notice when I turn that option on, I get a little exclamation mark by copy and paste. That's because that three finger swipe down can only do one thing. So if it's invoking the quick menu, you can't invoke copy and paste. But now, if I come done, I'll do the same as I did before. I'll do a three finger swipe down on my screen. And I'm getting my quick menu, but it's down in the bottom right hand corner. That is because it's appearing in the last place where I drew. So what I need to do is get my Apple pencil. I'll just make a stroke anywhere. I'll make it somewhere around the middle of the screen, two finger tap to undo that. Then if I do a three finger swipe down again, that's what I want. Now instead of the copy and paste, I've got this quick menu, and I can do things like I can flip vertical. Three finger swipe again, flip vertically again, three finger swipe again, flip horizontally. And if you're a traditional artist who's ever looked at your work in a mirror to see any errors that might have cropped up, right now, you may be thinking, Oh, that is useful because you will do it a lot. So three finger swipe again, flip horizontally. And let's do it again, three finger swipe down. I could clear my entire layer. Two finger up to undo that or three finger swipe again. I could add a new layer. Let me just show you this. Within Procreate, there are lots of layers. You can see I have a background color, then one, two, three layers on top. Three finger swipe down, add a new layer. You can see a new layer gets added, called layer four. And if I three finger swipe again and come to merge down, what that will do is take that new layer and merge it with the layer underneath. When you are working, this is a lot of good news because when I'm working, every time I have to come up to, say, the layers menu, and then tap a new command or create a new layer and then come and tap on that little icon, it takes my mind away from where I want to be, which is on the canvas, just drawing away, having fun, instead of having to navigate my way around various different menus. So that I consider to be useful, indeed. Okay, let's come back to wrench icon or the actions panel. And again, down to gesture controls. And this time, I'm going to come up to where it says erase. You can see here a couple of options. So a finger will always erase. No, I do not want that. The Apple pencil will always erase. I definitely don't want that. But what about these bottom two? Little square plus touch or little square plus Apple pencil? Well, let me show you this. Let's take a look at the bottom one and turn it on. Little square plus Apple pencil, come to Don that little square refers to where I'm circling right now. That's the little square. It's like a modifier square. And if I do my three finger swipe down and create a new layer, and I'll draw I'll choose a different color, so it's very obvious what I'm doing. Let's try fairly bright blue, and I make a brushstroke. There you go. Yep, you can definitely see that. Well, I could come to the top right to this icon, which I'm circling, and that is the arrays icon, tap on that and I can get rid of parts of that blue area. And if I make my brush size smaller, I can erase little bits here and there. But supposing I'm painting a little bit more and again, I don't want to start having clicking different icons. If I just rest either a finger or a thumb in that little square area, you can see I can automatically erase until I let go, and then I start to paint again. And then if I rest my finger or my thumb on that little square again, I can erase, let go, I'm painting, press down, I'm erasing, so that can speed things up a lot. Okay, we're nearly there with this three fingers wipe down to bring up my options, and I want to clear that layer, 'cause it's a mess. The last thing I want to mention is this one, if you have it. Brush cursor. That became a feature on more recent iPads when I come and I hover just above my screen. Can you see that? You can see my brush head and where I'm about to start painting. If I turn that off I'm doing what I did before. I'm hovering in the same area, but you can't see it. Turn it back on again. Brush cursor. And there it is. Okay, before we go on to the next video, I just want to give you a quick bit of advice if you are completely new to procreate. At the very end of this course, there is a sectire called the reference section, and I have a couple of videos there. One is a very basic primer for Procreate, where I go over the bare essentials of how to use the app. As it is, when we go through this course, I will be explaining features with Inprocreate as we come to use them for the very first time. So you'll kind of pick things up as you go along, but if you're feeling very nervous, go to the reference section at the end, take a look at the primer. Now the other video there is all about how to download files from this website onto your iPad and then into Procreate so that you can use them. And the reason I mentioned this now because the next video contains rather a lot of downloads for you so that you can follow along with the various projects on this course. And the reason I put them at the end of the course is because I'd like us to get on. I'd like us to learn how to draw in the digital age. And there'll be many students coming to this course who already know the basics of how to use Procreate or how to download files. So only if you think you need it, pop to the reference section at the end and take a look at those two videos. Okay, let's move on. 3. Your First Brush Strokes: Okay, if you just pop to the reference part of this course right at the end and learn how to download the various different resources plus the Procreate primer, welcome back. So let's get started. I'm going to come to my A four paper, my spares folder. Let's choose any one of these papers. Let's try DC A four paper medium. One finger swipe to the left, duplicate it, and load up the spare, and we're ready to go. First thing, do I want that particular paper color, 'cause it is quite bright. What I'm going to do is come to where I'm circling at the top right. That's my layers icon. If I tap on it. Well, you can see I'm about to draw on a layer. But I'm finding that paper color a little bit bright for recording purposes. So I'm going to come to the layer that says background color, and I'm going to tap just where I'm circling in that icon on the left. And let's choose a different paper color. Let's try well, that's more relaxing or kind of a bluey color? Yeah, I'll go with a kind of a bluey color. And you can see, when I choose something a bit darker, the texture of the paper is starting to become more prominent. Okay, so I need a brush. Alright, well, let's try DC pencil medium, tap on my colors. I want to come to. My drawing colors, let's just choose a deep red, for example. Start to draw. Well, start to draw. Start to scribble. At this stage, I don't want you to draw anything. What I want you to do is what I'm doing. And scribble. Like this. Because basically what you're doing is creating a mess, but you're just getting used to the feel of your Apple pencil against your iPad and just getting a feel for what that is like. And also, in this video, I want to talk about five differences between traditional art and digital art, and let's quickly go over a few basics. This is a complete masterpiece, but maybe I don't like all of it. To undo a stroke, you hook tap with two fingers on your screen. Doing that a few times, and you can see me stepping backwards through my brush strokes. If I decide, You know what? I don't want to destroy my creative genius. I want those brush strokes back. The fingers tap to redo. Really nice and quick. If I put down my two fingers and hold, you step back really quickly. If I put my three fingers on screen and hold, I redo really quickly. Now, do you remember a video maybe two videos ago, I went into my preferences right here in the wrench icon. And for the gesture controls, I went to quick menu, and I chose three finger swipe. Now if I three finger swipe, I get a number of different options and I can clear my layer. That gets rid of everything. Try and get into the habit of doing the three finger swipe down. There are a whole load of useful things to do there. And that is good because of the way your brain works. So at this point, I'm going to recommend a book to you. If you come from a traditional background, there's a good chance you're going to say, Oh, yeah, definitely, that book when I give you the title, which is drawing on the right side of the brain, and it's by Betty Edwards. This book has been around for decades. I seem to remember it coming out when I was a teenager, so quite a long time ago. It was a bit of a revolution. And it was making the point that basically, inside your brain here, let's do a quick model of our brain as seen from above, and you get the left side and you get the right side. And the book made the point that a lot of very clever heterologists have discovered that the left side of the brain handles different tasks to the right side of the brain. Now, when you're drawing, you want to be in the right side of the brain because the right side of the brain controls creativity, intuition, shape and face recognition, looking at angles and shapes, all of these things are very important when you're learning how to draw. Whereas the left side of the brain deals with things like math, language, logic, and, for example, navigating your way through menus to get to that particular gesture control and learning where the Done button is, it's methodical. And the book drawing on the right side of the brain, again, I recommend it, but it was originally written from the days when you could just pick up a pencil and a piece of paper and go you're drawing. Digital art is not like that. If I am drawing, I want to be in this side of the brain here, the right side of the brain because I want to be measuring angles. I want to be creative. I want to be a bit playful. But due to the way any interface works, for example, if I want to color the left side of the brain blue, I've got to access the left part of my brain. I need to know where to find the colors, know how to navigate to the menu to find a particular shade of blue like this, and then come in and start shading in the left side of the brain. And I think this is one of the most fundamental differences between traditional and digital. With digital, you have to learn to skip in between the left and the right side of the brain. Now, I think I read somewhere that in the left side of the brain, it takes a bit of a time to go to the right side of the brain so you can be creative. But the brain naturally wants to go towards the left side of the brain. So this is possibly the most fundamental difference between digital art and traditional. You have to develop the ability to quickly skip in between the left and the right side of the brain. You want to be in the right side of the brain because that's where all the duty creative stuff lies, but at the same time, you've got to remember how to create a new layer, for example, or what the last brush you were using was. All these different brush sets, it's in. And the more time you spend searching around for that brush, for example, the more you're getting into the left side of the brain and the more you're getting out of the right side of the brain. Over the decades, I've sat down many friends who come from a traditional art background in front of a digital art program. And almost without exception, the way it goes is they start drawing, and you can see their curiosity is starting to be engaged. They're starting to think, Well, it's a pencil, but I can use any color I want. I can use, say that color there, that brighter red, just in that bit area there. And oh, if I create a new layer as well, and I put some white on top of that, I can put it in a bit of shading around there, for example, but if I don't want it there, I can. Move it around like this. Oh, this is interesting, and I can make it bigger or smaller. That is a whole lot of possibilities. And I can come and I can make it invisible or visible, and they can even alter the opacity of it like this. And at this point, when you're showing them this, you can see their eyes light up. They're starting to see the possibilities. But then you say, Okay, you have a go. And then they start to say, Well, how do I do this, how do I do that? And what button did he press to move that whiter area around? I can't remember. Ask him, Oh, wait, was this? Was it? Okay. Okay, this is great. This is lovely. And oh. I can also distort it, as well. This is really something special. And Han, whereabouts were there different layers? I can't remember. And that is usually the point where their eyes start to go dim again and they start to get a little bit turned off the whole idea because in order to remember how to alter that light area or how to access the layers panel and what to do there or how to create another color or how to find that one brush they liked, it's all left brain activity. And it's human nature that once we get into the right side of the brain, we don't want to get dragged into the left side. The way forward is repetition of the digital tasks so that you just know where the layers panel is, or you just know because you've done it a few times how to get a particular color or how to get the right brush. It is a learning process, but if you do find yourself frustrated because you can't remember where things are, you're not alone. I feel it every time I pick up a new R package, a music making package. And that is why little things like three finger swipe down to clear my layer helps me. I'm spending less time having to come to this layers panel, which is taking me out of my drawing zone. Just three finger swipe. I'm looking at what I'm doing. Come to clear layer, and I'm good to go. Okay, just very quickly. And let's try DC charcoal soft. Here's a couple of left brain things for you. Look, I'm making a mark here. And if I put my pen on the side, I'll set it up so that you get a broader, slightly more textured, softer stroke. If I hold my pen straight down towards the iPad, I get a sharper stroke. Like this. You can alter the size of your brush. Come to the left side of the screen, and this little slide here, you can see my brush head is getting bigger or smaller. If I make it really big like this, you get a massive brush stroke. If I make it very small I get a very fine brush stroke, again, depending upon the angle that I have it at. Now, here's a little tip for you. Sometimes when you're drawing, it is frustrating to try and remember what size you had your brush, say, it was 7% a while ago. Then I move it somewhere else, and then I think I want that same thickness of line as I had last time, and I can't remember. So this is what you do. You take your slider, drag it down with your pen or your finger, take it down to 7%. And then you see in that box which opened up top right little plus sign. You need to press that. What I found is, if I try moving my pen over so I can select it, that box disappears, which is a bit annoying. So tap with my pen, and I'm holding my pen in my right hand. So then my left hand, I reach over, tap on that plus sign, and I create a little notch there. And if I want a much finer line like 2%, same thing. Keep my pen hovered where that little slider is. Press the plus sign. And you are allowed up to four different notches on that slider. So now, if I tap close to that original 7% notch, it snaps to it. That makes my life a lot easier. It is the same for the slider underneath. This is the opacity slider. Look, I'm going to press quite hard there. If I take my slider down to what's that notch? What is it? 43%. And I make the same brush stroke, you can see I can still press hard and soft, but if I press about the same pressure as I did before, I get a less opaque brush stroke, and you can see a bit more of the texture of the brush there. If I take it right the way down to what? 16%. I can build up my texture very gradually like this. Okay, let's take that back to what was it 43%? Here's the nice thing. I can have my brush, any color I want. Okay, now, before I go on, I just want to mention the first of the five fundamental changes that you get in digital art. I'm drawing on a tablet which is hard and smooth. I'm drawing with a pen, which is hard and smooth. This is not like how I learned to draw when I was a little kid, and I bet you're the same. You started off with a piece of paper and a pencil. One thing I never realized until I started doing digital art of paper is rough. It has to be so that when you draw with a pencil, the little bit of graphite gets scraped off onto the piece of paper, and that's how you make a pencil stroke. And because you have that friction in between the pencil and the piece of paper, it kind of steadies your hand. It's like walking with a pair of sports shoes on a grassy running field. You get a good friction. And you learn to control your brush strokes by using that friction. But then you come to an iPad with a hard pencil and you don't get that. It starts to feel like you're wearing some hard shoes on an ice rink. And when you make your brush strokes, you can't control them as easily as you could do before. You start to skid over the surface of your iPad. The various different paper protectors, that can help. That's the reason I use them because the slight texture that you get with the paper screens for your iPad, they're ever so slightly rough, see, they bring back some of that friction. I strongly recommend you use them. Okay, now, the second fundamental change, I'm using the iPad 13 here. Apple, why didn't you make a bigger screen? Because if you come from a traditional art background, you might be used to a big piece of paper or canvas, where you can make your various different brush strokes by drawing from the shoulder. But no, the i bead is small, and it limits the kind of arm movements you can use to create lines and shapes. So you need to adapt and sometimes be prepared to do things you were told not to do when you learn traditionally. Okay, third point, this brush stroke bears no relation to my Apple pencil. If I make my brow small and I draw a little line here in blue, that's fine because I'm getting a narrow brushestroke from the narrow tip of my pencil. But what happens when I make my brush stroke very large? Still have a very narrow tipped pencil, but I'm making a very large brush stroke. And that can throw people out because with, say, a traditional paintbrush, you make your paint brush stroke, and at all times, you can see where your brush is touching your paper or your canvas. So you're getting immediate feedback. You don't get that with a digital pen. And so, because of the way the pixels get put down onto your screen, it does mean you have to learn one or two extra techniques that you couldn't do with traditional art. Okay, time is moving on the final two points, and they are very important ones. If I come to my eraser and I will come to DC drawing and I'll choose the same one DC charcoal soft, I'll make my press slize pretty large. Watch this big deep red and bright blue, if I erase, those pixels that I erased are completely gone. It is not like pencil drawing, for example, where you use an eraser and you're usually left with a bit of a slight pencil stain. You can't quite get it off. You start to destroy the surface of the paper, not nice. But with digital, it is different. And also, by altering the opacity subtly I get rid of whatever it is I'm trying to erase. This one single fact alone has a fundamental impact on the way you draw. With digital, nothing is permanent. And the fifth and final point I want to make in this video, well, you've already seen me do it, you can create new layers, and you can draw with as many layers as your iPad can handle. This also means a fundamental change in the way you draw, and it means you can draw in ways that you can never draw with traditional media. And also layers can be necessary because of the way you make brushstrokes. You need to learn how to deal with things in a slightly different way. I will talk more about that in the next couple of videos. So let's wrap this up for now. But as for you, look, come on, three fingers swiped down, clear the layer and come down to our layer underneath, three fingers swiped down. Clear the layer. Look, just spend some time drawing with different brushes, get used to the whole idea of making brush strokes. Do not try and draw anything. Even something simple, just make random brush strokes because if you start to try and draw something, that will be the point where you turn around saying, Oh, I want to do this or I want to do that, because that's the point when you'll start to wonder how you might access another layer, for example, or where the eraser was or even what undo Worth tothinger tap. For now, just use different sizes, different opacitors, different brushes, different colors. Just familiarize yourself with the interface, and in the next video, let's draw something. So I will see you there. 4. New iPad Day!: Hello, Al. Welcome to this video. Now, I'm sorry about the sound quality. It's not as good as I would like, but I'm recording direct using my iPhone. Okay, so today, I've got a special day. I've got my new iPad day. And this is the iPad Pro with the four processor. Now, I will be honest with you. This is complete overkill for Procreate. You do not need this. Look, I've got hit my now suddenly obsolete iPad two, even this is overkill for what you need for Procreate. But the reason I got this is because of this. This is the new Apple Pencil P three, and it has something called barrel roll technology. Now what I understand that to mean is if you're using Procreate and you twist your barrel around, the nib or the cursor will follow your rotation. This has the possibility of being a new game changer. Now, the first game changer, that was in about 1993 1994. I got my first Wacom tablet, and that was where you could draw on a tablet and look at your computer screen, and that changed everything. You didn't have to use a mouse anymore. Now, the next revolution, well, that's what you're looking at right now, which is a graphics tablet where you can draw directly onto the screen. Gadgets like this started becoming affordable, maybe 15 years ago. And that brings us back today with the new Apple pencil. And if the spiral roll technology works the way I hope it's going to work, this could be the next big game changer. There's only one problem. In order to use this, you need one of these. This, my old iPad to doesn't work with that. So in order to use this, I need to get that. But anyway, look, I put on my old man glasses. Let's open these up and take a look at them. Okay, so while I'm unpacking, let's talk about iPads. If you are looking for a new one, which one do you get? Well, the first thing is, if you don't have an Apple pencil, you need one. So allow for that amount of money as well as the iPad. As for the iPad, any new iPad you can buy in the shops easily has enough power to run procreate, along with any of the previous generation iPads that you may buy refurbished or second hand. So there are two main things to consider. One is the screen size and the other is the amount of RAM. The bigger the screen size, the better time you'll have drawing. The more am it has, the greater the amount of layers you have to draw on in any one drawing. And as this course goes on, hopefully you'll realize what a good thing that is. Okay, I've got to this stage now and here's a tip for you. If you have brought a new iPad, when you get to this stage, don't take off the dust protector just yet because one thing you're going to want to do is to put on a screen protector or some kind of drawing surface that's going to make your life easier. I'll explain that and how to do it in the next video. 5. Adding a Screen Protector: Okay, so in this video, I want to change the screen protector on my new iPad. Now, there is one already on there. I couldn't wait around. But the fact of the matter is, it uses what I used paper like. This is kind of the industry standard for screen protectors, which feel like paper. It's a nicer experience. I talk more about this in another one of my videos. But the only problem with it is the new iPad has its camera on the long edge. Whereas my two iPad, it has the camera on the side, and there's a little notch cut out in the screen protector to cater for that. So, well, I clover it over the camera with a bit of screen protector, so I need to do something about that now. Also, I wanted to show you just what it's like to change your screen protector. Now, just while I'm here, I did say paper is kind of the industry standard for screen protectors that feel like paper. They haven't released a new version of this with a notch on long edge yet. So instead, I'm going to be using just something I picked up online, paper film screen protector. Not tried before. I'm sure it'll do a good job. Now, another one which is on this iPad at the moment is the Astropad rock paper pencil. Now, the difference is, it's actually got magnetic stripes on the top and the bottom. So rather than sticking it down, you see that a little magnetic stripe, that sticks the surface of your iPad and holds the screen in place like that. This is quite useful because you can take it off and put it back on really, really easily. And also, I do have to say the actual texture of it, if I can get white pencil out the texture is really quite rough and it gives a good feeling of paper. With it, you do have to change the nib of your Apple pencil if I just showed you that as a close up. And I swapped over to using metal tips a while ago because, well, they don't wear out the way plastic nibs do, especially when you use them on a rough surface like this screen protector I have on here, also with paper like, as well. And you do see people complaining about this on the forums. Well, look, just swap over to a metal tip. They're very, very cheap. They last a long time. The drawing experience is pretty much identical to using a plastic nib. So yeah, definitely, swap over with them. But anyway, with this one, I do like it with a little magnetic strips. My only reservation is that when you're drawing because the magnetic strip is on the underside of the surface of the protector, just right next to it, if I get my pants sig Gill. If you've been up close and personal to it, you find there's a slight lip there where the screen protector isn't quite touching the surface of the iPad. Now, that I learnt to live with, let's put it that way because it's not affecting any of the actual icons that you need to press in order to use something like Procreate. But just be aware of that when it happens. But anyway, for this, what I need to do is change the screen protector on my new iPad. And to do that, well, let's have the pencil. You're gonna need to take it out of any hold as you might have it here. Yeah. Go. Also. Well, let's see where am I. I'm just editing one of the videos from the records. Let's get out of that, and I will come and turn off all right iPad. Hold on at the side and at the top, and slides power off. You don't want this on when you're changing your screen protector. Anyway, let's move on. Alright. Now, you may notice these things here. These are the kind of dusters that attract dust. Alright, so that should attract some of the dust which might be in the atmosphere. I've also vacuumed my entire room because I'm worried about Dust. Also, this shirt. Look, it's quite a nice day here in England. Would you believe it? But also, this shirt, whenever I take it off, I get a static electricity charge, which means it's attracting dust. Me paranoid about dust? Yes, because every speck of dust which lends up on the iPad, when I'm doing this, I'm gonna be looking at for a long, long time. Do not want that. Anyway, let's get my trusty old glasses. I'm using This one I just talked about, paper film screen protector. Now, it does come with several tools, which is very useful. But what I'm going to do is I'm just going to kind of make this up on spot because sometimes when you're putting on a second screen protector, you've lost these various different things like this, and so you just have to kind of make it up. If you've got all the little bits of tape which they give you with any of these screen protectors, that's fine. But for now, I'll do that. I will also just get this low tag tape. Alright? Let's get ready to make it all up on the spot. Okay, so here's my iPad with the old screen protector on there. I'll get out the new one. But this just here. Now, let's make sure that the actual notch is in the right place because that's the top of my iPad. I've got a little thing here. Step peel off this mask before application. That's at the bottom, so I will turn this around like this. And please peel off, blah, blah, blah. Alright, so there's a notch on my iPad. There's a notch on my piece of paper. This is supposed to be going on like this. And it's actually quite big. I hope this doesn't cause problems while I'm trying to put this inside its actual case. But we'll see what happens. Okay, so for the first thing, deep breath. I've got to peel off the old screen protector. Try and find a corner to do this with. There we go and try not to breathe too much on the surface of the iPad. Right. Put that off to one side. And I'm taking a look for signs of any dust. I put the screen protector on the minute I got the iPad, I peeled off the protective cover, put the thing straight on. They've given me various different things like, I've got a little cloth here which I can use to wipe off any dust. That's good. More than that. See what one of these things is? This is something you buy in a camera shop, and it's there to remove dust off lenses of cameras. So this would be the first thing I would use. Just to remove bits of dust. And yet, looking down at an angle, I can see various bits. The good thing about this is it's not touching the surface of my iPad, which you don't want to do unless you can't help it. If it's more stubborn, use one of these things. Also, these people have very kindly given me an alcohol prep pad. That's for things like sticky fingerprints and stuff like that. Okay. Okay, so the next thing, I need to put this on top of my iPad, and it needs to line up as much as possible. Oh, pretty much perfectly. We'll see whether it does or not. Okay. So now, well, I want to have a little bit ahead of myself, I will get strips of this In fact, yeah, I could move that if I wanted because I'm going to have to. Do this. Put this on the underside, let it roll down there. Now, the people who have made the screen protector are advising me to do it along with a long edge like this. I don't want to do that. Sorry, the short edge. I don't want to do it that way because 'cause it's a short edge, I can put less of these strips in there if I put them on the long edge. Then I can fit more of these strips in there. Ultimately, this joint, which is made out of sticky tape is going to be a little bit more stable. Okay, so I've got five strips of sticky tape there. I'll just realign this. They're asking me for this to make sure that step two, the sticker that says, step two is facing upwards and towards me, that's fine. That seems to be in about the right place. Let's just hold this in place like this. And put my little bits of stick tape there. This is, it's probably covered up my camera. That's okay. I can always clean it up afterwards. That is pretty much how I want it. Now, what most people or most companies tell you to do is to fold this back like this, but then pull off the entire back bit of it and suddenly flip it over. I don't want to do that. Stead walnut look clean because, yes, I am ew and for this, I think I do need. This my little dust free cloth. Oh, I'm holding my breath. I'm trying not to breathe on the surface of the iPad. Okay. So now what I'm going to do is I'm going to peel back this bit of the screen potato. I don't want to touch the actual surface of it, yet, but rather than peeling it from one go, I'm going to take this and I'm going to fold it over like this. Alright. Now, this is a trick we used to do back in the old days when people had airbrushs and we used to have huge sheets of frisk it film to shoe the airbrush. You take a ruler, you make sure it's not a sharp edge. This has got a metal edge, but it's a very blunt metal edge. Then you take it and you move it along like this. Can you see as I do the paper, the bit of plastic at the back is starting to move with it. And if I do it this way, I end up getting a smoother effect with all that chance of big animals. Then if I was to do it, just taking the entire sheet of protective film and just flipping it over and hoping it works. Alright, so we can take off these things now. Then you get something like this, a little scraper and they're very kindly supplied one with the actual package. And when you look, you can see little air bubbles. So what you need to do is just push them to the side of the screen where they will get pushed away. I don't see any in the middle of my screen, thank goodness. I've got a couple here which could do gradually getting scraped out like this fuel on edge here. You do this before you peel off the final bit of protective film because well, you don't want to damage the actual paper surface screen protector. Not if you can't help it. All right. I've done that. I can't see any more bubbles inside there. Which is good. That is because I used this ruler, which puts the entire thing down gradually in a controlled way, but also in even surface. Now the last thing is, take the second bit of protective film off and there we go. One screen protector looking very nice. Thank you very much. Just put that bag inside, it's actual case, and I am good to go. 6. First Project - Gladys the Great White: Alright, just to get us into a certain way of working, let's do a simple drawing. I'll make it up on the spot and hopefully show you a few principles upon the way. So load up Procreate. I'm in my gallery section. Let's come to A four paper learned draw spares folder. Let's just choose an A four medium paper. So A four paper medium, swipe to the left, duplicate. Always work on the duplicate for my brush. Well, I'll use DC pencil medium. For the color. Well, I've opened up my color panel, and at the moment, I've got my palettes open. If you look at the bottom, I have different choices, this classic. Harmony value palettes. And I have my DC drawing colors selected. At the moment, I'm looking at this in compact view. You can see that at the top, highlighted in blue. But if I come over to cards, whichever one is my selected palette, it becomes bigger. And you can see with this I've given names to these various different colors. Because I went away and I scribbled pencils and charcoals and various other ways of making marks on pieces of paper, I sampled the colors, and these are the colors I came up with. So you've got a reasonable idea of what kind of real world colors you're going to be getting. So for this, let's try. Let's try softest pencil and come back to compact, so I can see more palettes. Ask for my paper color. I I come to my layers panel, you can see I've got the right layer selected where it says, draw here. For my background color, I think, rather than that warm yellow, I fancy doing a shark. On my solid foundations course, we did Anna the Angler. So let's carry this on, give her a friend. Let's try Gladys the great white shark. And so for that, what kind of paper colour do I want? I don't want that warm colour. I want something a bit note too great, a bit too dark. Let's try that. Perhaps color one, two, three, four from the left on the top row of DC paper colors. Alright, so here's the first tip. When you load up a file like this, it naturally goes right to the borders of your screen. But when I'm drawing, sometimes, especially when I'm making something up on the spot. I often find I run out of paper. Now I can resize my drawing. But what I will do I will take my finger and thumb, and I will just pinch inward a little bit, just so you can see the paper. See the edges, and now I'm going to do the opposite. I'm going to pinch out until I reach the sides of the screen, and then I'm going to pinch out a little bit more so that my piece of paper is extending just beyond the edges of my screen. So if I end up drawing something too big, which I often do, I know I've always got a little bit of a safety margin around the outside of what I'm doing. Okay, let's make a pentil mark, see how thick this pencil is. That is way too thick. So two finger tap to do that. Let's try the next size down. What size is this? This is size 4%. You won't have these notches. I think I mentioned in a previous video. That might be a little bit big, but no, look, I'll go with that because I want to start by making some light, broad brush strokes. There is something about when you're sketching making really tiny little brush dokes and tiny lines like that doesn't really work. I want fast, fairly broad strokes so that I can see the line. So I'll make my brush size. What size was that? 2% big? Actually, you know what? I will go with that. You will not have these notches on the slider or the opacite slider. Remember, to create a notch, we discussed this in the previous video, tap and hold on the little slider. Then in my case, you keep your pencil hovering over there while you press that little plus sign, and then you get a little notch that says, A past the 75%. That could work for me. I'm going to take this down to 2% size, and opacity. What opacity is this? This is 30%. Let's try that. Yeah. I prefer that. I'm getting some light strokes just to make my initial sketch. Alright, so three fingers on the screen, slide down, and I want to clear that layer. And so now I start making up my shapes. Now, what shape does a shark look like? Well, I'm working fast hit, you've got a slightly snouty nose like that. And this is going to be a cartoon shark, okay? Let's make it nice. Let's make it friendly. And so I've got a tail which comes up like this. The top of a shark, I remember is fairly flat, but I want a bit of a bend to it like this. It's got the fin. I mean, let's face it, everybody knows a shark's got a fin like this. And I've got the tail fin. I believe the top bit of the fin in a shark is a bit longer like this, and the bottom is a bit shorter like that, and I've got is that the dorsal fin? I think that's the dorsal fin at the side, and it's gonna be quite rounded like that, as I remember. And if it's a shark, it needs a big mouth with plenty of teeth. Let's make it a happy shark. Come one as Anna the Angler'sFriend. That seems a big smart. Let's make it bigger. Come on. It's a cartoon shark. Let's exaggerate. There you go. You may notice when I'm doing this, that mouth is quite scribbly, but I'm doing my best to do fast brushstrokes, because there is something about a line that you draw fast that just has more character than if I was to draw that shape, look, if I make this layer invisible for a second, and I'll create a new layer drawer on top. And if I try and draw the same thing, and I draw very slowly and very carefully like this and why do what everybody does. Do scribbled lime because we're not confident in making these long brush strokes and I'm being careful and I'm scrubbing like this, and I'm coming around like that and scrubbing down and blah, blah, blah. You compare that with that. And those brush strokes, because they're faster and a bit more confident, they just look nicer. So what I'll do, I'll call that layer three, which I just created. I will tap on the little icon where I'm circling and then I'll come to clear, and I should be able to use that layer later on. Come back to our draw here layer, just where I'm doing the initial sketch. I need an eye, don't I? Well, if the mouth is that, I need the eye around here somewhere. Nice, big oval, and it's a cartoon eye, so it's not like a real shark's eye, which is very soulss. There's the eyeball. Let's make it happy. Now, if you look at that fin, all of a sudden that looks a bit too far forward. So I have a choice. I can come to my eraser. What is it set to? Well, that's set it to the medium pencil, which is the same as I'm drawing with because, remember, you can use any brush, any pencil to draw with, to erase with, to smudge with. And I just want to get rid of things I don't like, so I'll put the opacity right the way up and fairly large. And I can just get rid of that. And when it's gone, it's gone, not like a traditional eraser. And then I can draw in the new shape, or if I press two things to undo what I've just done, I will come to this icon which I'm circling. This is the selection icon. And at the bottom, I have various different choices here. I'm going to come to freehand. And when I've got that, I'm going to come with my pencil and draw a shape around that fin like this, bring it back around and tap on that little gray dot to complete my selection. And that means anything on the layer I'm drawing on, which is inside that little area is selected. Now I can come to this icon, which I'm circling. That's my transform icon. And so now you can see I have a box surrounding it. And if I put my finger anywhere either outside of that box or inside the box, I can move that fin around to maybe some light there, a little bit further back on the body. Also, if I come to that little green circle at the top, I can rotate it. So it's pointing a bit more backwards. And at the moment I'm using freeform, you can see that at the bottom. If I then come to distort, I can take one of these corners, and I can pull just that corner to give it even more of a dynamic shape. Maybe about there. And then the next question, people think is, how do I get out of that? Well, with any graphics program, as with many different programs, you don't get out of this tool. You simply move on to the tool you want to use, and that's what commits that and let you move on. So I want to carry on drawing, so I come to my brush icon. That new selection and moving things around is now committed, and I can carry on drawing. Okay, I quite like this. But I like to play around with that shape a little bit more. So what I'm going to do is introduce you to another tool which changes the way you work completely. So this time, I'm going to come to this icon which I'm circling. This is the adjustments panel, and I'm going to come almost to the bottom where it says liquefy. Tap on that. There's various different things you can do, and I'm just tapping on various things to highlight them in blue. But I want the one right on the left called push. My pressure is on Max, my distortion is on zero. My momentum, that's on zero, as well. But one I'm interested in is the size slider. Because if I come and I hover, there you go. You can see I have a rather large circle. I wanted it even bigger with this because when you're doing stuff like this, you get the big shapes, how you want them first, and then you start to work on finer detail. That is the exact same things that you do in traditional, and you do it in digital, big shapes first, then smaller. You can see that is absolutely massive. But what's happening is my pen is right in the middle of the circle. I'm just hovering just above the eye of Gladys. And then if I place my pencil on my screen and drag downwards, can you see that? Those brushstrokes are getting dragged, and if I let go, you get my pen again. And if I come to the bit on the end, my pencil is right on the snout. If I drag that up, you can see I can adjust the shape all I want, and I want more of an exaggerated curve there. Remember, this is a cartoon fish. I can exaggerate as much as I want. I maybe want that tail a little bit longer. So I'm just pulling around various different shapes here, maybe a bit more of a bend to the underside. Maybe a little bit less around this area here. Yeah, let's make the snout bigger, more of an angle. I'm looking for character full shapes at this point. And I think I've got more or less the big shapes that I want now. So now I'm going to make my breast size smaller and start to refine this a little bit so that I can just tweak the very end and get a little bit more of a bump. On the snout. The eyes maybe make those a little bit larger. I'm going to make this fin even more rounded, you saw me do that using the Select tool plus then the transform. But you can do this using the liquefied tool, and it's more interactive and I like what it's doing. And only a shape that I want. Although I wanted to make that fin on the side a little bit bigger, but it's starting to distort the underside of the shark. So I'll two finger tap to undo that a couple of times. Oops, I went too far. I adjust the tail. So three finger tap to redo that step just for the tail and carry on. And yet, I prefer that shape. So if I want to get out of this tool, as before I move on to the next tool, and that is my breast tool, carry on working. 7. Gladys the Great White, part 2: Okay, so now I've got my big shapes. I'm going to keep my pencil the same size, but I want to start refining this a little bit. I want a bit of a bend there. Now that I've done that, hopefully you can see that eye has got more like an eyebrow there, that's what I want. And if I've got that there, there's going to be the same shape on the other side of the shark, so I'll just pencil that in like that. Now for the fin, I want a little bit more shape there. I'm starting to draw in slightly harder because I want to start nailing these shapes down. Let's round off that eye a bit more, and I want a back edge to this fin. As I remember, a shark's fin has got a bit of a notch in it, so let's put the notch in there, make it look a little bit more shaky. And while I'm doing this, I'm still pressing fairly hard with my pencils, but instead, I can come to my pasty slider. At the moment it's on 30%. Well, why not take it up to 50%? Carry on drawing like that and get some more definite strokes. Take this back around. Again, I'm being careful not to draw little scrubby strokes like this because I'm trying to be precise. So your finger tap to and do that. And now I've got my overall proportions, pretty much how I want them. I'm going to pinch outward around the tail area so that I can still make some fairly large expressive brushstrokes, but again, they're more precise because I've zoomed in. And when I zoom out again, those curves will appear to be smaller, but I'm drawing at a zoom level that suits the kind of curves I can make with my wrist. We will be talking a lot more about this when we start going into the drawing gym where you start to practice brush strokes and what hand movements make what kind of decent brush strokes. But not yet. Let's just do big picture stuff. Again, fairly quick brush strokes there. Let's draw with a back bit do they have a notch on the rear fin? I don't know, but I'll put one in anyway, just simply to break up this line which I'm doing so it looks interesting rather than just a straight curve like that. I want to put a bit of character in there, two finger tap to undo that. Alright, so let's come to this bottom bit. Curve round, come like this and bring this round like this. You will notice that I've got a mix here of slightly more finished lines plus those initial sketch lines. Well, right now, I've got a choice. I can leave them in there because they're lighter, and also they add a certain amount of character. If you look at lots of different drawings, often you'll see these sketch lines in and they look nice. You can see where the artist has thought about something. I've done a stroke and thought, you know, what, I don't like it there. I want to put it there instead. And when you do that, you can start to read a sketch a bit like you read a book, especially when you've done a few sketches yourself. You know the kind of things that you do, and hopefully you can hear my thought process while I'm doing this, and I'm thinking, Well, do I leave the sketch lines in or do I get my eraser and do I make it fairly small and make it fairly opaque? I'll rub out the bit of the line just where the tail was, where I joined the tail to the body, and maybe a little bit on the side here. For now, I will leave those floating sketch lines around the back of the fin. I'm not sure I like them around the bottom so much, so I might get rid of some of them, but not all of them. I want to keep some of the sketch lines there. While I'm here as well, I've decided I don't like that little hump there. So what I'm going to do is I will come back to my liquefy tool, make it smaller. I'm going to raise this whole bit up here. And I kind of prefer that, I think. Can always come back to it later. Come back to my raised tool to move on, and I want to get rid of one or two lines around here. I'm starting to get some rather confusing lines around the eye because I was a bit uncertain, so I made a lot of brushstrokes. But I'll keep one or two this bit here. I'm thinking, if I do a happy eye by arrasing that bottom bit there, so you might take a look at that. Yeah, that eye looks much happier because it's like I've pulled up the bottom eyelid, and at this point, you say, Yeah, but sharks don't have eyelid. For the underside of the shark, I'm going to get my two fingers and I'm going to rotate the whole thing around like this because like everybody else, I have one curve that's easy to do. And that's where I move my pencil using my wrist. I keep my fingers pretty still, but I just move my wrist in one stroke like that, and I get an even curve. Drawing from the wrist, we will talk about that. I'd like the underside to be one smooth stroke like that, but actually, can I get away with that? I think I can because I want to have lips or a bit of a swelling bit around the side of the mouth. In fact, I'd like it to be a bit bigger than that. I've got no idea what this is going to turn out like. And so there is a certain amount of thinking out loud as I go along. But that's a good thing because I want you to hear the thoughts that are going on inside my head, what the process is. Now for that, I do like that curve that's nice and smooth. I don't like some of these curves around it because they're starting to distract from that central curve. And also, that curve is not going to be appearing behind the fin. So let's take this fin and draw that in like this. Doesn't need to be completely straight. I don't really want it to be particularly straight. I want it to curve around a bit at the end. Maybe curve up a little bit like this. But, yeah, that's a fairly character ful curve. I prefer that. And what about the snout end? Let's come here and can I make? Yeah, I quite like that line. So I can use the natural curve when I draw from my wrist to come around. It doesn't quite join up. I don't care. This is a sketch. Lines don't always have to join up, and I'd rather it be a carrot ful, smooth line than do something where I start and then suddenly I slow down because I want to join up and it doesn't work. To finger tap to do that. While I'm here, as well, I'm getting a little bit slightly confusing lines here. I think I might erase some of these. I don't want it going all the way back there. Drawing, using my wrist. Let's come here. Using my wrist, should I give a little cheeky bit there? Yeah, I'll keep that there for now, but one thing I have forgotten to do I don't pretend to be a marine expert, but sharks have teeth and big ones. And if this is a cartoon shark, it's gonna need some big teeth. Now, whenever you do teeth, it can be a little bit awkward trying to get the spacing right. And what I don't want to do, especially now that I've got these nice curves is draw a whole load of teeth and then start rubbing out a whole load of teeth and rubbing out because eventually, I will cut into these nice curves, which I've done. Let's make that one a bit better to find because some of my sketch lines I like. They're nice and free and easy, and some of my sketch lines are just confusing the shape that I want. So I think the trick here is to decide which are these sketch lines do you want to keep and which of them you want to lose like this line here could do with losing that. But I'll stop doing that now because I want to move on. I will come to my layers panel again. Do you remember I drew that layer three? I'm going to come to this one and show you another huge advantage of digital art because now I'm going to choose my brush again. I want to start drawing my teeth. So what like that that seemed about right for a shark tooth. Another one there. And you can see I'm drawing and I'm trying to do little fast brush strokes like this, and I'm not worried about going over the line of the mouth. Like this. And some more air. Now, as they come around, they're going to get a little bit narrower, aren't they? I think, like this. Should have put in a few extra ones. Yeah, 'cause let's face it, one thing Sharp's got plenty of. His teeth. And now I'm going to choos my erase tool and I'm going to get rid of those lines which are on the outside of the mouth. And, look, I can do this all I want, but if I try and erase part of that mouth, I can't because the shape of the mouth is on another layer. I can only draw and erase and smear things on one layer at a time. And so if I've got layer three selected, the draw here layer, which is where I did my initial sketch, is completely unaffected. That in itself is hugely useful and represents a major change when you're doing digital artwork. And that has proven to be very useful for me. But let me tell you a really, really common gotcha. I want to come back in and I want to just put a little bit more detail around the outside of the shark. And so I choose my pencil and I go, great, let's draw a little bit more around here, like that. And I'm drawing on the layer which just has the teeth rather than the initial sketch. Look, it happens to everyone. Often it's no big deal. Sometimes it is a big deal. You draw on the wrong layer because you forget to come back to your layers panel and come down to draw here. So what I will do is I will two finger tap to get rid of those, then come back to draw here and then draw my shapes like. This. So I've got the round bit of the mouth because I'd like it to be slightly three dimensional. Get and try and do some nice, fast brush strokes. I know what I haven't done. I haven't done the gills. Sharks have got gills. And as I remember this, three or four of them, they're fairly regular. So, look, I'm going to show you a little trick here. I'm going to create a new layer by coming to my plus sign in the layers panel. And this is just going to be a guide layer. Now, whereas do you get the gills on a shark? They're about here somewhere. I'm not drawing the gills. I'm drawing a shape where I think the gills will be. About there, do you think, from the start of the gill to the end of the gill, then I will come back to the layer where I have my sketch. Zoom in as much as I like. In fact, I'm going to come right the way around to again use the natural curvature of my hand. I'm going to do one here, one hit, one ie, and one hip. Now, because I did that little sketch box, I know where to start my brush strokes from and where to finish them because, look, if I come here and make that layer invisible, there are my lines. If I didn't have them, I'll just draw off at the side. You can start to become a bit uncertain about where to start your brush strokes and especially where to finish them. So if you take a look at those four marks I've just made, they're not quite as coordinated at the start and at the finish as the brush strokes I was able to make because I had this guide. Now, I don't need that layer anymore. Let's make life simple. Swipe to the left and where it says, delete, delete that layer. And now already, I've got the problem. I want to erase that spare set of gills that I did off the shark, but I'm not sure which layer I did it on because you always draw on the wrong layer. It's simple enough to figure it out where the little tip marks are just on the right side of all the names. Turn them off and on. And yet, I can see what's drawn on which layer by just turning the layer invisible and visible. So those spare gills are on the draw here layer. Come to my erased tool and get rid of those. While I'm here, as well, I need little bits here because as I remember with girlls, they're kind of that shape. What happens is you build up a library in your mind of what shapes there are, like the shape of gills on the side of a shark, like the fact they have a little notch in their fin. And I think, yeah, it is on the tail fin, as well. I just a round off for this because I've got my basic sketch. There, I think I'll crop this. I could make this bigger by coming to my transform tool, choose uniform so I can size things and I can make it as big as I want. But you can see the problem with that is I size things on this layer, but I didn't size the teeth. So that's no good to anybody. Come down to where it says reset, and let's just use my paintbrush tool to move on from that particular layer. Instead, what I'll do is I will come to my little wrench icon in the top left. And I'm going to come to crop and resize. Oh, now, that's really difficult to see. There are some grid lines there, but because the paper is white, you can't see them. So what I will do is I will come to Don without making any changes, and I will come to my background color, and I will choose something with a slightly deeper tone there. Pinch inwards with your fingers to zoom so you see more of the canvas. And repeat. Come to my wrench icon, canvas, crop and resize there. Now you can see it. I'm going to take this bottom left corner and I'm going to drag it upwards like this. And you notice what I do at the top, can you see how many lays I have available? Because I want this sharp to be bigger in the picture, so I can make the sharp bigger or I can make my drawing smaller. So if I come to there and let go, that told me I have 313 layers available for me to carry on drawing on with. That works for me. So I'll come to Dunn. The canvas is cropped, and here's another little tip for you. If your drawings like this, for example, and you want to make it so it fits nicely in the frame, just come and pinch inward very quickly and let go. Didn't work that time there. I will come back to my background color. I'll make it a light color again. What was that? One, two, three? Was that the fourth along? Yeah, the fourth along DC paper colors. And while I'm here, I will come to my Ranch icon again and come to share share image, procreate, exporting. I'll rename this, but I'll come to AirDrop. My Mac is available as a device to download to that sent on my computer. I will zip that up. I will make that available for you as a download for the next lesson in case you want this image to follow along with when we do the next bit of this project, and I will see you there. 8. Gladys the Great White, part 3: Okay, let's carry on with Gladys. And for this session, I might refine the sketch a little bit, but mainly what I want to concentrate is adding some shading to it, because this is digital, and there's various different ways to add sketching, but it can't help if you modify your thinking from what you know about traditional art. But the first thing I'm going to do is my Gladys sketch is inside my A four paper spares folder, so I'm going to rest my finger on it so it pops up. I'm going to drag it up to the top left hand corner. I'm going to plop it down, say, there. And the reason I do that is so that my A four spares folder doesn't start getting clogged up with actual work. I'm going to come to my Gladys sketch. I'm going to swipe left, and I'm going to duplicate. That way, I have my original file and I can work on my duplicate. And if I completely mess this up, I have the original just waiting for me to pick up on. This is a really good idea because if you're not scared of messing up your painting or your drawing or whatever, because you know you have a backup, it can give you the confidence to try out New things. Okay, so I'm going to take a look at this. The first thing is, those teeth, yeah, I'm okay with those teeth. I quite like those. So I am going to merge them down so they lie on the same layer. Before I do, though, make sure my original layer is selected. And when I come to my eraser, and I'm just going to get rid of some of these guidelines just around the open part of the mouth. The reason being is, if I turn on my layer three with the teeth on, there's a lot of detail with the teeth. You can see it's very busy. There's a lot of lines. And what I don't want are the sketched lines to interfere with that. So I'm just going to erase the sketched lines. I can't go into the teeth area because they are on a separate layer. You can hear me making brush strokes, and you can probably see my curse up. I'm tidying up the line of the mouth, but I'm not affecting the teeth at all. This is great news. Whoops. Went a bit far with that. I got to remember I won't affect the teeth, but I will affect the mouth when I start erasing around here. Alright, that'll do for me. So now what I can do, I could come to layer three, which has the teeth on there, tap on that little dark square or the layer icon. And there's something here called Merge Down. When you tap on Merge Down, the layer you have selected and you know that because it's in blue, is going to merge with the layer underneath. So merge down. Everything now is on one layer. Okay, quickly, pinch in and let go to zoom my picture to fit. Do I want to make any changes to this before I start shading in? Well, look, you may know that artist's trick of where you look at your work in a mirror so that everything gets flipped around, and it makes you look at your picture with fresh eyes. Well, you can do that. Inside Procreate. Really easily come to the little wrench icon at the top. Make sure canvas is selected, and at the bottom, you've got flip horizontal. And flip vertical. I don't want to flip it vertically, I just want to take a look at this when it's flipped around. And yet, straightaway, one thing I don't like is this little baggy bit under the eye. That's interfering with the line of the mouth, and it's not quite following the eye as well. So I'm going to get rid of that. Instead, I'm going to make it a little bit more. Following the line of the eye down, I'm going to spin the whole thing round so I can use the natural curve that I get with my wrist. And I think that works better. I'm going to erase a little bit more of that detail around there. That is a bit distracting. Maybe a little bit around here. I'm also going to erase a little bit around here to make sure that fin stands out separate from the body without the construction lines getting in the way. Now, the fin on top is looking a little bit more like a fish's fin than a shark's fin, because a shark's fin is triangular. It's not angled the way I've got it. It looks more like the fin on the side of the shark. So let's just quickly come in to my liquefy tool, see if I can do something with that. General rule, don't make big changes using a small liquefy. Like this because you get just wonky lines. It just doesn't work. So I will come to where I'm circling and press reset, instead, make the brush as big as you can get away with. I'm going to pull that along a little bit. Also, I maybe want to introduce a little bit more of a bump there because the shape is kind of neither one thing or another. I'd like it to definitely be a bump and a curve like that or a straight line. What I don't want is something in between because then people aren't really sure what they're looking at. I will pull this over a little bit. Now, take a look at this. The liquefied tool is great, but if you really start to pull a little long way, you start to get that, the pixels that you're pushing around start to get smeared. So the liquefy tool is great. You can make the kind of alterations that you never could with traditional media. But if you push it too far, it's gonna break. So do your finger tap to do that. I like some of the changes I've done, and just while I'm here, I'm looking at the line that I've just tweaked around with that bit where my brush is of the tail, and I think that needs to be pulled up a little bit so that the top line forms a little invisible line which carries on the curve that I've created on the back. The curve I'm talking about is this line here. Let's do that again. This line here. When you're doing sketches like this, make sure your lines line up, if that makes any sense. Make sure, for example, that that line on the back matches up with this bit of the tail. So you get a continuation of the flowing lines around the body. The front of this fin is just not right. It looks like an angelfish fin rather than a shark's fin. So bring that round like this and a bit more around like that. Oh, dear. I just cut into the top of the eye. Not a problem. Use my arrase tool to completely erase it. That's straightforward enough. The back of a fin, I want that coming down a little bit out a bit further like this and in with a little bit of a rough bit around here. And you can see, if I move my brush a little bit smaller. Sorry, my eraser are a little bit smaller. I can alter the line as much as I want, and I can affect the quality of the line all I want. Let's zoom that out. I'll not leave any trace of what I had before. Okay, now I'm looking at this, and I keep on thinking, yeah, I'll alter that bit, and yeah, I'll alter that bit. But no, let's move on to the next stage, which is going to be shading. Before I do, though. Well, there's no particular direction that Gladys has to be facing, but I'll do a flip horizontal, and so the next bit shading. For this, I will create a new layer. Alright, my new layers there. In fact, what I will do is I will come here and I will rename this to shading. I'm going to give you a bit of advice that you're going to ignore, but I'll give it to you. Anyway, name your layers as you go along because these little boxes, which I'm circling, those are little thumbnails of what's on that layer. And often you can see what's on there, but in this case, I can't because I'm using gray, and I'm not sure what is on which layer. So naming your layers helps you to choose the right layer when you are drawing. Alright, now, so, supposing I want to color in Gladys, let's start off on the fin. Actually, no, let's try the body here, and I'll do what we all used to do at school. My pencil is selected. It's about 50% opaque. And I come here and I start shading like this. I realize I run out of space, so I start shading here and I come down to here, and I'm shading the whole thing in like this. And after a while, my hand gets tied and I get at bored, so my lines get further apart, and I've got these gills. So I'm going to have to turn around and shade like this because I don't want to shade over the gills, and it's all looking a bit heavy and that's my shading, because I'm using a pencil, which has a sharp tip. Now, one thing I can do is angle my Apple pencil. I designed these pencils so they work like pencils in real life. Look, if I use my point, I get a fairly fine point. Now, I'm just going to turn my pencil over to the side and do the same thing again. And you can see I get a much broader stroke so I can build things up by angling my pencil like this, and you also may notice that it's not quite as dark. Again, that's the way the pencil's being designed. You draw with a point, you get a narrow stroke, and as I started to angle my pencil over, so it's lying much flatter to the surface of the iPad, you get a broader, softer stroke. That's the way a pencil works. Three fingers wiped down. Clear the layer. Double check. I'm on the shading layer. But I'm going to make my life easier by taking my brush size and making it much, much bigger. Now, can you see that brush head floating around? That's because I'm using a newer eyepad with a newer pencil, and you get this floating cursor before you start making your brush stroke. If you're using an older ipad with an older pencil, you may not get this. But it's useful for me 'cause then you get a clear idea of how big my brush size is. I'm also going to take my opacity down to what, say, What do I have here? 30%. Now let's take a look. I want to turn my pencil on its side. Can you see that? Technically speaking, I'm still using my pencil, but I've made the point of the brush much bigger. And by doing that, I can create these broad washes of color. And because I've made the opacity lower, rather than having to press very lightly and hoping for the best, and maybe in some places I press a bit too hard, so it becomes uneven, I can gradually build up The brush strokes to get really, really smooth shading, very quickly, and it looks very professional in double quick time. But you can see the problem with this. Look, if I hover, my brush head is really, really wide. Now, if I make it back to being small again because it's a fine point, let's come say this bit here, and I wanted to shade, say, the fin. Because my brush size is small, I have fine control over the point and where I'm actually placing my shading. Now, because my opacity is on 30%, it's actually much easier. To build up a smooth area like this, and I can go back over areas and gradually build up the opacity to get some smooth shading effect. Compare that with the opacity set to 100%, where to do something similar, I've got to press really, really lightly Liam and then I'm getting a strong effect. And so I'm pressing incredibly lightly, and it's still giving me a dark effect. Well, that's the way I designed the pencil so that if it's on 100%, you get some very strong bold lines like that. But I designed it so that it works at different opacities. We do the sketch at 50% opaque, and if I press hard, you get a strong wide stroke. If I press soft, you get a softer narrower stroke. But if I take it way down to 30%, again, I can gradually build up those different tones like you used to do at school. And yeah, your hand's going to get tired from all the scribbling and you're going to get bored. But you can offset that by making your brush size bigger. So Whoopie great. Camamotea all round with extra honey. But hang on. Before we do that, the sharper eyed you may have noticed the slighter problem. I've got this huge area beyond Gladys, the great white, where I can put down my broad areas, but I can't control it the way I can when I have a fine brush point like this. Instead, I've got all the shading above the shark, and so this is the point where I mention, again, one of the fundamental differences between digital art and traditional art and what to do about it. The fundamental difference is I can put down broad areas of color, but I can't control what happens when it goes close to the border. But you will remember me telling you, if you use your Erase tool, if you put it on a pasity of 100% and you erase the brush stroke, once it's gone, brush stroke pigger it's gone. And so the way you work is like this. You put down your broad brush strokes. Then you erase them back to nothing. Absolutely, no brush strokes there whatsoever. I've done it just on that one area, and you can see, I get my smooth brush strokes. I can put down broad pencil strokes, but I can also control where those broad pencil strokes stop by using the eraser. Now, this is something with traditional art, when people learn how to draw, sometimes the teacher will tell them, well, eraser is not just for getting rid of mistakes. It can also be used as a creative tool, and then they show you pretty much exactly what I'm showing you now. The difference being is, this is digital. And so I can erase, put down strokes, erase, put down strokes as many times as I want, and the service I'm drawing on won't fall apart like paper does. And that is probably the single biggest thing I want you to take from this lesson. A razor is no longer just there for getting rid of mistakes. It is a creative tool, while we're here, let's take a look at a smudge tool. What's the set to? Let's set it to the same thing again. DC pants on medium. I'll make it fairly large. I'll do it about halfway opaque so I get slightly less of the effect. And I'm going to use it on the shaded area. Can you see what happens when I do? Things are starting to smudge out, but you're still getting some of the grain showing up in that area just behind the gills around the tail area, which I've smudged. The reason for that is because of this top layer. This is why I supplied you with different paper files. If I make this top layer invisible, watch what happens to the texture. Can you see where it suddenly goes completely smooth where I use my smudge tool? That's what this top layer is doing. It's adding down extra texture, and the good thing about it is if I swipe to the left, you can see I've got unlocked, I will turn the lock off on here. And I'm going to come to that little O, which stands for overlay, by the way. But you can see my opacity is set to 30%. I can make the paper texture appear to be stronger, that's way too strong for my needs. Or I can make it appear to be more subtle. Like that is about half of what I had before. And I think for this particular drawing, that's going to work better. So I will swope to the left again and set that to lock because I never want to draw on that layer. I only need it there to add a little bit of extra paper texture to the drawing that I'm doing. 9. Gladys the Great White, part 4: Alright, that is all theory. Let's actually shade this shark in. I will tap on the little icon to the left of the word shading, and I will come to clear. Okay, so let's come back. DC pencil, medium, I want the set nice and large. I want the opacity down low, where I might What was that again? 30%. I'll do that. In fact, let's just set this to maximum. And I'm drawing with a side of my pencil so I get an even broader p stroke and I'm just shading in certain areas. I would rather build this up. In two or three different passes, just keeping my brush strokes light, like this. And who cares if I'm going over the edges? Because you're drawing when you're younger, come on. You remember the times you got praised because you drew right up to the edges, but you didn't go over the edges. And that's how you learn to draw. But now we're learning how to draw digitally. So stuff that. Go over the edges as much as you want. You know what? I forgot to do something which I meant to tell you about. I'll make my breast size smaller. I'm going to make it really, really pale on the right side, I'm going to keep on going over the left side. So eventually I get something darker and darker. And I'm going to increase the opacity up now to, what, 50%. Make my brow size a little bit smaller. And I'm going to concentrate on this left side and make it darker and darker and darker. Take the opacity, take it right up to 100%, make the bro size a bit smaller. So that I get the maximum darkness that I'm going to get while I'm doing this painting. Now, that is looking very light at one end, but then suddenly going very dark at the other end. That could have done being a little bit smoother. Maybe if I come to my smudge tool, make it a little bit smaller. I can no a bit bigger, actually. I can start to smudge this so that I even out the dark to light transitions. And yes, I can do that. But that is a reminder that this bit on the end on the left hand side, that is the darkest tone I can get using Where am like? My drawing colors. I think I was using the softest pencil. It's a dark gray, but it's not black. Look, let me show you this. If I come to, say, the classic, that's the gray we've got. That is completely dead black. See the difference? And the reason I mentioned this is because sometimes when people are drawing and I used to do it, you see it happen all the time in schools. You're drawing and you want a deeper tone, and you want something that you think looks black. So you start scrubbing and scrubbing and scrubbing away with your pencil, trying to get that black tone. You destroy the surface of your paper. You get this dense, deep gray area that you've just tried to make black, but it just won't go because the deepest gray you're going to get is the deep gray here where I'm wiggling my brush in front of. Now, I think later on in the course, if you're working from photographs, I'm going to show you a way to make that, what is it? Mid to deep gray, the darkest tone in your image, and that can help you when you're trying to figure out your tones. For now, though, two finger tap. Get rid of that black. And as I remember, the color before I selected black is the color I'm using for this drawing. So all I need to do is come to that circle in the top right and just press and hold just for a second or so on that circle, and it recalls the last color I was using, which in this case, is the color I'm using for this drawing. Anyway, time is moving on. I think I might speed up what I'm doing here so that hopefully you don't fall asleep. I'm using my pencil. I'm still using it at a large size, and I'm still building up using, what, 30% opacity to gradually build up my tones. I want something a bit deeper. I'm going to make my brush size smaller and I'm going to have more localized black, sorry, more localized gray in these fin areas. A little bit deeper for the eye at the back. Maybe just a little bit just around the edge here, just to put a bit of shading just on the top, also on the back. I want to try and leave most of the top of the shark almost untouched by the shading because I want to get a little bit of light and dark in here. But I think for now, I've got my first pass sorted out. So now I come to my erased tool. I'll make it what size, 4%, and I'm still using my medium pencil as an eraser. Then move around so that I can use the natural flow of my wrist to make curved strokes because this is a series of curves and just gradually take away the brush strokes I made so that I can get all of these lovely soft transitions and all these shading, but with a sudden cut off at the edge of Gladys the Great White. 10. Gladys the Great White, part 5: One of the reasons I use the same brush for raising that I do for drawing, in this case, a medium pencil is because the brush head look at Zoom writing for this. If I make a brush stroke like this, you can see, I've got a certain rough quality to the edge of that brush stroke look if I come to a slightly darker area. Try it this bit. See how it looks rough, two finger tap one, do that. And the reason for that is I'm putting a negative edge when I'm erasing stuff, and I want that naked verge, is that the right phrase? I'm putting a border where the lines of my sketch are. And I want that border to be a similar quality as the actual lines of the sketch. Look, if I come and I choose inking, say mercury, which is gonna be a very hard edged eraser. Let's make that much smaller. See how that edge that I've got there isn't matching up with the edge of the sketch because it's too hard, so two finger tap do that and come back to DC drawing, DC pencil medium. Now I want to make the edge. Yeah, it blends in much better with the edge of the sketch. That said, look, bit smaller for these edges hit where I've got little notches on the fins, but at the same time, drawing like that with that really small brush. It's good for fine detail. Really boring for the larger edges. So for the larger detail, make the brush head. A little bit larger and come from the outside in. Yeah, if I tried to go too close, you can see already, I make a mistake. That brush head is too big. Let's try it about 7%. And again, start from the outside and come in. And, yeah, that's making things a lot quicker for me because creative arrasing can give you some very nice effects. But when you're doing this, yeah, it can be a bit of a chore, but the payoff is really soft shading, the kind of shading that you've seen other people do and think, but how did they do that? The control they must have over their brushing, the patients. You can do really quickly. Now, there are a few things here that I do want to change. I want the whites of the eyes to be erased, so you can definitely see that. And in fact, I'm probably going to put sparkle in there so I will erase the whole of the inner area like this. And so now what I'm going to do is add a little bit more shady and also add some deeper shading in certain areas. So I'm going to create a new layer. I'll probably end up merging this down so I won't rename it, but I'm going to do more of the same this time. Cut my pencil, and I'm going to come to the underside, put some deeper stuff there. And you can see I'm going straight over that fin, and you're thinking, Oh, no, what have I done, but look, come to my erase tool. I can erase that extra bit of shading I did, but because this is on a new layer, I'm not affecting the shading underneath. So I keep the gray of the fin, but I just erase just the bits I don't want. Let's carry on here and repeat with this. Alright, now, what else? Well, I think that needs to be definitely darker. So, select my pencil. Let's make this a bit smaller. Let's just crank up the opacity because this is going to be shade in, like this. Come on. Let's use our zoom for what it's good at. So I can do all this detail. And I'm doing a pretty solid, darkest possible tone in this area. Zoom art a little bit. Okay, that is looking really dense, dense, black. No, no sharks eyes look very dead, but this is a cartoon shark. We want a little bit of life in there. So, come to my rays tool again, take the paste down. What brochure size shall I have I'll hover over. That might be good for the highlight on the eye. So I'm going to put a little circle of light just there. And that gives a little highlight. In fact, no let's do that because generally speaking, when you're doing your highlights on your eyes, you want them to be just on the border between the dark and the light area. That works quite nicely. But also, I'm going to take my opacity down to what? 22%. I'm going to choose a larger brush, and I'm going to gradually slowly build up a little bit of reflected light just around the bottom of the eye. Again, your eraser is every bit a creative tool and the actual brush. If you remember to use it for the things it's good at, yes, it's good for erasing, but also it's good for lightning certain areas, which is what I want. While I'm here, as well, let's make paste of my brush. 50%, I'm going to choose some fine lines, and I'm just going to strengthen some of these lines around the eye because they're looking a bit indistinct right now. Do that. Yeah, that's starting to work a little bit better. Now what about a bag under the eye? I'm gonna make my brush a little bit bigger. Add a little bit of shading there. But I don't want it to be the same thickness. I wanted to get thinner at the end, so come to my arrays tool and just shave off the bits I don't want. Again, the gray underneath is not affected because it's on a separate layer. On layers. Wonderful. Similarly bit of fine detail around the mouth like this. You get darker. Provide a little bit more depth. In the corners, and that's starting to match up with the shading on the underside of the shark, as well. So do that. Now, I'm tempted to go straight to other areas and carry on. But if you're doing this kind of work, it's best to do one particular area, then erase the bit you don't want. Then go and look at the picture as a whole and do a little bit of examining, is the shading matching up? Well know this bit here where the mouth is, that could do with being a similar tone, but a bit of a broader area. If you look at underneath the shark, it's quite a broad, dark area compared to what's on the inside of the mouse. Now let's build this up a little bit like this. So the areas match up. Before I do too much with that, I'm going to add another layer, and I'm going to come to the inside of the mouth because that definitely needs to be darker. That's going to be one of the very dark areas, but not completely dark. Maybe I've gone too far with that in places. And also, look at this. I'm being a bit timid. Can you see a slight halo around the inside of the mouth? That's 'cause I colored up to the edges. Oh, I've got a color up to the edges, but not go beyond. Well, no, remember. We've got our technique where you go right up to the edges, not care that much about it. C you erase, too? Just erase what you're doing. I'm doing a series of strokes here. I'm not spending ages scribbling away and doing lots of work and not taking my pencil off my iPad, because what can happen if you do that is that you can make a mistake and go too far, and then you have to do your two finger tap to erase, and all that time you spent shading in one long go is wasted. Now, for this, I think I need more of a gradual transition there. I am going to come up to the underside of the mouth like this. But I do what I did before. Take my rose toll, set it very low and pretty large, and I'm going to gradually knock back this effect. I want it very dark, just in the top corner of the mouth, but I don't need it very dark everywhere. Okay, now, with this, I've got a bit of a problem in that I need to erase this from where the teeth are, but the shadings dark. I can't see where the teeth are. So what I do, I come to my layers panel, and just temporarily, I will tap on that little N. And when I do, you see all the different layer blenmrge but also you get this a paste slider at the top. And if I lower it a little bit, now I can clearly see the teeth and the bits I need to erase. So eras needs to be finer, needs to be completely 100% and start coming in. Okay, I've done that. Then when I've done that, come back to my layer and crank up the opacity to what it was before and everything's arrased. Let's take a look at this. I'm nearly there with this. But something that's not quite sitting with me, maybe I need to do a little bit slightly more highlighted work or a little bit more shading work. Take my brush. What layer am I on? Look, I'm pretty happy with that mouth. I'm happy with the underside of the shading. So I'm going to merge this top layer down. And you know what? Let's come and merge that layer down to my main shading layer. So now I still have two layers, my drawing layer and my shading layer. I just want to do a little bit more work here, but as before, create a new layout, work on that layer. An go close to the edges. You can go over the edges. Like this. Get rid of the ***** you don't want. But let's make it a bit bigger and lower the opacity so I can on the underside, rather than getting some sharp shadows, let's make it a little bit more graduated like that, just on the back fin, as well. That's looking a bit too hard. That side fin I could do shaving just a little bit like this. I'm going to come to my main shading layer because I want the thin bit of the fin to be a lighter color like that. Same with The big fin on the back. Zoologists the world over. I'm sorry for my ignorance. Come back, add a little bit of finer detail around the side of the fin there, on the underside, as well. A little bit just on the main fin and behind the eyebrow. For that, I'm going to use my smudge tool, make it fairly small and just blend things in a little bit more smoothly there. You have to be careful when you use the smudge tool because you will still get some texture from the top paper layer. But if you go too heavy with it, it can still look a little bit too smooth. Ideally, it's nice to keep as much of the texture as possible. And we're very nearly here. I just want to try something out first. Let's merge that down. You'll notice I create a new layer put some brush strokes down, erase some brush strokes. Then when I'm quite happy with what I've done, I merge down to commit. Sometimes when people draw, they have dozens and dozens of layers. I've got no idea what's on what layer because there's so many of them and they haven't named the layers. And so they never know where anything is, which can be a bit of a pain on the back side. Small, I just want a little bit of highlight just over the eyes, front and back. And also, one thing I want to do where it says, draw here, most sketch layer. I want to get rid of that sketch line behind so I get a nice clear looking highlight on the eye. Okay, I'm very nearly there. Well, I want to keep on carrying on, but I think I've got my main points over, and so there will come a certain point where I have to call this finished. Let's try one more layer. Use my brush. And I'm going to try just doing a shading layer which goes down the side of the shark, so I'm going to start off fairly big about halfway a, and I'm scribbling. If I exaggerate it, I'm doing this kind of scribble. I actually no. What I'm doing is this kind of scribble. Let's make it smaller. Like that down the side of the shark. Make it the opacity a little bit lower, 30%. I want to get an idea of the shape of the shark. But I want a layer coming down the middle. You have to provide a little bit more interest on the side of the shark. Like this. But I want a fairly sharp terminator, a sharp line at the top, which gradually fades down as it goes down the side of the shark. So what I'll do is I'll come to my raised tool again. Set pass down 100. It's set fairly small, and I'm gonna's make it bit bigger, and I'm going to eraise just this little bit which I've done. Like this. Take the line there. Definitely want to get rid of it around the eye area and also from the top I have the bags under the eyes, the laughter bits, carrying it down like this, towards the back. So I'm getting a sharper line at the top than I've got at the bottom. Let's cut this back a little bit more like this. And, yeah, I quite like that. It's looking a little bit more sharky like the texture of a shark's skin. Let's make it. Come on. Let's make it a little bit more of a wobbly line like that. Okay, I'm very nearly there. I just want to knock back just a little bit around the eyes. And yeah, I'm doing it again. I'm still looking at this thinking, I wouldn't mind doing this and I wouldn't mind doing that. In fact, one thing I am going to do is come just to the top of the gills, just on one side, add a little bit of highlight just on them. There we go. I'm going to come to my pencil, as well, and I'm going to make it a little bit darker just around the base of the gill, which goes into the shading on the base of the body, but also it goes over the top of the side fin. And if I decide that's too much, come back to my Erase tool again, cut it back where I don't want it, but still leave the fin with a little bit of a shadow above it. Okay, the very last thing, let's merge back down. I'll leave the shady on a separate layer. But what I will do is I'll come to my Erase tool and get rid of my reference there. A drawing is never finished. It's only ever abandoned. And then you come back to it in later years and think, Oh, actually, look, let's come to my smudge tool and just try and smudge that bit of shading just underneath the shark there and maybe smudge a little bit just on the other side of the mouth and all the little things you're looking at, but comes a certain point you've got to give up. You've got to walk away, maybe come back to it in a month's time, take a look at it, or in a year's time and think, well, have I improved, which if you stick with it, you will have improved. And oh, come on. What am I doing? I keep on obsessively going back and just adding a few more little highlights here and there and adding a little bit more texture to the back of the body by making little smooth curve brush strokes. That's working. I'm starting to get the effect of light playing from the surface of the water onto the top side of the shark, just in certain areas. And I had no idea I was going to be doing this even 2 minutes ago, but I just wanted to experiment around. And that's the point, experiment with brush strokes. Find out what you can do. I'm making little X shapes. Down the side of the shark, and I like the effect. So I wanted you to see it. Okay, I'm going to stop now for the main reason that this video has gone on long enough, and it's only 3:00 in the afternoon, and I'm getting really hungry. I need some food. So I will call this finish now. I can't help myself. I want a little bit more on the top of the note. Stop. That was the sound of my pencil smacking down on the desk. I'm stopping now. I will see you in the next video. 11. Draw an Apple, part 1: Okay, I want us to do one more exercise before we start learning the various different drawing exercises. Before I do, though, I want you to say hello to my new little friend. And that is I got myself a mouse and I set it up so that you can see the cursor moving around the screen like this. And so now there shouldn't be any mistake about where I am when you're following along with the tutorials. So, for example, if I come up to A four paper lunch draw space, and for this exercise, I want to use a paper with a bit of texture. So I will come to A four Mtons and I will swipe to the left. And tap on duplicate, take this out of my folder so that I only have blank pieces of paper in that folder, drop it down. Then tap on it, and we're good to go. Okay, so for this, my brushes, I want to come up to DC drawing, and I'm going to come to, I've got MtonsPastel sketcher at the bottom. For the paper color, let's come to our Layers panel, tap on that. Come to our background color, tap there. And for this, I don't want golden age. I want my colors which I've supplied with the course DC paper colors. Let's come down to here. And for this, let's come up to the first one. Tap on that. Honey, Yeah, I kind of prefer that color because I want to use some reds for my pencil. So if I come to my colors for this, look, if I come up to cards and click on that, I want here we are. DC drawing colors. And for this, I think I'll try sanguine three. I could do with a little bit of color. Let's come back and change to compact so I can see more of my colors all in one go. And let's try a few exploratory brush strokes. So let's take a look at this. That's the kind of effect I want, and I'll do a two finger pinch outwards to zoom in. That you can see, hopefully, what I've got there is a mixture of my pencil, which has a texture built into it, and I've also got my paper overlay, which is also supplying a grain there. So the combination of the texture of the pencil plus the texture of the paper, that is what's hopefully selling the effect of me drawing on me tans paper. Look, if I make this top layer invisible for a second, that's the file without the paper. This is the file with the paper, and you can see how the two things together, the pencil and the paper are selling the effect. Alright, so I want to come back to my drawer here layer. I will tap just in the icon, and I'll come to clip. And then to fing a quick pinch inwards to size to fit. Yeah, there's my piece of paper. Okay, so the reason we're doing another sketch here is for me to mention a few more things about digital art and drawing in general, before we get down to, let's call the drawing gym. That is where you start to learn about drawing straight lines or circles and what hand movements and arm movements are good for what kinds of brush strokes. Because this is you now, this is the future. One model of learning is you start with all the gym exercises and all the rather dry stuff right from the beginning. And as you go along, you learn more about drawing and your knowledge gets broader and wider and wider, but you started off by doing lots of exercises. I'll just to finger up a couple of times. Another way of doing it, and this is the way we're is we're starting off with simply doing some drawing and talking about digital drawing in particular. And so we get a slightly wider introduction we come in and we focus on our skills, and from there, we start to broaden our field and gain a greater understanding. So this bit and these bits, those are the drawing gym where we practice our brush strokes. And as you go on, you start to apply those skills to various different subjects and build up your broader understanding of drawing. That is the plan. Anyway, let's carry on just in case you're still awake after all of that. Three fingers swipe down, clear the layer. Okay, now, how big do I want my brush stroke to be? Let's what's that? 19% and full opacity. That's a bit broad for me. I've got a good idea, Let's find the thing that we're going to be drawing. This time, it's not from Imagination. Come up to our wrench icon. And I want you to come down to where it says, reference and turn that on. You get a little window. If you come to image and then come to Import Image, this will take you straight through to the Photos app, and I've supplied an image for you to download and follow along with. It is this apple. Make sure that is in the Photos app, and I can resize this window Bang around like this. And this is what I want us to draw today. To move the entire window, come up to that little bar in the top and drag that where I want it to be, make sure I am on the right layer, draw here. That's fine. Okay, so the first thing I want to do is get that general outline of the apple, which is basically a circle. But for my initial brush strokes, that is too broad a stroke. So I will two finger tap to do that. I will come down to what? What's that? 3% size. Let's try that brush stroke. Yeah, that could do the job. So all I want to do is make a broad outline of that apple. What I will do with this is I will make it a little narrower, I move it over here, so I've got a bit more space to work. If you have a computer, as well as an iPad that you can sit in front of, put this image on your computer screen so you've got more space to work with on your iPad. Alright, so let's do outline. Just some nice foley free brush strokes like this. Bring it round. That's too narrow, isn't it? Let's make that bigger. Again, too narrow. Let's make it broader like this, bring it down. And that's not looking a huge amount like that Apple. But remember, we are in the digital world, so come up to our adjustments and then come down to liquefy. There's my brush. It's fairly big brush size. I want it bigger. With a liquefied tool, make sure it's set to push, pressure on MX, distortion nothing, momentum on nothing. And I want the size to be a bit bigger. Let's try what 60%? Let's try that. Yeah, that looks about right for me. Two fingers to drag up my screen a little bit, and I want that circle idea to look more like the apple in my picture. And again, for stuff like this where you're doing broad shapes, you need a big brush size with a liquefied tool. That's looking more like it. My size a little bit smaller. There's one or two little kinks just on the top of the apple here. I'm not going to be too obsessive about this because, well, no one's gonna see the real apple. They're just going to see my drawing of it, and apples vary in shape. And so if the shape I'm drawing isn't exactly as the shape I've got in my photo, who's gonna know? So what I'm saying is, don't get too obsessive about this. What I want to do for this is a nice, quick sketch. So I'm going to come to my eraser tool for my eraser, what have I got? I will look. No, I will come down to the same brushes I'm using to make marks with, but I want the opacity all the way up. I want my size fairly small. Oh, h. Let's try that again. Let's come up to our erased tool. Yeah, that's better. Because I knew that I didn't have any notches on my eraser, but I do on my actual pencil. But for some reason, I clicked on the eraser, but it didn't get selected. Never mind, let's just erase this one little bit here. Let's come back two. My pentil and still the same brush size. I need the stem of the apple. What I can do is I can come over to where the stem is in my photo, and if I just pinch outwards, I can zoom in on that detail. Now, I know the mistake I could very easily make with this. I'm going to say the stem is on the top of an apple. And so therefore, when I start to draw the start of the stem, let's draw it at the top of the apple like this. And that is an example of something I will be referring to constantly throughout the course, the curse of assumptionts. I'll talk more about it later on. But basically, when we draw, we always assume things about the object we're drawing rather than actually looking to see what is actually there. Like when I was a kid, I learned that the stem of the apple is on top of the apple, so I draw the stem of the apple on top of the apple without bothering to check where it really is. So let's undo that a couple of times. And also, I seem to have managed to get to Bigger brush size. Let's come down to the second bottom notch, 3%. The start of that stem is lower down because I'm looking at it slightly from the top. Let's try it about, say about there, if I come and two finger tap outwards to zoom in on that area, and let's deliberately do a bit of assumptions. The stem of an apple sticks out of the top of an apple, so I'm going to come like this. Well, no. And what I did there was thought, the stem has to stick out of the top of the apple, so there's going to be more of the stem above the apple than there is actually inside the outline of the apple. That is not true. If you look closely, and I'll use my mouse, you see that distance to that distance there. That to me, looks almost exactly the same as the distance from there to there, the top of the apple. So the length of the stem of the apple meets the back edge of the apple about halfway. So rather than just looking and assuming, I have to measure things, this is a corsic of drawing, and it doesn't matter if it's traditional or digital. So to fing a tap to undo what I just did, and instead, the apple comes out from the top of the apple about Imagine it's the hour hand of a clock on a wall. It's coming out at about, what, just past 1:00. So I draw a mark just about 1:00 on the other side. Again, I've gone a little bit too far. If I use this bit as my halfway mark, then the top of the stem is gonna be about there somewhere. Come to my rubber. My razor, sorry. I just get rid of one or two bits that I don't need. And I have the basic outline of my apple. 12. Draw an Apple, part 2: Okay, next thing, I've exported this file. It is available for you to download if you want to follow along with the same sketch. But what I am going to do is come to my reference window. I'm going to zoom out a little bit because I want to see a little bit of the shadow of the apple as well as the apple itself. And for my main apple, again, I'm going to pinch inwards to zoom out. Alright, so let's come back up. Double check my pen, MtontPastl sketcher, and my color is the same sanguine. Three. Alright. Let's come over. I want my brush size to be bigger. Let's try I try 45%, and I want it to be about halfway opaque, because what I want to do now is start to build up some of the shading. Let's come round like this. And you'll notice I'm happily going over the border of my apple. Remember, I can always knock this back later on. Let's make my brush size. Let's just make it maximum size. I want to do the shadow while I'm here, and there's a fair amount of shading on the right side of the apple. I want to get all that in. There's very, very little on the far side. In fact, the outline of the apple has more to do with the darker tone of the canvas that apple is sitting on, so I will do a little bit of shading just around here just to let me know the form is there, and straight from the off, make it a little bit deeper around here, let it fade out here. I'll make my breast size a little bit smaller because I want to do some more localized, deeper areas of color. Just where the bottom of the apple meets the canvas, and we get a shadow there because one thing I've noticed a lot from students on my foundation course, but also my other courses is that people can be very shy about doing deeper shadows. You often get quite a broad area at the bottom. Of an object that is sitting on a surface, but the object doesn't quite look like it's sitting on something because people are worried about the shadow being too deep and also in general, I've noticed. People are very shy about putting shadows in. They might do it just a little bit around the very edge like this, but no more. Well, I don't want that. To finger tap to undo that. The only way you can see the shape of an object, apart from any horizontal lines or vertical lines which distorts to go around an object is mainly the shadow areas, and a little bit the highlights. They can really help sell an object a little bit around the top. And also, I'm going to pinch in a little bit, sorry, pinch out to zoom in, and I'm going to put a little bit of deeper area around here. I'm doing areas of color here. Not sketching like this, you can do that, and I may do it at some point here. But for now, I'm going for areas of color, so two finger tap, do I do that? My brow size a little bit smaller and starts putting, Oh, look, we've got a shadow area here, haven't we? Going over the top of the apple. It's going round in a curve, which is helping to give the idea of the outside of the apple. Maybe a little bit deeper around here. And also, I've got one or two bits coming out of the top. They look more like different markings of the apple, but they're helping to solve the form, so I'll get some of those. But at this point, I've got my broad strokes in. I'm starting to go into some of the more detailed areas. But before we do that, I want to refine this a little bit. Remember, put down your broad strokes and then control them with your eraser. My pacity on maximum, my brush size. Well, let's try it around 12%, see what that is doing. Yeah, if I come to the left side of the apple, that's kind of the effect I want. Now, you notice because it is the same brush but used as an eraser, I am getting a slightly textured edge to the apple, which I quite like. But for now, let's take it down to 6% so I get a slightly better defined edge. It's still got a bit of texture in there, but I'm able to control that hard edge because I want a mix of hard edge and soft areas, two different things, getting the contrast there. And that idea of blending opposites, that's going to give you some pleasing effects. And around this side, as well, look, for this, I want that darker area on the left. Let's get my mouse. This area here. I want that darker area on the left because that's what we've got in the picture. Look, let me show you this. I put down just enough brushstroke to give the idea of there being a background. But I come back to my brush brush pasty set halfway. I'll take my brush size up to maximum. One thing I didn't do was say, Well, there's a darker background there. I can see the background going to the edge of the picture. So therefore, I will do the whole thing like this. Well, I can see it in the photograph, so I'll do it in the drawing. You don't need it. If I two finger tap, I just want that shading where it's helping to define the shape of the apple. I don't need more. Otherwise, it becomes just a little bit too oppressive. Anyway, let's come back to a razor and came around here because what I want here on the right side of the apple is the opposite effect. I want the darker shade of the apple against what is now the lighter part of the background. So I'm getting the form of the apple defined in two separate ways. Dark against the light background and light against the slightly darker background. Now for this, I'm going to be a little bit careful. Maybe make my brush size bigger, maybe knock it down to a round about halfway. Try and blend this area here. So I get a softer area around here. Yeah, and I prefer that. While I am here, if you take a look down the bottom, it's not completely dark around the bottom. You're getting a slightly lighter area. So brush size down to what? I'm down to 14%. This may work. Let's find out. My opacity is around halfway, and let's put in a few strokes just on the underside of my apple. Hopefully you can hear the sound on my pencil, I'm working fairly fast because I want some fairly fast, fairly confident strokes here. I know there is a very hard division here, where you get the deepest part of the shadow against the underside of the apple, but to be honest, I'd rather this gets blended in a little bit more smoothly than that. I'm using a textured paper. I'm using a texture brush, and it's capable of getting some very soft and very subtle transitions. And so I'm just trying to suggest the form of the apple with some gentle light and shade with one or two slightly harder areas just to mix things up. Don't want to go overboard with it. Let's come back to our brush. Make it a little bit smaller. It's on 50% opacity and just put back a little bit of the brush strokes there just so I get a gradual lightning of the color rather than a sharp band of light, which I had just a short while ago while I'm down here, as well. These are the deeper shadows of the picture. Let's my brush size a little bit smaller. And let's just get some deeper areas around here, and I'm going to extend it up a little bit, even though it's not there in the picture. Sorry, the photograph, so the picture as a whole can look a little bit more dynamic in terms of dark and light. What am I doing here? Let's take a look at this stem. Definite shadow on one side. More of a mid tone for the main stem, again, I'm making brushstrokes all in the same direction. And there are some highlights there. Now we'll come to that, but there is a darker area at the top, so let's put that there. Don't want to do too much more for the stem than that. Alright, let's see what we've got. I'm getting there. I'm going to come back to my eraser now, and I'm getting to the stage now where I'm looking at my sketch as a whole and looking at the photo and thinking, maybe I need this here or I need that there. And what's not agreeing with me is where the stem meets the apple. So pressure selected, let's take it. So it's fairly small and 100% opaque and bring it down like this. And I've got a little bit coming out here. But I think what's going to make this is to come back to my eraser set very high and very small because I want this hard transition where the stem meets the apple. You can see it on the picture. Now I've done that, let's make it a little bit bigger, my brush, and blend that in to this large area of shading I've got to the right. By making my brush a little bit bigger, and just softening that broad raised area just on either side to the left and right, just here and here, so things blend in a little bit more. While I'm here, let's try doing some little curvy strokes just around the outside of the apple to suggest the roundness of it. Now you don't really see that in the actual photo. But again, people aren't going to see the actual photo. They're going to see the sketch. Now, there is one more thing which I do want to do with this because at the moment, I'm using this sanguine red against a fairly light background. And the nice thing is, the background is a similar color to the local color of the apple. It's got that lightish green, but on the apple, I have this. I have the highlight, and a little bit of highlight can really help. Your drawings jump into three D. So what I'm going to do is I'm going to come to my layers panel, and I'm going to come to my little plus sign, and I'm going to add an extra layer. I will come to my colors. I remember we were using sanguine three, weren't we? Well, look, if I come over to the side, I've got this one here, sanguine tint three. I would choose that. It's almost white, but not quite. The brush, Mutants, I will take the opacity down to about halfway. I will make the brush size bigger. Come on. Matt size I'm using 19%. And then I'm going to come to where I can see the highlight in the drawing, and I'm going to add some white. I'm going to tap, tap, tap as well as scribbling to get a slightly mottled highlight. Look, if I come up to my layers panel, and if I make this layer invisible by clicking on that little tick mark, that's before. That's after just that one tiny bit of light, and all of a sudden, I'm getting a much more three D effect. Well, look, while we're here, let's carry on with this because there's some little highlights on the stem of the apple. Let's come here and try that. For that, though, I'm going to need a lot smaller brush. That's come down to where am I? 2% halfway opaque. I'm just sticking a few little bits. I'm just scribbling rather than a smooth brush stroke like that. I'll do that. I'm making little stabby brush strokes all way down to suggest the texture of it. Mouth a little bit. That is a little bit over the top because I wanted to make the point that you can do this. So come to ras tool, nice and small 100% and just knock back some of those highlights. And because I've done it on a separate layer, I can erase those highlights where I don't want them, and I'm not affecting that red underneath. On layers are wonderful thing. While I'm here, let's come back to my brush. And I wonder, just to really help things along a little bit, if I put a little bit of this white just on the border of where the stem of the apple touches, the darker area or the shaded area, tiny little bit on the other side. Think of this as adding spices to the stew. You put too much, it starts to look a little bit overdone. And what about maybe the tiny little bit just on the rim of the apple like this. Now, let's zoom out a little bit to see what I've got. I'm looking at it now and thinking, Oh, I could do this, and I could do that. Oh sorry, there's one thing I do want to do if I come up to the top and I just click and hold in that little color circle, just for a short while, it will give me my last selected colour. A paste about halfway. My breast size a little bit larger. Well, should I try, okay, 20%, because there's just a little bit more dark around the top of the apple and just around the side of the apple. I gradually fades out. And I just want to suggest that. But at this point, I don't want to do too much more, a little bit deeper around the shadows. But again, I'm going for a soft shadow there, a soft line between the apple and the canvas it's sitting on. If I look at the picture, that shadow is kind of looks a little bit like an iron. Look, you got this kind of a shape like this. Not sure I want that. Might be a little bit distracting. I'll make my breast size a bit bigger and suggest it but not quite a shop because otherwise, I think it would be a slightly distracting shape from the apple itself. And you know what? I've just made the classic mistake that I keep on telling other people not to do. Look, I had all my reds on one layer. Then I said, Hey, here's a great idea. Let's add another layer and put all our highlights on that layer. That way we can work on the shadow areas and the highlight areas separately. But then I forgot to come back to my layers panel and choose draw here. Instead, I put some red marks on the layer with the highlights. That doesn't really matter to me now because this is a simple sketch. Another time it might matter. Now, any other final things I want to do? Yeah, I'm going to create another layer, come to my plus sign. And calm down this area here, and I'm going to do a slightly darker area just on the outside, and then I'm going to come back to my eras tall again. And it's set fairly small, and I'm just going to reapply. Erase tool just to this one area because that background which I was talking about earlier, well, it was helping to show the form of the apple, but at the same time, it was starting to look a little bit monotonous. So what I want to do is just put a little bit of slightly deeper color very close to the area of the apple. You can see I've got rid of nearly all of the bits of that shading which went into the apple. Not quite all of them. I want to leave just a little bit of roughness there because one of the nice things about a sketch is quick brush strokes. One or two mistakes left in. In fact, sometimes when you see a sketch, the mistakes or the lines that the original artist abandoned, they can be the most fun lines. There's a certain energy to them. But with digital, you can erase absolutely everything. And so the next question is, should you erase all the things you think are mistakes? All I would say is, yes, you can erase any rough lines, but it's up to you whether you think you should. Anyway, let's take a look before and after with this. That was before. That's after. Let's look at it a little bit zoomed out because things look different when they're zoomed out. Before, after, I prefer that. That shaded areas a little bit more dynamic. And also, there's one or two bits on the apple, which I forgot to erase. But now that I look at them, I quite like them, so I will leave them. Okay, that is our second sketch. Very simple apple, just showing you some principles. And yes, right now, I'm looking at it thinking, Oh, I wish I could do this, I wish I could do that, but I will stop. Okay, this is the end of the introduction where hopefully you do a couple of sketches just to get your feet wet. And I've spoken about some of the differences between traditional art and digital art. But next up, I want us to go to the drawing gym where I will break down the various different finger, hand, and arm movements you will use to make your brushstrokes. I'll see you there. 13. New Section! The Fundamental Techniques of Drawing: Okay. Hello, A, welcome to this new section. In this section, I want to talk about how we actually use our bodies to draw with if you like the nuts and bolts of drawing. Because digital art has changed just about everything with art, but our bodies haven't changed. They stayed the same. And there are still some ways to draw which are easier than others. Okay, now, even if you've not had any formal art training, you will have had some training using one of these When you were younger, well, not digital pencil. I mean, a real pencil. Because think about it. When you were young, you have to learn how to control the pencil. What did you get a whole load of praise for drawing? Yeah. Neat handwriting. So if you've had any training whatsoever, it will have been holding using, say, the tri grid, where you use two fingers in your thumb and you draw and you draw very, very neat strokes like this, and you get praise for drawing neat. But it's all very tight. And yet, did you do this? Yeah, you did that as well? Yes, you did. But later on, if you do get any art training, you start to learn to use your pen or your pencil or your paint brush in different ways. Now, let's come just for a second to this. This is my 22 inch drawing tablet, and very nice it is, too. And the good thing about it is I can make a very broad sweeping brush strokes using my shoulder because my shoulder is the only ball joint in the entire chain that I use to draw with. Think about it. Be joint, nice big sweeping strokes, my elbow, it's a hinged joint. My forearm, well, it can kind of twist around like this, but we tend not to use that very much in drawing because all you're doing is that with a pencil. Then you've got your wrist, which is a hinged joint plus your fingers, which are a whole different series of hinge joints. So your shoulder, that's what you use to make your large expressive brush strokes, and I can do that here. Incidentally, alright? This is Rebel. Program I'm using here is called Rebel. I think it's on Volition seven at the moment. And if I'm drawing on the mac or the PC, which I do quite often, then Rebel is my pain program of choice. And look, I'll just show you an example. I've got watercolor bra selected if I make a big stroke like this and I mean, look at that. I've got paint dribbling down my virtual canvas. That is mad, alright? And also, look, I can get I blow it too, and I can blow this paint around like this. Really smooth it around and also look if I come down, I've got also some little granulation pressures so that I can draw little speckles and watch them interact with water at the same time. That is a load of fun, but that's not really what we're talking about today. Look, the main difference is, if I look at this screen size here, nice and big. This is my iPad. This is the currently largest ipad we've got 13 " and take a look at the screen size. It is quite a bit smaller. So those big brush strokes I can do with my elbow, it's not so easy to do when you're using your iPad because, look, supposing I was to have it like this and I was going to draw from the shoulder, it's just simply not quite as big as the canvas behind me. Quite often, when you go to art college, you have these big pieces of paper and you'll draw at a distance to get your big expressive brush strokes. With the iPad, what that your maximum size at the moment. Hopefully, Apple will please make a bigger version at some point, which would be really nice. Yeah. Anyway, with it, I'll just three fingers swipe down just to clear my lamb. Now with this, I'm a little bit more limited in what I can do. There are certain things I can do like if I lift my elbow up and I draw a little bit more from my shoulder, I can kind of do that. What I don't want to do is to get really crunched up like this and see my wrist. That's resting against the surface of the ipad and my desk. When I do that, I can only really draw from my fingers and my wrist. Well, that's all very well, but if you want to do things like a straight line, for example, you're gonna have more luck. It's just rest it against the side of my desk by drawing using your whole arm. For example, here. You can draw one, two, three different straight lines just by moving my entire arm. And when I start my breast stroke, I'm not too close to my own ribs, that will affect the start of my bras stroke. If I draw the other way down like this, draw my line, but eventually I start hitting my own roots with my elbow. These are just things you have to be aware of. You have to be aware of it with traditional art. But with digital, because you're working on a slightly smaller screen, and chances are you're sitting down like this, rather than standing up and making big brushstrokes, you've got to be aware of your own body and where your iPad is sitting in relation to you. For me, well, I prefer to do it just resting on one knee like this. I also prefer to get a little bit further away, especially for my first strokes where I'm sketching out fairly large lines. Find it easier. When I start getting into more fine detail, then I might be a little bit encloser. I might put it down on the desk so that I can do all this fine ferwork that I learned when I was learning how to draw neatly. Well, no, actually, I was always being told off for having terrible handwriting. Oh, well, Okay, look, I'll wrap this video up for now. In the next video, you're going to be looking over my shoulder directly onto my iPad and what my hand is doing because it's time you went to the art gym where you start building up your different technique of how to make things like straight lines, circles, curves, things like that, and this is where you start to build up your artistic muscles. Okay? I'll see you in the next video. 14. Drawing Straight Lines: Okay, welcome to the Art Gym. I did say at the end of the previous video that in this video, you're going to be looking over my shoulder. So well, here we are looking over my shoulder. The file I'm using is any one of the paper files or just a file you create on the spot. The pencil I'm using is DC Pencil Extra. Fine. I'm set to 4% size, and my opacity is on 50%. It can be any brush you want. The whole point is just to practice making strokes. Now, the first thing to say is, I'm going to show you these exercises a bit like an instructor at a gym, but it is up to you to do the exercises. For example, I'm about to show you how to draw a straight line. And so what I need you to do afterwards is to practice drawing a straight line. And basically, I want you to fill pages and pages and pages and pages with hopefully straight lines, hopefully straighter than that. Because calling this an art gym, well, it is actually a lot like a gym. You need to practice. You need to build up your art muscles, and you're going to have a better time of it if I show you some good technique right from the start. Okay, so the very first thing, how do you hold your pencil? I'll be honest with you, it varies from person to person. Now the standard way that you are taught when you are young and you're learning how to write is the trigrip. That is one finger, one finger, one thumb, they all come together and they make Fy control very, very easy. That is for writing. For drawing, it's slightly different. The way I prefer to hold my pencil is a little bit more relaxed like this. I see some people on YouTube videos holding their pencil like this, which if they're doing fine control, Okay, that's what works for them. But when it comes to making things like straight lines or curves or circles, then the tri grip yeah, it's a good starting point, but there are other things that come into play. So let's start off with straight line. Before I do, for all of these exercises, which I do want you to repeat again and again and again, breathe. You're going to have a lot easier time with this when your breathing is nice and relaxed and controlled. In fact, some people find that drawing can be a little bit like meditation because they naturally find themselves getting into a calm state, and the way you do that is by breathing. Alright, so let's show you before. This is before. Let's draw a line. Probably the reason we do something like that is because we're so used to doing fine motor controls because we do writing. That's how we learn to control our pen. But it doesn't really work for drawing things like a straight line. So three f to pull down, clear my layer. One thing I do want you to do before we start, come to preferences. I want you to come to the wrench icon, preferences, gesture controls. And this bit here, enable painting with finger. If it's turned on, turn it off because a lot of the time, you're going to be resting your finger or the side of your hand on the iPad when you're drawing. It just helps to stabilize things when you're making brush strokes. And so for that reason, I don't want my finger making any brush strokes I don't want. I only want my pen to do that. Okay, so the first thing, the straight line. I find as a right handed person, the easiest way for me to draw a straight line is like this. And already, I've got a little bit of a kink in the end of my line. I'll tell you why that happens and what to do about it. Quick pinch inward and two finger tap to one do. I don't draw a tightly controlled little line like I showed you before. I try and do it all in one go. I keep my fingers and my wrist fairly stiff. I'm not tensing them up or anything like that. I'm just keeping them still. Any movements I do, I'm gonna do from my shoulder and maybe my elbow, like this. It is so much easier. Okay, so when I made the previous brush stroke, I drew my line and I stopped at the end, but I kept my pencil on the surface of my iPad. Let me undo that. I'm going to exaggerate this a little bit and show you just from the side, I do this thing where I swoop in onto the surface of my iPad and make my brush stroke, and then I lift up at the end. Seen from the side, it would be swoop in, make your brush stroke come off at the end. Bit like an aeroplane, come into land, make your runway, and then take off again. Now, what can happen and you can see this when I came into land, my pencil is set up so that when there's less pressure, you get a more transparent stroke. That makes sense because that's what a pencil is like. But for this, if I just want a straight line, I have to do a fairly steep line and a fairly steep takeoff but try and make it smooth at the same time. So in and out like that. You can see I try and do it in one smooth stroke. Now, there is one thing about this. Any paint program is going to give you the ability to automatically do a straight line. I procreate, it works like this. You make your brush stroke and you hold at the end. You see that? After just a couple of seconds, you get this, you get a line, which is perfectly straight, and it's a bit like an elastic band. You position it to where you want it to go, you let go, and it's there. And if you want to adjust it some more, you can even come to the top where it now says editing. I've got a line, and I have a blue point on the end and a blue point on the other end, and I can move this around to wherever I want to go, supposing I want it there. Come back to my pencil tool that is now set. And I'm ready to move on to the next line. This is great. This can save you a lot of time, especially if you're doing construction lines that you don't really want to appear in the final drawing. But my problem with that is, look, if I take this and I do another line right next to that first one I did, you can see my perfectly straight line shows up the fact that original line I did wasn't quite straight. But the thing is, though, up until a couple of seconds ago, that line was straight enough. It wasn't perfect, but for my purposes, it did look straight and it looked human. It looked straight in the way that a human would draw a straight line. You start mixing that up with the perfection of a straight line like this one, and you can end up getting a bit of a mismatch between the perfection of a computer drawn straight line and the slight imperfection of a human line. And sometimes those two things don't sit very well together, which can leave you with a choice. You either do everything the human way. It's not perfect, but it's good enough. It looks human. It looks hand drawn, which means a whole lot of practice, and you're going to spend a lot of time drawing straight lines like this. Can you see how I've put my elbow out to the side so it doesn't knock against my body? And also, I'm drawing in the center of the screen because if I come to the edge, this bit, the heel of my hand gets knocked against the side of my iPad cover, this thing. So be aware of that. Okay, the next thing, I want you to put a point in the middle of your screen. And now I want you to draw out if you like hands on a clock face, and I'm going to start off drawing like this. That's fine. Draw like this. That's okay. And you see what I did there at the top? I left my pencil on a little bit too long, so I'll undo that. I'll try doing that again, and I drifted off. I took off on the end of that stroke. Got a slightly straighter line. What I find with this is that there are certain angles like that is not a good line. The angle I'm drawing at now, for me, a right handed person, it's not working well because for one thing, my elbow is starting to knock against the side of my body. Also drawing and trying to push up like this is not quite as easy. No, what I find as a right handed person is that drawing lines like this around the 1:00, 2:00 mark, if this was the hands of a clock, those are the easiest straight lines for me to draw, so it follows that either I can move my iPad around or two fingers just drag around and I can play to my strengths. That is the easiest angle for me to draw, and I can always rotate the canvas around to do that from any angle I want. I'm going into my comfort zones. Now, eventually, it would be nice to develop the skill so I can draw lines like that you saw there at the beginning. I got a slight kink at the beginning of my stroke. Because, again, I had a slight nudge against the side of my body. These are the kind of physical details that you don't realize until someone points them out to you, and then when they do, you think, Oh, yeah, of course. Why not? Okay, so that is straight lines, and I'm going to give you a little exercise. I'm going to come to my DC draw extra, and there's a brush here called DC random dots. I'm going to choose that. I'm also going to choose a slightly brighter color. That's some kind of a russet pink color. It can be anything as long as it's fairly mid time. My brush size is what? 10%, and my opacity is on maximum. I'm going to come to my screen, and I'm just going to do a whole load of dots like this. Then I'm going to come back. DC drawing, DC pencil extra fine. That's the brush I want. I'll chooe a darker color again, and now my challenge is to join the dots. Now, the reason these are multi colored is so that I can say to you, Well, I've got kind of a dark pink dot here, and I'm going to try and connect that to that's a very deep red dot there. And the trick this is, if I look at what my brush is doing, I'll end up going off course, and I'll end up having to correct it like that. Now, you will notice I've chosen what I find to be a fairly easy angle somewhere around 1:00, 2:00. So I start on my pink dot, and rather than looking at my pencil, I'm looking at my destination and I make my stroke like that. That's strange enough, I guess. Okay, so let's find another one. I've got a brown dot here and a brown dot here. Okay, that's close enough. I went over by a little bit. That's not a problem. I can come to my eraser tool and get rid of it like it never existed. Remember, it's digital. Once you erase, it's gone for good. And so what I want you to do as an exercise, draw straight lines. Try drawing parallel lines. They can be useful for sketching. Try and make your brush strokes fairly quick, as well. But also, I want you to start learning to join the dots because a core skill in any of your construction drawings will be to find a point which is say there, and I want to connect it to a point here. So there. Now, look, I know that it's all very well saying be confident, but you can't get confident until you know you can do it and you can't really do it until you get confident. So it's a bit of a catch 22 situation. But take it gradually. Try doing a few quick brushstrokes and you get a bit more confident. Then try gaining a bit quicker. Once you master that, you'll get more confident with that. So basically, fake it till you make it. And then the final thing with this Look, I'm going to zoom in a little bit. I can draw my line like this. And then I'm going to draw another line from here down to this one. And then I'm going to move around, and I'm going to draw another line from here to here. So as well as drawing straight lines, as well as drawing parallel lines like this, as well as moving around to find the angle that suits you that you can make straight line, I also want you to make triangles. Do plenty of them. This will become more relevant as we go further down the line into actual construction drawing. 15. Drawing Curves: Okay, so the next bit, how to draw a curve. Now, it's quite simple. You see this bit of my hand, the heel of my palm, that is going to be my pivot point. So I rest that on the surface of my iPad, and there's my curve. If I push my pen out a little bit further, I can get similar radiuses just by extending. And if I keep on extending my pencil outwards, well, I can get not similar radiuses, a wider radius, but still the same curve. Eventually, when I get to a certain point, the angle of my pentel is going to be so narrow I'm starting to get a shaded effect that you do get with some brushes when you put your pen at an angle to your screen. Alright, so but that can work quite well because supposing I'm doing some shading, if I push my pencil out a little bit, I do all my things completely extended like this. I want a little bit of bend in them. And when I come to do shading, because my pencil is at an angle, I can vary my shading by varying the pressure. This will work the same for all the pencils that you get on this course. But I can build up a graduated bit of shading like this. Because my pencil isn't like this, very close to my fingers, well, with that, I'm going to get a finer point, but also I'm going to get the natural arc of my wrist, which makes the shading a little bit difficult. So if you push your pencil out like I did here, then you can get some more subtle shading. Now, as for the curve. Well, here's a little exercise for you if I come to my draw extra, come to my random dots, that's selected. Put a few dots down, then come back. To select pencil Extra, final, whichever one. I want you to find a start point and an endpoint, say, that one might be my start point and say, this one might be by endpoints. And I'm going to go from this point to this point, but I'm going to try and pass through this point here. So it's a case of positioning myself. I know that if I come to this point and then I come to this point, that's not going to work. So maybe move my iPad around or better yet. Move my paper around. Now let's take a look. Start, finish. That's close enough, move it around a little bit more, start, finish. And because I know that my pivot point is going to be in a certain place, I can move around the paper to match the arc, and I think that should give me a reasonable curve. Let's just try that again. So there to there, but close to that point, move my pivot a little bit. Yeah. Aim for that point, but don't insist on going right the way through it. Then when you're doing this exercise, you're going to have a bit of a better time. On that score, sometimes you will need a curve that is not just that. It might need to be a tight curve on the end because you might be following a line round. Not a problem. You can just zoom in. Carrying on your curve like this. A lot of people will tell you, you should always try and do it in one go, but we're living in the real world. And you may find that by the time you've practiced so you can do a perfect curve every single time, you're so bored with the whole idea that you're bored with drawing in general. Let me put it to you that it's also equally valid to just try and take a few little runs up at it and then just get it so you get a fairly smooth transition. From one of your curves to the next one that you're going to draw. You can see I'm zooming in each time and I'm making my curves smaller. I'm not following anything in particular, but my point is, if you use the Zoom function of your iPad, then you don't have to figure out how to draw curve at a lot of different sizes. One size will do. There you go. Let's just zoom out a little bit. And that is a pretty smooth curve, but you saw yourself. It's essentially the same technique. It's the same curve. It's just this movement, but I did it by zooming in and moving round. That's going to be a key skill, which, let's face it, you can't do it in the real world because you can't zoom in on a piece of paper. All right, one more thing with this, if I just clear the layer. Okay, look, in the real world, curves are nice, but one thing traditional artists have are things called French curves. And there are a series of curves which you put on your piece of paper and you trace around the outline and isn't that very nice. Curves that look a little bit like this. I got this plus about six others for about ten, a mark a yen, a buck or a pound online. And look. Let's see in a little bit. Come round. Let's come round this way. Let's zoom in a little bit and come round this way. Let's zoom in a little bit and come round. Right. You tell me where it is written that us as digital artists are not allowed to use these real world French curves. It's not damaging the surface of my screen, and for the reasons we already mentioned, you can zoom in and rotate as much as you want. So this little French curve, which is useful in the real world, and why shouldn't we use it in the digital world is much more useful in the digital world because we can zoom in and rotate around and come to a common point. Like that. Imagine trying to draw that in the real world. I mean, come on. There's going to be plenty of people who are going to tell you as a digital artist that you're cheating because you're using a digital package and that anyone can draw if they use a digital art package. So, A, boo hoo, my feelings are hurt. And, B, why not take advantage of every bit of technology you have available, traditional or digital? It's all about producing good art at the end of the day. 16. Errr... so what exactly is an ellipse?: Hello. Just before we get started talking about circles and ellipses and what the difference are, I thought I'd give you a quick, no expense spare demonstration just to help you along with this. This is a kitchen plate, and if you can see, there's a little bit of dirt there. That's not dirt, okay? That's part of the design, it's supposed to be there. Alright. So this is a kitchen plate with some bits of blue sticky tape stuck on it. Now, the bits of blue sticky tape, you can see form across shape, and in the middle, that is the middle of the kitchen plate. All right? That's the bit way to stick your cumpass and draw around to make the circle because that's what a circle is. It's a center point with a bit around the outside, and every part of the outside is the same distance towards the center point. And if I hold this so that this should be facing directly towards the screen, now I'm just going to pause this video, take a screenshot, and then just going to draw around the outside, and you can see I've got pretty much a perfect circle. Okay, so so far all well and good. Now, what happens when I start to tilt the plate so the bottom of it comes further towards you and the top end goes further away. Now I'll take a screenshot. You can see that that blue bit of tape side to side, that hasn't changed in size at all. It's still the same distance. The bit of the tape that's running top to bottom, that distance as you, the viewer, look at it, has gotten a bit shorter. And if I draw the shape of the plate now, you can see it's not quite a full circle. It's squashed down a bit, and that is what an ellipse is. It's squashed down. Okay, so now I'll make it even more obvious. I will tilt this a bit further towards you like this. And now you can definitely see it. The width of the plate, side to side, still hasn't changed, but the distance top to bottom appears to be much narrower and so we get a more narrow ellipse. Again, an ellipse is just a squashed circle. That is the secret to an ellipse. Now, I could take the ellipse and put it on his side like this. This time, the top to bottom, that stays the same, no matter where I put it, like this, like this. And this time, this line here starts to get shorter. It also might start to appear to be at a slight angle, depending upon where I put it. That is to do with the rules of perspective. We will be talking about that later on. But by now, hopefully, that should be enough for you for when we need to talk about ellipses and circles, which is coming up in just a second. 17. Circles and Ellipses: Okay, so you've seen the video of me holding up that weight with the bits of tape on to show you the idea of horizontal and vertical axes. Let's put this into practice. When you are drawing your circle, well, you can try drawing in midair like this, but it's not going to work too well because you need some kind of idea of contact with the surface of your iPad. So what I prefer to do is to use this little bit of my little finger. That's going to be resting against the surface of my ipad. I put on my glove just to make doubly sure that I'm not going to pick up any stray brush strokes. Then what I do, I start practicing my movement. If you take a look at my pen, it's facing directly towards the ipad and I do a few practice movements first. And then when I've got the idea of a circle fixed, I draw the circle. Now, here's something you may not know. Apparently, if you wanted to get to work in Leonardo DaVinc's workshop and become one of his painting assistants, the price of entry was you had to be able to draw a perfect circle. And it may sound simple, but in actual fact, it's really difficult. I mean, that's not bad, but it's not perfect. Incidentally, practice doing circles, practice doing lots and lots of different circles. And what I suggest you do is zoom in and out because you will find there'll be a certain radius that you're going to find the most comfortable. For me, this is about the right radius or the right diameter, given that I'm working on an iPad and an iPad screen is a little bit smaller. If I was working on a large piece of paper, I might make my movements from my shoulder and practice those. But we're working with the screen area that we're given. And so what I will do is I will find out my optimum circle making diameter. And I'll zoom in and out to try and accommodate that like I did with the curves in the previous video. Now, I do want you to practice these. I want you to practice the lines, I want you to practice the curves. I want you to practice circles, ellipses, simple shapes, which we will be talking about. I want you to practice these a lot because they are the simple shapes that you will use to build up more complicated shapes. In fact, they are the shapes that you'll be using to build up practically any shape you want. This is where you start practicing. In fact, you might want to make it part of your warm up routine every time you sit down with your iPad. And if you get one of those days where you're not really sure what it is you want to do, then practice drawing your lines and your curves and your ellipses and your circles and your symbols shapes. You can never practice them enough. On that score, you remember, I did say the price of entry into Leonardo's studio was to draw a circle because they're so difficult. Well, in fact, do you remember the French curves from the previous video? What's this? Templates like these have been around since long before I started out. All right? Simply a way of tracing out a perfect circle quickly and easily. And artist, designers, illustrators have been using these kind of templates for, well, basically hundreds of years. Like French curves, they are drawing aids. You're allowed to use them. That said, with Improcreate and with any digital art program, you're going to get some help. Do you remember a short while ago I did show you that if I draw a line and I just hold at the end, I get this little elastic band which I can move around and then let go like this. And then if I want to edit it more, I tap at the top and I can see my two points like this. This is assisted drawing, and it's a big thing with Inprocreate that you can use to your advantage. But it's not just lines. Look, if I draw a shape like this, I get something called a polyline, and if I want to edit the polyline, I can edit like this. Sometimes when you do this, though, you'll find there'll be more than one point. In your angles. Alright, let's get rid of that. If I draw a curve like this and hold on, I get an arc, and I can edit this as well. So you can get very smooth results very quickly. My only problem with this is supposing I want to continue that arc, so if I commit to it, and I've got to get to this one here, it can be very difficult to line your pencil up to draw a new arc. Now, maybe I got lucky that time. I'll edit it, and what you have to do is you have to come in really quite close and really play around with those blue points and also the angle of the arc as well to try and get the arc you're doing now to flow nicely into the previous arc. It can be done. It just takes a bit of practice. What you want to avoid is something like this where the arc goes around like this and then it suddenly goes off in a different direction. Now, that is very obvious. The problem comes when you have something is like that. That line of that arc very nearly continues on from the line of that arc, but not quite. And if I just commit to it, you can see in this area here, something's off. You're getting uncertainty fail, and I do talk a lot about that on just about all my courses. It's where the viewer looks at something and decides it's not quite right, but they're not quite sure exactly what it is that's not right. Like in the case of this, it's ever so slightly off. It should be curving around a little bit more like that. And if it was curving off like this, it would be a definite change in direction. People like to be certain about what it is they are looking at. And if you got something like this, it's a certainty that I meant the angle to change like that. And if I've got something which just continues on like this, then people won't notice the difference until they're still certain. But when you get something like this, it's not quite continuing smoothly on, but it's not quite making a definite break. So it is an uncertainty fail. You do not want those in your drawings, unless you're deliberately looking to make people feel uncomfortable, but that is your business. Supposing I do my thing where I trace around like this and I draw my circle but I just hold at the end, I get a choice of either an ellipse or a circle like this. Now with this, I can move it around by dragging from the outside or the inside. If I place my pencil on the circumference, I can make it bigger or smaller. I can also rotate it round with these little control points. Now with a circle, doesn't really matter, but with an ellipse, I can pull out one side or another of an ellipse decorate my horizontal axes and my vertical axes, and I can make this ellipse as deep or as shallow as I want, and then commit to that. I've shown you the assisted drawing. Now, what about the traditional way to draw an ellipse? I've shown you a circle. For an ellipse, it's very similar. Clear lip. But with an ellipse, really, you want to draw the axis of the ellipse first. So in the case of this, look, if I draw, say, a line like this, and I'll use assisted drawing. I can move it around if I want that to be purely vertical, put my finger on the surface of my ipad and it constrains the angle to 15 degree increments. There. That is a vertical line, horizontal line, I can draw that, move it around, put my finger on to constrain it, and I have my axes. Now the trick with this is to get say a mark here and I need a similar mark of a similar distance below. Now I can eyeball it like I'm doing now because part and parcel of this is being able to judge distances. I can do the old artist's trick. I can measure with my pencil, which is not ideal. Because there's something about around Apple pencil that doesn't lend itself well to doing this. Or I can come and use something like my ruler because it's plastic and measure the distance there and move it down like that. And yeah, I got lucky with that. Got a similar distance. Now, supposing for the horizontal axes, whoops, choose my proper color. Okay, so that's my axes there. I can move Oops, so let's reapply it. And it's about that distance here, isn't it? I'll stop playing up. This is because I'm putting my thumb on the screen. And when I do that, come on, it's not doing it now. When I do that, it should there, it samples whatever color is underneath my finger. And you can see my original color is that deep blue, that's in the bottom half of the reticule because that's its name and the top half, that's going around looking to find any color which the center of the circle is underneath. And once I let go, that will be my new color. If I tap and hold in the top, right, I select my previous color. So now I have the four axes of my ellipse. Now there are different schools of thoughts with this. One school of thought which you will hear often is, well, as with the circle, you train your hand to go in the shape of the ellipse by going through a few times. And then when you feel ready, you come and you drop it in like that. Oh, that's awful. Undo that. And Do it again. Again, that's not brilliant. One reason is I'm doing this off axis and the wrong size for me. Do you remember me saying that with a circle, there is a certain size which is going to feel comfortable for you? Well, it's the same with the ellipse, but it's not just the size of the ellipse, it's the angle you're drawing at. At the moment, this is being held directly to my body, and I have a completely horizontal line. But do you remember me telling you when we were doing lines that there are certain lines that I find to be more comfortable to draw depending on the angle they are. In the case of me, it's somewhere between 1:00 and 3:00. So I'm doing myself more of a favor by angling this axis to the angle that I feel most comfortable with when I'm drawing a straight line. I've also made it a little bit smaller because in fact, I make it a little bit smaller still, because, again, I want this to be at the angle that I find most comfortable because I want this to be at the size I find comfortable drawing circles, but modify that movement for the ellipse. And the other thing as well is, look, I'm slouching like this. When I slouch, it's almost impossible to keep my elbow out from the side of my body, which is what I need to be doing. So, come on, y man. Come on. Sit up straight, like I was taught to. Okay, I'll call that close enough because the other school of thought, which is the one I learned, you draw your rough shape in, and then you go in, and if you remember, we were drawing curves. And so what I can do is I can use the natural curve in my hand to comb around and draw first of all, that bit. Then draw this one. And yet, I can see I'm going to have a bit of a problem with this because I went a little bit too bulgy outwards. So let's undo that and start just a little bit before my marker. And that's going to be pretty much a straight line coming around like this. Same with this one. It's going to start off at right angles to that axis, but it's quickly going to start coming round like this. The final one curve round like this. What I found is that second method where you draw your rough circle, and it's a little bit off on this one. And then you draw in your curves afterwards. I find, in general, I have a much easier time with that. I haven't quite got it right on this one, but then again, not a problem. Come to my adjustments, come to liquefy. I want my brush slicet dig for this. And I can just take the whole thing in and just squeeze it down a little bit like that. And that's how I do ellipses. Just very quickly, while I'm here, let's do this and pinch to zoom in. Make my brush a little bit more opaque. Quite often, you might have to draw, say, an I. I mean, everybody draws Is, and you'll need concentric circles. That's with one circle with the same center point as another one. Well, this is the way you do it. You can leave the power of your assisted drawing. So there's your vertical line, here's your horizontal line, and there, if you're drawing ellipse in, you need them to be at an angle, not a problem. You can come and you can rotate to any angle you want with your axes. That's two finger tap to reset that. Now, here's the trick. You come and you do your circle, it can be be as rough as you like. But then what you do is you come to where it says ellipse and you choose circle. Those four points are now your little friends because you can make this any size you want, you can rotate it around and you can see those little blue dots moving around. And when you think you've got it in more or less in the right place, you can move it. So those four little blue points line up with the axes made by a horizontal and vertical lines. So great good times. And then I draw another circle. It can be any size, any shape. It doesn't really matter. Sorry, I say any shape. A size as long as it's vaguely circle shaped. And again, with this one, you can move it around so those little blue dots line up again with the axes. And from there, you can make that circle any size you like. And there's your concentric circle, incidentally while I'm here. Egg shapes. All right. Well, an egg is round on one end and more pointy on another end. So instead of that being the endpoint of my axes, I'm going to draw another curve about here and bring it round. There, divide it up into two separate operations and start off. So I'm going at right angles to this line, so the line will be about there. And bring it up and round. As I mentioned in a previous video, the assisted drawing, which I used to make this blunt bit of the egg will give you perfect curves and perfect circle. That's great. The only problem can come when you've got your perfect circles and your perfect curves in the same drawing as the ones you've drawn by hand, let's face it. If you're doing sketching, a hand drawn look can look nice. But again, you looking at that, you can tell which bit of this top curve was drawn using assisted drawing, that bit, it's perfect. And this bit, which is okay, it's good enough. But you can probably tell the difference. And if you can tell the difference while you're drawing, then a stranger coming to look at your drawing will also be able to tell the difference. So just be aware of that. Okay, let's move on. 18. The Grid Method, part 1: Okay, we've done a few exercises to get our hands and our arm and our fingers into a slightly different way of working. But now let's find a way to get the stuff that you see either in the real world or in a photo into your iPad in the form of you doing a drawing. And we're going to start off with a very simple, very tried and trusted method. It's used all the time introduci. We're going to do it with digital art and add some improvements along the way. Well, at least I hope so. Okay, so I'm going to come to my A four paper, learn to draw spares. Let's try DCA four course paper. I'll try that one. It's as good as any. But look, if you have a more recent iPad, then by all means, use the A three paper, which is larger, you get better screen resolution. But for this, I will duplicate. I will open up my piece of paper. The brushes I'm using doesn't really matter for now, because what I want to do is import the image that I want us to draw. So I'll activate my mouse. I'll come up to my wrench icon. You can do this with your finger or your pencil. It's all the same, but you won't get this little circle which hopefully makes things clear as to where I am. I want the ad section, and I want to come to insert a file. Now, the image I want is in my learn to draw folder on my iCloud. And what I suggest you do is when you download the images for this lesson or any of the other images you're going to get, create a folder on your iCloud. I've called mine reference images. There will be more added to this, and I want Dolphin. It imports, and I get my dolphin. I also automatically get put into transform mode. And you can tell that just by that little blue arrow, which I'm wiggling around close to, which means I can position the dolphin wherever I want. And I'm doing this by using my finger. I want the dolphin to be a bit larger in the picture. I would like a nice big space to work with. So I'm just tapping and dragging just in the top right hand corner like this. Maybe move the image by coming to the inside where you can see this little line which is moving around. Bring it up here a bit, make it a little bit bigger by dragging from the bottom left. Come here. Yeah, that should be about big enough. And to get out of this, just tap on any other icon, I'll come to mine. That's what I want to draw. Now, one thing you may notice with this, because my drawer here layer was empty, the image gets dropped straight in there. If there was anything on that layer beforehand, then Procreate would create a new layer. And I'll prove that to you by coming to our wrench icon again. I'm going to add another file. Come down to insert file. But this time, I'm going to come to learn to draw. Again, I suggest you create a folder on your iCloud drive called Guides, and I'm going to come to DC grid 01. Click on that and it gets imported. I get a grid. If any of you have done traditional drawing before, you may see where this is going. I'm back in transform mode. If you come down to the bottom where the controls for this are, you can see I'm set to uniform. That means I can position that grid, and I can make it bigger or smaller, but I can't stretch or squeeze it, and that's what I want. So I come here, I can make it bigger. I can use two fingers to drag downwards, and I want to drag this out so that it covers the whole dolphin area. So I will two finger drag again, make this a bit bigger. Come on. Okay, that will do it for the bottom side, and I need two finger drag by coming to the outside of that grid and dragging using two fingers like this. I can zoom in, I can zoom out like this, but I'm dragging using two fingers on the outside of that grid. If I was to do it on the inside of the grid, I start to move the grid around. I start to rotate it like this, which is not really what I want. So two finger tap to do that. I can come to anywhere outside of the dolphin and drag down like this. And that looks like I've got the dolphin completely covered in that grid, so I will come up to my pencil just to commit to that. Now, the theory goes that if you come into this grid and look, let's find a brush, let's try. Well, I could try pencil course because the paper is coarse. No, I'll use pencil medium. And for the pencil color, well, let's try deep blue. Actually, no, let's let's try another red because I've got blue in the background and the blue and my pencil may not show up. So the theory goes if I come to the fin, for example, let's make my brush size quite a bit smaller and look at this area here. I can see where the fin crosses that point of the grid. That looks to be between eight tenths and nine tenths of the way up that grid. And so what I'm going to do is end up with a series of points that, in this case, are eight tenths to nine tenths above of that line. And if I come to this point, that's about what? Just under halfway up the grid line. So I have a series of reference points which I can measure to do an accurate drawing of a dolphin. There's only one thing wrong with this. I've still got the dolphin in the background, but here's the trick, something that you can do with digital art that you can't really do with traditional art. Two finger tap to get rid of one circle, to finger tap to get rid of the other circle, but now I'm going to position this so that I can see the dolphin on the screen, and then I'm going to take a screenshot of this. I come to the on off button plus one of the volume buttons. In my case, they are in the top left, and I press both at the same time, and I get a screenshot. That's everything on the screen. I don't need all of it. I can come to this point here and bring it down. I can come to the bottom point. What I'm doing is creating a picture of my dolphin with the grid in the background. Come up to Dan. When I do that, you get the option to save to photos. Click on that. And the next thing I do I just zoom out a little bit, so I can see my entire file, I come to my draw here layer. Where the dolphin is, tap on the layer icon and come to clear. While I'm here, let's come to that grid layer and I'm going to rename it because renaming is a good thing to do. I'll come and we'll call it grid. I'm also going to come to that little ensign and I'm going to take down the opacity so I can barely see the grid so it doesn't get in the way. For the next bit, make sure I come back to my draw here layer and I'm going to come back up to my wrench icon. But this time, I'm going to come down to where it says Canvas. Come to reference and turn that on. I get this little reference window, and at the moment, it's just showing what I've already got on my screen. But if I come to image, and then I come to import image, I get taken to the Photos app. And what's this right here? Just while my cursor's wiggling around. Tab on that. There is my dolphin. And because it's a screenshot of what we had just a couple of minutes ago, I have the reference that I need. I've got the grid from the picture just a few minutes ago, as well. So now if I just two finger drag to here, so now it's a pretty simple matter. Come to my pencil. Pencil medium, that's fine. I'll use that deeper blue, double check, make sure I'm on the draw here layer. Come back to my pencil, double check my size. I want a thin line there. That's fine. And that's on 50% opaque. That's fine. On my reference image, my dolphin is one, two, three, four squares high, by what? Two, three, four, five, six, seven, eight, squares across. Let's just check we have the same on our drawing. One, two, three, four, B, one, two, three, four, five, six, seven, eight. Yeah, we're ready. 19. The Grid Method, part 2: Okay, let's get on and draw dolphin. I'm on my drawer here. Layer my brush. I'm using the DC PentlEtraFin. The color is DC drawing colors, this deep blue just in the bottom left corner. My brush size is, what is it? I'm on 4% big, and I'm on 50% opaque. So let's start off in the bottom left corner. Come to my reference image and pinch outwards. On my reference image to zoom in and I've got a square down here as well. And straightaway, I can see I've got a little bit of a line just here, just forming part of the tail. The bottom of the tail, if I get my mouse, this is the bit I'm looking at. The underside of that tail looks to be about three tenths down from the square. So there. I also have another point here, which is about halfway down this square we're working in and about one tenth in. So that's about halfway down and about one tenth in. I also have where the tail joins the body, which looks to be about 1-2 tenths down and just crossing that line, so about there, and I can see a line that curves there. Now this is all very nice and very safe, but sooner or later, we're going to have to draw this in, aren't we? So I can see a curvy line. Well, I know I can do that by using the curve in my hand. So that is going to come about like this. And I also have a top bit which where my mouse cursor is right now. That's what about two or three tenths across and down. So armed with that, I can move this round the tail does bulge out a little bit, then comes down like this. There's also a slight underside to the tail as well. Now that I've got my basic tail in shape, I'm going to eyeball it. I'm doing this in relation to the shape that I've already got there. Just working out the proportion of how much further down that bit and that bit are just by looking at the shape I've already got. To finger tap do that and do that. I've got the body coming down about there, and I have a shape coming like this. I don't like what's happening with that mark I made here. It's too dark. So if I tap and hold on my eraser, I'll get the same brush that I'm using to erase with that I'm using to draw with. The opacite is on full. I want that, and the size is about the same size, I will just get rid of that line there and draw it in. Now, what I did here, oh, it's okay, and I can come and visit it. But if you take a look, at the body of this dolphin, it's got the kind of shape that you'd expect a dolphin to have these lovely swoopy lines. And what I'm worried about is that if I do this one square by one square by one square, I'm going to end up with a series of curves or straight lines that don't quite match up with the next square along. I'll try and give you an example of that. Look. I've got this shape here, which looks quite nice, and then I've got a straight line here, and then I've got another straight line here, and I've got a bit here which starts to go round. And I've got one, two, three, four different curves that I've just drawn. They don't quite match up with each other. Also, I made a very classic mistake with this top fin area. Look, supposing I have my reference grid set quite small, but the grid I'm sketching onto set very large like this. It can sometimes be quite difficult to draw what you see when what you're seeing is a different size to what you're drawing. You're likely to have a better result if you make the two squares roughly the same size. Anyway, I did a rather a lot of things there, which I don't want, so to finger tap a few times to get back to where we started from, and let's put in some of these bits here, Let's start off where we were. Maybe move this off to one side because I'm going to be going up, aren't I? Squares roughly similar size, and so I've got a little bit just here, and I can see I'm going to get a bit of a curve going around to the end of the tail. I have a little bit of triangle here. If I draw this in and rather than me saying it's two tenths down and it's three tenths in, I'm hoping you can take a look at what it is I'm doing and kind of judge for yourself how far up or how far in the various different markers I've got move it along a little bit, looking at this bit here along a little bit more. I've got a little bit right about here, almost touching the bit where those two red lines cross. And look, I need to zoom in a little bit for this, I think. I zoom in here. Let's take a look. I've got this bit here which looks across about there. I've got this bit here, which looks to be just over halfway across and about two, three tenths down. I draw a little curve like this. And I've got this bit here where there's no one particular reference point, but the whole thing kind of curves down. Let's just choose this point here. And is that about there? All right, just quickly while I'm here, as well. Let's take a look at this bit of dolphin and make them roughly similar scale. And I've got just under halfway there. Tram more or less horizontally, and the fin just starts to curve up there. Okay, look, I've got enough reference points here. I'm going to move this round. So that I can make hopefully a decent curve using the curve of my hand. I've told you before I am right handed, and I want to try and do this as much as possible in one go. So remember, just breathe, nice and relax, bring it down, look at where you're heading towards rather than where your pencil is. Nearly got it, didn't I? But there's a hump just here, which I didn't do. Not a problem. This is digital. I'm going to well, some people call it cheating. I call it just using the tools that you are blessed with. Come to liquefy. My breast size a little bit bigger, and I want this whole thing to hump upward a little bit more like this, maybe a little bit further down like that. And that is giving me much more of the shape by what? Alright, C, let's take a look at this bit here. That fin. It's funny when I look at it, let's try and make sure that the grid is more or less aligned. That's another advantage if you're using a grid, can you see this bit here where I've got the line of the grid of the reference pretty much matching up with the line of my actual drawing and take a look at the bottom. I've got some very similar. I hope you can see that the red line of the reference with the red line of my actual drawing. That way, I know I'm getting the same or a very similar angle in both the reference and the drawing. Let's take a look at that fin. I'll make it a little bit smaller, get it to match up like this. Strictly speaking, I don't really need to do it this way, but I just want to show you a certain way of working. So I think I've got all my various different points in there. So now I need a slopy line coming down like this. And I think that curve I did at the top, this bit here, that's a bit too shallow a curve. I think that tip of the fin is a bit sharper, so move that around like this. Yeah, I think I can live with that. Okay, let's carry on going. Now the next thing I want to take a look at are these flippers, and I'm looking at my squares in the reference image. I've got this bit here, which is that bit there. So if I go down diagonally one, this bit where I'm wiggling my mouse around, is the same as this bit here. So now I know where I need to put my new reference points for my fin. So they're going to be about just under halfway for that bit of the fin and on the other side, it looks about three tenths of the way along, and the body is just about there where I'm drawing. So I feel another curve coming on. I can use the curve of my wrist and just draw, just breathe, nice and relaxed and bring it down like that. Now, if I was feeling confident I might undo that and try and draw a little bit faster, like this. Okay, I think that pretty much worked because the faster you draw when you are using the natural curve of your wrist, for example, the smoother the line you're going to get. It's a little bit there, but I would rather miss that a little bit and have a faster, smoother line than get it exactly there and have a rather timid, shaky line. Alright, let's carry on. Take a look at this bit. The flippers. This bit of the flipper is, come on, I need to see the grid, don't I? That's about three tenths about that far down. And this bit here is ever so slightly lower than this point here, ever so slightly. And it's about two tenths of the weight in, so there for the tip of that, and I think that's given me enough information. That said, don't forget the top bit of the flipper. It actually joins this line here. So now I've got a line here, comes down, trip out there, and I want another curve which join down about like that. Alright. We're doing okay. Look, I might speed up this video because I'm not sure there's too many things I do need to say at this point. I think I've said most of the things I need to say. So I will speed up. If I can think of anything else I do want to say, I'll slow down and start talking again. Okay, I think I've got my dolphin. Final thing to say with this technique. Sorry, I've just seen a little bit here, which I want to take a look at. There we go. That's better. The final thing to say about this is that that comes to a certain point where you start to see the forms rather than just checking off your various different landmarks on the grid. When you do that, the temptation is to start drawing in the forms without checking where they are on the grid. And I found that I did that, especially when I was doing this bit here, the underside there. Because I was checking my new lines against my existing lines rather than the grid, I found that I got a little bit off in one or two places. Just be aware of that. Anyway, this is the grid method. This is tried and tested. This has been done for probably centuries. But this is digital. And so in the next video, we're going to be doing a very similar exercise. And in that exercise, I'm going to show you different ways that you can lever the power of digital art to approach this in quite a few different and new ways. Okay, so hopefully I've whetted your appetite for that. I will see you in the next video. 20. The Grid Method, part 3: In the previous video, we covered the grid method. It's been around for years and years. It's tried, it's tested. It works. But this is digital art. So in this video, I want to show you a few ways in which you can take the basic idea and move it forward in ways that would be difficult to do with traditional media, but not with digital media. Okay, so let's come to A four paper, learn to draw spares. Let's try the A four handmade paper, just for the sake of trying some paper we haven't tried before. I will duplicate that and I will open it up. I need an image to put in there, so come up to our wrench. The icon ad is selected and I want to insert a file. In the previous video, we did a dolphin. Now we're going to get adventurous and we're going to do dolphins. And actually, these are going to be quite a bit more difficult because they're not quite sideways. Drawing something that is completely sideways is a bit easier than this, which is at a slight angle. So what I'll do is two fingers push outwards to zoom in to fill my picture like this. And then come to any other tool just to commit to that, pinch inward a little bit so I can see the outer limit of where I am. Now, in the previous video, I came to the wrench icon, ad in certifile I came to my guides folder and called up DC Grid 01, and I pulled out the edges. So I could cover the dolphins with the grid. I took a screenshot, and away we went. But one of the reasons we use a grid is because if you have a set square and a ruler, grids are easy to set up. If I have a photograph lying on my desk, I can put some tracing paper over it and draw out my grid. And then on a larger piece of tracing paper or very lightly in pencil on the actual paper I'm working with, I can draw a grid the same size or larger by upping the scale of the grid, but it takes time to do. And unless you're drawing a regular square grid, it's very difficult to reproduce the original grid you used over your Reverence photo. Also, if you were to do things like put the grid at an angle, that is hard to reproduce when you have to draw the grid again to do your drawing. So really, it has to be a regular square grid, but this is digital. The old rules no longer apply. I will come to my Layers panel and choose our inserted image, and I will clear it. I'm going to come and insert the same file again, DC grid 01. But this time, I can put two fingers on the inside of my grid and play with it as much as I want. Like, for example, I might want the main horizontal lines to follow the direction that lower dolphin is jumping in. So now if I come down to here, I have two lines crossing over where the eye of the dolphin is, and the eyes are critical on any creature, so that's no bad thing. And I can do more than that. At the moment, I have the eye of the dolphin about there, but I'm just jiggling it around so that now, as before, I have lines crossing the eye of the dolphin, but the top of the fin of the top dolphin is just where that top horizontal line and that vertical line meet. So now, rather than drawing a simple grid, I can match the grid to the subject. That will be hard to do with traditional. You could do it, I suppose, more of a hassle than you need. But with this, all I need to do is a quick pinch in and let go to maximize my screen space, come to the top left where I press my on off button, plus one of my volume buttons, take screenshot, call it up. I don't even have to crop it. I've just come to where it says, Done, save the photos, and it's there, just waiting for me. But I can do more because, look, I will click on the icon where it says Insert Image. I will click again, I will pinch inwards to Zoom out, so I get an idea of where my new guide is going to be. But now I will come to insert a file. In my guides, I use DC grid 01, but now I'll come to DC grid 02. And now I've got a different grid. As before, I will move it around to where I want it to go. Then I'll come to my Layers panel. And the inserted image, I'll come to where it says, N and click there. I can alter the opacity of this. So now I've got a multi colored grid. Now, that is not just there to look pretty. Do you remember me telling you, one of the major problems that you find with a grid method is quite often you forget which square you're supposed to be in. And so you end up tracing things in a square that's one too far to the left or one too far above. But with this, suppose I come to say the head of that dolphin, I don't have that problem anymore. I'll grab a pencil like handmade soft charcoal, make it very small, make it completely opaque. Yeah, that seems about right. I will always make sure I've got a new layer that I'm drawing on. But if I have the screenshot in my little window just off to the left, instead of wondering which bits I'm marking off here and here, I know it's the pink square. So immediately, I have a good handle on where I am. With traditional methods, this wouldn't really be viable because it would be impractical to stick down bits of squared colored paper in a grid over my original photograph. Then have to go to a different size grid for my final artwork. But with digital, there is the simple fact that once you've created a file, provided you don't override it, you can use the same file again and again and again. Once you realize that the grid you use to draw your shapes can be as complicated as you want. And the other point is, any layer can have variable opacity. If it was the real world, I'd only have full opacity. But because I can alter the opacity, all of a sudden, you've got a whole load of new possibilities. Okay, I'm going to come back to my squares layer. I will take it back up to 100%, and I'm going to clear it. Let's call up another one, wrench icon, add insert a file. This is taking all the ideas in the previous grid up to the next level. Come to the layers panel. That will fixed in stone, lower the opacity. Now, I'm never going to be confused as to which square I'm on because they all have a code. If I come to the same area as before, I've got that pin square is now C seven, and underneath it, I have D seven, D six, and not only do I have the edge of the grid to market white points like this, if I just come to my drawing layer, I have my grid where I can measure points off. I transfer the image, but also we'll take a look at the blow hole at the dolphin. It's just underneath the curve of the C in square C seven. So that's very easy to get a reference for. What about the eye of the dolphin? Well, that is just underneath that D shape, and I can't quite see that clearly enough, but not a problem. Come down to my grid layer and alter the opacity so that I can see the e appearing. Just pass that vertical bit of that D. It's really easy to see the position of the eye because I have this extra information. So you're never going to get lost with this grid. Remember, I can turn it around to whatever I want, and also I can use the numbers and the letters not only to find the right square, but also I can use them as reference points. Okay, let's take the opacity back up to 100%, clear the image, and find another one from our files. This one is DC grid 04, except it's not really a grid, is it? It's just a whole series of wavy lines. Doesn't matter, because I can see where the lines intersect, where they sweep, where they curve. And where is it written that in order to use this method, you need a regular grid made up of straight lines. Nowhere. Dolphins are nice, swoopy shape, and I can move this around to wherever I want. Like, for example, I'm looking at the fin of that dolphin right about here. And I can take one of those lines and match it up there, open up my layers panel and make this just slightly less visible. Again, you have all these different reference points. And like we've been doing, take a screenshot by pressing the buttons on the top left of my iPad, C two, done. Save to photos, then the wrench icon. Canvas reference. Image, import, image. You automatically go to the Photos library. There's that image. Let's move it to somewhere out of the way and enlarge it. Make the dolphin layer invisible. Come to layer four, where we're supposed to be drawing and make this even less visible. I'll come to layer four and clear it so I have a clean layer to draw with. And now, where was I with that fin? That was this bit of my drawing. I can see the tip of the fin is right there, so I can do that. The line of the fin follows almost exactly down to where that red line swoops down to meet a blue line going the other way. I realize this needs to go around like this hit, which is this line here. That's my fin with a slight little notch on it, so I can draw that. And join it up like this. I'm not going to do the whole dolphin again. I'm just showing you what the different things are that you can do with, it's called a grid, but this is digital. We're really playing around with what the definition of what a grid is. Okay, so I'm going to edit out the next bit of this recording and take this file back to where it's just got a couple of dolphins showing there. And we're back to where we started just as a quick aside. For those of you who have done my pastel master class may recognize this method because I touched upon it in that class. You had a grid called DC seven, I think it was. And again, you could turn this around to wherever you wanted. And if you look closely, you've got a series of different colored lines for the squares of the grid, plus some smaller brown lines in between, plus some circles, plus some diagonal lines so that if you have it like this, for example, and again, you want to come to the fin, you'll know that when you're doing your drawing, you'd be looking for a square that was made out of a red line on the left and a blue line at the bottom, and two brown lines there because the different colors can help you and if you find that grid a little bit difficult to see in one or two places, not a problem. You just come to your grid layer, swipe to the left, and choose duplicate. That'll make the lines stronger because this grid wasn't created at full opacity. So then you click the icon, merge down, and that will combine the two semi transparent layers into a more opaque layer. Let's clear that. And I'll show you one more. With this one, I wanted to make the point that it doesn't even have to be lines. Let's try DC grid 05 you've got a whole load of letters, plus symbols just laid out in a grid, and you can use these. For example, if I take it like this, come up to this region here. When you're tracing your grid, you have a T there, and halfway down, that T is your reference point. As for the back edge of the fin, great. It just happens to line up with this flower like symbol just around here. So use that as a reference. You've got a series of reference points which would be impossible to do with traditional art. But because we're using digital art, you can create a file once. You can use duplicates of it as many times as you want. So for the grid, for want of a better phrase, can be as complicated as you like. And if it means you've got a clear idea of what it is you're looking at, then that's no bad. Also, who knows? Maybe tracing out your drawing might be just a little less tedious when you do it this way. Incidentally, I made this file green, which is a bit difficult to see, not a problem. If you come to this icon, this is your adjustments panel, and at the top, you have hue saturation brightness. Let's make sure I got the right layer selected because this will only work on the active layer. Come to the layer with all those symbols, come back to hue, saturation brightness, and you get three sliders at the bottom. If I come to the brightness slider and just crank it up, I can make this as bright as I like or slide it to the left and make them as dark as I like. I can change the color to any color I want. I can change whether it's a dull color or a very intense color by using the saturation slider. So maybe make that a bit brighter. And to get out of that, go somewhere like my layers panel, make this layer a slightly lower opacity so I can see the dolphins underneath. Take my screenshots, and I'm ready to go. In the previous video, I went through this. I drew the dolphin. There's no point in me doing this again because you'll just watch me draw something you've already seen me draw before. The whole point of this video was to say that with digital, you can use an old method, but you can extend the idea in lots of different ways to make things clearer, to make your grid line up better with drawing underneath. And once you've created a grid file, you can use it again and again. It can be anything you like. It can be as complicated as you'd like. And so hopefully you can see just some of the advantages of going digital. Now, there is a bit of homework for you. I want you to load this image. I want you to put all the downloadable grid into a folder on your iPad or Cloud or Dropbox, wherever you want it to be. And I want you to try a couple of these grids and line them up in a way that you think works with the image. It doesn't have to be all horizontal and vertical. You've seen it can be any angle, and I want you to trace off these dolphins using one of these grids. There is one very last thing I do want to point out to you. I'm going to clear this layer. Take my opacity up again. I used DC Grid 01. I'm going to move it around to maybe there? Would that be about the right place to do it? Look, I'm not going to spend a setting this up because I want to make a point here. This is a drawing aid, and it helps you to trace off from an existing drawing or a photograph and it's self working. You just mark off the same bits of the grid on your drawing that you see in the photo. But if you want to steadily improve your drawing, try this. When you feel ready, two fingers and pinch outwards to make the grid bigger. That gives you fewer lines, which means fewer reference points, I'll make it bigger and bigger and bigger until eventually you're left with just a few reference points where you have to fill in the gaps in between using observation. Now, this may sound like a very obvious idea, but when we start drawing something without using guiide like this, you will see that the ability to put down reference points that you think are accurate on your drawing and then filling in the bits in between is one of the core skills of drawing. And so you may think with this that somehow it's cheating. It's not really drawing. But when you make your grid bigger and bigger, you are naturally training yourself to draw without any grids or any guides because you will improve your ability to judge distances and angles. And when it comes to drawing, accurately, what you see in the real world, I can't think of a more fundamental skill. Okay. I'll see you in the next video. 21. Real World Measuring: Okay. In this video, I want to show you a technique that's been used for hundreds of years, but it's still useful for digital art. And that is where you use your pencil to measure things with, but also I'm going to show you something else, which can work just a little bit better. Okay, so here's the technique. I have my image sitting right in front of me on my computer screen, or you can imagine that this image is somewhere off in the distance, and I'm drawing from real life. The principle is the same. I take my pencil and I hold it up against something I want to measure. Now, in the case of this, I'm going to do this left handed so that you can actually see what I'm doing. Now, supposing I wanted to measure from the tip of the nose to just behind the ear. Well, in the case of the computer screen, I could actually place my pencil on the computer screen and measure the distance here. And you can see I move my thumb along to measure the distance like this. But also, I can also measure angles like this because if I do that, I can see the angles. Well, look, imagine that this was the hour hand of a clock. I am just past 3:00, so it's angling down slightly, and I've got this measurement here, and then I put it onto my iPad and I make the measurement. I can do the same thing if something goes off in the distance, I can move my thumb down and measure things in the distance. If you do that, there are various rules, and I'll use my right arm for this because I'm right handed. You always put your arm at the same distance like this, and you always try and keep your eye in the same distance for when you're measuring things. What you don't do is bring your pencil in a little bit for some things and outwards for some other things. Also, something people tend to do, especially when they're working from real life because they see things up in the distance. They tend to angle their pen forward like that or backwards like that, but mainly forwards like this, and you end up getting a false reading. So the pen has always got to be either straight up straight sideways or straight at an angle, but the pen doesn't angle forwards or backwards. The other thing, as well, is that sometimes when people start drawing, they start leaning in a little bit. So even though your arm is straight, your whole body is leaning in or out. That can affect things when you're drawing things, which is off at a distance. But in the case of this, well, I can just lay my pencil against the screen, and I'm always going to get the right angle because my pencil is laying right against there, and I can angle things around. And the trick is, well, you can take your pencil and put it on your screen like this or you're getting information like I know now the distance from the tip of the nose to the back of the ear is about that. But also, if I look at where the e is, I can see the I, if I measure that distance there, is just over halfway towards the nose. So that can be useful as well. It's measuring things as a fraction of that distance. That is an extremely useful skill. Okay, so that's the pencil, but to actually do this drawing, I was using something else called a proportional divider, and this is what I'm talking about. It's like a set of compasses, which forms, well, an X shape, I suppose. The difference is, you can see the pivot point is somewhere along towards this end of the divider. And this is also adjustable so you can alter the scale because look, you can see if, for example, I was to take what they say measurement, from tip of the nose to behind the ear. And also looking at that, I'm getting some information about what the angle is. I can tell it's not straight on like this. I can tell it's at a slight angle. But because of the way the pivot point is placed, I'm getting a smaller angle here, and that's what I was using to create the fox. And so now I know this point here, which is that point there, if I angle it up slightly as well, that would be where the tip of the nose is. And because the pivot point of where it is, it doesn't change. So if I take another angle, say this larger angle from this point here down to say, let's take it right the way down to the underside of the body. Because it's a pair of proportional dividers, that ratio is going to stay the same. So if I measure off down there, I get information as to what that distance is as well. And so this proportional divider is very useful not only for measuring distances, and I can see I can also measure angles as well. I can also consistently increase the scale or decrease the scale based on where that pivot point is. And so, look, if I show you this, I'm going to fade in and fade out with this because it's a bit fiddly to do. But if I take my pivot point, and I place it somewhere much more central, say about here. Now because my pivot point is much more central, the scale is now much more similar. The difference between that angle there and that angle there is much less. But if I was to take it and put the pivot point right up one end like this. Now you can see, because there's such a difference there, supposing I wanted to take measurements from the fox here and do a really small version of the fox on my iPad, I could do that, as well. So these are very useful. The only thing I would say is, this is a plastic version. You can get versions with metal tips on the end. Please, please, please do not get one of those. You don't want metal tips anywhere near the surface of your beautiful iPad screen that you paid so much money for. Now, the other thing about this is, well, this is a very traditional way of drawing. This, although not so many people know about it, this is also a very traditional tool. These have been used for centuries. Okay, I will see you in the next video. 22. Measuring Shapes, part 1: Okay, so in the previous video, we spoke about using your pencil or that fancy little gizmo, the proportional divider to measure distances and angles. And in the video before that, we were talking about making up little random shapes to practice your lines and your curves and your circles. Well, in this, we're kind of putting the two things together. So I want you to come to the ranch icon. Add a selected and I want to insert a file. This is included with the lesson. I put everything into a folder on the Cloud cord resources, and one of the subfolders is drawing guides. What I'm going to do is come down to a file called Tracer Shapes 01 load that straightaway you take a good look at this, and you can panic if you want to before you do, though, I just want to show you what I want to do with this. Okay, the first thing is, I'm going to come down to the bottom right corner and I'm going to take this and shrink it in a little bit. Whenever you import something, you automatically get the transform tool selected. And at the bottom, you can see I have something set to uniform. That means that no matter how I resize this, it's always going to stay the same proportions. And then I'm going to take my finger and my thumb and I'm going to pinch inwards because I want to make my file very small like this. Then I'm going to come to that same corner, the same bottom right corner, instead, I'm going to make this much bigger, and now I'm going to come to the top left and make it bigger again. I want to drag in the middle. And what I want is just to take one of these rather bewildering looking squiggles at random. In this case, I'll just take the top left one, make it a little bit bigger like this because I want it to be just under half the screen size. It looks like I've got that. So to commit to that, I'm just going to come to my paintbrush. I'm going to quickly finger and thumb pinch inwards to resize. Then I'm going to finger and thumb just at Zoom out a little bit by pinching inwards. And the only thing I want is the shape here and I'm going to redraw it. I don't want all these extra shapes or bits of shapes around the outside, so this is what I'm going to do. I'm going to come to my selection tool again. It's set to freehand. Yeah, okay, free hand can do it. What I'm going to do is I'm going to draw a big shape around all the bits that I don't want, like this. And then that little light colored dot just where I started drawing, I will tap on that and everything I drew around is selected, which means the shape I want, the shape on the left, is not selected. Then come to my layers panel. Come to my drawer here layer, click on the icon, and I'm going to come to clear. And that means that everything was selected. I've just got rid of it. Everything that was not selected, which is that funny kind of D shape, that is saved. Because that wasn't selected, I've still got it. Okay, so what I want to do is recreate that shape. And I suppose I better give a reason for doing this because otherwise, you might be sitting there thinking, you want me to do what? Look, there is a reason for this. Once you get past the stage of tracing things and you want to actually draw things that you see, the next stage is to construct your drawing. You may remember me saying in the previous video, In order to construct things, you need to be able to do two things. One is measure distances, two is measuring angles. Well, that is what we're going to do here. So my goal here today is to recreate the shape I've got just to the right of it, and I'm going to be doing that by measuring distances. Okay, so let's see what kind of pencil we're using. I've got DC pentel extra fine. I'm going to make it not very opaque so what I've got set on opacity of 25%, and my width is set to 4%. Let's try that. Yeah. Okay, I can live with that. It doesn't have to be the same line width, but I would like the ability to make fainter lines as well as much stronger lines. So about 25% opaque, that should do the job for me. To finger tap once, twice, three times to get me back to where I want to be. Okay, so if you're going to construct something, the golden rule is you start with the big shapes first, and then you work down into the finer detail. And here's another piece of advice for you. If you have a choice of bigger shapes or bigger lines, start with the horizontal and vertical ones first, because they're pretty easy to judge. If you look at a horizontal line or a vertical line, and look, I'll show you, if I do this, that line is fairly straight, but you can see straightaway, that is not entirely vertical. So two finger tap to one, do that. Let's try it again. Let's try and make it. No, not quite. Let's try again. It's not entirely straight, but that's nearly vertical, but the top of that line and the bottom of that line, well, the bottom of that line is just a little bit to the left. You are very good at knowing that line is nearly vertical in places, but it's not as vertical as, say, this line here. The line that I want to start off with. So two finger tap a few times. So, take your time with this one. What I want is the line which goes here, this line. And you know what? It's too thin. I want to make this bit thicker. I want to make this 12%. What's that like? Yeah, I prefer that. Okay, I think you really do need to see the actual iPad itself plus my hand because you need to see my pencil and what I'm going to do with it. Okay, so I've got my vertical line, that this line here over here. I need to measure how tall it is. Well, that's straightforward enough. I need to measure that line there and mark it off there and that line there, and mark it off there. Pretty easy because I have the top of my actual screen, I can take my pencil and just bring it down until I meet the top of that vertical line, make a mental note of where it is and mark it off like this. Bring my pencil down, make sure it's still parallel with the top of the bottom of my screen, and I've got a mark about there. Now, I'm looking at the screen from this angle instead of straight on because I want you to see what I'm doing. So that might be just a little bit off. In fact, I'm pretty certain those should be up a little bit. So I know. I'll take this my selection tool, drag around tap to choose, and then I'm going to come to my transform tool. I'm going to move the whole thing up ever slightly until I think I've got it in about the right position and then just, well, I can either tap my brush tool or I can just tap here again just to commit to that. Okay, so this is all about measuring distances and measuring angles. So the next line I want to do is this one here, going up. Now, I'm hoping that every single person watching this will know what that is. It's a watch with the big hand and the little hand. And so what I want you to imagine is that one of my kids came in in the middle of the night and took away the big hand so that I've only got the little hand. So I can only tell the time using my little hand. Now, looking at this angle here, well, what time is it? Well, if that was the little hand of a clock, then the time would be something about well, it's past 2:00, but it's not quite 3:00. So what? Maybe something around 2:30. And so what I do is I come to my iPad and I draw a line at hopefully the same angle, and I'm thinking it's about between 2:00 and 3:00, about 2:30, and I think that might be about the right angle. And so now, once I've got the angle, I need to know how far along it is. Well, look, if I'm doing this exercise like this, it's pretty easy. All I need to do is just come here and measure the angle by holding the end of my pencil, putting my thumb where the end of the line on my red drawing goes, and coming here, and just notching it off like that. That is okay for this exercise, but what if I'm looking at things off in the distance? Well, I can use my pencil, as we said in the previous video to measure distances, or I can do the other thing, and this is the biggie. I measured this distance here, which is that distance there. And if I get just one measurement like that, correct. Then if you like, that becomes my anchor. I can look at that distance and say, With confidence, Yep, it's good. I know it's right. And so once I know that I can use that to measure off other distances. Let me show you what I mean. If I come and I take that measurement there, then I come and I move around and I put my pencil there. Now, there's the start. And if I look at this point here, it looks like this vertical line is about seven tenths as long as this line here. And so, supposing I couldn't see that. Supposing that wasn't on my iPad, supposing that was off somewhere in the distance or on my computer screen, I can measure the distance of the vertical line and then say, Well, I've got a line which is about seven tenths of the way along, and I can measure like that. Or I can come to this distance here and say, Well, it was about seven tenths along to about there. And I get a pretty similar distance to the one I made a couple of minutes ago. So that so that's what I'm doing. I'm using my pencil to measure off distances. At the moment, it is very easy, but I want an easy exercise for you to start off with. But whether you've got your image right next to you like this or whether it's on a computer screen or whether it's a real object off in the distance or whether it's a photograph sitting next to you, the principle is the same. Use your pencil. Take a measurement. And once you're confident with your first measurement that's this one here, I know the angle is pretty good. I know the distance is pretty good. I then know that if I come and I measure this distance here and then compare the new line, and I say about seven tenths as long, I can make my mark and do things that way. Okay, so I'm going to carry this on in the next video, but in that video, I'm going to introduce you to a couple of little guides to help you with this process. 23. Measuring Shapes, part 2: Okay, let's carry on from where we were in the previous video. The first thing I want to do is move that blue shape which I'm drawing more towards the left. The reason being is I feel like I'm running out of space on the right side of my screen. That's going to affect the way I'm drawing. It also gives me a chance to show you how to move things using the select tool, but with snapping turned on. And you'll see what I mean. Look, I'll come to my selection tool. Free hand is still selected. That's good. So I'm going to just draw around my shape. Finish it off by tapping on that little light colored dot where I started drawing, and then I come to I transform. Now, at the moment, I could try moving it, but I'd like to try and keep this moving so it's moving just horizontally and not vertically so that I've still got the top on the bottom of my long vertical in the right place relative to the red shape. But you can see, it's just wheeling around like this. I don't want that. So two finger tap to undo that movement. Instead, and when it come to snapping, I'll turn on snapping. I'll also turn on magnetics. That's the key when I turn on magnetics and I move this along, can you see that? I'm getting that little blue line. Oh, there, did you see? If I move it down a little bit, it dropped by 15 degrees, and I can move that whole shape down by 15 degrees. If I move it back so it's horizontal, that means as long as that blue line remains horizontal, I can move my shape exactly horizontally. That's what I wanted. Okay, so I'm happy with that, I will come back to my painting brush so I can carry on drawing. Okay, so now I need to carry on drawing. And already looking at it now, I think that little line I drew between 2:00 and 3:00, that's a little bit more towards 2:00 than it is 3:00. This line here. Maybe that line should have been just a little bit less of an angle, maybe even just about there. Choose my razor. Make it a little bit bigger. Come on. And just get rid of that line there. Now, please bear in mind this is a key skill, being able to measure angles. And as an ideal, you want to be able to do it just by judging it without any help from any guides. And when you can measure distances and when you can measure angles, you can reproduce anything you see. But in the meantime, just to help us along. Okay, my drawhair layer has got things selected on. So if I drop in another file to help me out, it's not going to drop straight on this layer. Procreate will create a new layer to deal with what I'm about to do. So the drawhair layer is selected, but if I come two, arrange icon, add, and I'll insert another file. This time, well, I've got a couple to show you. First of all, I'll show you one. Rule it at zero, one, and look at that in that suite. Now, I can resize that to whatever size I want, but I'm not going to bother doing that. Instead, look, you can see it says inserted image. I am going to click on that name or tap on the name if I'm using my pen. Come to rename, I'm going to call this. Ruler and return. I'm also going to take my ruler, and I'm going to drag it above my paper layer. The reason being is, this is not going to appear on my final image. It's just there to help me. And I want to be able to see it clearly. So what I don't want is it to be underneath a fine paper layer where, look, you can see it's being affected by the paper texture. Don't need it, so drag it back up on top. The next thing is, I'm going to swipe to the left, and I'm going to duplicate it. And the next thing I'm going to do is come back to my original ruler layer. I'm going to make it invisible. This is a backup because one thing you find with things like the ruler is you're going to be moving it around all the time. And sometimes you just want to get your regular ruler, which is laid out, nice and horizontal. You haven't resized it, you haven't changed it. But for now, I have the top ruler layer selected. So what I'm going to do is I'm going to come to I transform. Now you see this little green dot at the top, that is my rotation. If I it up like this and I move it around, I still have snapping turned on so I can move it around in 15 degree increments, and now it's completely vertical. But now I'm going to get silly. I'm going to turn off my snapping. And now I'm going to move my ruler just by clicking on the outside, and I can move it so let's just check a couple of things. Well, at the moment, you can see, I can measure that original red vertical line, and I've got nine units there. Well, if I move it over here, what have I got here? Oh, look at that. You can see. I went a little bit too long with that. But rather than moving that top bit, I'm going to move so that this little bit here is measuring off nine units against my top notch and my bottom notch, make sure I have the right layer selected. That was where I should have been. Now, you notice when I do that, if I come back to my ruler layer, I've lost a top bit of it. Didn't really want that. Nevertheless, I can move this around and I can measure off. Well, how many units was this bit, and you can see, it looks like it was just ever so slightly less than seven units long. So now what I'm doing is I'm actually measuring things. Move this across. Oh, because I angled it round, I can check my angle, as well. Look, I've got pretty much exactly where the white triangle of the seven is. And if I can compare it here, yeah, I got that point pretty much exact, and the angle isn't bad either. So, you know, quite pleased with that. Remember, with this, you can measure absolutely perfectly. Because I angled this round. I've got the right angle. I also have the right measurement. Do yourself a favor. Don't go for perfection. Go for good enough. And for me, that is good enough. So here's another thing you can do. That rule I just used, I angled it round, and so now it's a bit compromised in what it can actually do, so I will. Swipe to the left and I will delete it. I will call up my original rule layer. I will swipe to the left, I will duplicate it, and I will hide that rule layer. You keep it there, but you keep it invisible. So it's just there to make a duplicate of it again and again and again as many times as you need because look, if I come back, I just used it as a straight measuring tool, but if I come here and I will turn on my magnetics again, and I will move this around so it's vertical, turn off my magnetics. Because, look, I just used it as a straight measuring device, but the fact of the matter is, look, I can resize it to whatever I want. And so this has 16 equal measurements. If I was to put it there and then just reduce the size a little bit, well, now, if I zoom in on that, I have that vertical line divided up into 16 equal parts. And so just the border 8-9 there, that would be the halfway mark, wouldn't it? And again, if I choose to angle that round, bring it round like this, I can now measure that angle, and you can see it is about if the vertical was 16 units long, then that angled edge is now about 11.5 units. It doesn't have to be centimeters. It doesn't have to be inches. It can be just units. And just supposing for the sake of argument, let's just get rid of that, call up my original, duplicate it again, make the original invisible. Supposing for the sake of argument, I wanted to know how many units along that line was compared to my vertical edge? Couldn't you undo that? Make sure I am on the right layer, come to my transform. And supposing I wanted to know that this was, and the angle looks about right. Supposing I wanted to know what the proportion of that inside edge to the vertical edge was. Well, right now, that inside edge is ten units long. It's not 10 centimeters, it's not 10 millimeters, it's not 10 ". It's just ten units. Allr? So take that. Move it along, move it around. So it's more or less vertical. If I push that little green blob further out, then I can change the angle to a much finer degree like that. Now I know because I changed the angle but not the overall size of that ruler. If the inside of that triangle was ten units long, then the vertical is now looks like 13.5 units, so you can measure relative sizes that way. 24. Measuring Shapes, part 3: All right, I'm going to delete that. All right, so then I'm going to come back to my wrench icon, add Insert a file. And this time, I'm going to come to clock 01, and I'm going to do the same thing with this. Let's make it a little bit smaller. Move to about there, and then that is looking pretty light and pretty hard to see. So before I do anything else, I am going to come to my adjustments, hue saturation brightness. Come down to my brightness slider and make this darker. Because do you remember me saying, Well, it's like the hands of a clock? Well, these are the hands of the clock. You've got all the hours from 1:00 around 3:00, 6:00, round to 12:00 again. Those are the blue arrows, but the little magenta arrows, those are half past the hour. And so for this, swipe to the left, duplicate, make the original one invisible, come to my transform. What was I measuring here? I put the start of it of the start of the line whose angle I wanted to measure. And what did I say? That little angled line which I just drew out a few minutes ago, I said it was between 2:00 and 3:00, about 2:30. And sure enough, if you look there, line was pretty much exact. Alright. So you know what? I've spent so much time doing this. Let's bring this down here. Let's actually use it for something practical. I've brought this down so that the center of my clock is just hovering over the bottom of the red line. And what I want to measure is the angle from there to the bottom part of that triangle in the middle of my red shape. And that is bang on 2:00. So what I'll do is I'll make sure I come back to my drawer here later because let's face it. If I don't keep on nagging myself to do that, I'm going to forget. And so the angle that I want is 2:00. For that, come on, I I used another one of these clock things, I may as well just trace. So that about 2:00 is about like this. I know that somewhere along that line is the bottom of that triangle. Again, the reason why I keep this one here, come on, let's rename it. The reason I keep that there along with my ruler, both invisible, is because if I decide I want to use my clock again because I'm so pleased with it and I can't to my transform tool, and I move it across, you can see the left bit of it is missing. If you take your image and you put it like this, and then you commit to it by pressing another tool, and then you come back and you decide you want to use it again, all the bits are on the outside of the screen, get cropped away, so that limited usefulness. So for that, choose that layer, swipe to the left and delete. But the good thing is, I have my clock layer and my ruler layer just quietly sitting there, minding their own business until I want to use them again. Okay, enough with the theory. Let's go on and try and draw this again. So, you know what, come? Let's be careful. Come to draw here. The top of that triangle is directly underneath the apex of my shape. So tofing a tap, tofing a tap, drop a vertical line down. The measurement for it? Oh it's such a small measurement, I'm just going to guess it because I've got so much information here already. Oh, that is one thing. To quickly measure this, to double check that I'm doing it right, I come here and take a line like this, just hold it until quick draw comes into place, hold my finger there to constrain it to the horizontal. And you can see the tip of my triangle is just a little bit higher than this point. Okay, if I tap to and do that. And if I was to draw a line going across like this in the opposite direction, get my quick line, hold my finger on to constrain. That is where the top of my triangle is. I know that because I cheated a little bit, and I use the quick draw, straw horizontal lines, but I should be eyeballing this. And all you have to do with that when you want to eyeball it is just give it constant concentration. Now, what about I think this point here, that's the point I can see where the curve starts to change from the bottom part of the curve to the right side of the curve. Where is that point? Well, for this, I am going to cheat again, but what I would do with that would be to hold my pencil against my screen horizontally against this point here. And I can tell that that point is just a tiny little bit lower than the bottom of my vertical. Now, whereabouts is it horizontally? Alright. Come to my ruler, turn it on, duplicate it, make the bottom one invisible, come to. Transform till I can measure it off, and that is about see where the number nine is and the little triangle. It's just a little bit to the left of that. So if I move this along, Cthu my drawer here late. It's about there, isn't it? Delete that layer, and that's for about that initial point there. Or I could have taken this point it and measured the angle that way. That to me looks like it's about just go 5:00, and so I would measure that point like that by trying to get the right angle. All right now, what about this point here? This, to me, looks like being the furthest point outwards. I'm going to measure my vertical off my red sketch again, and I'm using my Apple pencil leaning against my screen, and by measuring that, I can see the overall width is a little bit wider than the shape is tall. Now I think with this, come on, I've done enough measuring now. Let's start doing the actual curves. I think for this bit, I want to see that bit and that bit. So that is going to be using curve of my wrist about like that. It's quite a subtle curve, but then it changes its angle. And when we move the whole thing upside down, and deep breath exhale slowly while you do it. Pass through there and bring it round to about there. And this distance here, that's coming down at about 8:00. And I've got the top of the triangle coming down like this. And if I just hold quick draw for a bit, you can see if I was to extend that line, it's going to just past that bottom point I drew, so it would be about there, wouldn't it? And, come on, let's move it round to the angle I'm happy drawing my straight lines at. I already know that I'm going to get my horizontal line this point where this angle meets. Take that, so it's pretty much horizontal like this. That's why I need a line connecting this point to this point. Move around to my happy angle for drawing straight lines. And that's my basic shape, which took a lot longer to explain than it actually takes to do because I had to explain the principles to you. Look, I'm just going to rub out a couple of things so it's more clear to you. Alright, that's my basic shape. And looking at it, I can see it's not quite perfect. And already, I can tell you what it was. It was this blob here is maybe a little bit too far along. And because I use that to measure various other measurements, then the fact that that is ever so slightly off has a knock on effect. Everything I build on top of that is going to be slightly off. So when you're making your initial measure, take your time to get them correct because you will be using them to build up your shape. You start with your big measurements first, because if the big measurement is 5% off, then the smaller shapes are smaller. They might be 3% off or 2% or 1% off. But if you start off by measuring small shapes, and they're 5% off, and then you start doing your bigger shapes, then that effect is going to be multiplied. So the bigger shapes are going to be 10%, 15%, 20%. But I was able to show you how you can take a basic shape and build it up using a mixture of measuring distances and angles. For distances, you've got your ruler as a guide. For measuring angles, you've got your clock as a guide, all tucked away, nice and invisible for when you need them. 25. Triangles, part 1: This file is called King of the triangles. It is available for you as a download. And if I can move it to my layers panel, you can see it's very simple. It's one layer with two boxes, one on the left, one on the right, and the one on the left has a whole load of different triangles there. Okay, so this project is part practice, part lesson. And I'll try and second guess a couple of thoughts that you might have at this moment in time. One is, oh, dear, that looks really difficult. How am I going to do that? Well, I'm going to go through it with you at least part of the way, and we're going to break it down. And the other thought you may be having is why on earth am I doing this? Just in case you let me try and assure you the previous videos in this section have been leading up to this point. And if by the end of this project, you get a little light bulb moment where you go, Aha, I get it. And you can keep that light bulb on and learn from this in a good way, then even if I was to stop the course at this point, I would have earned my money. I won't do that. I've got plenty of other things to show you, but let's crack on with this. What I want you to do is to use the exercises we've been learning in previous videos, and I want you to recreate this series of triangles in the box on the left to this box on the right. Now, if I use my two fingers pinch outwards to zoom in, you can see I've got different colored lines. So the first set of lines I want you to recreate are the red lines. Then I want you to recreate the green lines, then the purple lines. Then finally, those orange lines. Okay, so quick pinch in to Zoom to fit, and I will do the first bit with you. I will just pinch in just a little bit so that the left side of the screen isn't obscured by my two apacteansize sliders. As for my pen, I will choose DC drawing, DC pencil medium. Yeah, I can use that. For my color, I'm going to come to DC drawing colors, and there's this little blue on the bottom row. That is what I refer to as process blue. And there is actually a color called process blue, and it was a special color because it didn't show up on certain kinds of photo mechanical transfers. So I've kind of got into the habit of using it. So my pencil, DC pencil medium. How thick is my line? Yeah, that's fine. You don't have to reproduce all the red and green and purple colours. Just a straight process blue is fine. My opacity is on about what? 50%. My size is on about 2%, two finger tap to undo, let's get started. Okay, so the first thing to do is to put in the red lines. And you'll notice there are three of them, and they are making what I will refer to as the dominant triangle. Basically, it's the biggest triangle I can see in this picture. You'll also notice that these three lines go right to the edge of that little blue frame this is useful because the empty blue frame on the right has got exact same proportions. And if you are drawing from a photo that is, say, 5 " long by 7 " tall, if you have a piece of paper that is also in the same ratio five by seven, then you can use the sides of the paper as very useful reference points when you're judging half hour along to put your various different lines. Okay, so the first point I want to do is this one down in the bottom right because it's so close to that bottom right corner, this is going to be very easy to put in. So I'll come down to the bottom right of my corner and put in a point about there. That is one end of two different red lines. And one of those lines is going up from there at about what time o'clock do you think? Well, I've got two. One looks to be about 10:30. This is the line I'm talking about here, this one. That seems to be about 10:30, and the other one, this one, seems to be going up about what 11:00? And so by using the clock face method to measure the angles, I could do it that way. Or given that both lines join the outside of that box on the left, maybe judging it that way would be easier. So let's take this line first here. This point here that looks to be about, I'm not going to give it a number. I'm just going to judge it. It's going to be about there. What I'm doing is I'm running my eyes from this point. I'm trying to imagine where that point is on the box on the right, two fingertip to undo those, and I think I've got that there. While I'm there, there's another line just underneath it. Really small distance there, which is about there. Now, what about this line going up? How far along is that? And I can see it's over halfway. It's about six tenths of the way along, so maybe about there, once I've got that, let it zoom in a little bit because Look, I'm going to cheat. I'm going to use assisted drawing. I'm going to draw a line, hold it until it becomes the stretcher rubber band, drag it down to here and let go. Then I'm going to come up to the dot I made at the top and take that and drag that. Again, I'm going to use assisted drawing because I can. And that leaves me with one more line from the red triangle areas. And I think for that, measuring it as an angle could be a better plan because, look, I can see it's not completely horizontal. It's just off horizontal. It's about there. Okay, so now I've got all the lines that make up that large triangle. So now it's your turn, I'm going to say press pause, and when I do, I want you to do a bit of this yourself. I want you to put in all the green lines, and I want you to put in those green lines by using the lessons we've done in previous video. If you want, you can come up to our little wrench icon. You can come to add. You can come to insert a file. Let's find ICloudDrive, resources, drawing guides. Now in the past, we had ruler 01 and Clock 01. Let's try the ruler 01, bring that in. And I can use that, for example, to measure this long green line I've got here. Now, at the moment, it's very clicky like this. That is because I have snapping turned on, I will turn magnetics and snapping off. Now this should free rotate if I want it to. But as it is, I don't need it to. All I need this to do is to get to a certain size. It doesn't really matter what size it is and bring it up to the side of my square just here. And as it is, I've got it set up pretty much exactly the same size as the vertical edge of my blue box. And so now all I need to is just move it around until eventually, I can see that the start of that green line just on the left hand side is just under 3.5, 16 that's a little bit much to take in. Let's make this bigger so that I'm set to uniform and move it around until eventually, I end up with the box being pretty much ten units right there, isn't it? Maybe it should be just a tiny little bit bigger Come on. Don't be shy. There we are. Move that around. Then if I just come to the top and just press on selection to commit and then come back to my transform tool, I now have a unit that I've resized so that you can fit ten of those units into the long side of the triangles. And that green line coming down is about two tenths of the way up from the bottom of the long side of the vertical edge of my blue box. If I come to snapping and I turn on magnetics and snapping again, I can move the whole thing around so that it's now 90 degrees, and let's turn off snapping. That's got a little bit awkward. And if I come and take a look and line this up, I can now see that same green line that I was measuring is either just over 5.5 units based upon the ruler I just set up, or if I want to make it a little bit smaller so that it's the same size as the long edge. Now I can take a look and I can see that green line is 6.5 units out of ten along the top edge. In case that sounds confusing, look if I just commit to this. Lo, I've got one, two, three, four, five, six, and then this bit here, 6.5 units. I will get rid of that. I just wanted to show you it, and of course, the other one is inserted file. That is the clock because I was measuring angles as well. So now I can measure the angle of that green line. If it was a little hand of a clock, the angle would be about 1:15. And if I wanted to measure one of those green lines coming down and I leave that there, you can see that red line which I drew. Just past 3:00. And say this green line here which I want to draw. That is just past 3:30. So measurements as a proportion or if we're talking about angles, we're talking about what time and the clockface are they? And I will come up and I will slide to the left and delete that. Okay, that was a reminder. You can do either of those two methods or you can just eyeball it. Personally, I would prefer you to eyeball it because that would be a good direction to go in if you want to improve. But it's your choice. Do the green lines, press, pause now. Okay, I hope you go on well with that, now it's my turn. The reason I did the red triangles first is because they are the biggest, most obvious triangles to put in. The green ones, well, they're the next most obvious, and so I will always, always put it in the largest, most obvious stuff first. And in the case of this, well, it's that green line I was measuring when I was talking to you about it. The one that starts on the left edge of the box about there. I'm ye balling it, and it ends up on the top edge. And because I already have that red line there and I'm reasonably confident I've got it in the right place, it's pretty easy to measure that in relation to how far that dot I just drew is along the top edge, but also how close it is to that red line. Now I've got that draw a straight line and put it there. I think something's ever so slightly off. The reason I say that is because I am checking this triangle here with this triangle here. And if you look at the two of them, they're ever so slightly different, this one feels like it's leaning ever so slightly over to the right. And so that tells me that either that green line or that red line are not quite where I need them to be. So I'm going to two finger tap to undo those circles. I can a undo for the green line. I think you need to come over just a little bit further over just about that much. But it's that red line. That's the one I'm less happy with, so I come to my eraser. Let's use the same thing, DC pant or medium, make sure that we are on a pasty of 100%, make it a little bit larger 'cause I would like to get this erased before you all fall asleep. And get rid of that line there. I think that should be about here, maybe. Drag that down. My hand knocked against the side of the iPad, so I got that massive kinking reason I'm being so pinickety at this stage is because these are my fundamental lines. And the various other triangles and lines I'm doing will be built on top of these. So if I get these wrong, everything else is going to be wrong. With a drawing, after a while, you get into kind of a groove and you get lost in the moments or you get lost in shading. You might get lost in the final detail, and it's great. But in these earlier stages, you need to have a cold analytical mind, and you need to spend a lot more looking at the drawing and in your mind's eye, imagining where these various different lines and triangles and angles and proportions are and using those to make your first tentative strokes and be prepared to look close and hard and decide if you've made a mistake. I did make a mistake. I want to correct it now, and so I can end up with just four lines inside my box on the right, where I can say, Yeah, I'm pretty confident those are pretty close to how they appear to be on the left. Gives me the confidence to build things up. All right, so, where were we? Green lines? That's the first green line that I wanted to do. The next green line is going to be this one, which comes down to about here. All right. Well, let's plot that. On the left side, I think it's about maybe about there. That's one of the points now, the other point of that green line just goes straight back to where those two red lines meet. There's a whole lot of lines going back to there. That's my next green line. Now what about this green line here? Well, that joins the bottom about there. Let's put that in. Having that box surrounding my image, this is really useful. It really helps me try and nail down where I think the measurements are and take that line back to about exactly that point where the two red lines meet on the left. If I compare it this bit with this bit, what I'm doing is I'm looking at the distance from there to there and comparing it with the distance from that red line to there. And you can see the red line is just a little bit further towards the bottom than it is towards the top. Now what about on mine, it's close, but it's not quite. That tells me that green line which I drew in could do with being a little bit further in towards the corner. So two finger taps to start undoing there to get back to this point here. In fact, now, tap once more, so that little dot at the bottom disappears because that's not quite right. Let's put it a little bit further in, drag up as before. And yeah, that bit there, that bit there. And yeah, that works better. That portion and that proportion, they agree with each other quite a bit more to finger tap to do that. So that's that green line, where's the other green line. It's this one. And I think at this point, I should give you a bit of an apology because that green one is not that easy to get. It would have been easy to get if I had drawn in that purple line and maybe that purple line first because it would be easier to measure off that green line with those two purple lines in place. Well, look, I'll tell you what, I will leave that mistake in because it does illustrate the point that most two purple lines, this one and this one, they represent bigger shapes than the green line in the middle, and I should be working bigger shapes to smaller shapes. And so now, if you did that green line, once more, I'm very sorry. My bad. It's time for you to do the purple lines and then do that green line afterwards. 26. Triangles, part 2: Alright, let's see how we're going to get on with these. Okay, purple lines. Well, the first one I'm going to do because it looks pretty easy is going to be this one. So I come to the side of my screen, find a point, and I measured off about there, I think. Take that line, hold my pencil on the end so I get assisted drawing, and it's going to go to that point there. Let me double check that. The way to check it is, does this shape look like this shape. And, no, this shape on the right is obviously slightly compressed compared to the shape on the left. So I'm going to undo that a couple of times instead I'm going to make my line a little bit further down, going back to my point. And there. Now that shape and that shape look more similar to each other. They're still not quite exact, but I'm going for close enough here. Okay, the next line I'm going to do is going to be this line here, two fingertip to undo that. Again, I'm going to eyeball that going up the side of my rectangle on the right. Okay, so the next thing I want to do is this one here. Two fingertaps would do that. Quick pinch in to zoom to fit and do straight line here. But I think there's a bit of a danger doing that because when you are measuring distances, maybe from a screenshot or a photograph and then onto your iPad, and then onto a piece of paper, well, you can't zoom in to your piece of paper where you can with a virtual piece of paper on your iPad or your computer or whatever. And I didn't realize this until I started doing digital art for quite a few years. When you were doing it, the traditional way photograph, real life, onto a piece of paper or canvas or whatever, your brain locks him to a certain scale. And if say you were measuring with a brush, you would know that the height of the model you're drawing is a certain distance on your paintbrush when you're measuring off using your paintbrush, but it's all in the same scale. But with this, you're constantly going in and out like I just did, you start to lose that sense of scale, and you end up having to recalibrate that sense of scale every time you zoom in and then you zoom out. And you're making life so much harder for that bit of your brain that measures distances. Just try and bear that in mind and try and keep it the same scale throughout now, very quickly, I'm just going to come to my eraser. I just want to erraise this bit because I'm finding that circle a bit of a distraction. Now, what about that line I just put in? I think that is looking about right. Yeah, I can live with that. I'm comparing this kind of is it a quadrilateral? No, it's not quadrilateral. Quadrilaterals have got the same size? Oh, dear. I can't remember. Never mind. A shape on the left with a shape on the right, and they look to be pretty similar to me. Okay, the next thing I want is to put in oh, I know, that green line I was busy apologizing for a short while ago because now I've got this line and this line, it should be much easier to judge the distance here. So that's going to be about two thirds of the way along about there, draw a line back there. The edge of my hand keeps on slipping against the side of my ipad because I'm drawing close to the right hand side. And incidentally, this is one reason I'm using the assisted drawing to make perfectly straight lines because if I was trying to talk about measuring various different things, it's going to be a lot easier for you to follow along when you got very straight lines rather than natural imperfections that I would have in my lines if I wasn't using assisted drawing. So look, we're getting there now. We've got that green line in at last, and I'm going to quick scan in this area here with this area here. And it looks like the general proportions are good enough for me. And now I've put that in, I've got this purple line here, which is basically that point and that point. And again, if I'm checking that triangle against that triangle, they look pretty similar. So I'm getting quite confident that my basic framework is good enough. Good enough for what's coming up. Okay, so I've got some more purple lines to draw in. I have this line here, which if I take a look, got two points there and there and that line looks pretty much absolutely horizontal. So all I need to do is figure out where the point is about then draw a line straight out, wait until it turns into the elastic band, Hold my finger of my other hand on my screen at the same time, and it snaps. So it's dead horizontal like this, and I'm comparing a couple of triangles here. I'm going to come up to the top where it says line, click on that. When I do that, I get two little blue points. And I think with these two points, if I just drag within the middle of the line, I can raise or lower it, and I think this needs lowering by just a touch about there. The reason I say that is because I was taking a look this little area here and this little area here. And now that I've lowered that line by just a little bit, those triangles look very similar. I mean, triangles are good things to compare because they're so simple. They are the simplest shape you can make. And because you're dealing with such a simple shape, it becomes easy to measure things like angles, proportions in relation to another triangle and so on and so forth. And so I've got another line, this line here. Well, the end of that line is there, and that looks to be not quite two thirds of the way in between these two points here. So find that about there. Draw a line outwards, wait for my elastic band, and I can see heading up at a slight angle. Now, what am I looking at? I'm looking at the triangle made by those two green lines and now this purple line because that's probably the biggest measurement I have on the left hand side. If I do that about there, those triangles are looking pretty similar, maybe a tiny bit smaller there. Good. Because now I'm also comparing that triangle and that triangle, and those are pretty similar. Okay, I'm making good progress here. What about this line here? Well, that line is starting off at this point and coming down to meet the red line somewhere around here, so draw the line, wait for the elastic band. And I can see that line is making a small triangle just here, which you can see on the right, and you've got a bigger triangle here, which you can also see on the right. So it's getting the ratio of that small triangle to that big triangle correct, which seems to be about there. And from here, I can see I've got another purple line there, which also looks completely horizontal, so I can just draw a line wait for the elastic band, tap another finger on my other hand to get a horizontal line. Come up. Oh, come on. Where did you go? Let's do that again. Elastic band, finger to hold in place, tap on the line at the top, and I can move it anywhere inside the middle of the line. Like this. I just dock that in place. There's that purple line, and I think that is all my purple lines. There's only one thing left to do now the yellow lines. So move that around. Dock that in place there. And I've got one coming up from the bottom, starts off at that point there, goes to that point there. So that's to about. There would you say? And then I've got one more yellow line which connects that point to that point there. So now I have all my lines in place I think I do. And it's taken a lot longer to say it than it normally takes to do it because I'm explaining what I'm doing as I go along. And in case you're thinking, Well, that was an intense exercise, why did I just do it? In the next video, I will explain to you exactly why. 27. Triangles, part 3: Okay, let's do the big reveal. I have two files attached to this lecture for you to download. One is this file. It's Procreate file. It's everything we've done up until now, so that we're starting from exactly the same point. The other file is a file called Hi. And if I come to my wrench icon, a insert a file. And here we are. Hi there. Oh, look at that. I don't need to resize this. It's the same size as my original file. So I'm going to come to my layers panel, and I'm going to take my inserted image, I'm going to drag it by clicking and holding holding my finger, drag it underneath Layer one, let go and look at that. If I had said to you, There's a kingfisher on the left. I want you to draw a sketch of that kingfisher on the right, you might well turn around and say, Sorry, no, can't do it. But there. Take a look at all those guidelines. Nearly all of the major landmarks of the kingfisher are all laid out. The position of the beak, the back of the head, how big the body is, how far the body goes down, the wings, drawing that should be really easy, given how many reference points you've got. And this really is the ultimate expression, if you like, of the grid method. But it takes it so much further. The only difference is instead of you being giving a set of lines to draw out which form a set of triangles, imagine you are looking at that photograph and your job is to try and look for the angles in the image. It can work for real life, but on this course, we have to work with images, so I'll just refer to it as the image. Let's just create a new layer. First of all, you decide where it is on the piece of paper. Now, I've got a line going down about here and a line there that gives me the tip of the beak. I've also got a little bit down here at the bottom. And if I measure those proportions there to there or there to there, I get an idea of where the body joins the branch. Three things wipe down to clear my layer. Once you've got those, you have an angle going down here at about 45 degrees, so about 4:30. That gives you the body. If I take another angle down here, which is just off horizontal, stretching out from the same point, that gives you the top of the head. If I was to extend this line down here and take a line about down here, that gives you a good idea of where a lot of the body is and certainly the back of the head. That was the red triangle. I've got most of the kingfisher in there inside that one large shape. And so from there, it would simply be a case of building up your smaller triangles off the top of that large, red triangle. And if you've got that basic triangle right, then you've got a much higher chance of everything that follows along from it also being right because you can build up using the techniques that we use. The only difference is instead of just drawing a set of abstract triangles, you're imagining those triangles laid over the top of that kingfisher. I'll take my layer three, I'll drag it to the top. Let's turn it on. Okay, I'm going to three fingers swipe downwards just to clear that layer. I will take my kingfish up. I will come to that little, and I will take down the opaste down like this. I will come to my layer with all the lines on, and I will take the opacite of that way down so I can just see those blue lines in the background to help me as a guide. And my layer three Watch is for this. Let's try DC pounds on medium is fine. I'll chose a different color though. Let's try a deep red color for this. What about my brush size? Yeah, that can do the job. Cpacity again, is about 50%. The bra size is set to 2%, and I've already worked out all my proportions. So it's just a case of seeing what triangles reference, which point this point here is this point here. That's where the e is. So the eye is a little bit like this. A little bit of that frown line, but you see aren't a lot of birds. Now, come on the beak. What about that? Come on, like an angle there so I can get just a little bit more a screen real estate. I have the top of the head there almost horizontal line because of the angle I'm looking at it goes out there. That comes down to that purple line, and I have just an arc almost an arc that doesn't exist, going to that point there. The bit where the upper and the lower beak meter, that's that green line, it seems to come to about as far down as there because I have my various different triangles. It's very easy to judge that distance. That's about here is it? Draw another and we come very close. Look at that. It goes over to slightly over and comes round and underneath a little bit. It's not a completely sharp point. What am I doing? I'm working against the natural curve in my hand. This is the way I like to do my curves. Have a slightly over and come round to a point like that, and there's a bit underneath, which comes underneath what was my purple line. It stops just before I meet that green line here. It's about there. I also have a little curve down here. The reason I'm tracing off these points is so you can see which bits of the original picture I'm looking at. I wouldn't need to do that in real life. And that's about here, and that comes round. And this is practically join the dots because I've already done all the hard measuring work when I was doing the triangles, let's take the back of the head. That seems to come around to this point here, just slightly above like that. And then we get kind of a straight line down here with a little bit of a feather ruffle there, which is very appealing. Sometimes, when you're looking at it upside down from different points and different angles or whatever, that can help because instead of me saying, It is a back and what do I know about backs? Backs can be straight. And then assumptionit is distracting me a little bit. When you look at something from an angle you're not used to looking at, you get less of that. You're more likely to draw what's there rather than what you think you see. And so that comes all the way down like this, and it joins up there because it does straighten out a little bit towards the bottom. I've got a little bit of a wing which sticks out like this. But because I've done all of my hard graph beforehand, that's a pretty easy thing to put in there because I can see that in relation to the triangles that surround it. Kind of joins the body around there. I've got my branch, my big branch. That's what this horizontal line there was all about. For the branch, it doesn't really matter what it looks like, what the angle is, as long as it looks like something the Kingfisher can sit on. In actual fact, I'm kind of tempted to make that a little bit narrower because it's quite a thick branch. I don't know why, but I always like to think of Kingfisher as being perched on some tiny little twig. Anyway, let's move on. I have. The breast. Now, what's a good angle for me to draw that breast? About like that. That follows the natural curve because I'm right handed, but let's do it a little bit more carefully than that. I've got it comes down to about there. I'm looking at this point. And then it comes down to where it intersects there. So a bit like that. A little bit of a ruffle on the feathers, just to give a little bit of character. And then I've got this point here, which kind of makes a triangle about there. So I just carry this down like that. Looking at this little triangle here, you can see the white pit comes down to about that point there, so I can trace that pit pretty easily. But that also looks like if I follow this line down, that's where the curve of the wing happens. A little triangle round like this, it comes past my red line. That's about that point there, so draw this in. And the wing comes down as far as that, or at least that part of the wing, that third of the wing, because the lines I put in, they show exactly where the wing gets divided up into its different parts. Got a bit coming down round. Here, I can see the wing terminates different areas just in those two little triangles about here. I've got another section of the wing stops around there. I have another bit at the top bit of the wing. Can you see this bit just where it lies in relation to those triangles that comes down to about here. Oh, if I look at that, this secondary bit of the wing, I've got a curve going up like that. It may be a bit hard to see in the video, looking at it, I've got a curve going up, and that marks where this bit of the wing kind of terminates. It comes around like that. This joins up here. I've got a little bit more wing, which comes down to this shape here. Just over halfway along that bottom line, so about there. And that tip of the wing is just a little triangle shape. Underside, just about there. Move it around. I'm nerdy there. I just want to be complete with this. I have this little white shape here. And if I look at that in relation to the triangles that surround it. Well, that's pretty straightforward. I've got a mark about here. I can see a little bit of it here for a tiny little triangle there if I use my various different shapes. And the top of that little white area just grazes the top of the orange bit of that triangle. Comes down to about there. I got a bit that curves just underneath here where some of the orange on the side of the head meets the blue underneath like this. And just on the underside of the eye, I've got this little area here where the orange gradually fades into the blue on the top of the head like this. Now there are various other landmarks there, but look, if I just get rid of those two construction layers. I just drew that. Whatever else I want to do with this, I can say, Yeah, that is accurate. That is what I looked at because, well, in the case of the exercise we've been doing, I made sure that those blue triangles I drew in the background were the same or very close on the right as they were on the left. The only difference is, if I was drawing that without, there was series triangles on the left. I'd been measuring the distances. We already covered this. I'm sorry. There's one thing that's really starting to annoy me. I don't like the shape of that bill. Sorry, that beak. Not a bill. It's a beak. I could go on and draw various other bits from this, but hopefully I've made the point that I wanted to make over the previous few videos clear enough. Measure your distances. Measure your angles, do your big shapes first like your big red triangle to form the body of the Kingfisher. Take your time and look at what you're drawing with an analytical mind. You're not saying, Oh, there's a Kingfisher's head. Oh, there's a Kingfisher's beak. Oh, there's a Kingfisher's body. You're saying there is a line which goes down like this at that angle. And there is a line from the same point that goes down at more or less that angle. There's also a line which goes up at that angle, but the distance between that angle is not as big as the distance between that angle. It looks somewhere around half as big. I know I'll get my Apple pencil and lay it on the surface of my iPad to check those angles from the vertical and also to check distances. Or I can use my proportional divider to measure out angles and distances from real life on my computer screen and translate that to my iPad because it's got plastic points and not metal points on the ends of the proportional divider. Like Simon warned me about a couple of videos ago. Work big, down to small, get your basic shape so that you are confident that they are right. By the time you get round to actually sketching in the bits in between, it really is practically like joining the dots. Now I'm making it sound a bit easy. The ongoing thing that you're going to be doing, as well as practicing your straight lines and your circles and your ellipses, is also you'll be practicing measuring distances and measuring angles. This is not some magical skill. You learned to tell the time, looking at the angles of the big hand and the little hand and figuring out what time it was, Well, you're doing the same thing here. You're measuring the angles by saying, Oh, that's about 3:30 because you know what 3:30 looks like. As for measuring distances, you do it all the time. Whenever you reach out and grab something, you've measured a distance. If you're out driving and you have to pass between two cars, you're measuring distance. So there is no great artistic secret. It is just practice. If you practice, I'm not promising you you will be a world famous artist, but I am promising you that if you just practice and be prepared to make mistakes and move on from them, you will get better as an artist. Drawing is not a magical talent. Drawing is a simple skill that anyone can learn. Okay, let's move on to the next video. 28. Recreate a Shape: Hello, and welcome to this lesson. In this lesson, I'm going to give you a simple exercise that you can do to practice measuring your distances, your angles, the various things we've been talking about, and this is pretty simple. For my paper, I'm using the A four course paper. No particular reason. I just fancy a little bit of rough paper. For my pencil, I'm using DC pencil course. It is set to, 2% big, 50% opaque. And for my color, I am using DC drawing colors, second row down, one in from the right, kind of a deep red color. Yep, that'll do for me if I press a little bit light. Yeah. Okay. That works. Okay, so, the first thing, I'm just going to draw a simple random shape. I'll try and practice drawing my circles, my boxes, my curves, my straight lines, but it will just be a simple random shape. So here we go. Okay, that will do for my circle. Now, let's try a curve coming down like this. Should I try a straight line? Let's try a straight line. And what should we do here? Let's try another straight line going up, maybe a 45 degree angle, two lines going up up to 45 degree angle, one line going down again at kind of a 45 degree angle. And let's try taking a little bite out of my circle. So what about there? Yeah, just slice a bit out. So my shape, if I just trace over it a little bit harder, is this kind of a shape? Yeah, that'll do. So the next thing I'm going to do is come up to my layers panel. I'm going to add a new layer and let's lever a little bit of digital functionality so we can make life fun for ourselves. And also, I just want us to practice a technique which has been used by traditional artists since well, basically, since half decent mirrors were invented. If you come to our wrench icon, come down to where it says Canvas, and you have two things here, flip horizontal and flip vertical. I will flip horizontal. And my shape has now been flipped. And when you flip your drawing, either horizontally or vertically. It helps you look at your picture with fresh eyes, especially if you've been working for a while, which I haven't if you have been working for a while, you get so accustomed to what is your drawing that basically you can't see your mistakes because you've been staring at them too long. But if you take the time to flip your image horizontally and vertically, in fact, come on, let's go for gold. Let's go for flip vertical as well. There's my shape I can pinch in and out to change the size of it. For now, I will just keep it the same size. I will make sure my new layer is selected, and I'm going to change the colour that I'm using. Instead of using that deep red, let's change to Well, can I see that process blue clearly if I draw with it? Yeah, that should be okay. So two fingertap to undo that. And so now the challenge is for me to recreate the shape I drew after I flipped it. Okay, so the reason I initially drew that shape on the right hand side is because I'm right handed, and I knew I was going to flip the canvas over. So now it's on the left. If I'd done it so that that shape ended up on the right hand side, well, 'cause I'm right handed, my hand would obscure the thing that I'm trying to draw. As it is now, I'm right handed. I can see it clearly while I draw. One thing I will do, though, I want to give a little bit of space between my new shape and the one we're looking at now. But because I do that, then I'm going to find my hand is going to end up resting on the right hand side of my iPad. That's going to affect my drawing, so I want to push it up a little bit like this, so I've got a little bit of space on my ipad to do my brush trucks. Okay, so enough talk. I've got a different color. Let's try this out. Okay, that circles not perfect, but I will press on because I will be coming back to this later. Alright, what else do I have? I have a straight line sticking vertically out of the top of my circle, so that's about there, isn't it? And that's going straight up. I'll just draw a line like this. It's gone up too far, but I'm just constructing shapes at the moment. I'll extend it a little bit. It stops at about that point there. Then we've got a line going down at about 45 degrees. What I'm doing is I'm looking at this angle here. The end of that blocky rectangle shape. If I extend that line down, it doesn't quite go to the center of the circle. It's a little bit above. That's useful information, the kind of thing I want to know. So reverse that it's about what there, and it's about that thick, isn't it? I'm just guessing here. Well, I'm not guessing, but it's easier for me to say it's about that thick rather than trying to talk about the ratio of the thickness and blah, blah, blah, blah, blah. When you come to do the exercise, it is a lot simpler just to recognize the shape and then draw it rather than trying to describe it. In fact, I used to teach English as a foreign language. And one game we would play was we draw a shape like this and we'd try and get one of the students to draw the shape while the other students tried to describe it. It was interesting. Now, what about the slice on the circle? I'm talking about this bit here. Again, I'm gonna measure it if I go straight up. You can see that slice starts about halfway down there. Now, you can see that circle I drew wasn't that accurate, but I will come back to it, so I'm going to have to address that at some point, but that slice is going down at about 5:00 in the afternoon. And the next thing to draw, I've got a curve which starts off here and ends up about here. But that is not a nice curve for me to draw because it's working against the angle of my wrist because I'm right handed. So for this, I don't care. As long as I can see the original curve on my screen, I'm going to twist the whole thing round like this and do my curve, try and do it in one go. When you're doing your curve like this, I'm trying to position the heel of my palm, the pivot point about halfway in between this point and this point. And I might do a little practice run first. Yeah. With that, I realized I needed to move the heel on my palm down a little bit and draw, like, again, down a little bit further and maybe further away. And yeah, that's working better. So I have two shapes looking a little bit like a knight in a chess game, but I drew these on two different layers using two separate colors. And so Hooray for digital technology, if I come to my Transform tool, You can see where I didn't quite erase some of my blue lines when I was figuring out my dimension. So I'll just come to my erased tool. What is my erased tool? Open pointee, and just rub out those marks there. Let's come back to my transform tool much better. And now what I can do, if I come to either to the outside or the inside, I can just move the entire thing across, superimpose it over what I did beforehand. And in fact, what I will do is I'll come to snapping, turn off snapping. So I don't have those little distracting lines, and I move it across, and I try and figure out how close I got. Well, it's not bad. But why I'm trying to do now is take a look at this and see where I went wrong. So, I need to find a place where it looks more or less Okay. And I think that is going to be that little vertical line sticking out the middle of the circle if I line things up there. Well, the top, the head of the horse, which is what I'm going to call it now, you can see I drew it a little bit too high and not quite steep enough of an angle. So that could do with being coming down a bit steeper and a little bit lower. The back of the horse, the man of the horse, that's actually pretty good. I'm quite pleased with that. And also the top half of the circle, if you like the chest of the horse, down to where I drew that 5:00 line. That's not too bad either, so I'm quite pleased with this. But look, I said about 5:00 for that angle, didn't I? Going down? It's steeper than that. So then what I do is, I'm going to move it back. And try and remember all those things that I said I done wrong. The head of the horse is start off a little bit lower and it's slightly steeper there. And it's to about What's it to about there? Like that. This boot was okay, but it needed to be a little bit steeper, didn't it? Like that. And I'll tap and hold on my eraser, called the same brush the amusing to draw with, and I'll draw it. That's Brush head is a bit too big, isn't it? I'll try and rub out some of the things that I know were wrong and repeat, do the same thing again, move it over. And that is looking pretty close. I'm going to call that close enough for my purposes. I'm not going for perfect, I'm going for better, but more than that, initially, I'm going for measuring angles, distances using a simple shape that I made. Then I flip it around just to mix things up a little bit. Then I try and recreate the shape, move it over, check for any mistakes. And okay, how many times do I want to repeat this process? Because this is the second time I've moved my night chess piece, let's call it that to check my progress. So to start off with Let's allow one check and correct like I did, then a second check. And if there's anything else that you think you really do need to take a look at to correct, that's your double check, and you make your adjustments there. Allow yourself a check, and then a double check. Anything beyond that? Well, just create a new shape. Now, the nice thing is because I have layers, this is possible and it's very easy. Maybe you could do this with tracing paper. That would end up being a little bit expensive. This just feels easier. I can also use two different colors, so I can easily check my new shape against the old one. You're not going to get confused because they are different colors. And then move it back. Once you get confident with this, you can always try doing two shapes. Come here. Choose my original color and simple as you like, we can even start to give the idea of a three D shape like that. If you really want to get adventurous, we will be coming on to stuff like this. And then try and recreate both of those shapes all in one go. Don't do it one shape at a time, because then you're having to start to think about things like the distance in between this shape and this shape and where this shape lies in relation to our chess piece. Knowing where one object lies in relation to another object, that can be a very important skill to learn because then you're starting to have to think about things like negative space. That is the space which isn't the object. It's the space in between the object, like this bit is negative space. This bit is negative space. This bit is negative space. But for now, okay, that is the recreate a shape exercise. Lots of advantages to doing it digitally, and it's a good warm up exercise for you. Okay, let's move on to the next video. 29. Kims Sketch: In this lesson, I'm going to show you a technique you probably haven't seen before because I've not seen it anywhere else. I think this might be a brand new technique just for this course, and I'm going to give it a name. I'm going to call it Kim sketch. Okay, let's get started. Let's choose a paper from my lunch draw spares folder. A four sugar paper, that will do. It's as good as any. Just touch and swipe to the left and duplicate. And load it up. I don't want that particular color, so I'll come to my layers panel, come to background color, choose a color for my paper. Let's try a simple grade that suits me. And comes to done. My drawer here layer is empty of pixels, so whatever I load is going to come straight into that layer. So wrench icon, a insert a file. For this, I want the file called four fruits. I import it, and that size should do for me. But what I will do is come to my layers panel, come to where the little is, and I'm going to reduce the opacity way down so I can just see the outline of the various different fruits. Then I'm going to make sure I have a new layer. By clicking on this plus sign. For my brush, what brush am I using? Well, okay, I can use this DC fakecha. My color is set to DC drawing colors. I'm coming to this very last one on my palette to kind of a deep brown. For my drawing size, what have I got? My size is set to 2%, fairly thin, and I've got maximum opacity. Let's just give a quick check for the brush. Yep, that's about the width I want. Now what I'm going to do? I'm going to come round and I'm going to start to make some little notches on marks. Just in certain places like where this fruit in the background touches that lemon in the foreground. How about one here, where the two bits of fruit are just touching each other in the drawing. I want to have one down here where the underside of that mango meets that lime. Maybe have something just appear. What I'm doing is I'm just drawing a series of markers. Now, how many you have? Well, that is up to you. These are just placeholder markers, so I know where I'm going to place my brush strokes now more on that in a little bit. And maybe one just there. Okay, so here's the technique. Have you heard of a game called Kim's Game? Maybe you have, maybe you haven't. But the way it's played is like I'm showing you now. You put a series of however many objects on a tray, and you've got, say, 30 seconds to look at it, and then you cover over the tray with a piece of cloth like I've done now. And then you'd have to write down as many things from the tray as you can remember. It's a memory. I thought, Well, let's take that principle and apply it to drawing because what you're doing is you are committing various details into your short term memory so that when you look at your piece of paper, you've got, for example, how big the lemon is compared to the lime next to it, or what kind of a curve you've got with that mango in the background, because it's impossible to look at the thing you're drawing and the drawing itself at the same time. And you will also spend a long time, for example. Looking at the curve of that lemon, like, Well, I'm just tracing over it at the moment. And if this was the real world, instead of drawing that curve over the lemon, I'd be committing the shape of that curve to memory before I draw it. To finger tap to undo that. So this is the essence of Kim's sketch. Let's take the curve of that lemon, for example. Take a good look at it. I try and commit its shape to memory because I have to look at it carefully because otherwise, I'll do what we all do. I will look at it and say, it is a curve. A curve is round, so I'll just draw a round shape like that without looking more carefully at the kind of curve that I've got there. It's a flatter curve, and I can see at one end, it's got a natural curve like this. But at the other end, it suddenly goes round and you get more of a sharper corner. And those are the kind of details I need to look at when I'm drawing. So to finger tap to undo that twice. Undo those two strokes, and this is what I do. I come to my layers panel. Layer three, that's what I'm going to draw on, but I take a good look at that curve which I was just talking about committed to memory, then I come to this little tip mark on the draw here layer, which has the fruit on, and I make the whole thing invisible. And now what I'm going to do is try and remember what that curve was like. It was something like this. And as I remember, curves round like this and goes round, and then I come back and I check what I've done. And actually, that's not too bad. I went a little bit flat. I think I got a bit too timid. But also, I was aiming for this little reference point here, and there's also a reference point there, which I wasn't really looking at. So two finger tap to undo that. Keep on tapping until you've got back to this point here, and I can try again. So I've got my little corner, but not as sharp as I made it, and I come round like this and I come to that. Let's take a look at that. That's looking closer, but I do notice that at one side of the lem I needed a little bit more of a curve to show me the end of the lemb. So commit a few more details to my memory, then turn off the image. And I believe there was a curve coming around like this, which sweeps round like that, and I've got more of a dip here. I will press and hold on my eraser to call up the same brush. I'll pass to you on 100%. Let's just erase one little bit which I had around here. Check again. And that's interesting because I thought just in this area here, I thought I'd been quite subtle with that. I knew I had to dip in a little bit more than I already had, but I thought, No, don't do it too far. In my mind's eye I say, Oh, no, this whole curve curves in a little bit more than I did before. And once I start telling myself stuff like that, within half a second of me not seeing that lemon in the background, I know I will have gone from, Oh, there is a slight dip in the curve to there is a dip in the curve, and I will do what everybody does, and I'll exaggerate it because all I remember after 1 second is lemon, curve, dip. We can't help it. It is natural for us to do that. It is natural for us to look at something, assign a pattern to it, and then slot it in our memory. And if we have a vague visual description, that's good enough. Actually, looking at something requires constant concentration. In fact, I would argue it requires a very similar level of concentration that you need when you're driving through a busy city that you've never driven through before. In both cases, you constantly have to be alert. In both cases, you are constantly judging distances and gaps. And in both cases, if you do it for a long time, eventually, your brain will become tired. You, let's carry on. Let's undo a few times. See what else I've got. Look, I've got the underside of this lemon. I don't mind turning it around. This is just two fingers moving around. And so now I want to memorize the curve of the underside of that lemon. I can see it start off around here somewhere, and I can see it ends around there somewhere. And those two little guidelines that I've drawn, they show me the direction at the curve starts and ends, but it's up to me to try and fill the curve in between. I think I may have gone too far with that. Let's bring this one round like this. See how I did. And again, I was a little bit too timid. This is what happens. When we draw something, the temptation is to be cautious rather than too much if I two finger tap a few times to get to this point. Now that I try a second pass, I knew there was a curve there, but I played it safe because I was a bit uncertain about it. And in the time it's taken me to talk to you about this, I've pretty much forgotten where that curve was. So, come on. Kim sketch, turn on the layer. Take a look at that curve, try and commit it to memory. Then bring it round. How did I do with that? I did better. Did you notice, though, how I started at this end, and I was quite confident, but by the time I got to this end, I started to chicken out. I don't mind that because while this is a good exercise for you to do, it's helping you do what you do when you're looking at something. The only difference is when you're looking at something and reproducing it on a piece of paper, on your iPad, on your computer, whatever. The only difference is, instead of that photo of fruit being off to one side or on your other computer screen or wherever, it's there right in front of you, so it makes it easier for you to make estimates about what that curve is actually like. How much does it curve? How much does it bulge outwards? I'm drawing over shapes that are fresh in my memory like say this curve hit if I can, and I draw around like this Did pretty well with that? The only difference is, I'm drawing directly over the top of something rather than being off to one side. But the skill in this case, of observing the curve well, that's the exact same skill you're going to use when you come to observing a photo or something in real life, which is off to one side, which is how we normally draw. Now, the reason I drew these little markers in like this one is because I've got to give myself a chance. If I had a blank piece of paper, I would have no idea where these fruits are in relation to the side to the picture or a rough idea of how high they are in the picture, how low they are in the picture, how big the scale is, and so on and so forth. Because if I did a good job and got it so that all of these outlines I'm doing are pretty much exact, but they were just off to the side, because I hadn't put some initial reference points in, I won't be able to tell whether I'd done a good job or not. And that is why I put just those little reference points just so I'm in the right area to draw these various different things. Anyway, that's the principle. And the only other thing I would say is forgive yourself, Look, take this up That's not quite right. If I take a look at the top one, it's still not quite right there, but it is close enough. If you had been there when one of the great old masters was doing their painting and you were able to take a photograph from the exact same place where they were looking and you were able to superimpose the painting and the photo on top of each other, you would see inaccuracies. It's practically impossible, no matter how good you are to do an exact line going around like this unless you're tracing directly over that line. And if you look at sketches of all these old masters, sometimes you'll see an arm going in one direction, and you'll see some extra construction lines around it, which lets you know that that incredible painter from hundreds of years ago made one or two sketch lines and realized they got things wrong and then tried again and then put the line that they were happy with to complete their painting. Try and forgive yourself with this. Anyway, I will carry on and see how I do. The the the the the Okay, in the case of this, rather than me just two finger tapping to undo this, I'll try and use this decorate my stroke because I can see in this bit here, I went too far. Should be more there. And in the other part of this curve, I didn't go far enough. Look, the edge of the fruit is there instead of there. So I'll try and use that to help me get my curve right, which actually proves to be pretty easy, but what I will do now is I will get rid of those brush strokes. Remember, it's digital with the arrase tool. Once it's gone, it's gone for good. You may find it difficult to see on the video, but if you're following along, hopefully, you can see. It's not just a standard curve. It looks a little bit more like the pointy end of an egg. Mm. Nearly close enough. The point is, like, if you were to see the outline like this and you were to take a look at the picture of the fruit on, say, a computer screen in front of you and you were to flick your eye from the photo to this drawing, you'd probably say, Yep, those curves look fine to me. It's only because we can directly compare one image on top of the other that we start to think, Mm, Okay, maybe not. It all pours down to how inaccurate you're prepared to have your drawing. If you're looking at these curves and you're thinking, something's not quite right, then you should change it. But if you're not doing that, then it's good enough. Oh, no, at the top of that mango, that is a big curve. So take a good look at it, commit where it is to memory, and Not too bad. Let's erase this bit. And also, I think got a bit timid here. Let's move this round a little bit more like this. Come to my eraser. And once more, oh, you know what? That's close enough. Mustn't forget that bit of the lemon down there. Now, What I do want to do is I can see, there's a bit of a ridge there. That lemon is not entirely smooth. You get these little ripples. Like this. So I want to put those in there now. I've just taken what I remember a lemon looks like and just added in there. And, yeah, because I did that, then I've got it a little bit off. But rather than erase those lines which are very clearly wrong, I'll use those as reference lines to try and get something looking a bit better. But in the case of this, I think it went much more like this, didn't it? Take a look? Yeah, that's looking better, but there's a little bit more there. Lose that. Lose that. And, yeah. And yeah, that's close enough. Let's take a look at this as a whole. Yeah, that's close enough. Just while I'm here, I'm not quite happy about this shape here. There's also one or two ripple lines here. Let me take a look. Yeah, I went a bit too far with that. There's a little bit of a ripple there, which I wanted to put in. And I can see I get more of a curve there. Okay, that is Kim's sketch. I find it works best on objects with definitely defined edges. Like, for example, if I was doing a tree with lots of leaves, I'm not sure how well this would work, but this I have sharply defined outlines for each of those fruits. This really helps me to look at those curves, try and commit them to memory. Try not to make assumptions like I did with the top of the lemon, like, Oh, it's a curve therefore, it looks like that because that is a curve. It forces me to look at the subtle changes in the contours of the shape I'm looking at, commit them to memory, draw them out, and then check what I've done straightaway. As you get more advanced, then you might be tempted to have less guidelines, like if I create a new layer, the advanced version would be if I just put, say, a line there, a line there, a line there, a line there, just to show the outer extents and maybe help myself a little bit with just a line there and a line there, and then just start off with that as a starting point. Okay, that is Kim's sketch. You're aiming for getting those lines close enough, they don't have to be perfect. Michael Angelo wouldn't get this perfect every time. Neither would Rembrandt and Salvador Dali would paint a fish. 30. New Section! Volumetrics: So far on this course, we've got some experience of drawing things by mainly measuring. Measuring distances, measuring proportions, measuring angles, in the case of things like the grid method. Well, yeah, you're measuring so far along the squares of a grid, and we've done the whole anglers at 3:30. Things like that. We've also done a little bit about tracing. And I made the point at the time about tracing that I really don't have an opinion for or against it. It can be very useful, and in places we don't really want to admit, there's a lot of very famous paintings in some very important galleries, along with a lot of evidence to suggest taste as well. But the limitation of everything we've done so far is what happens when you want to either adapt what you're seeing. So, for example, an arm is at a different angle or someone's head is moved around to the side more, or you just plain want to make something up either out of your head or based on a series of reference photos and combine them together to come up with something new. In order to do that, well, obviously, you can't just trace and you can't measure distances. What you have to do is make up a shape that appears to exist in three dimensions, even though it only exists on a piece of paper, real or digital, because in the real world, you've got three dimensions width, height, depth, but on a piece of paper, you've only got two. So you have to develop the ability to be able to visualize things in three dimensions and put them onto a two dimensional piece of paper. If you can master that, then you have moved up to the next level. Okay, so for this, I am using A for sugar paper. It doesn't matter which one you use. I'm using DC drawing colors, the color in the bottom left, that deep blue for the pencil, I'm using DC fast sketchu. I could have used any one really. The size is set to 2%, and I'm on I'll put it on a pasty of 50%. Let's take a look at this. Yeah, that's okay. Okay, well, look, on my desk, I've got a mug. You can't see the mug, but I'm going to try and draw it in such a way that you feel it's got a certain amount of depth to it. Ideally, you can reach into the picture and grab the mug. It's a fairly simple mug. It's fairly round, and I am going to move my entire piece of paper around because I find drawing your llips is easier at certain angles. It's a regular sided mug. There's no strange shapes to it, so I'm going to draw a cross line for the ellipse, like this. This is the widest point of the top of the mug, and I'm going to draw a line down. This represents the middle of the mug. Now, I know from doing ellipses that there's gonna be a widest point, and it's going to be the same distance on one side as it is on the other. So I'm going to just lay my pencil against my iPad and put the end of my pencil here and I'm going to lay the pencil along that long axis. I'm going to mark off this bit here with my thumb. So I'll just do that. Now, measuring, then move my pencil along a bit. So now I can see this point here, this distance is about the same as that distance. I also know that that ellipse at the top of my mug, well, when you've got an ellipse, you've got a shorter axis like that. So I can draw my ellipse in. And yes, I'm going to zoom in. Trace around like this, go around, use the natural curve of my wrist to help me draw. A reasonable ellipse. It's not going to get me into Leonardo's workshop, but it's close enough for the things I want to demonstrate. Now, a mug has side, and in the case of this, the sides kind of go in a little bit like that. So I'll draw a couple of straight lines, hopefully going down at very similar angles. And at the bottom, there's also going to be ellipse. And let's just check that distance there is about the same as that distance there. That's fine. Because I'm looking at it from above, I'm looking down into the mug a little bit. This bottom ellipse is going to be a little bit wider. The short axes are going to be a little bit more like a circle than the top of lips, so I'll draw that in. Actually, no, I don't like that. I was working against the natural curve of my wrist. That did not work. So come round. At this point here, it's effectively a straight line, but it's only afterwards it starts to curve around like this. And let's get that to join. So it curves around nice and smoothly. Alright, so so far, I've got a kind of a beaker affair. But this mug also has a handle, and it's coming down extremely badly. It's a bit like that. So what I'll do is I'll try and construct the mug. I know that the bit where the handle joins the side of the mug is about here. Now, you can see, I'm drawing a little bit of an ellipse because wherever the handle joins the mug, that's going to be kind of a mini bit of an ellipse. So there's going to be one down here as well. But also, look at the sides of the mug. They're sloping inward. So if I take that point there and that point there, I'll try and extend this line down to act as a guideline. That's where the start and the end of a handle are. If the handle of the mug was sticking straight out from the top, it's going to come out like this. And those two lines, which I'm using to construct with would pass either side of the center point here because it's coming out at a right angle, and I know that when things come out at a right angle, those two lines I've just sketched in to represent the actual side of the mug, the ones I'm doing now, they will point towards this center line of the mug. The same with the bottom ones, but because of the laws of perspective, it's going to be such a slightly steeper angle. Don't worry, we will be talking about perspective in later lessons. But you can see, I'm constructing this mug, effectively using a series of simple shapes. Now, there's going to be an actual thickness to this handle like this, and there's gonna be another little guideline there. So let's trace this round. It's kind of a curvy shape like this. Let's turn it round. Yeah, the curve kind of goes round, curves back on itself and joins up. The handle is like that, but I've got this line here, which is also going to go down and round. But if you see these lines here, which I'm sketching in, you're going to get a cut off point out of this handle, which is going to be a pretty much the same angle or a very similar angle to those lines which touch the actual mug itself. Now, of course, I've another bit of the handle just around there. Things are starting to get a little bit confusing because there's a lot of construction lines there. So what I will do is I will come to my eraser, just press and hold, so I'm using the same brush as an eraser. Make sure my apastesn't 100%, my size, it's four or 5%, and I can just get rid of some of these lines to make things a little bit more clear. This is something you can't do very easily with traditional art. You can, but with traditional art, the recommendation is you do very fine construction lines. No, that makes sense. It can make life easier for you. But with digital, there's no reason at all why you can't just partially erase by rubbing lightly or completely erase. It's up to you. And so I'm going to do a fairly comprehensive erase there and just neaten up one or two of these lines because I want to show you the general principle. Now, you need a little bit of a strengthening area here because if you look at a clay mug, you always get a lip coming down or you often get a lip coming down just to strengthen the joint. So I'll add that. I will arrase certain details there. Also, I noticed with my mug, it's not a really hard square join just at the top of the mug. It's ever so slightly rounded. Like that. So once I've done that. I will raise and erase that line. So now I have a slightly rounded, slightly more realistic top part to that mug. I'm going to errase just one half of my curve here because I want that line to go around a little bit more smoothly. That's looking a bit better. And it's the same with the bottom area as well. It's ever so slightly rounded like that. Can you see what I'm doing? I'm king interesting areas, putting in broad shapes using guidelines, and luckily, I have an idea of how to draw on our lips. And because I've studied things like perspective, you get a certain idea of what things look like. And I'm doing okay with this, but looking at it, there's actually a bit of tea in my mug, as well. Not coffee, tea. Thank you very much. And so that's going to be inside my mug. This mug has no thickness, does it? Look, the lip of the mug can be about there, isn't it? I'm going to turn this round. I'm only going to draw the lip of the mug on the bottom half because I need an idea. Of the thickness. But when you look at a mug in the real world, you don't really see the far lip of the mug. I'm talking about this bit here. Not unless it's painted. You wouldn't tend to do that. You tend to draw the closest lip of the mug there because then, well, I'm looking at my tee. Well, that's another ellipse, but it's further down into the mug. So it's going to start off about there, and it's curving around in a similar way, but the outer limits of that ellipse, if I follow this down, well, that's going to be there and about there, that's going to be the widest point of this particular ellipse. So you're using that as a guide. Keeping an eye as well on the top of lips to guide me. I'm going to draw in my tea. And again, I can do a little bit of cleanup just in certain areas here and here and here. And actually, the sides of that mug aren't quite straight. They are a little bit curved. So straighter at the top. And so now, look, I'm going to crank up my apaste to 100% because I feel like I can do with some strong lines here. It curves around this mug. So it starts off at less of an angle, but goes down to a slightly more of an angle. That'll be more clear when I do it on this side. So it starts off a straight down, but as it goes down, it curves round more like that, so you get a gentler curve. And again, I can rub out my old construction lines. I think I accidentally did a three finger swipe, and I flipped it horizontally, that is actually no bad thing, because now that I've flipped it again, I'm looking at one or two inaccuracies, which I'm not too happy about. For example, this side of the top of the mug is not quite how I want it. And look, rather than spending a lot of time refining this, I just wanted to show you the general principle of how I would take a real world object and construct it using a mixture of basic shapes like ellipses, curves, straight lines, measuring. And one thing I haven't told you is, Look, I'm sorry, I lied to you. I don't have a mug sitting on my desk. I made this mug up out of thin. And the reason I can do that is because I know some principles of how to draw volumetrically, how to suggest volume on a two D plane. And it's all to do with knowing your basic shapes and building up using basic shapes, adapting them like I did with this mug handle, then refining those shapes like I did with this mug handle. For example, supposing I want to make the top of the handle more rounded, I can simply put an extra curve in rub up the old area like this. And then I have a more rounded handle. And once you're familiar with these techniques, then you are becoming familiar with the whole idea volumetric drawing, drawing a shape on a two D piece of paper so that it looks three dimensional. Okay, let's move on to the next video. 31. Volumetrics, part 2: Okay, so in the previous video, we discussed the whole concept of volumetric drawing. Or, in other words, thinking about the three D space, the thing you're drawing occupies and trying to reproduce that three D space on your two D piece of paper. To do that, it really, really does help. In fact, I would say it's essential that you gain a knowledge of how to draw at least a basic three D shapes because, as you've seen, you can always build upon basic three D shapes to create more complicated ones. Okay, so for this, my pencil colour, I'm going to use second row down, second one along, that kind of reddish brown color. For my brush, I'm going to use DC pencil medium, set two. What's that? Size 2% opacity, 50%, that works for me. The paper itself is the DC paper medium grain. For my background color, I think I'll have something a little bit darker. So at the moment, I've got bottom row, fourth one along, no, I want this a bit darker. Let's try middle row, fifth one along. That's the sixth one along, but green. Let's go I could go with either. And there's a couple of reasons I'm doing all of this. For all your color theorists out there, that is very cool blue. The middle row, sixth one all along, that's a very cool green. Cool colors proceed, warmer colors advance. And so if I use this cool blue, fifth one along, and I'm using a warm pencil color, because that is a warmer red than the background in very simple terms, my pencil lines are going to naturally appear to come forward. If you look off into the distance and it's not a sunset or a sunrise, the further into the distance you go, the more muted the colors become and eventually fade away to kind of a very hazy blue, not dissimilar to the background color we're using here. And the other more general reason that I'm changing the background color and the pencil colors is because on this course, I want you to get out of the idea of you need a white bit of paper with a dark pencil making strokes on it because it's kind of a limited way of looking at what you're drawing on also, when you come to shading, which we will be going onto later on in the course, if I have that darker pencil stroke against a background that isn't white, and I can always come along and choose a lighter color. And I can use that to mark in highlights with my pictures. You already saw this when we drew the apple further back in the course, and the advantage of that is that it gives me license to add shading and highlights to a background instead of just shading. Anyway, three fingers swipe down, clear my lap. Choose that red I was using. And let's go. Okay, so the first shape I want us to draw, well, very basically, we've got a cube, which is basically a square and turn that into a three D shape. Well, that's pretty simple. And you just take three lines, extend the backwards, and there's a cube. And if I'm really feeling adventurous, I could always quickly turn my pencil on its side, so I'm getting the shaded bit of this particular brush, and I can start to shade in the side, I'll do the front, and I'll repeat that and gradually lower the pressure the further to the right I get. And so I can build up an idea of shading on the front. And for the top, let's imagine the light is kind of coming in here. Down and off to the right. Oh, and while we're here, I just did a cylinder, didn't I? Okay, so for a cylinder, draw our lips, take a couple of lines which go in the same direction as the center line of this ellipse, the horizontal axis and the vertical axis. Well, that's what we've done there. And then we take this axis here and just take two parallel lines going back like this to a certain point. And then I want to draw another line which is parallel to this line, just to give me my marker points for the rear of this cylinder. Let's turn this around so that I can draw it a little bit easier. I'll put in a little marker just to show where that point is right there, and just draw around like this. And I've got a cylinder. In actual fact with this one, it looks a bit strange because I don't think those two lines going backwards are entirely parallel. This line here flares outward slightly, so the perspective is playing games with my eyes a little bit. If things go off into the distance, they're supposed to get smaller. And we will cover that in great detail when we do our chapter on perspective. But for now, I'm not so keen on that. Now, for that, I've got a couple of choices. I could always come to adjustments, come down to liquify. Okay, I've been playing around with this tool on my distortion. I'll set that down to nothing size that is way too big. Citrate a little bit bigger than this. In general, when you use a liquefy tool, get it as big as you think you can get away with and then work smaller. That's about as big as I would like, and I can always just pull the side outwards a little bit like that. The problem with that is that the end of my cylinder starts to flare outwards. Although having said that, imagine you were going for something like a vase. You could do a vase like this quite nicely. By using the liquefied tool, you know, cheating, except it's not cheating because it's just another way of recreating what you see in the real world. In fact, yeah, I'm so pleased with that. I'm going to leave that there. One vase. Because also that does help to illustrate the point. I drew a basic shape. I drew a cylinder, and then I tweaked that basic shape around until I end up with a recognizable object. A vase falling over onto its side. Having said that, I'm not happy with that bit right at the end. It's got a bit of a bulge on it, which is not the same as the other side, so I'll try and push that around, so it's looking more symmetrical. Now, if you remember, I was complaining about my work a couple of minutes ago. I was saying that the perspective was off. Well, let's try doing something similar. I'll do another cylinder, but this time, I'll do an axis for it and mark off my wire points about there. I'm not even bothering to measure with my pans all this time. I just want to keep the flow going. So there's my wide axis and my narrow axis. Yes, I know a lot of people want to do it all in one go like this, but I'm fine with this doing four arcs easier. And as long as you get something that looks like an ellipse and it looks like an acceptable ellipse, whichever way you want to do, you can try doing it in one go, or you can try the way I do it. If you're doing the four arc method, I tend to prefer to do a couple of starter marks like this. Just to remind myself that when I'm drawing at, say, this point here, at some point, the ellipse will be pretty much a straight line like that. Otherwise, the danger is you end up getting an ellipse, which looks like this kind of pinched uneven corners, which you don't want. So start off going round. I come round to here. And actually, looking at this, I think that is a little bit too narrow. So very quickly, quick cheat for you, create a new layer. I've got that and that, haven't I? I've made that very obvious. Let's make that a little bit finer, shall we? I've got a point here and I've got a point it. But because that's on a different layer, come to my transform tool and move it down. And what do you know? There's my exact measurement. And then three fingers swipe down. Oh, no, look at this. We've got something that says merge down. If I tap on that, then it means that layer I just created merges down to the layer below. Alright. One more digital art tip, Br it inside a larger tutorial. Now, come on. By now, you know how my hand likes to work and how I like to draw curves. So, turn the whole thing around just like we do with traditional drawing, or a lot of people do with traditional drawing, draw it around like this. At this point, let me say. Let me double check this. I think I'll do it all with a three finger swipe down. New layer. Check this distance. Come up to my transform tool again, move it across. And yeah, I have got an equal distance there. So I will three finger swipe down and merge down. So I've got one layer. And then in the interest of giving you another digital tip, let's take this line I've got here. If you like the center axis of the undra I'm looking to create I do my brush stroke, just held my brush without taking it off the surface of my iPad until I get the quick draw, and there's the long axis of what I'm trying to draw. And now I'm going to come up to my selectol and I'm going to choose the free hand option. I come and I draw around. Let's only select my cylinder, and then I come back to where that little pale dot is and tap there. And then if I come down to see this thing, copy and paste, I tapped on that. If I then come up to my layers panel, you can see I have my original layer, but I also have a new layer called from selection. And if I come over to my transform tool, I can move this along. Oh, look, everything that I selected got coppied and pasted onto a new layer. Now, at the moment, I have snapping turned on, which is making my life a little bit harder than I want. So I'll come up and I'll turn off magnetics and I'll turn off snapping. And now when I move this around, I can move this to wherever I want it to be. So if I move it to there, I'm going to get a perfectly even ellipse with no ellipse getting smaller as it goes off into the distance. But I have my transform tool active. I've got it set to uniform at the moment, which means that I can make this bigger or smaller move it around, but I can't distort it in any way. I will make it smaller, like this. And I will move it, I'll dock in a position here, as if, imagine this was the beaker I was looking at from above. But the thing about that is, if you remember a few videos ago, when you saw me holding a plate up to the camera and then holding it further down, the further down a round object is, the more it appears to be a circle and less than an ellipse, not a problem. Instead of using uniform, here, I can always come to free form, which means I can make this thing bigger or smaller so I can make the ellipse a little bit broader like this to get that effect of more you look down on top of an ellipse, the more it looks like a circle. And from there. Oh, go on it's digital. I'm allowed to. It's digital. Draw a line, wait a couple of seconds. I get my elastic band, do it into shape. Same thing on the other side, draw my line, wait for me to get the rubber band or the assisted drawing, and there is a cylinder in a sharper perspective. And since we're doing this, look, come on, let's come back to my free hand to. Let's take this ellipse again. Come to copy and paste, then come up to transform. Oh, no, what's happening there? I should have an entire ellipse shouldn't. Instead, I was working on this layer, wasn't I? So when I came to select, I only selected this bit and this bit instead of selecting the original lips, which is what I wanted. Classic mistake. Everyone does it because we never remember which layer we're working on. Just be aware of that. So what I will do is I will take this top layer, which I don't really need, but I will merge that down. I will come to this other layer, merge that down. So now everything is on one layer. Where were we? Draw. The shape, copy and paste come to transform. I will come back to uniform, and I will make the whole thing just a little bit smaller like this. Once I do that, this time, come on, let's merge it down either by tapping on this little square just in my layers panel and coming down to merge down or three finger swipe and choose merged out from there. Because now if there was a beaker, I now have the lip of the beaker because I blatantly cheated and I copied my existing shape and scaled it. 32. Volumetrics, part 3: Okay, so we've done our cube. We've done cylinders. What about a circle? All right, let's do a circle. Round, around around. Okay, that'll do for a circle. If you want to represent a circle as having some kind of three dimensionality, which often you do. Well, the first thing I'd do while I'm sketching is to put in what I think is the top point and the bottom point and the leftmost point and the rightmost point, just to act as a guide. And now what I need to do is put lips in there. So I will do a basic ellipse like this, hold my pen down, and I've created an ellipse. I will come to this top bit where it says, Edit ellipse. I get my four corner points. I get my four control points. I can move this exactly to where I want it to go like this. Dot things into place. And I'm gonna repeat the same thing, Heit. This side. Hold, edit my ellipse, put the two control points on the end, and that should do. Now, at the moment, I have one of those diagrams of an atom which you see in textbooks from the 1950s and 1960s. But if I come to my eraser, I will tap and hold on it, so I'm choosing the same brush to erase with as I'm drawing with. I pass down 100%. Size is 4%. It all depends on which half of those ellipses I erase. Like, for example, if I take this one and I erase just half the ellipse there, and I'll also erase the top half of that lips going across. Now I've got a ball that looks like it's been thrown toward you, but it's going to pass by you to the left and slightly below my eye level, because that ball looks a little bit like it's heading off in this direction. Alright, so I'll two finger tap quite a few times to undo this, and I'll take me back to where I had my two full ellipsis. Now I'm going to come back to my race tool and do kind of the opposite. I'm raising different parts of my ellipses. So now that looks like a ball that's being thrown toward you and it's going to pass by over your right hand shoulder. It looks like it's traveling up. So the take from this is if you have a circle and you want it to look like a three D sphere, then two things are going to help you. One is going to be these shapes going round to help define the three D form of that sphere. And these are known as contours. With a map, you have a contour map where you have various lines showing how high a little bit of land is. Same with this. The contours help to define what the three D shape is. The other thing that's going to help you're shading like we did with this cube. Okay. Pinch to zoom in, and I'm going to take my drawhd layer. I'm going to slide to the left, and I'm going to duplicate this layer. I'm going to come to my transform layer and I'm going to rotate this. I'm going to move it. I'm going to rotate it. So everything's at a slightly different angle. Let's move it down here so things aren't clashing with anything else. At I'm going to work on this layer. In fact, let's move things along a little bit, so things are a little bit more central on my screen. Now, do you notice a couple of things here? The first thing is this square here, well, the light appeared to be coming from the top and to the right because I've swapped it so it's upside down, it now looks like the light is coming from the bottom and to the left. So you can see shading plays an important part. But the other thing I wanted to do with these is that you've seen me draw a few simple shapes. And you've also seen me copy my existing shapes and use them to help me construct things like the lip of that beaker, for example. Using contour lines. And that's the thing you'll often find contour lines. Let's take well, no, let's take the other fs. The one sitting on our current layer. Again, with this, if I was to draw a curve like this, maybe another one hit. Those curves are helping to define the form of that vase. I can also do ones going up the side of the vase. Now one thing I'm finding is that center line which helped me to construct that vase. This line which I'm currently rubbing out, whenever you've got a cylindrical shape, this center line is really going to help you figure out how far off to each side the side should be. But right now, it's starting to distract from the shape of the vase. So I'm going to get rid of it pretty much. I'm going to make a little mark just about here, a little mark just about here. And another line here because what I was imagining was imagine from this point here, the center line of my vase, I was imagining a line coming straight down like this. And at each of those points that I marked off, I was imagining a very similar line. As you got a little bit further towards the bottom, that little line connecting the edge of my vase to the centul vase, the angle's going to be a little bit steeper because we're looking from the top down. But once I've got my various points there, I can start to imagine what the curve of the vase is going to be like there. That line is helping to define what the vase looks like. Now, a know what I'm going to come. To my adjustments, come back to liquefy. I'm going to nudge this bit of my vase outwards just a little bit in the minutes that have passed since I was drawing that, I'm coming back to it with slightly fresher eyes and looking at it rather than talking while I'm drawing, which is never the easiest thing to do. And I realized it was ever slightly off so I just want to do something with that. And I'll do it the old fashioned way. I do want all lip to this vas, so I'll imagine a point here and a point, here and a point, here and a point. Here, you'll notice that the point on the sides are just a little bit further in than the points on the top and on the bottom. Now I've got that. Draw a lip. And I decided to get dangerous for that one and not move around, but now I've chickened out and I've moved everything around, so I can use the natural curve of my hand. Still not ideal, but look, let's go with it. I'm also going to rub out this bit. If you are coming from a traditional background, you're probably going that is not the way I would do it. I would do very faint construction lines and then go back over them with slightly stronger brushstrokes, because, yes, that's a valid way of working, but from my point of view, I can always come up. To my layers panel, create a completely new layer, come to the layer I'm working on at the moment, come to that little N. And drop the opacite down to wherever I want it like that, for example. And now we've got our faded layer. I can always come back to that layer I just created. And I can draw in more solid lines for a more finished drawing as strong as I want. Also, just while we're here, I'm getting a bit ahead of myself here, but I'll make my breast just a little bit bigger. I am now on 4%. I'm pushing my brush way over to the side because when you lean it to the side, you get a broader, slightly less intense brush stroke, and I can come over this bit here and create a bit of shading here. And, oh, dear, that looks like I've gone too far, even if it is a nice soft finish. So, come to my eraser because this is all on a separate layer, I can erase in fact No, let's make this smaller. Let's make this 2% now. Erase out a couple of times so I get a slightly harder edge. I could always use a completely hard edge brush as well. No. So I can get as crisp an edge as I want, but I want to keep just a slight roughness to that edge just to keep the character of the drawing similar to what's underneath. And I've got my shading. The other thing, which helps to denote form. But let's come back to our Layers panel. Come on, let's merge this down and let's merge. So I've got everything on one layer. Notice when I do that, those slightly faded drawings on the left stay slightly faded. They don't suddenly get stronger because I've just merged down to a layer with a different level of transparency. So while we're here, we've got our basic shapes, come to my brush tool, and Look, I need to take a look at my price stroke and make it fine back down to 2%. Draw my shape here. Now, that was roughly halfway along this line here. So I'll do another one roughly halfway along long edge, and create a little notch there. Let's come back to my erase tool, and we can always erase as much as we want. You can see how when I'm doing this, I'm really taking advantage of the fact that digital art gives me the ability to completely erase areas of my sketch in ways that you just can't do with traditional drawing. And also, in this tutorial, you've seen me just fade the transparency in various different layers so that my construction strokes, which were pretty strong, can be as faded as you'd like. You can even make them completely invisible. Ever so slightly visible or back up to full opacity. So the fact that you can erase things completely and you can affect the opacity of the various different layers that you're working with means that it's time for artists in general to have a little rethink about how you do your construction drawings. Now, any artist who has learned traditionally will easily recognize that or that or that. Or even that little light source indicator. There isn't a single line here that any traditional artist won't recognize. But the fact that we have mastery over opacity, either in terms of fading our layers or completely erasing our brushstrokes means that constructional drawing or volumetric drawing, this is part of the digital art revolution. Okay, before I sign off on this because this has gone off quite a little bit, let's just show you a couple of extra things. Supposing I wanted a cylinder running through the middle of this sphere here. Well, if that cylinder was at this point here, all I would do was mark off the different points of my ellipse, which is what it would be come round like this. And if I wanted to have a little bit of shading just to give people a clear idea of the fact that that is supposed to be a hole going through the middle. Well, you know, this one by now. Quick bit of shading in there. Repeat that to build it up to build it up a little bit more and a little bit more. Let's have a little bit down here as well, shall we? Come to my eraser, let's set it nice and small completely opaque. Uh And unless I've got that there, I might decide, well, those two construction lines are a little bit distracting on the layer underneath, so I can come to the layer underneath and get rid of them whilst keeping the shading on the top layer cause it's a different layer. I don't touch that at all. There is no reason why I can't take that basic sphere, start off drawing constructionally, and then add extra shading on different layers, go back and erase my construction lines completely. There is no reason why I can't take basic sketch, follow construction lines, and then add and take away as I please, so I end up with a completely finished drawing. Alright, and come up to my layer, it and take the top lap and merge down. Okay, so this is an introduction to the whole idea of constructing shapes and making more advanced shapes out of simple shapes. But what about when we start getting into something like a kidney bean like this where you kind of have a rounded shape. And let's come around here. I'm doing with a slightly thicker pencil. That's right. I don't mind. It's like that, but imagine I want to do some contour line which kind of go around the side of it like this and up over the top to try and help define what the form looks like in a three D space. This is all well and good, and you'll find this as a very standard exercise. This is nothing new. But my only problem with something like this is when you're learning, you're never quite sure what those cantor lines are going to look like because you simply don't have the experience of knowing that wherever it's the kidney bean shape, you're going to get a line curving around as it goes to the middle, then coming around back out to the outside, like this. And so on the next video, I'll give you an exercise to do where you might have to go out and buy some children's modeling clay. That's coming up in the next video, and I will see you there. 33. Get Squishy!: Okay, so for this exercise, I want you to go to a toy shop or a craft shop, and I want you to get a lump of this. I don't know what you call it in your country, in my country, we call it play Doug. It's that soft mushy stuff that you can mold around like I'm doing now, but it's the kind of stuff that you buy for kids. The grown up stuff, which smells slightly of spirits, I would avoid that because it does leave a bit of a residue on your hands, and you don't want any of that stuff getting on your iPad. Anyway, I get my soft moldable mushy stuff, and I mold it into a shape. And I'm using things like an old coaster for a mug to do slightly straight edges. But then what I did, I'm using a screwdriver. You can use maybe a craft tool or whatever, but I'm cutting slices along the top, along the side, and also along the cross section of the shape I've made. And I'm not going in too deeply. I just want to put some contours on a real world object, and this is a very easy way to do it. And from there, I can either draw it from life, which is what I would like you to do. Or you can take photos of it, which is what I will do. And in the next video, I will take one of those photos and then we'll recreate the shape we've just made. 34. Draw a Blob!: Okay, so in the previous video, we were making little blobby shapes, and we were taking photographs of them so that we can draw them in Procreate. Now, I did a few, and I've saved them for you as a download. But for the first one, this is Blob 01. I put this into a file so that you can see the reference image, and I can draw on another layer. And the reason I'm doing that is because sometimes I want you to see where I'm looking. You can't see where I'm looking because you're not looking at me and you don't see where I'm looking. But what it does mean is that if I say to you, for example, I'm looking at this top curve right about here, I can just draw on the image and you can see where I'm looking. So to your finger tap to undo that. This file is also available for you. It is called Blob 01 Masterpiece, but this does mean that I've got not too much screen space to draw on because well, I want you to see where I'm looking, but that does mean that I need the entire image on one side of my canvas. I think for this, I might use a lighter color than I'm using. DC drawing colors, second row down, third one in. Can you see that? Yeah. And the pencil I'm using is DC pencil course, just because I fancy a bit of texture. If you are having to go at this yourself, one thing I would suggest you do is come to the wrench icon, come to where it says Canvas, come down to reference and turn it on. You get a little window. At the moment, it's showing you just what I'm drawing on the screen. But you can come to image. Import image. That will take you to the Photos app. And so I suggest you store the various images I have for download in the Photos app so that you can just call it up and just have this little reference image just wherever you want it to be on screen. I will close this. Okay, so we made our little blob. We did our little grooves in to try and help us see where the contours of this shape are. So the next thing is to draw it. Okay, so the first way I'll do it, I'll just look at the image and just draw it and try and describe what I'm thinking while I'm drawing. Okay, so for the first thing, I'll look at the overall shape. I've got this rather large rounded bit on the left hand side, and I've got a slightly what a horn shaped section on the right, which is slightly smaller. So the first thing I'm going to do is try and draw in the biggest shapes. Always work from the biggest shapes, then go smaller. First shape I'm looking at is this kind of shape like this. I've got a bit of an ellipse at this end on the left, but it's not really a perfect ellipse. Actually, it's probably a bit more squash than I originally drew. Let's come to my eraser, choose the same eraser that I'm using. To draw with, and use that to erase with. So I've got that shape on one end. I have another ellipse on the other side, which, again, is fairly narrow, and I've got that little kink just in the top, which gives it that slightly horn shape. That's the bit that people probably will notice first. So that's my general shape. I will three finger drag down and clear my layer. With that in mind, I've got this large rounded shape just here, which goes into kind of an ellipse round about here. Bring it up. It's not completely round like this. It is kind of curved round, but I do have a bit sticking down like this and then coming in. And already, I'm starting to see maybe I've made a little bit of a mistake because look, I'm about to draw the horn end this bit around here, but I notice that the bottom of it is quite a bit higher than this bit here. I undo that a few times. And so I'm worried that I'm going to be drawing a bit too low. So looking at it, maybe that's the distance I was looking at. So let's try drawing in that ellipse on the other side like this. I've got the edge of my hand hanging off the edge of my iPad, and so I'm getting some rather scrappy lines there. It's quite difficult to control what I'm doing. And also, I think with that ellipse, it's a bit too big and it's a bit too upright. So what I can do is come up to my selection tool, I'm set to free hand. So what I can do is I can drag around this ellipse like this, tap on that little pale dot, which is not that easy to see against that gray background, complete the circle. Once I have done that, then I can come too. My transform tool. At the moment it's set to uniform, let's start off with uniform. I can rotate this around a little bit more and maybe make it a little bit smaller like this, drop it down just a little by dragging around the inside. That's looking a bit more like what I was seeing. To get out of that selection, just come to the paintbrush tool or any other tool to commit to that. But I do have this bit which curves around like this, and I can see I went too far here, so draw that around like this. And yeah, that bump at the bottom was a bit too exaggerated, wasn't it? So make it a little bit smaller. That is very common. I had my curve there, but then I said, Oh, wait a minute, there's a bump. And so, by the time I got round to drawing that, my mind it condensed that down to curve with bump. And we do that all the time. Instead of seeing what we're looking at, we look at it. We make a few decisions about it like curve with a bump in. And then we draw a curve with a bump in, and we tend to exaggerate things. Looking at it more carefully, I've got the start of a curve hit, but then it's not really a bump. It just goes kind of straight up a little bit, and a little kink inward and then carries on going round. So I made that a bit too exaggerate it, so it's up then rather than being a bump there, it's less of an angle with a little bit of a kink on the end, and that's looking a bit more like what I was looking at. Also this ellipse on this side. I looked at it and I thought, ah, ellipse. So I drew an ellipse, but it's a little bit uneven and also it's not as wide as I initially drew it. This is one thing. When you draw, you kind of get into certain bad habits. You start to recognize certain things that you do that you need to work on. Like, in this case, one of my habits is, I see an ellipse, and so I draw an ellipse, like I've done here, but I have a tendency to make my ellipses a little bit too wide. That ellipse should be a little bit narrower, so it needs to be a bit more like that, maybe. Get my arrays tool and get rid of it. Also, there's not really a hard edge there, but because I'm doing a line drawing, I have to have a hard edge there for now. So I carry on with this, and I've got a feeling I'm going to be using the liquefied tool before too long. Anyway, let's take a look at these little grooves that I made in the surface of my little blob to try and help me describe its form. So I've got one starting off about here at the top of that rather indistinct ellipse, and it curves around staying close to the top on my blob. I can see the blob goes inwards, so I was about to do this. Okay, I'm exaggerating, but that's another example of me looking at something, but then describing it in my mind and then drawing my description rather than what I'm actually looking at. In actual fact, it doesn't really go in at all. It just kind of goes straight across until it hits the top of that end ellipse. And then it comes down in a rounded shape like this. And I can see just a little bit of the other groove on the end. So that kind of comes down like this. It's rather inistinct, but it comes down to about just before the bottom, then it comes round like this. And then it's going to join about it. Well, it's going to go to about this point here. Then it goes up in a fairly straight line and comes round like this. And I can see the end of it goes kind of like this, and I've got a fairly obvious groove here, it kind of curves around a little bit, and then by the end, I kind of lose it, but I realize that I've got too much of a rounded shape right here, if I look at the actual shape, I've got a straight line there, pretty much. It's not an ellipse. I thought there's an ellipse at the end, so I drew an ellipse, and that's another example. Of how we draw what we think we see. We make up our mind about something, and we draw what it is we've got in our mind rather than what we're actually looking at. Now, what about these bits, these cross sections, which are helping us to define the form? Well, I've got one here, which comes down, that's the most ellipse shape one. If that's a word, Ellipse. The rest of them. When I look at it. Well, that's because I didn't do a particularly good job of making my grooves. And so what I've got here is I've got a bit here, which comes down like this, and then kind of wiggles off to the side like that, but not that much. I did it again. I said, This bit here. There's a bit of a wiggle there, and by the time I came to drew it, I drew a wiggle, but it was too big a wiggle. And you try saying too big a wiggle with a mouthful of plums. Right, so slight kink there, then just straight down like this. I've got one more groove there, coming down pretty much straight. Round, a little bit. And I can see this bit here, that distance is much smaller than that distance there, so I can see I've made a bit of a mistake there. I think this angle here is a bit too steep, should be a little bit shallower, then it starts to come up a little bit like that. And also the underside, I made that slightly off. That needs to come more like this andro. This. Okay, so now I'm doing a quick check of what I've done. I'm looking from one to the other. Because I was the one who drew it, sometimes it can be rather difficult for me to see the mistakes I've made. You looking at this might be thinking, Oh, come on, it's so obvious. So what I'll do is I will come up tomorrow and tricon again. Canvas is selected, and I will flip everything horizontally so that when I look at it now, the various mistakes I've made have become a lot more obvious to me. Yeah, I've got a better idea now. So I will come too. My adjustments come to liquify. I'm set to push. There's no distortion, no momentum, my size needs to be bigger. When you're doing liquefy, work as big as you can. Then work smaller. So I think about there. And definitely this top bit, the bottom bit needs to come down a little bit, but the top bit needs to come down by quite a bit and keep that kinking there. And that bit definitely is more of a straight line than I originally drew. Maybe make this bit here a little bit fatter. And now that I check it, I think this bit at the end, I've been a bit too timid with that. That needs to be bigger, doesn't it? So I will come to. So I've come to liquefy, I will come to my selection again, I've got free hand selected, and I will draw around this bit here because that does need changing. It's too small. I will come to my transform tool. For this, well, I've got various different ways of transforming. At the moment I've got uniform, that makes everything bigger or smaller. If I come to freeform, I can stretch things independently like this. And don't forget for all of these, I can rotate at any point. Let's undo that and turn off magnetics and snapping so that I get a smoother rotation. It's not snapping anymore. Then I have distort. That is where I can distort any corner like this or I've got warp. That gives me a little cage, and you can see I've got nine squares there. Imagine wherever those lines Cross each other. That's a little anchor point. And if I come to say, this one here, I can move that. And can you see how the cage warps, and whatever I've got selected warps with it? That is what warp means. And that can be very useful. I think for this, though, I'll come up, transform again. I'll try distort for this. I want the whole thing to be over at a little bit more of an angle. I want actually come to uniform first. It should be bigger. Really do you think it should be bigger? If I come back to distort, I think it should be a little bit more squashed over like this. Once I've done that, come back to my paintbrush tool, and then I'll just go over these lines again like this. And you know what? This bit here is starting to annoy me. It's too strong. Too definite a shape, which I'm not already seeing in the actual image. A few more things. Let's come back to my Like fry tool, make it a little bit smaller because it is more rounded at the bottom end like this. Okay, I think I'm nearly there with this. What I will do is I will come up to my wrench icon, canvas and flip horizontal again to get another fresh look at what it is I'm drawing. I think I'm nearly there. I'm just gonna do one more quick adjustments, liquefy. I think that top edge needs to drop down by a little bit. And I think maybe that bottom bit just needs a little bit more tweaking like this. Alright, I want to test what I've done, and this is going to be pretty embarrassing if I've got it completely wrong. But if I'm doing it this way, one thing I can do. Because my sketch is drawn on a different layer on my reference image, if I come back to my transform tool, you can see there's little bits where I've traced over the photograph, which are picking up there. So what I'll do is I'll come back to my eras tool and just get rid of those bits, which you may not have seen, but they were showing up just on the end of that blob. I will come back to my transform tool again. That works. Now for this, you must make sure that snapping and magnetics are turned on because now I can use, Look, I'll come to uniform. And if I put my pen on my curse or anything on the outside or the inside, but not on the actual border so I don't resize things, I can drag this across, let's do it from the outside. That little blue snapping line means that I'm going straight across. It's not going up or down, and oh, I'm dreading this. Have I completely messed it up. And, oh, actually, I've done that pretty closely. I'm still looking at there are certain areas just on the underside which could do with being worked up. But that is actually pretty close. So that's one thing you can do. If you're drawing on one layer and you have your reference image actually on your canvas, you can slide across and check what you've done to finger tap to undo that. So that's my basic sketch. And I can tell you from now, it's not easy to do this. You saw what I did. I put in some shapes. I made one or two mistakes. I looked, and I thought, Ah, in the photograph, I can see, say, the bottom of it, there's a kink in the curve. And by the time I came to draw it, instead of remembering exactly what I see, my mind, I've got curve with akinkin and that's what I draw. And our brains are very good at looking at things very quickly and describing them inside our mind, curve with a kinking. Or an ellipse rather than an ellipse with a very flattened edge. We just think ellipse. And so this business of constantly looking so that we can see accurately what it is we are looking at, that is a prime skill that you need to develop as an illustrator. Okay, so you saw the process there. I looked, I described, I drew it, I refined it. I used the liquefied tool, and I selected various areas, and I transformed them. This is an incredibly common way of working with any digital software. But I think I'll have one more go at this, and I'll just give you if you're like, a little bit of a security blanket, it'll be drawing on some techniques that you've already described. I will go on to apply them in the next video. 35. Draw a Blob! Again! Bounding Boxes: Okay, in the previous video, I just kind of winged it, didn't I? I looked at the shape, I drew a few curves. I refined the curves. And in the end, I got something which was close enough for my needs. But I must admit, even though I've been drawing for quite a long time, there is always that thing. Do you know that phrase, The th of a blank piece of paper? You want to do a drawing. You've got a piece of paper in front of you and you get into a bit of a sweat about where to make your first mark. Okay, so look, I'll give you a quick technique here, which may help. For this, again, I'm going to draw on top of my photograph. So I draw straight down. I hold my pen on my iPad until I get quick draw. If I put another finger there, I can constrain the angle so it goes straight down. Come up to where it says line at the top, tap on it. I've got editing. If I then come to my line and I just drag it, you can see where I'm dragging because I'm using my mouse, but that's not working too smoothly. I'll use my pen instead. Now I can move this around, so I've got a vertical line which I can put anywhere I want on my canvas. Great, that's what I want. So tap my iPad to commit to that. I'll do the same thing on the other side, straight down. Put another finger on to constrain it. Come to where it says line, and I would do that just on the far right of my blob. Tap again. I'll do the same thing horizontally. One finger to constrain, tap on the top, and I can move this down so it touches the topmost part of my blob. One finger to constrain, come to the line, edit the line, and do that. And you know what? I'm looking at this. I'm looking at this line on the right hand side. Is that completely vertical? Let's try it again. That's interesting. I do that. I think what I did was I drew straight down, and then I held my finger down to constrain, and then I let go with my finger just before I let go with my pen. So let go with my finger, let go with my pen. Oops. I didn't work. So there's a bit of a gotcha, which I just did, which you might do, so I will leave that in the video. Draw straight down, finger on my ipad, take my pen off first, then take my finger off. Now I've got a completely vertical line. So let's try that again, draw straight down. Hold my finger to constrain, remove my pen, then remove my finger. Then I've got a completely vertical line, which is not that opaque, but it'll do. Okay, so what I've done now, I've put a box around the outermost parts of my blob. It's the smallest box that's made out of vertical and horizontal lines that my blob will fit into. That is what's known as a bounding box. And even just having a bounding box, all of a sudden I'm getting loads of information, which would be difficult for me to see if a bounding box wasn't. I want a little bit more to this. For example, I'm looking at the topmost part of that blob is about here. That's about halfway along the bounding box. And if I look at the edge here, where we just made a mark, I can see the leftmost part is six tenths of the way down that vertical line. My youngest son just went off on a camping weekend and they had to learn to read a map. And one thing you get on a map is a load of grid lines like we've got here, which are divided up into squares. And each of those squares can be divided up into ten. That's standard map reading practice, so you get a more precise location, and that is exactly what we want to do here. And I'm going to call these vertical edges, the shorter edges. I'm going to say they are my unit of one. But I could do a square there. So what I'll do is I'll draw a line going up like this, assisted drawing again, but one finger tap, and that constrains that to 45 degrees. And so now I can move this around, and so eventually I get Can you see in the bottom left hand corner there? I now have a line going up at 45 degrees from the bottom left. Tap to do that. And now I want one more vertical line going straight down, tap and hold, let go with my pen, let go with my finger, tap on the little line thing at the top, and move that over where the 45 degree line touches the top line, and there's my square. Now, in my mind, or if I describe it to you, if I say, such and such a point is two tenths of the way along. You know exactly what I'm talking about, because we have a square, which gives us our unit of one, which can be divided up into ten separate parts, just like a map. Now, what I'm going to do is I'm going to come to Westairs draw here. I'm going to swipe to the left, and I'm going to duplicate. Then I'm going to come to my transform tool. Snapping has turned on. I'm going to move the whole thing over. That's interesting. There's a bit too much snapping going on there. There's one or two confusing lines. But if I move it along like this, Procreate's getting a bit confused about what I want it to do. So make sure you've got no diagonal lines like that, and now look at the lines of the bounding box. Do they look like they are the same height as the reference photo? Yes, they are, I think, so. There's my bounding box with my square, which makes my unit of one, which I can divide up. Now, life is going to be so much easier for me. For example, I can see the very top of that curve is about one tenth in on that bounding box. That little kink I had just there, that looks to be 1-2 tenths of the way down from the top. And now I've got that parallel line at the top. I can see that the very topmost part of my end ellipse dips down quite a bit. And all of a sudden, I've got a very steep line, which goes pretty much straight downwards for a while, then gradually curves round. Three tenths of the way up, I've got the bottom of my ellipse there. Looking at this little bit, where those two grooves cross at the end, where are they? They look just over one tenth of the way in about three to four tenths of the way down. So that would be about my center point for those little grooves, which are not that distinct. I've got a line coming across like this. If I'm starting to speak, and I'm sounding a little bit more disjointed. It's because I'm using two different parts of my brain to do this job. I'm using the speaking part of my brain because I want you to know what I'm thinking. But also, I'm using the visual part of my brain to look at what I'm doing. And it's not that easy to do the two things at the same time. But okay, I've got my curve here at top. It comes round like this. Now, I've got a pretty nice long sweepy curve along the top, which goes down to about this point here, and that looks like it's just over halfway 5-6. And that just curves around like this and then flattens out a little bit. Now that pusky ellipse at the end, which isn't really ellipse because it's so soft. Well, I can see because I've got a vertical line and a horizontal line, that helps me measure the angle of the bottom left of that ellipse much more easily. That is past 45 degrees. That's somewhere 4-5 o'clock. So that angle's going to go down there, and it's pretty straight, comes around like this. And now I've got this border here. In fact, I'll zoom in a little bit here. Those two lines here and here are really helping me because instead of thinking of that border between the blobby bit and the paper it's sitting on, instead of thinking of that border as belonging to the blob, I'm thinking of that border as belonging to that piece of paper underneath and because they have the horizontal and the vertical lines, all of a sudden, I'm just looking at this and seeing basically a triangle with another triangle on top of it. This one, I think maybe it was drawing on the right side of the brain, which first introduced this, and it's incredibly powerful. Don't concentrate on drawing the shape. Concentrate on drawing the negative space, the bit of your drawing or your photo or what you're looking at, which doesn't belong. In this case, the blobby shape. The bit I'm looking at is this bit here, this triangle. And because I've got that horizontal and vertical line, that triangle suddenly becomes very clear and very obvious. So it's this bit, the negative space. That's what I'm judging my angles on. So peasy, I've got a bit of a triangle which starts like that, but then it cuts like this, I'm drawing, again, this negative space, and I'm looking here at this negative space. I think I've gone a bit too far because I've got a bit too pleased with myself. So let's make that a bit more rounded there. We can always arrase this bit here. This bounding box is helping me so much. And combined with the fact that I've got this square within my bounding box, which gives me my unit of one that I can divide up into ten, all of a sudden my life is getting so much easier. Alright? So just come to my pen again, move this around, draw this bit here, and that's looking more accurate. Now there's a bit of my ellipse which is coming round, but again, it's not an ellipse. When it comes to the real world, round shapes often aren't round, and ellipses aren't often elliptical. There you go. There's my big word for tonight. So for this, this is much more of a straight line. And then I've got the start of that groove which comes round like this. Now, what else can I see? What about this bit here? Well, it crosses my diagonal line over halfway along my unit one, so about there drag that down. That's where This groove is, which goes up at a fairly steep angle, and it's not really ellips is it? It's just kind of a straight line which comes down and then joins up underneath. I've got this groove here, which all of a sudden is just so easy to judge because I've got my Bminy box with my square. And look at that. This top groove joins the groove I'm drawing right where that 45 degree line is, so that's going to make my life easier, as well. For the line going down, again, I'm looking at This space, and I want to try and recreate that shape as I see it, which comes in a little bit like this and down like that. I've already got this line here because it crosses at 45 degrees. At this point. Bring that round. And this point is going to curve round down to about here. Now it's about two tenths of the way in and about halfway down. So two tenths of the way in about halfway down. That's the area that I'm heading for. Take it like this. Then it comes pretty much straight down like this. Looking at this bit here, again, I'm judging where that is in relation to this little triangle here that I can see. So I can visualize that triangle on the other side. So that is about there. That comes up to about there. That joins up to about there. I found another little triangle at the top here. That's about four tenths of the way along and one tenth of the way down, four tenths of the way along and about one tenth of the way down. Yeah, about there. At an angle. It's slightly elliptical, but comes down at not vertically down, but 6:30, shall we say, if we're using angles like this and draw this around here. Last little bits coming down pretty much straight line down to that groove, then straight line across there. Now, here's the moment of truth. If that doesn't match up, I'm gonna feel like such a fool, right? Okay, I've got one, two little bits which I didn't fully erase on this layer. That doesn't matter. Come on. Snapping has turned on. Let's take this back across. That is a pretty close fit. I made one or two mistakes. The biggest one that I can see this bit here. That needs to go down further, and the bottom needed to come down a bit also. But I think that is close enough. And if I get rid of my original boundary box on my photographic reference, the whole point of doing these blob shapes is to get used to representing a three D shape on a two D piece of paper so that you can still figure out what it looks like in three D space. And that's why these contours help. If you can draw a shape and you can draw some accurate contours on it, it will suddenly spring into life. It will suddenly look three dimensional. That's what you want. But the problem with that is that when you first start doing it, you don't really know what kind of contours to draw on a three D shape. That's why we made those little squishy models and do grooves on them because those would be the contours that we're looking for. And this is not an easy exercise, because if someone you know looked at the photograph of that little blobby thing, it's a photograph, they know what it looks like. But because you're doing a drawing, if they can't see the original picture, you've got to try and convince them what that form looked like in three dimensions using a two dimensional piece of paper. And that's why contours can help. Look, you've got ten to practice with. You can make them up on your own. But the whole point of this is just to get you into the swing of drawing contours. Once you're comfortable drawing contours, things suddenly become three dimensional. Okay, that's it. I will see you in the next video. 36. Scribble on your Photos!: In this video and the next tutorial, I want to talk to you about scribbling all over photographs. But before I do the very first thing, I'm going to come to my layers panel, come to my background color, and I'll choose anything from my DC paper colors, which is a little bit darker so that we're not getting too much screen glare. Come back to done. And you know what? Fine paper, the actual texture background, I don't need that. So make it invisible. The next thing I'm going to do is come to my wrench icon, actions, come to add and I'm going to insert a file. And for this, I will come down too. Here we are. Ju Bing, this is a photo I got from either Pexels or possibly Pixabay because I tend to go there because I've uploaded photos there. But what I did do was rename the file to the name of the original photographer because, well, let's show a bit of respect for their work. So, tap on that. Importe it, and I will make this bigger so it's fully my screen. I will also come back to my layers panel. I'll tap on that little N, and I'm going to reduce the opacity down, not by a huge amount, but just so that I can see my brush strokes clearly. So about 70% should do it. I also need a new layer to scribble on top of. Okay, as for my brush. I'm using DC pencil extra fine. My size is 2%. I'm on opacity of 75%. What kind of a line is that going to give me? Yeah, that seems fine. I want it fairly thin and fairly solid. As for my color, let's see. I've got my DC drawing colors. I think I'm choosing second row down, ninth one along from the left or second row in from the right. Yeah, that color, let's double check that. Okay, we are good to go. Okay, so for a while now, probably since magazines became popular, you'll find art teachers encouraging students to get photographs of things like these flowers and scribble all over the top of them. I mean, I don't mean like that. To finger tap to undo that. I'm talking about where you draw on top of them to try and get things straight in your own mind about the form before you start drawing. And let's give you a very simple one. Let's zoom in on this bit here, this stem. Well, if you take a look at this, I can essentially see two ellipses, and I'll prove it to you. Look, if I draw very roughly and I hold, I get my assisted drawing. I'm going to come to the top where it says, edit ellipse. This, I will try and match up the axes and I'll make this a little bit thinner like this. And there's one ellipse. But now if I take a look, look, I've got another axis here. If I draw another ellipse, edit the ellipse, put that there, put that there. The just a little bit of tweaking and then come to my eraser, What eraser am I using DC pentel course. Okay, that's fine. Do a little bit of erasing like this. And if I make my flower lay invisible, there is the basic form of that flower without the petals underneath. Okay, so I used assisted drawing for this. I don't really need to. I just wanted to make a point that a lot of things can be broken down into simple shapes. And once you can get those simple shapes fixed in your head, then when you come to draw the picture, you've got a greater understanding of the form you are trying to recreate. So I will come to my little icon of layer three, then I'll come to clear and get rid of everything on this layer, come back to my pencil. And basically, you're fairly scribbly. See just like this. He doesn't have to be really exact. It's just for you to try and work things out. So I've got a form here. Also, if I'm looking at this, I can see a slight dip inside the top part of that shape. Now, if you ever get to the point where you're worried that your lines are so scribbly, don't forget you've always got your friend. Adjustments, liquify. You can always guide things into place a little bit if you are worried that your scribbles are getting too of what's underneath to understand what's going on, and you also can use your eraser. I think for this, I'll use the same brush that I'm using to draw with, make it bigger, and just get rid of one or two bits. And this is just helping me to see what I'm doing. Similarly with this, I've also got various tan draws coming down underneath. Now the temptation here is to start thinking of a whole load of bits coming down like this, which yeah, you can do, but I'll just two finger tap a few times to undo that. I want to try and look at this as a shape as a whole, and what I've got here is another It's not an ellipse. It's more like a cone with a top cut off. It's come down like this. Down like this, with the top rounded off, shall we say, like that. On the bottom, is kind of a cone shape. And once you do that, you can start cutting out various bits where those little tendrils coming down don't go so far as the rest. And also, I can just add an extra bit here. I've got a little bit coming down here. Plus, also, I've got a bit which curves underneath, and I want to include that because that's a characterful shape, just to try and make it clear. I can get rid of some of the bits that I don't want, things that didn't quite work. And underneath, I've got the stem coming down like this. And if I make my photo invisible again, I'm getting an idea of the form of it just by drawing simple shapes on top of it. Tracing is good. What about the thing next to it? I've got a cone here, haven't I? Look, I've got a cone which is slightly rounded on one side, but it does come round like this, and I've got a bit of kind of a sphere at the bottom, and again, a couple of bits coming down like this. And by doing this, and by forcing myself to use simple shapes, this should help me when I come to do my final drawing to A, realize the form and also B, I might want to make this drawing a little bit simpler, just so I can concentrate on the main elements that make up my flower or my stem or whatever. And again, it's helping get my mind. Straight. This technique is not about drawing something that looks very realistic or pleasing, because let's face it, they're not realistic and they're not that pleasing. This is about getting your mind into a position where it can go on to draw something which looks pleasing or realistic or whatever you want to do. This is the warm up exercise before the main event. Alright, just as a quick aside, here's one problem which people have all the time. Supposing I wanted to draw the stem of this large flower here, and supposing I was just drawing off to the side, and I draw something like this, and then I try and draw something here, and it's very, very hard to get the lines parallel. Alright, Tofing a tap, I'm going to come back to my layers panel. I'm going to create a new layer, and then I'm going to pick it up and drag it underneath the layer I'm drawing on. Now for this, I need my pencil extra fine, and I'm going to change the width. What at the moment? I'm on 2%. What about if I take it up to 22%? How big is this? That's pretty close to the width of the stem of that flower. If I just press just a little bit harder, yeah, that's pretty much exact. For this, really, I should be using a brush with a smoother edge, but I'll get by with this for now. To finger tap to do that. Come to our colors. I want to choose a different color. Let's try this light blue color. And instead of drawing directly on top of this, I'm going to set myself a challenge. I'm going to draw something like this, which gets thinner and thicker. Now, supposing I had a stem which was like that, and I wanted to try and match it. Well, come back to our original color, come back to a sized 2%, I believe it was. We're just trying to eyeball it where I can draw a shape like this and come down like this. And then I try and draw another shape which starts off thinner. I'm looking at this bit here. Then gets thinner, then goes thicker like this, and, oh, that's a real nightmare. But just imagine I use my thicker pencil to make the brush strokes on the layer underneath. Now if I come up to the layer that I'm doing my main drawing on, I can zoom in and just trace around the outside like this. And then this is normally where things go badly wrong. You come to the other side and just trace this bit of like this. Then I can come to the layer underneath, and make it invisible, and I get my lights behaving much more how I want them to because I did all the hard work on the layer below. Look, let's just show you exactly what I mean by this. Come back to our original colour, come to the larger size, and I just draw like this. Come back to my drawing layer, come back to my drawing colour, reset my breast size. And instead of trying to judge off to one side, because I used my thicker pencil and I just varied the pressure slightly if I wanted to make things thicker and thinner. All I have to do is just draw along the edge of that blue line. And I have a much easier time trying to get those two lines which mark either side of either a stem or any kind of wiggling line, and life gets easier. I will come to my eraser, come to my main drawing line, get rid of this bit here, come back to my brush because look at the moment, we can trace things, and wherever I drag my pen around, my brush stroke is short, I follow, but you may know this already. If you come to the brush itself and tap on the brush, you come to the brush studio, and you get various different tabs on the left hand side. But the second one down is stabilization. Now, look, if I make a squiggly line like this, Come to streamline, it evens things out. If I come to stabilization, it evens things out. If I come to motion filtering, it evens things out. I am not going to give you a full breakdown on what these different sliders do. I do that on the solid foundations course. All I want you to take from this is that, look, if I come say motion filter, and I'll take it up, say 60%. I'm having problems getting it, so just tap on there and type in 60, tap away. It's 60. Come to done. Now when I draw my line. I'm getting everything smoothed out. I'm trying to do some jittery little strokes. Can you see the tip of my breaststroke? It's wiggling up and down, but the strokes that follow it, it's a bit like having a dog on a fairly long lead where I'm wiggling my arm about, but the dog is walking along in a straight line because that's the principle going on here. So, look, if I come here, I draw on I came round, I'm getting my line smoothed out. Now, the problem with this is sometimes you can dig too deep and you'll get some I've actually weren't expecting to see like I did just in that area here. Because your line is getting smoothed out, occasionally, it does things that you're not quite expecting. And also, let's say something hit, which whenever people talk about streamlining, it almost never gets said, but it needs to be said. You are going to draw your lines at a different speed to me. You might be the kind of person where you draw very slowly like this, in which case, the stabilization isn't going to make much of a difference because you're drawing so slowly. In which case, you might need to turn the stabilization slider up. You might need more stabilization to your brush strokes. On the other hand, you might be a very confident person who just comes straight round like this. In which case, because I'm going faster, the stabilization has more of a chance to work. So in areas like this, it overtbilized. So I didn't quite get the curve I'm looking for. And so the takeaway from this is that because everyone draws at a different speed, it then follows that everyone has to try and figure out the right amount of, say, motion filtering or stabilization here or streamline here. It's a case of experimenting with these and figuring out what works best for you. Now, what I've got 57%, I'll stick with that, maybe that's what works for me. When I come round like this, and that's giving me something fairly accurate. Now, it may happen that once I do this for a while, I start getting pretty confident, so I start going faster, at which point I need to go back in and tweak my own settings. So if you want to do this, experiment with your slider depending upon your particular drawing style, how confident you're feeling, and also how big are the curves you're doing? Like at the moment, I'm using the entire screen to do this. Supposing I was doing something much smaller like this, that is going to have an effect. Yeah, you can see, now I'm drawing smaller. I'm finding it much more difficult to control those brushstrokes with my particular stabilization settings. There's no one size fits all. Let's try it about the same scar that I had before and same speed that I feel comfortable for as an illustrator. Oh, and one more thing as well, when you're doing this, breathe. You're always gonna get a more stable line when you're feeling relaxed because when you're feeling relaxed, you're feeling confident. And a confident line always looks better than a nervous one. 37. More Scribbles on your Photos - Negative Space: The last thing I want to talk about in this particular tutorial bottom layer, I'll slide to the left and I will delete it. Come to my right layer and just get rid of this little bit here. Everything in the tutorial that I've done up until now has been concentrating on recreating the forms that I see. I can make things a lot simpler. Look, let's take a look at this thing here. I'll do some of it. I can draw in the main axis like that. I've got a slight change in the axis down here. And so by doing that, I can just take a look at that axis and see the slight changes, which I may not be able to see when I'm looking at the photo because I have all these distractions, these leaves, these petals. Oh, what a nice shade of pink. It's all distracting. But I can try and take a look at these forms. I've got this form here. Or I can look at something called the negative space. That's where you don't look at the actual form of the thing you want to draw, you look at all the space around it. And this is a hugely powerful tool, and I think the first place I saw it was in that book which I recommended at the start of the course, drawing on the right side of the brain. So I'll give full credit to the original author. I've got my main leaf here and I've got a leaf on the side. Instead of trying to look at the shapes, how they relate to each other like this, I look at the negative space. I look at where the background is against that shape and that shape. And I want to look at it. I see I've got a triangle. I've got a little triangle here. I've got another little triangle here. And another one. Wow, two there. I have another triangle. Here I have another triangle here and another triangle. Here. Oh, add another one. Here. Let's turn off our flower layer for a second. Now just looking at that, that is spectacularly uninspiring if you want to furnish a piece of work. But drawing those triangles and making a mental note of the shape of those triangles. Especially say this triangle here. That is pretty close to an equilateral triangle. And when it comes to draw, yes, I may draw, say this leaf coming around like this and something else up here. But the natural tendency for me is does this look like the right shape for that particular leaf, and does this look like the right shape for that particular leaf? If I'm thinking to myself, Yeah, the one leaf looks good, the other leaf looks good as well. That's all well and good, but look, I will come and I will select just this top bit here. Then I will transform it. Right. Those two leaves, let's suppose I've spent time drawing them so that they look like they look in the photo, and I'm thinking, great. But one thing I haven't done is check where those leaves are in relation to each other. But if I have done my preparatory stuff where I've done my negative space, all I would have to do is check that triangle, the shape of that triangle. And if I was to do that, I would then realize that top leaf which I draw so beautifully is actually off in relation to the leaf underneath. And look, here's a really good tip for you when you're doing your drawing. Sure, ultimately, you're going to be drawing the form of something, but look at the negative space that surrounds. Check, you've got your distances and your shapes, correct. Very often you'll find Ooh, you're a little bit off, but if you can correct it earlier on, you're going to create a much more solid foundation of spaces that work well in relation to each other, and you can go forward with your drawing or painting with much more confidence. I'll give you one more example. Supposing I'm drawing that flower bud just underneath. Supposing I'm confident I've got all my shapes drawn nicely for the leaf on the top, and I'm happy with this leaf relative to this leaf because I used negative space to look at this distance here. And I realized that the negative space in my drawing looks the same or very similar to the negative space in the photo. So yeah, I'm confident I've got that right. Now, what about that flower underneath? Well, the first thing I can start doing is concentrating on the shape of the flower like this and drawing it or whatever. But one of the first things you can do when you're marking out that flower bud underneath is say, Well, look, I've already got part of my picture which I'm confident about just above. So the first mark I'm going to make is right here, it's relative to that bit there, and that bit there is what I'm confident about. Then I can take it further, supposing I've got my stem, which has already been drawn in place like this. Well, I know I've got this negative area here. I don't have to draw it. I just have to be aware of it and what it's rough shape is. And I can use that negative space on my photo as a base for my new sketch or drawing or construction of that flower bud underneath. Okay, for this video, we've covered scribbling on top of your photographs to get an idea of the form. We've also covered using a thicker line like this to use as a base for tracing over the top of if you want to get two lines that have to match up to each other like the stem of a flower or coil of rope, and we've also spoken about negative space and how powerful it is. So in the next video, I'm going to use the same image, but we're going to do a chicken wire drawing. That's coming up in the next video. 38. Wrap Chicken Wire Around a Flower..?: Okay, so in the previous video, we used this image, and we scribbled all over it to make visual notes inside our heads to prepare us for doing a final drawing. Here's something else you can do. And for this, let's come to say I may flower, and I'm going to take a look at one or two of these leaves. So I'm looking at this leaf here, if you like the biggest leaf that we can see, and it's facing pretty much towards us. What I want to do is try and imagine the contours of this particular leaf. I'm just going to draw around like this, trace around the outline just as far as it goes. But now I'm going to imagine that I have some wire, a very fine wire that's not going to hurt a flower, and that I get to wrap the wire around that flower so that it hugs the form of that particular petal. And then instead of imagining I'm drawing the leaf itself, I'm imagining I'm drawing that wire. So in the case of this, I've got same pencil as before, extra fine pencil, so it's 2% big, and I'll put it on 75% opacity. So Imagine something like this. Imagine something like this coming down. This is the wire which has cross sections. I've got a bit here and a bit here. I'm trying to follow what I imagine the plane of the flower. Like if I was to draw something like this, that doesn't really make sense to me. That is cutting across the form of the flour rather than trying to follow it. Similarly, if I was to do something like this, I think that is too exaggerated. I'm suggesting that that petal is curved, but that's too much. That's too strong, I think. I think it's much more like this. It's a fairly gentle curve to this petal. Okay, that's one. Now, what about the flower at the side? Alright, well, that's just draw the outline like this, and there's a bit coming around here and coming down just around the out part of the flower. Now what about this one? Well, I can see a line coming like this. But also, it's starting to curve away from us a little bit. So I've got a line which is kind of like this. Which is a bit closer to that side than it is to that side. And so what I'm trying to do there is suggest that the leaf is curving away from us along this edge here. And I'm just going to get my razor because I've got a little bit here, which is just annoying me. It's tiny bit distracting. Come back to my pam, and I think for this one, I kind of got shape. I think it's a little bit like this. But as it goes further down, it evens out a little bit until eventually it kind of straightens out, and towards the bottom, it's even starting bend the other way. Oh, I've got the bit at the back. Why are you doing this? Don't try and get things to match up like this. Otherwise, it just becomes confusing. Make your down lines go so that they don't match up with the lines underneath completely. Let's just heat that up a little bit. Now, what about this leaf at the bottom? This one? Well, we can see from the photograph that that is facing much more towards us. So when we do our wireframe, we've got to take that into account, which I may start off by doing the central bit of that paddle. There's just a little bit on the outside of it like this. Let's just draw the outline in very quickly. I'm using more straight lines to do this rather than a curve because well, that's another way of doing it. But I can see I've got lines which come down like this. These are following if you like the ribs of the leaf. You can see lots of little ripples going through it. And actually, they're proving to be quite useful because I can get a guide that actually, it comes down more like this, a bit of a bend at the top, then it straightens up. Now, I think the important bit is going to be the lines that go across like this. Now, rather than slavishly trying to follow that line around, it's not going to do it. Let's just cut it off there. What about a bit here? I can see. That's cutting across. That's cutting across, and that's cutting across. There's going to be another bit here where I've got a line at a bit of a steeper angle, which cuts across and cuts across. Another one down here. Which, again, is going to go up. I'm trying to get it so these wires are lying across the petal at what you might call a right angle or a natural angle rather than lying diagonally across them. Just do a little bit of cleanup in one or two areas. Now, the test for this, or the big test is, if I make my drawing underneath invisible, will you still get an idea of the form of those three petals just by looking at the wire frame? And yeah, I think you do. So I'll turn that on again. I'll just come to this leaf on the side because what I've done is I've drawn around the outside then are filled in things. Another way of doing this, which is equally as valid is you just look and try and find a particular plane, like, for example, I think there's a plane about here. Everything looks like it's lying in the same plane. There's no changes there, but it comes to a certain point where the petal curves around. And so the plane next to it, I think curves around a little bit more like this. And so I draw that. I can see a bit at the top, which looks more like a triangle than a square, and that's equally valid. It all lies on the same plane. I think there's a bit at the top, where everything inside that box is lying in the same direction. I can see a bit down here. Where things look like they're lying in the same direction. Nothing that fits inside that box is curving away or towards or is the strange angle. I can see another bit here and another bit here. And so rather than doing it in that more methodical way, which I did for the first three petals, for this, I'm just doing things bit by bit, like there's a bit there which looks like everything lies in the same plane. Next to it, I've got another bit here, and I think there's a lot here, which is pretty flat. And so all I'm doing here is drawing what I think is a flat bit until the petal curves away or curves towards. And when that happens, I draw another bit. And if you're finding it really hard, well, you may turn around and say, Well, look, I reckon there's a bit there, and I reckon there's a bit there. The only problem with that is that even if you're confident, those areas I just drew, even if you're confident that everything inside that particular area is just all flat, when you come to try and join up those different areas, then it becomes confusing, like, do I draw like this? Do I have another bit here? And when you come to turn off, your photo to check. Well, most of that leaf on the left hand side we've just been drawing, yet, it looks okay. But this bit here and this bit here just look really quite confusing. They're actually making it hard to guess what the form is rather than making it clearer, so just be aware of that. So this is the one technique that I wanted to show you separate to the other ones. It is straightforward, and the whole purpose of it is the same as all the other exercises we did in the previous video. It's to help you fix the shape of the thing you're drawing inside your head, and so that should make for a better drawing when you finally come to do your drawing of whatever it is you're drawing. Okay, let's move on. 39. Construct a Drawing of a Toy, part 1: Okay, let's take a look at a real world object that we haven't made ourselves. I have five different photos of the same object for you to download and take a look at. Let's take a look at one. Come to wrench icon. Then come down to reference. This is the first of the photos Toy Dolphin 01, and you version two, three, four and five. It's a little toy dolphin I found lying around at home, and I thought it would make a good choice to demonstrate this principle of constructing little three D shapes. I will just move it over to one side a little bit, maybe make it a little bit bigger so I can see it quite clearly. Now, the reason I chose the dolphin. Well, we've already done a real live dolphin. Let's do a toy one. But also, when you're practicing, getting something small that you can put on the desktop is a very good idea for the simple reason that you can turn it around and you can see it from different angles. And well, somebody just looking at this photo might have a hard time trying to figure out its three dimensional form. You can take guesses at but being able to pick it up and turn it around in your hands and see it from lots of different angles, that's how you're going to get the three D shape of it. Now, it's not really practical for me to go around handing out a free model of a dolphin with every copy of the course. And so, instead, I've taken a photo of it from various different angles so that you can get an idea of what it looks like. Now, for this exercise, I'm going to do say two out of the five photographs. Feel free to follow along. When we've done this, I would like you to have a go at the other three photos. For the simple reason that one of the best ways you're going to learn and especially learn different new principles is repetition. Practice, practice, practice. And if you can bring yourself to practice the same thing again and again, again, you cannot help but get better. It is probably the fastest way to improve. And so, I'll do this one, then I'll repeat the exercise doing the next version. And then, as I say, if you can bring yourself to do the final three, you're going to improve with this technique. Okay, let's get started. I'm using DCA four paper medium. For my brush, I'm going to use DC pencil course, just because I fancy a little bit of texture for my color that's come to our palettes, DC drawing colors, bottom row, first one along. I'm using that deep blue. And my settings, well, my brush size is set to 2%. My pasty, I will set that to 50%. Just let me try this out a little bit. Yeah, I've got soft, I've got heart. Yeah, that gives me what I want. So see if I can tap to do that. Alright, let's make a start. I think the obvious place to start is the head. You've got this kind of round sphere like shape. So let's just move around a few times and gradually draw in that shape. The ellipse has ever so slightly pulled out a little bit, and it's a little bit flattened just at the nose end, but I'll go with a circle for that, and let's just draw a round contour, just to get an idea of the roundness of that head. And then I'm looking at the nose. That looks a little bit like an ellipse that's been stretched out. Basically, it's kind of an elongated ellips Like this I'm seeing quite a bit of those kind of shapes on the dolphin. So I'll come to my eraser, I'll long hold on there so that I'm using the same pencil to erase as I am to draw with and come back to my pencil and start again. So that stubby nose. Again, that's that kind of elongated ellipse shape. It's kind of like this. I'm just putting in some guide contours just for now, and I might well get rid of those later, and I'm starting to get an idea of the shape of the dolphin by doing this. What else? Well, I have a similar shape to that bill with the fin of the dolphin. Again, that's like an elongated logion shape. And I'm kind of judging by eye whereabouts, that would go. It might be a little bit difficult to draw that in before I've drawn in the body as a whole. So, what am I looking at? While I'm looking at the curves of the body, let's zoom out just a little bit. You see how the top of the head, there's a little seam there where the two bits of fabric start together. Let's just put that in. That might help me. That's probably about there somewhere, and I think the top of the head is a bit further round because of it. And you notice when I'm doing this, rather than just sticking to the original ellipse, I do realize that the head is a little bit flatter than the bottom of an ellipse. And so at this point, you're asking a question which everyone should ask themselves when they're doing a technique like this. How much do I stick to my circles and my tubes and my squares? Because they're safe. I know how to draw them, and how much do I move on from them to draw more the shapes that I see? Well, that is up to you. And for this exercise, look, I'll try and do a bit of both. I will start off with simple shapes, and then I'll try and advance them, because bear in mind, it's not like traditional drawing. I can arrase and alter things with much greater flexibility than I can with traditional drawing. Let's just zoom out a little bit so I can get a sense of the form. Think I could do with some kind of definite point in space to act as an anchor, and the obvious thing for that is the eye. And so I'm looking at the eye in relation to things like the corner of the beak, the top of the head. And I think it's looking pretty low down. One of the things that makes dolphins cute is the fact they have these big domed heads, and I think the eye is probably around here somewhere. And once I've got that anchor in, then, make sure that my reference image is horizontal and vertical and not at an angle like this. Otherwise, that will really mess me up. So match up that dark bit just at the bottom of that reference window. See that little strip of black? Well, that's the background against the photo. So as long as I can see that little black strip and it's not at a curious angle like that, I know that my angles are good to measure with. And so in the case of this, I'm putting my pencil against my screen, and I'm angling it upwards until I get the center of the eye until the tip of that fin on top of the dolphin, and I'm getting something around about 11:00. Well, between half ten and 11, so center of the eye going upward to about there, and I think the fin is somewhere along that line. Now I'm going to measure, let's try this distance hip. I'm putting my pencil against that and I'm measuring the distance of that line. Then I'm going to measure from the center of the eye along my 11:00 line, and I get that distance plus about another third on top of that. So I make the top of that fin about there on that line. Now I'm going to commit, okay? I've done my measuring and I'm going to draw in that little lozenge shape again there, and I'm going to make it a little bit three D to get a sense of the form of that fin. I'm going to use a similar technique for that fin at the side. Look, I'll just draw a line and then just hold. If I put my other finger or my thumb on there, I can constrain. So now I have a horizontal line shooting from the center of the eye towards what hopefully the end of the fin. And if I take my pencil and I hold it so that it's parallel with the bottom of my picture frame, then draw it up until I get to the center of my eye, I noticed that the end of my side fin is pretty much level with the center of my eye, maybe just a tiny bit above. Now, how far away is it from that line? Well, now that I've got my top fin and that distance, I'm going to put the side of my pencil there and measure that distance from the center of the eye to the tip of that top fin. Then I'm going to move my pencil down to see how far along the end of that fin is. And it looks like it is about one and a quarter of that unit I just measured. So I'm getting the end of the fin about there. It's a bean shape which is similar to the top fin, but maybe a little bit narrower. And also, if you compare the angles, they're at a very similar angle. That is giving me enough information to just Look, let's stop messing around. Let's draw it in. So I've got a bit of a bean shape, which is a bit more tapered at one end like this. And I think that's where the fin lies. Let's carry on while I'm here, I'm just double checking the angle I've got from the tip of my fin. To the tip of my top fin. And I'm comparing that angle with what I can see in the photo. And yeah, I think those angles are looking pretty good. So, yes, I quite like that. Now the next obvious bit is the tail. Where is the tail in relation to the rest of my drawing? Well, I'm looking at this point here, and again, I'm using my pencil to measure the angle. From that point, I've just circled to the bit of the fin, this bit here. It's kind of a Y shape, isn't it? So the dip in the Y shape. And that angle looks to me to be about nearly, say, maybe between half 12 and one. I'm gonna come up like this. Wait until I get my elastic band. And look, I've got 12:00, 1:00, 2:00, 3:00. I'm looking at my elastic band, but I'm also looking at the photo reference. And I think it's about there. Looks to me around about half 12. Now, how far away is it? I'm going to see if I can find a long measurement. What about the tip of that fin to the tip of the mouth. And I'm measuring, again, using my pencil that distance, and I'm taking it up to that 12:30 line, and ooh, maybe you found the same thing. That distance from the tip of the side fin to the tip of the mouth is the same distance up to that little Y shape. Okay, so from there, I'm going to start off by just drawing in a circle. Just a place where I am. I'm aiming to get the thickness, the overall thickness of that tail at the start. From there, take a deep breath, and let's take a curve down like this to where I think it joins the body. And I think that's about there on the one side. What about the other side? Bring that down in a curve. I'm watching what I'm doing. At this point, the angle is changing, so I'm looking at the new angle. It seems to come down at about 5:30 to that, and at this point, the curve of the side fin is going to connect with that. But I'm just going to take this curve round because if you look, I can definitely see a curve which continues round like this and joins up with the beak. There's no sudden changes in that curve. So I think I'm getting something like that, and I'm getting pretty close to what I hope is the right shape. What about the two tips of the tail fin? Well, again, doing a bit of measuring, I get the overall angle of it to be a little bit like this. Kind of a a right angle to that line I put up about there. And now I'm just going to try and guesstimate this. I can see a small circle here and a slightly smaller circle here. But I noticed that one side just curves around nice and smoothly like this. The other side of that humps up a little bit. It's more of a straight line, turns round and then goes back towards that join in the Y shape there. The other fin seems a little bit straight on the underside and a little bit curvy on the top side, like this. From here on in, I think I've nearly got the shape. Draw a line here connecting one shape to another like this. The front of the fin kind of curves around like this. I've got enough anchor points. I'm confident that I've got things in the right place. Once I got there, it becomes a lot easier and a lot quicker just to try and join the dots in between. Alright, now, there's still a little bit more I need to do with this, because I've got the outside of the body. What about some contours to try and suggest that roundness? I've definitely got something here. I've also got a line about here. Sorry, let me backtrack a little bit. What I'm doing here is I'm looking, and I'm imagining that at this point, I'm cutting at a right angle to the direction it's going in, so that's going to be about about there. At that particular angle, that round tail fin, that's about where I would cut. That is what I use for the axes of my ellipse. I'm just imagining that line. I'll get rid of it. Just while I'm here, I'm going to just get rid of one or two lines because when you draw with pencil, I do think you get a little bit more control with a pencil than you do with a digital pencil. Maybe because we've probably spent a lot more hours working with a real world pencil than we have with a digital one, or maybe the technology is not quite there yet. Either way, I tend to about more when I'm drawing digitally than when I do traditionally. And if that happens to you as well, that's okay. That's fine. You're allowed. Right now, I want another ellipse around about here. Again, imagining what would happen if f is to just make a straight across cut on the tail at that point. But what about things like where the dolphin's fin joins the body at the side? Again, I think I'm going to get a bit of a contour like this. There's also going to be a little bit of a contour around here. You can see I'm just drawing circles here, circles that help define the form. And there's one or two places where I think the circles that I initially drew are starting to interfere with the form, like there, because I notice with that what you can see on the photo. That's much more of a rounded shape now. This bit here, I think, comes round like this, and there you go. That's more like the contour that I saw when I was moving the dolphin around in my hands, and I think I can also do a contour around here to try and help sell that. Maybe get rid of this point here because that little curve, which I continued was helping me check if I had the curvature of the belly of the dolphin right. Now it's kind of getting in the weight. Same with that initial oval that I drew when I was getting the head shape in place. And I want to do a couple more contours here. I think there is a contour at the top like this, dipping down a little bit then going back up here and just turning just at the end. Now, let's try while going down. I say the middle of the body. It's not going to be down the middle at this point here, for example, because we have a round shape, and due to the angle of the dolphin, it's facing towards us slightly. I think this side bit is going to be a little bit more towards the back than is directly down the middle of that tail as we're looking at it. I noticed a bit of a swelling of the dolphin around this part here. And let's try and get that so it passes through the eyes like this. As you get towards the head, the body does swell, it gets a little bit bigger. Let's undo some of those confusing lines there. I just want to put in just a little bit around here 'cause I'm getting a sense of that rounded head leading into the mouth. I'm also getting just a little bit of the centosm coming down here. And if I just do a little bit more erasing those big straight lines there, it makes it very obvious that I constructed this, which is no bad thing. That was the exercise. And people looking at this might think, Oh, now, they know what they're doing. They constructed this. So it must be accurate, right? They can look dynamic. They can look fun. But I think you have to make the choice as to whether those are helping describe the form and sell the picture and make it something that people want to look at, as opposed to just distracting marked in space. But I think I managed to get a fairly good job with this. Sorry, I can't help myself. I'm just going to color this wall a little bit in like this because I don't care if it's a dreamy young girl by Botticelli or it's a toy dolphin. If there is an eye in the picture, that is the bit people are going to look at. I will make my size small and put just a little highlight there. And there's my constructed dolphin. I'll stop for now, but in the next lesson, I'm just going to pretty much repeat the process drawing another one of the photos to really get an understanding of what the dolphin looks like. I've drawn it once, and by drawing it, I'm really starting to understand the three D form of it. And hopefully, by putting in those extra contour lines, I've helped you also get a good idea of what the three D form is like. So hopefully version two is going to be just a little bit quicker and a little bit more self assured, because that is the way repetition works. Yes, I know I said that at the beginning of this lesson, I'm sorry if I'm repeating myself. I'll see you in the next video. 40. Construct a Drawing of a Toy, part 2: Okay, let's do exactly what we did before, but this time, I'll use the second photograph out of the five because practicing the same technique on the same subject over and over can be a very good thing to do. And let's get started. Make sure my pencil is selected the same settings as I used last time. Okay, so first of all, I want that body that kind of Well, there's a lot of elongated ellipses in here. Let's draw the axis of the ellipse in the first place. I think it is about there. That's about the overall angle of the body. And you know what, while I'm here, figuring out that tail was a little bit difficult for me, so I'll put in the angle of the tail. It's not 12:00. It looks about it's half 11 or something like that, so I think it's going to be taking a middle line. It's about there, I think. I'm placing that line there, as well, is starting to help me get an idea of how big I want to make this picture on my page. So let's do a couple of things. I think the cross axis, the smaller of the two axes for that ellipse is kind of about that. So, come on let's draw this in. There. Actually, I think it's a bit fatter towards the bottom than it is the top. So let's make it a little bit fatter up toward the bottom. Maybe up there. But I do think you can make reality match the shape you're drawing or you can adapt the shape you're drawing to match the reality. And in the case of this, yeah, there is an ellipse there, but I want to refine this. I want to get this part of the body looking how I think it should look before I go on to things like the tail and the fins. And you know what, for this? Come on. We are allowed to do this. Come to our liquefied tool. What size is that? I think that's about the right size as well. I'm using push, actually, make it a little bit bigger. Always with the liquefied tool, get it as big as you can get away with. And I think this bit definitely needs to come up. So I'm getting more of a baby shape there. And having done that, I think that looks about right to me. So I'm going to come back to my pencil. Let's draw that elongated ellipse for the mouth. So it's kind of like this. It's still lying along the same axis as the body. And now I've got those points in place. I think now is a good time to put the I in there. Remember, in the previous drawing, I used the I as my reference point and got all my angles fanning out from that point. So let's try the eye about, say about maybe there. The bit I'm measuring now is from the center of the eye going straight up to somewhere around here. I'm showing you what I'm looking at when I look at the photo, and I'm seeing an angle of about like that from the center of the eye to that bit, the middle of the V of the tail. Make sure this is set to the right angle. So I'm going to say that bit which I've just drawn, that bit there, which I've just circled. That is the V of my tail. If I do that, then I've got the two bits of the tail going backwards and forwards at a certain angle. And relative to that dip, if I draw a line which is just a little bit lower, maybe about there. I think that is the wider point of the tail. And from there, I'm going to put in a circle for the front bit of the tail. And if you remember, there's a slightly smaller circle in the rear. From there, well, I've got this point here, and I've got those two circles, so I should be able to draw the curves that make up the rear end of the tail. So I think a curve about here going round. It's a fairly sharp little dip going down towards the middle of that Y shape. And then I was about to say curve, but actually it's a curve at the bottom, and then I've got kind of a straight line going up, which then curves around, and the top rear bit of that tail is actually a tiny bit off horizontal. There. Now, that is interesting because I'm looking at that tail, and the suctionits is kicking in again. If I had stopped to observe that, I probably would have gone hit a curvy bit of the tail which then points downward, so I'd be likely to draw a curve like that, and then it down like that. And I don't think that is accurate. What I did in my mind was I described the line I'm seeing as a curve which goes up and then goes down because the end of the tail goes down, but I don't think it's the case. I think what I've drawn is more accurate. Alright, well, there's an actual crease just right there on the tail. It's difficult to see when you're zoomed in, which is worth mentioning. When you zoom things in, you see them differently to how you see them if you're more zoomed out. So if I zoom back out again, as I zoom out, can you see there's definitely a crease there in the tail? I'm going to draw that as an ellipse. Bit like that, isn't it? And now that I've done that, I can draw at an angle of about 45 degrees joining the rear end of the tail. What about the front bit of the tail? Well, it's going up at an angle that looks about 30 degrees. They're only going fairly sharp anchor me down like this. What I'm also getting on the tail, the halfway point where the two halves of the body are what stitched together, glued together, I don't know what they did, but there's the seam. If I put the seam in there, that's providing me with some fairly accurate reference points. Some clues for the viewer as to what they're looking at. Okay, so I've got the tail. I think it's in the right angle because I measured using this line here and also this slide here. I think that was pretty accurate. So I'm quite confident that I've got things in the right place. So now I'm feeling confident, and now I've done it before, I'm going to put the curve coming down like this. So it joins the body, and also there's another curve on the far side, which is not just straight down like that. It actually bulges out a little bit before it continues its journey down. So I'm going to put it about here and gradually it flares outwards as it joins the fin. Now, I could do with a couple of extra construction lines there just to sell the idea that that tail section is round like this. I put a bit of a kink in this one because if I look at the picture, I'm seeing where the body is starting to bulge. And I'm not sure people are going to believe that. You know what? W I do a few times, and I'm just going to do straight up ellips like that or half ellipse. Notice with these, the axes of that ellipse are at a right angle to the body. The axes of this ellipse are at a right angle to the body, this ellipse, it's like I'm taking the tail, and at those points, if it's a cylinder, I'm cutting straight through. I'm not cutting at an angle on that cylinder. That helps give the idea of that tail being round. Now, what about the fins at the end? I should really do the same thing with them because they are round, and I think I need to show them as that because at the moment, they're starting to look really quite flat. So another ipse there again, it's going to be at right angles. And I think I can get away with one going across like this. And it does dip down, doesn't it? So I'm going to dip down there and back up and round. I think you could do with one more as well. At a slight angle where that meeting point of the Y shape is, I'm going to do another ellipse like this. At all times, I'm thinking to myself, How can I give this the impression of having volume? It's a round shape. Let's draw that round shape. And I am getting there. And if I take a look at this line again, that line kind of runs through the top fin. The top fin is a little bit further back. Even just having that line in conjunction with where this line joins the body. That's given me enough, I think, to draw that other elongated lips like this to give me the fin. And while I'm here as well, let's draw it a little bit sideways to give the impression of depth there. There's also the seam, as well. That's really going to help sell the idea of this having a three D form. Okay, well, that's the top fin, and the top fin is a fairly distinct shape that sits on top of the body. We've already learned this. That bottom fin kind of pulls the body out before it makes its shape. So I've still got that kind of elongated sphere like we discussed in the previous video where we drew the first version of this. But it does have a fairly smooth line there connecting it to the body like that. No, I think that definitely needs a couple of contour lines to try and describe the shape let's do one here. Let's do. One maybe about here. And I think really still that body's looking rather flat. I want a contour line going on the body. It's not going to be a straight ellipse. I'm having to look at this bit that I'm zooming right in on and try and imagine what a contour line would look like at that point. And I think it turns like this. It bulges out by quite a bit, and it comes down like this. Then I'll carry on this line going around just to give a little bit of direction to that fin like that. Now, how does that look? It's nearly there, but I'm getting a little bit of construction lines around there, kind of getting in the way. But also, I think I need to smooth out the mouth a little bit to really get the idea of where these lines are going. So let's smooth that out there. And let's take this and smooth that out there. And come on. I've got that seam that is helping sell this shot. Now, it does kind of go almost so it's touching the far side of the dolphin, but I'm not going to do that. Because look, you see that in a photo where that seam is, and you'll accept it because it's in a photo. If I draw what I see there, well, because it's in a drawing like this while I'm attempting to show form, I'm not sure people are going to believe it. They're expecting to see something just a little bit more rounded, so I'll give them something which still describes the form of the dolphin like this. But I'm going to tailor it a little bit for the expectations of the viewer. It's a bit like if you had a photo of a happy young couple, and they asked you to draw that, and you said, Yes, of course, I will. What you're not going to draw is that random stranger grinning at the camera in the background. And you're not going to draw that lamppost which appears to be sticking out the top of her head because it's in the background. It's not just about knowing what to leave out, it's also about how to present what is already there. People are still getting a very good idea of what the dolphin looks like, especially if I draw this bit around here, just this little lips. But I'm not putting any surprises because that particular curve where it went very close to the rear edge of the dolphin, that surprised me. But I accept it. You accept it 'cause we see it in the photo. People see the same thing in a diagram. They're much less likely to accept it. I want one more line going around the head of the dolphin like this. It's not a complete ellipse. It's a little bit flattened as we get towards the bottom like this. That's the impression I get. Now, am I going to get ambitious? Yes, I am going to get ambitious. Let's try also during. One more line which goes through the body, I'm going to put it through the center of the eye. Go to bring it around. Come on, let's look at the body while I'm actually doing it. That would be a good idea. I do that. I need that to bulge out a little bit more, and then suddenly cut in as we go up the tail. Again, I'm putting this center line slightly towards the rear as I go up the dolphin because a dolphin is facing toward us, which means that center line would appear to be slightly further away in the same way that this seam appears to be much further towards us, and that's going to come just around the rate of that fin. Right, now, do a little bit of cleanup, let's make my brow size. It's a little bit bigger. Paste on full and do a little bit of tidy up. I'm not going to tidy up absolutely everything because as before, I want to get the idea that this has been worked on, it's a construction or drawing, so people can take it as that. There are certain things I do want to get rid of like that line going around there is just distracting it. And soon as I take it away, it's not pulling away from what the shape actually is. Same with some of these lines down here. They're confusing. I'm thinking, well, which line is describing the shape and which one isn't? Same with this one here that could do with being got rid of. I'm finding that line here. I'm going to mostly rub it out. I want it just a little bit there because supposing I'm showing this to another artist who knows this technique of cross referencing, effectively, what I'm saying to them is, Look, I've done my measurements. That line is correct, and you can see the proof. I measured it. It's also reassuring for someone who's not an artist, as well, gives them the idea that someone like you has taking the time to measure these things. Same with these little bits here, the rear end of these ellipses. They're useful to help construct things. But again, they're starting to detract from the shape now that I've drawn all the condols in there. And I think, Look, that's as far as I want to go with this one, no, come on. Let's give them an eye. That plus my eraser, nice and small. And let's put the highlight in. It looks like it's just above center about there. And as soon as I do that, as soon as I give it an eye, it looks more appealing. Because people like eyes, in fact, that eye is not entirely a circle. It's a little bit of ellips going back a little bit. Alright, let's take a reference window, close that up. And there you go. Constructing, measuring things, putting down one or two reference points, in the case of this, putting down the I and measuring angles from that I and then measuring distances against each other, then putting our curves in, then putting the cross sections in to give the idea that this is something that has depth. This has form. Okay. Oh, you know what? What am I thinking? Reference again. One more thing I do want to do. I'm still not quite happy about that mouth, having to do with being just a little bit better defined. So yeah, do that. And now, get rid of my reference window. Okay, that's me. I've done two. I hope you fold along to get a good idea of how to go about this. Put down your broad angles first. That was this line, the overall line that that dolphin is sitting in. Then you saw me put in another angle to try and get the angle of the tail as I saw it in the photo. And from there. As soon as possible, I put the eye in because I thought that would make a good point on the body to start measuring angles and distances from put a few contours in, completed the outline, put my basic shapes in, and refined them, put a few more contours in there to really give the idea of this being a three D form. And you end up with something that looks like it is a three D shape. It lives in three D space. So, that was the first two I hope you followed along because now you've got three more photos to play with. I will let you get on with those. When you're ready, we can move on to the next video. 41. A Quick Study of the Human Figure, part 1: Okay, the very first thing I'm going to do with this video before you start getting eyes strained by looking at this white background is just come to the background layer and just turn down the color and notch, so it's easy to see what we're doing. Now, in this section we've been talking about using simple shapes to build up more complicated shapes. And so now I'm going to take a deep breath and say, we're going to use the same principle to draw the human body. One thing I want to stress at this point, though, is that this is a general introduction to illustrate how you can use simple shapes to build up more complex forms, but this is not how to draw the human body. That is a complete course all by itself. This is more of a very basic introduction. So what I'll do is I'll show you the kind of shapes I will use when doing the human body and we'll do those standard static woman and man facing straightforward to get the general proportions. Then I'll do a figure in action. And later on in the section on perspective, I'll do another action figure, but this time using perspective so that you can see this principle plus perspective in action. One thing I should say right now is that if you ask ten different artists, what are the proportions of the human body, you're going to get 11 different answers. You're going to hear things like the length of the head is one eighth the entire length of the body, or the width of the body is twice the width of the head in the case of a woman and 2.5 heads wide in the case of a man. All these measurements, they can be useful to get you started. But everyone's different. Some people have quite short legs in comparison to the size of their body. Children have proportionately much bigger heads compared to adults. Some people have narrow hips, some people have wide hips. The same for shoulders. And when people are learning, sometimes they learn the ideal proportions for the ideal body. Well, what about the rest of us who don't have ideal bodies? So, look, what I'm going to do here, I'm going to give you a female and a male. Try and put out one or two differences, but I'm going to try and give you some simple shapes which you can draw. What will happen is the more you draw, the more you naturally get a of whether say the head you're drawing looks right or is too big or it's too small for the body, the same for the length of the legs or the arms. And so let's get on. First of all, I'll start with the female body, my brush, DC pencil extra fine, my color, DC drawing colors. And we'll use this second one down, the seventh one along. Let's take a look at that at 2% size and 75% opacity. Let's take a look at this. Yeah, that's giving me a fine enough point to do the things I want to do. So let's draw a line going straight down. That'll be the center of the body, and I've got my elastic band, hold down another finger or thumb or whatever to straighten that up. Let go. There's my vertical line. I will draw a marker at the top, for the top of the head. I will draw a marker at the bottom for the bottom of the legs. And about halfway up, I'm going to put in horizontal line to represent where the legs join the hips. That's your first measurement. The average person's legs are about half the height of the body. That is a bit of a shame because let's face it, people are more interested in drawing the torso and the head than they are in drawing the legs, but well, tough. The legs come halfway up the human body. They can be smaller, they can be longer. In the 1950s, when they used to do illustrations of females, they would increase the length of the legs by really quite an extreme amount sometimes because that was the ideal of beauty at that time. But we're not doing ideals of beauty. We're doing something we can work with. Okay, the next thing, the head. Well, the head itself, not including the neck is roughly about one eighth the size of the body. That can vary depending upon the size of the person. So if I make a mark about halfway up and make another measurement about halfway up again, that will be about the height of the head. And from here, I'm going to draw a circle just about here. I will let the auto drawer do its job here just for this one particular bit. Remember, I can move it around like this so that I can match up those dots with the axes. From here, because it is a female head, you tend to have slightly softer jaws, so I'm going to do kind of lip shape just like this. I'm going to make my life a little bit easier. I'm going to come to my eraser, make it a bit smaller. I'm just going to get rid of this little bit underneath, so it's less of a distraction. In case you're wondering where the eyes are, this is where the eyes lie. In some cases, that's where the eyebrows are. I've measured this plenty of times, and it does tend to be a little bit above the center line of the pupils, let's put it that way. Then you get the nose, which, again, is about halfway again. And then you get the line of the mouth, which if you take this measurement I've just done and you divide it into three, the line of the mouth tends to be about a third of the way up. So you'd have the nose there, the lips, and the eyes. I'm not going to do the face in a huge amount of detail, but I will do the es. The es tend to start around about that center line, and they come down to roughly level with the base of the nose. Well, think of it as being the start of the jaw, but we can't see the jaw from this angle. Okay, the next thing, let's do the neck. It's not really tiny like this, like a lot of people like to draw. It is gonna vary, but I'm going to do it about there. Now, I'm gonna be drawing kind of an Android shape. I don't know if you remember the film a robot, but something not dissimilar to that. And use simple shapes that once you learn how to do them from different angles, then you can start building your humans in any angle you want. Okay, the next thing, the rib cage. Well, remember I was doing my halves. I want to do another half again. That is roughly about the base of the rib cage, what I'm going to do is give you a shape to work with. I'm going to round off the neck like this. I'm going to draw a shape from that point. It's a bit like an ellipse, which goes down roughly as far as that line I just drew that line here. But then it's going to curve back on itself like this. This is the rough shape of the rib cage. Now, this is one of the shapes I want you to get used to drawing. If you were to do that from the side, look, let's just create a new layer. With the shape, supposing I was to draw that at more of an angle. So you'd have the front part of the rib like this. You have the bottom part of the rib coming round and another part of the rib coming up like this. Can you see how I'm drawing this looking slightly up and at an angle so as if the person is looking over our left shoulder. And the top of the rib cage is at a slight angle like this. And from there, you'd put the neck on top of there. But you do get this slight downward angle there. Look, if this was from the side, you get this kind of a shape where it joins the spine and there's my spine, and you get a slight angle at the top. That is the one shape I want you to be able to draw well. Okay, so luckily, the navel, yeah, belly button, is pretty much in a very similar area. Now, the belly button or the navel, that is a very useful point because that is a point in space that you can start to measure your angles from. Remember how we like to measure angles? Okay, so underneath that, the next thing I want you to take a look at are the hips. They are a complicated shape. Imagine you got kind of a cylinder like this, and it curves inwards by a fair amount like this. But then Imagine this is the rear of it, it comes down and dips up again, and that would be where your spine is. As for the front of it, that definitely dips down by quite a bit and comes up like this. And this bit's a little bit more rounded and comes down. But you're going to get a bit at the bottom, a fairly narrow bit that kind of curves round and back on itself like this. So let's get our razor because that's already looking really complicated. And what you'd get would be the legs would attach here and pretty much out of sight here. And just to make it even more interesting, the whole thing's hollow, and you get your cocky down here, but you don't need to worry about all that stuff, because when you're drawing this, you're not gonna see the hollow bits. So what I'm going to imagine is a line about hip, which comes down and another line here, which comes down, and curves back up again. And I'm going to get another bit here. So from the front, it's like a very wide Y shape. But what I do want to do is put where the legs, join the hips and also where the arms join the rib cage. For those, use a couple of circles. The good thing about circle is they're pretty easy to draw, and they serve as an anchor point where you're saying the legs join at this point, and they pivot around from this point. Now, in real life, you're going to a little bit like this where you get the head of the bone joining the hips and a bit sticking out, where the bones of the leg extend downwards from, but that's a little bit more complicated than I want. So I'm just gonna leave those there. As for the arms, you want the ball of the shoulder plus the arms in one place. I'm going to draw them about hit. Now, people might be saying, Wow, that's looking a little bit low. But people have a tendency, especially when they're going for, like, heroic figures or things like that, to draw them way up here somewhere, almost around people's ears. The fact of the matter is your shoulders, like you do it yourself, go to the top of your arms, shrug upwards. And you can get them pretty close to touching your ears. In fact, put your head to one side and the other. And you can probably I'm doing it now. Maybe you can hear my voice on the microphone, you can touch the bottom part of your ear against the top of your shoulders. So there's a lot of flexibility there. I want this to be lax pose rather than shoulders hunched up, so I'm going to draw those about there. As for the length of the arms. Well, let's do the legs first. I want a nice simple shape which curves outwards and then comes down a little bit of a bulge here and maybe a little bit of a bulge here. Same for the other side, little bit of a bulge going in another little bit of a bulge here. No more than that. I don't want to start getting into how the muscles affect the form of the body. Think of it as being like almost a fancy skeleton. Which you can move around to get the shapes. Similarly, with a kneecap, it's about here, and guess what? Top of the kneecap, about halfway down the lower part of the body. And in some places, they get a little bit more complicated. They say the knee is actually two ellipses on top of each other. But that's when you're starting to draw anatomy rather than just posing a figure. So I'm not going to do that. Instead, just carry on down a little bit more. A bit of a bulge there, tapering in, a bit of another bulge here, slightly less of a bulge on the outside of the leg and a little bit higher up, going down to where the ankles are. I'll do a cut off point here for the feet. Well, they're gonna be about like this. They're going to spread out more to one side than the other. If you imagine the big toe is there going to the smaller areas, this is just very quick and rough. It's not anatomical. It's not trying to count the toes, and in fact, a lot of the time, if I just double tap a few times, just to give a slight sense of perspective so that it doesn't look too flat. People tend to draw it a little the feet are a little bit further down. Imagine if you're looking at these, imagine you're at the same eye level as the person we're drawing. When you come to the feet, you'd look down at the feet. So let's draw them a little bit more as if they were seen from above. Okay. Next thing. Well, the female figure tends to curve in a little bit more than the male figure at this point, so just do two curves for that. Then the arms. Imagine a point about halfway down the thighs. You can do it yourself. Stand up, put your hands down by your side, and the tips of your fingers will come to rest about halfway down the thighs. That is the total length of the arm. Now, what about your elbows? Try pushing your elbows into your side. You'll find the elbows nestle just beneath ribcage. With this information. I can just draw a couple of simple lines about so far, and they're going to come down to about oh, imagine a very slight arc, which you would get if you're swinging your arms around because the arms are going to swing up and down. I'll show the back of the elbow just as a little ball just like it did with the knees. Then the forearms come down like this. For the hands well, the bottom of the hand is gonna be about there, level with halfway down. Half of the shape is going to be the fingers. And so the palm of the hand is going to be about here. For the thumb, let's do a simple circle like this coming down. For the fingers, I'm just going to draw these as a whole. I'm not going to do all five things. There's simply not enough space to do that here, and of course, I've got to do the other side, so bring that down a little circle where the elbow is. Have a slight bulge going down to a little bit thinner as we get to the wrist. And again, draw the general shape of the hand, the fingers. I'll draw as one unit like this. Nother lips here for the ball of the thumb, and the thumb comes down like this. You can always do a little bit here just to show the shoulders, and that would be the basic female form. 42. A Quick Study of the Human Figure, part 2: Okay, that was the female form. Let's do the male form. It's basically more of the same, but the proportions are different. Let's draw a line going straight the way down to act as our centre line, hold for a second until auto drawing comes in and hold down another finger to constrain it straight down. Okay, now, men tend to be a little bit taller than women. So let's do that here. But let's not go overboard with it. Let's make this guy a little bit taller but not too much. Draw a circle. Everything else we'll do with regular drawing, but just for the head, let's do this bit like this. The head is still about an eighth of the height. The only difference tends to be that men tend to have square as chins. So rather than doing that little ellipse, I want to do something more square like this. Is the same thing. So from the same place, just about from halfway on that circle or around about eye level, and let's put in some general markers for the eyes. And about halfway down for the nose and between a third and halfway down for the line of the mouth. Let's do the neck. The necks tend to be a little bit thicker on men. So let's do that. And let's round it off for the start of the top of the rib cage. As with women, the legs tend to start halfway. Oh, actually, that's a good point. Let's put the bottom marker at the top market and the halfway house. About there. And from here, the rib cage, it's the same shape as we had before. Kind of an ellipse. It tends to be a little bit broader. Men tend to have bigger of cages. And while we're talking about slightly broader, let's do the shoulders. They also tend to have slightly bigger shoulders, so I'll do slightly larger circle for the shoulders. But again, I'm not doing these out here somewhere. For that kind of superhero we're looking. Let's do a human figure, but in a relaxed pose rather than posing in front of the mirror. As for the hips. Well, they tend to be proportionally a bit narrower than women's hips. So I'll draw that like this. I'll do a little bit that comes down like this, and let's connect that up there. Oh, come on. Let's do some love handles. We're going for realism, rather than heroic here. Oh, fine, alright. If you don't want me to do that, L, let's just do that. Let's do your generic male as you see in every book on how to draw the human figure. Do not forget the navel, as well. Very good landmark when you're drawing things. And for the legs. Again, it's very similar. Draw the legs like we did before. Just come straight down. These can even be just a simple cylinder, if you want. For now, I'm giving just a little bit more. I'm doing a slight curve the way the muscles might curve, but this is just a simple shape, and the simpler it is, the more you can pose whoops. Let's do where the bones of the leg join the hips because that's going to be the pivot point and draw this coming down. A couple of circles where the knees are, slight bulge inwards, and then coming down, less of a bulge here, but coming down lower. Higher bulge here, coming inwards, less of a bulge, but coming down a little bit lower. Coming down to the top where the feet are. And again, with this I'll door these as if we're looking at them slightly from above, you notice that the inside tends to be pretty flat, whereas the outer part of the foot tends to bulge outward slightly. And let's just put a little line here just to represent the end of the toes. And that leaves me with the arms as before. About halfway down the thighs, that's going to be where the tip of the fingers are going to be and the elbows, they're going to be well, try doing the funky chicken, get your elbows and smack them down to your sides. And you can feel like I'm doing now, which is why I sound a bit funny, your elbows come down to just a tiny bit below your ribcage. That should be enough to get an idea of what I'm doing. So the elbow is going to be about here and about here. Let's draw these. Oh, here's something that you can do as well. Take the bottom of your hand, where it joins the wrist, put it against your chin and put it up against your face. And you'll find the tip of your fingers goes a little bit above where your eyebrows are. That gives you an indication as to how big the overall size of the hand should be. But let's do a bit of a slab for the palm of the hand. Bring that down here. I'm doing the fingers all in one. The thumb. If you're just putting your hands just down by your side, your thumbs face forward. So I'll do that there. Let's do the other side. I'm doing these fairly thick. You can even do these just almost as shoulder, elbow, wrist, things, and you can just join them up with stick lines if you're just trying to get a pose right. It means you can concentrate on getting the pose right and then flash out those little stick areas once you're happy with your pose. But let's just finish this off. A simple slab for where the hands, where the palm is, bring this down. Your fingers have got three segments, your thumb, and there's your figure. If you want, you can either draw fairly skinny shoulders like that, or you can flush them out a little bit like this. That's gonna vary from person to person. But those are the basic proportions of the human body. I must admit I've done things a little bit differently to you see a lot of people do. I've made the female a bit taller. But what you've got here are a series of shapes that can be useful for drawing the human body. And that's what we'll do in the next video, we'll draw a simple human body in an action pose. I'll see you there. 43. A Quick Study of the Human Figure, part 3: Okay, let's do an action pose, using the same shapes that we were using in the previous video. For this, I'm using DC handmade paper. I think for the background, let's make it a bit darker. Let's try. Second row down, ninth one along. Or what about the seventh one along? No, ninth one along. For my brush, I'm using the one down the bottom DC fast sketcher, my color, DC drawing colors, bottom right for one along that deep blue. And the brush size is 2%, and my opacity, 75%. What does that look like? Yep, that'll do. Okay, so when you're using shapes, ideally, you want to be able to draw things fast. It's good for sketching out ideas. And the faster and the more confident you are with your shapes, it tends to happen the more dynamic the shape that you end up drawing, because if you're being very careful kind of puts you in a be careful mindset when you're thinking about how you want to pose your figure. So I'll try and do this fairly fast. I suggest you start off with either the rib cage or the head. In this case, I'm going to start off with the rib cage. I've been practicing, if you remember, drawing my rib cage from various different angles. So I can do this pretty quickly. I have to get slightly lower at the top. That's my rib coach. Doesn't need to be a work of art. I just need to get the idea. Down fairly quickly. Now, what I want is someone leaning back, stretching up to the sky. So for this one, if they're stretching towards the sky, they're going to be looking up. So I'll draw my head, it's going to be viewed from the side. When you view it from the side, the human head's basically kind of an egg shape, and you get a bit coming down at the front, a little bit just at the bottom. That will be the jaw line, and the ear would kind of about here. And from the top, you get kind of a circle like this going forward into this kind of a shape. It's slightly flat at the front, but it does go in slightly a bit like that. Then you get the nose there. If instead, you kind of draw it where the head just comes straight down like this, and then like that, but if you're looking at it from above, you'd end up with eyes set right on the side of the head. It would just look unnatural. You don't want that. So back to our eraser, and I'll get rid of the top. I'll leave the one from the side there to act as a quick reference for you while I draw the head in, I'm going to get the back of the spine would be about this, but I am going to get a neck. So let's draw that in about there. Let's just draw a quick guides for where the level of the eyes would be, maybe at the bottom of the nose and also the ear there. That's more than I need already, just to do a quick sketch. The next thing, well, the spine is going to continue down here and it's going to join the pelvis somewhere around here. And once I've done that, well, do bits like the navel, if you want to gaze at that and the back. Now, from here, it's actually quite easy. If you just put a reference point here and a reference point about here, you could just draw your arms in like this with maybe an ellipse at the top. And straightaway, I'm getting an idea of the form I want this to take. And I want the hand to come forward a little bit. So maybe one thing you can do is do a lips like that. And once you do that, imagine this is the back of a hand, and this bit here is the front of a hand, same with here, and maybe I just want to indicate maybe the thumb like that. Same at the bottom. Put in your two dots where the legs join for hips. And from here, it just comes straight down. I kind of guesstimating a knee there maybe. And for the bottom bit, you can do a straight line like that or sometimes stylistically, bend it back ever so slightly because the shin does tend to do that. It kind of bends back a little bit. From there, there's your main foot. I'm kind of standing on tiptoes there. Now, what about the other leg? It's gonna be mother knee. It's gonna be lying somewhere along that arc there because legs swing out to the sides, as well as forwards. So come down until I meet there. That's my knee. Down, slight angle. It tends to be the curve more towards the top then straightens out, down to an ankle there and from there, draw my main foot plus my toes slightly bend as they're against the ground. That's really how easy it is to do the stick figure. It's looking a bit strange because I've got stick arms and legs on top of a more developed body, but I just wanted to show you that just how quick it can be. Okay, well, if that's my elbow, I'm going to get a circle at the elbow there and a circle at the elbow there. I'm also going to get a bit of a circle there, which is going to be hidden by the body, and I'm going to get another circle about here. From there, join the dots, you can maybe have a bit coming down like this as it joins the body, bit here, slight bulge as it joins the body here, and come either side of this stick bit, and I've got my hand for want of a better phrase there. You may notice I'm making things fairly thin. I think when you're doing a sketch like this, doing very thick shapes, unless you have a reason to do so can start to get the lines falling into each other and getting a little bit confusing. So come round like this and like this. I want to get the idea of the arm looking more towards us. Now, from a stylistic point of view, this is not good posing. I'm going to end up with an indistinct form. However, I am going to leave it in place because one very important thing when you're drawing and especially drawing the human figure is trying to avoid assumptionts. You see people doing this all the time. Take a minute. Look at your own arm. I'm doing the same thing. And I've got my hand, which I'm flapping around on the top, and I've got my elbow at the bottom. And I've got a fixed distance between my elbow and my hand. Short of some really nasty accident, my hand is never going to get closer to my elbow, and I know it. And with your hand, you know it. So the tendency is when we're drawing something, when we come to the elbow, we can't quite get over the fact that we know arm is long. So even if it's facing directly towards us, we'll kind of do this. We'll kind of do a long forearm because we know a forearm is long. And then maybe we stick a hand on the end like this. We're drawing what we know rather than what we see, and this is one of the critical problems that you face all the time. You draw what you know about the object, I, a forearm is long rather than what you're actually seeing. And in the case of this, I want this form to come much more towards me. Well, think about it, if you were to look straight down all you'd see would be pretty much a circle with almost no foreshortening. So I'm going to put the start on my hand right here. At a slight ankle, and I'll put a main part of my hand as a simple ellipse like this, and I'll put my arm, sorry, my thumb, I'll put my thumb just out at the side as a kind of a stick. And try and get the impression that the whole area is coming straight towards me. If that is still too confusing, which let's face it, it is. One thing I might want to do is drop my hand down like this. So it's bent at the wrist. So I've got my forearm, which is coming out like this, and I've got my hand, I can do whatever shape I want. I can do an ellipse. I can do that kind of a box which is wider at one end than the other. I can put a marker for where the fingers are and just do that. Let's get a razor and make it a lot smaller and just get rid of one or two bits, just so I can clean things up a little bit. And to really make it obvious, I put my thumb at the side and put a little line down the middle. Another one halfway there, another one halfway there. I'm trying to give the idea of fingers. But again, it's just a quick sketch. Now, the only thing left to do now is where the dots for my legs, extend those so they are circles and draw these bits here again, back slightly down to the ankle area. A little bit of a bulge to suggest a little bit of the buttocks, which you can just about see the calf coming down and here. A little bit of the carve, a little bit of the shin, bending in slightly, and just flesh out these forms here. For the inside of the foot, you're gonna get a bit more of an arch for the outside of the foot. You get more of a straight shape. Let's put that. Like that. Now imagine if I wasn't talking and I was just drawing instead. That is how quickly you can get these shapes in place. In fact, one thing I am going to do is come to my selection tool. I've got free hand selected because I'm still not happy with this. I'm going to come to my transform tool. I'm going to move it up to there and maybe make it just a little bit smaller. I think I made it a little bit too big and to about there. P you to a little bit of cleanup with my eraser. I prefer the angle of that. Remember, as you foreshorten, things are going to get smaller. Okay, that is an example of doing a quick sketch of the body in motion. And if I want to knead it up, I can always come to my erasor, make it a little bit bigger, and just get rid of some of these lines because they're a bit distracting. But I'm just gonna leave them there for now. Because I'm going to come back to this exact same drawing. In the section on perspective, once we've got an idea of some of the principles of perspective, in the meantime, let's move on to the next video. 44. A Quick Word About Smooth, Flowing Brush Strokes: Okay, on my Procreate solid foundations course, I have a whole section dedicated to this. The brush studio where you have all these different tabs, and this is where you create your various brushes or customize existing brushes, I'm not going to go into all of this now because that's for the solid foundations course. This course is more about learning to draw rather than all the technical aspects of Procreate. But there are just a couple of things I do want to talk about. One is the new features of the Apple Pencil P because right at the beginning of this course, you saw me open my shiny nube iPad Pro M four, which basically I had to get because I need to look at the new Apple Pencil P, which only works with the latest iPads. C. Thank you, Apple. So I will talk about the barrel roll, but there is one thing that I do want to talk to you about. And that is that amongst all these different tabs where you control your pencils, there's something here called stabilization or streamline. I'm not going to go through all of these, but I just want to introduce you to a concept because it does have a major effect on how you learn to draw. If you're drawing in the digital age, what I'm about to show you can either be very useful or complete pain on the backside, and you need to know how to deal with it. So these are the pencils I'm giving you for the course. I'm using DC pencil medium. It's set to a pacity of 100. It's set fairly fine. What's it set to what 4% thick? My color is just a deep blue. So now, what I'm going to do is I'm just going to scribble on the top half of my screen. Then I'm going to come to my library, click on the same pencil. I'm in my brush studio, and I want the second tab down stabilization. I'm going to come to streamline. I'm going to take the amount up. There's some failure. Let's say about 60%. I've come to Dame, and now I'm going to make the exact same kind of brushstroke, this scribble. Did you see that when I was drawing? Look, I tell you what I'll do. To finger tap to undo, and I'll exaggerate this. I will take my amount up to maximum. And now the same scribbly line again. Maybe you saw that. What these various sliders do is control how smooth the line I'm doing is. And at the moment, B fall stabilization is set to two let's crank up, do the same thing. Oh. Did you see that? The finger swipe down, clear my lap. What these various different slides are doing is trying to help your drawing by smoothing out your brush stroke. Now, at the moment, stabilization is set to maximum. And if I draw a curve, it almost feels like, Well, that's what is happening. As I do my various lines, you can see towards the end of my brush stroke, it's sliding and floating around a little bit, and it's helping me to produce smooth brush strokes. To finger tap to undo that. For now, I just want to stick with streamline. Crank it right the way up. And again, I'll draw a brush stroke. It's taking away the natural shake of my hand when I draw a brushstroke. So suppose you have a point here and a point here and a point here. And I want to draw a curve which starts off here and there. You may have seen me do this before, of course. So I draw like this, but I'm a bit uncertain, so I get a little bit of a wobble. No keen on that. Come back, take the amount up to max. I'll do the same thing. Start off bit uncertain about it. That is a smoother line. You will find the quicker you draw the more the smoothing effect becomes apparent. It is a guide. It is here to help you. And so at this point, you may be thinking, Well, great. Sometimes my hand wobbles a little bit when I do curse. Let's just leave it on all the time. Well, no, look, I'll do a few times, and I'll write something just using handwriting. Here. I want to now do the same thing. I will write something, but this time with the streamlining turned off. Now, you may have noticed I wrote fairly quickly, but then when you're drawing, often you want to make quick brushstrokes. And so while this smoothing effect can be very nice, if you want to draw smooth curves, if you want to draw something small and angular like I'm drawing now, with any of these streamline things turned on, it becomes much more difficult, and I'm starting to get rounded corners. And depending on how fast I go, now I'm just getting a series of squiggles, which lack the sharp angles of this brush stroke. And that was interesting. Look, I'll try doing that again. Make it a bit more central. I'm going to draw an ellipse around the outside. But let's make my cursor a bit bigger. Hopefully, you can see this, and I'll even make it a different color. I'm going to try and draw a very rough ellipse around the outside of this jagged shape, but I don't want to actually touch any of that jagged shape. Oops, that was way too big. Let's make that smaller. Try it again. Seriously, I'm not making this up. I'm trying to avoid touching the sides of that jacket shape, but because my brush stroke is being smoothed, it's tightening up that ellipse. It's smoothing it out, but bringing it in. And so what I'm saying to you is you have these sliders here. I'm not going to go into the Is no to what each of them do, but know they are there, and if you up the slider, you're going to get a smooth brush stroke. That is sometimes a good thing, but sometimes you just want full control over your pantil, especially when you're doing sharp angled strokes or you're doing some fine work where you're working fairly quickly. 45. DPI and all that Nonsense, part 1: Okay. In this video, I want to talk about DPI or PPI, which stands for dots per inch or points per inch or pixels per inch. And the reason I want to talk about it is because on the various different forms that I go on, where people are talking about design matters or illustration matters, one topic which has the most false information is about dots per inch. And these are a couple of direct quotes that I've seen in the past, and these kind of quotes come up all the time. And whoever gave this bit of advice was very well meaning, but just plain wrong. So in this video, I want to talk to you about dots per inch. I also want to talk to you about magic numbers, numbers like 300 dots per inch or 72 pixels per inch. And why they are good examples of either outdated information or they're good examples of a little bit of knowledge can be a dangerous thing. Okay, so I'm in Photoshop, and this file is called Jellyfish 01. It's a picture I took a few years ago, and I ran it through some creative filters because I'm wacky and artistic and sometimes sarcastic. But you can see, it's a picture of a jellyfish. It's a good image to explain a few things because you can see, there's a lot of fine detail in there as well, there is a jellyfish in the background at the side, which is slightly out of focus and is a lot of soft area. That will become significant later on. But for now, let's take a look at the size of this file, so we will come to image image size. Here we go. That is the size of my image and on the long side, which is the width, you can see it 4,560 pixels by 3,648 pixels up the side. Resolution 240, forget about that. It does not matter. I will explain that. Along the long edge, 4,560 pixels. Now I've got my magnifying class selected, and I'm going to count to a bit just at the top and I'm going to start zooming in. And you can see the more I zoom in, the more I'm picking up and all that lovely fine detail that I've got in the picture, and I can zoom right in and right in and right in. And eventually, I get to what any digital picture is made up of thousands and thousands of tiny little colored squares called pixels, all laid out in a grid, and that's what makes your picture. It doesn't matter if it's a photo like this or digital painting. It's all the same, just a series of different colored squares all laid out together. And because there are thousands of them along the long edge plus thousands going down, you get a picture with a lot of detail. But I took this picture and I resized it to a number of different dimensions. This is the same image, but I made the overall image smaller, so it's only 1,000 pixels along the long edge instead of 4.5 thousand. So from 4.5 thousand pixels to 1,000 pixels. And if you saw any difference there whatsoever, well, well done. Let's zoom in on the same area as before I zoom in and I zoom in. You can see as I start to zoom in, I'm starting to see the individual pixels sooner, that makes sense because there are less pixels to this image, and so you're not going to get the same amount of fine detail in there. Let's make that fit on my monitor. The next one along, instead of 1,000 pixels along the language, we have 640. Maybe you saw that. If I go from the previous one, to this one, maybe you can see now with this image scale to fit my screen, you can just start to see the individual blocks that make up the image. The smaller the file size and pixels, the more you're going to see a slightly blocky image. Now, what about 320 pixels along the long edge? Now you're really beginning to see the individual pixels that make up this image. Now, what about 160 pixels along the long edge? Look at that. It is really blocky. I don't even need to zoom in to show you that. Look, there's hardly any detail there. Compare that with our original image. Low to detail. Hardly any detail. And you especially notice it in the areas with fine detail. Look, let me show you something. If I come to the one which is 320 pixels along the long edge. Don't take a look at the main jellyfish. Take a look at this jellyfish in the background and take a look at those soft areas and compare that with the image that has the highest resolution. You do see a slight difference when I click to the High Resolution one. But if I come back to the image with 320 pixels along the long edge, you think about that. This image has less than a tenth of the pixels along the long edge that the high resolution one has, and that is really obvious in all the areas of fine detail. But when you come to areas which have graduated colors, so soft blurry colors going from one to the other, the difference is not nearly so obvious. If I go to the next one along with 640 pixels, look at this area again, if I compare that to the highest resolution one, Did you actually notice the difference when they change to the highest resolution image? It doesn't matter nearly so much in the soft gradated areas as it does when you have all these areas of fine detail. Now, what that means for you if you're drawing is, if you're doing very soft areas like this jellyfish in the background, then the amount of pixels in your image doesn't matter as much as if you're doing areas with a lot of fine detail like a lot of pen workk. In that case, yeah, you do need a lot of pixels to make up your image. Okay, so far, all well and good. But when we're talking about pixels or dots, quite often, we can be talking about three different things, and I think this is where some of the confusion arises. For instance, I've been talking about the various different images of jellyfish I've got here, and it's the same file, but with different amounts of pixels making up the file. The more pixels, the more detail. But look, let's take the one, which is 1,000 pixels along the top edge. And let's just check it as well, come to image. Image size and 800 pixels up the side. But I'm recording my computer screen. It's a different resolution. It's known as a four K resolution monitor, which means the total amount of pixels along the top edge is 3,840 pixels and 2,160 down the side. But my computer monitor, along with every computer monitor since shortly after computer monitors were born, can handle images with different amounts of pixels in them, and you've just seen this happen. Can come to my highest resolution image and it displays just fine. I can also come to my lowest resolution image. It also displays fine because the software is zooming in and out on this image like this. And my computer monitor is absolutely fine with this. Any computer screen or tablet screen or phone screen can very happily zoom in and out on any image. Your computer won't fall over, it won't pack its bags and leave. I can display things just fine. So when we're talking about the amount of pixels in any image, it's different to the amount of pixels there are on your computer screen or your iPad screen or your whatever screen. The amount of pixels that make up your monitor or your iPad, they don't change, and the amount of pixels there are in this image also don't change. No matter how much I zoom in or out, the only thing that's changing is the zoom level, and your computer can handle this just fine. However, just before we move on to the big myth of 300 dots per inch. Let's talk about another magic number. Let's talk about the 72 DPI or PPI myth. Because sometimes when people give the advice that consists of, oh, well, if you're drawing something which is going to be on a computer screen, it has to be 72 dots per inch. I'm sorry. No, it doesn't. Look, let me tell you a story, okay? Once upon a very long time ago, 1984, a company with a very fruity name brought to market something called a McIntosh 128k. It came with a mouse of standard, and you could draw with it, which was a pretty big deal back then. And I remember because I remember them coming to my college and everyone was amazed by it. And it had a screen, and its screen was built into the computer. Now, that screen was 9 " diagonally, and it was capable of displaying 512 pixels along by 342 pixels down. Now the computers were designed to work with Apple's image writer printers. They had a print resolution of 144 dots per inch. On every inch of paper, you could cram in 144 dots, and that is 72 times two. The theory was that it made what you see on the screen the same as what you would see printed out. So a standard protocol of 72 pixels per inch was established. That was in 1984, 40 years ago. All right now, what you're looking at now is an image of the dear old original MAC on the left, along with some more modern devices that use screens, and I'm going to superimpose over the top of this, the amount of pixels per inch on all of those screen monitors are, there you go. Okay, so if we're going to be more precise about this, a modern Mac retina display varies slightly from model to model, but they're somewhere in 220-227 pixels per inch. Now, the Microsoft surface, that varies from about 148 to 267 pixels per inch off screen. If you remember, I just refer to my monitor as being a four K screen. 3,840 pixels along by 2,160 pixels up or down the side. But that is a large 24 inch monitor. I also have a laptop, which is the same four K resolution, but that monitor size is 17 ". So the actual amount of pixels per inch on a computer monitor will depend on how many inches along by how many inches down those pixels are going to be stretched into. And that's the whole point. It's obvious that Apple, Microsoft, all the monitor makers and everyone else has moved on from a 40-year-old standard, 72 pixels per inch. The amount of pixels there are in any square inch of a screen clearly varies from screen to screen. The whole idea of using some kind of weird protocol of 72 pixels per inch, these days is just nonsense. We've moved on. So where does that leave you? Well, actually, in a pretty good place. Because, well, look, you're looking at an image editing package at the moment. In this case, it's Photoshop. You've just seen a whole lot of different files. You're looking at this most likely that's not 24 " diagonally across, and yet there's not a problem with any of it. Computers will take whatever image or digital painting you've got and displayed without any problems whatsoever. Now, what about when you take something to print? That's where dots per inch start to matter, but it's not what people so often say. If I come over, you can see I've got a file here, which is the same proportions as an A four piece of paper, the standard thing that we all print out too. In fact, there is a preset within Photoshop. I I come to file new and I come to A four, and it says, right here, 210 millimeters by 297 millimeters at 300 pixels per inch. That does matter. Let me make it more simple for you. Let's come and change from millimeters to inches. Now we're about to create a file that at some point down the road, we would like to print out on an A four piece of paper. So the way you do it is you put in the width and the height in inches, all millimeters of your piece of paper, and then you specify how many pixels you want each inch to deal with. In this case, it's 300 pixels or dots per inch. Pixels per inch, dots per inch, it means exactly the same thing. And so that's what I did. I printed it out. I create my file, and there's my piece of paper. And I did that just before I started recording, and I took each of those jellyfish images I had. I copied them and I paste them on this file so that when I printed out, I can see all my different file sizes. The one I haven't put on there is the largest one, Jellyfish 01, the really big file. So what I will do is I will control Oman plus A to select everything in the file. Then I'll press Control Oman plus C to copy it. I will come back to my file, and then I'm going to press Control or Command plus V. Wow. Because I have so many pixels in this image, Photoshop has very kindly pasted that image so that every one pixel of my jellyfish file matches up to one pixel in my A four sized file. And as you can see, I've got far more pixels there than I actually need, but I want that file to be the same size, so I will press Control Command plus T to transform, which means I can change the size. So I'll come and I'll put it about here and do that. If I press Enter, what Photoshop or a lot of other image programs will do has decided there were too many pixels in my original file, so it's thrown a load of pixels away. But it's left me with a file that will still print out nice and sharp at 300 dots per inch. If I come and press Control or Command plus one so that one pixel on my monitor equals one pixel on that file I'm looking at. And you can see my high resolution image is fine. The next highest resolution image. This was the one with 1,000 pixels. That also looks nice and crisp. The 641. Yeah, that looks okay, but by the time I get down to 320, things are starting to look not blocky, but fuzzy, and by the time I get to the smallest file, you can see I'm getting a very fuzzy image. L zoom in on this. Yeah. That is fuzzy in a way that the original file was blocky, what's going on there? Well, I'll show you. I will select this very low resolution file. I will copy it. I will come over to my A four sized file and I will paste it in place, Wow, look at that. That image I just pasted in, which is only 160 pixels wide has been mapped one pixel of the image size to one pixel on my A four sized file. You can see it's too small, in order for me to view it at a more comfortable size, I can press Control or Command plus two to transform and make this bigger like this. And once I do that, you can see it's a bit jaggy. Once I press Enter, Photoshop or any other image editing program realizes that I don't have enough pixels to fill up the new size, so it'll add new pixels to try and help me out. So I press Enter. And because it's adding new pixels to try and help me out with the slides, I get that slightly soft and fuzzy image, and that is why if you go to a printer, they will say to you, Well, I want a file, which is going to be, in this case, what, two or 3 " along the top edge, but 300 dots per inch, so that for every inch that it appears on your final printed piece of paper, the preference is for 300 dots for every inch that it's printed out so that when you look at it, you can't spot the individual pixels or you don't get that slightly soft, fuzzy image, and that is why you hear this magic number called 300 dots per inch. But here's the big secret. Your printer doesn't care what DPI your image is supposed to be. This idea of 300 DPI is a little bit of a myth. There is a bit of a myth that a printer has to get the exact amount of pixels to print an image at 300 dots per inch. If you were going to do a four by six inch print, the file size would have to be 1,200 pixels by 1,800 pixels or the whole thing won't work. This is not true. Your printer doesn't care what DPI or dots per inch your image is supposed to be. Just take the image and print it out in a whole variety of different sizes. The printer just works it all out. As for 300 DPI or dots per inch, that's what some quite experienced people agreed would be the resolution you want to print out so that you can't see the dots that make up the picture at a normal reading distance. That number also varies. It depends on things like whether the paper is shiny or matte. Like for a fine art print, the paper is mat, and so there little dots of ink that get shot out of your printer, get absorbed into the slightly soft paper and spread into each other. But if you're working with very shiny photographic paper, Well, the ink just tends to sit on top of that. So in that case, 300 dots per inch, yes, I would go with that. Having said that, in the past, I've worked with a few large publishing houses, and they print their magazines out at 240 or 250 dots per inch. Absolutely, no one ever complained. And it also depends on how far away the file image would be. And, look, a lot of it depends on how far the image is away from you. Here is a billboard poster. Really, really didn't need 300 dots per inch because no one looks up close and personal at a billboard poster. They're designed to be seen as you're passing by in your car from a long distance. So just superimposed over the top and giving you now and you might want to make a screenshot of this. These are the recommended dots per inch. If you are printing something out, depending on how far where you're looking at it from 300 dots per inch, yes, if you're looking at something at a reading distance. But isn't it quite remarkable how fast the amount of dots per inch drops the further away you get? So what you can take from this is that 300 DPI dots per inch, also sometimes referred to as 300 PPI or points per inch, it is not a technical requirement. It will not break any printer if that printer gets fed an image that prints out at less than 300 dpi. The worst that will happen if something gets sent to screen is that you'll get a slightly blocky image like that. Or in the case of prints, it'll either be blocky or if the person resize the image, it will look blurry like the bottom two images are. 46. DPI and all that Nonsense, part 2: Okay, so hopefully this clears up a few of the myths about DPI. But what does that mean for you? Well, let's take a look. If I load up Procreate, which is the painting software for the iPad, for example, here's a very common thing that people do. They want a new file, so they come up to the top left corner they click on the plus side, create a new file, and they think, well, what size I know? I'll do screen size. That's fine. 2,752 by 2064 pixels, which is most definitely more than 72 dots per inch. Click on that. So that file has the same amount of pixels as I have on my iPad screen. I will just come to the background color because that's looking a little bit intense for my liking. Do you see paper colors? Now let's take something a little bit more muted. For my drawing color, let's come down to our palettes again. And for this, I will use DC drawing colors, I'll use a deep blue because it'll stand out. Now for my brush, let's use some of the stock brushes rather than the ones from the course. Let's come to say let's come down to airbrushing, and let's come to medium brushes fine. I'll make my brush completely opaque, my brush size, I'll make a little bit smaller, and I'll draw a brush stroke like this. This is all fine. So let's try let's come to the inking brush set. Well, let's try mercury. Again, let's create that's way too big. Let's reduce my brush size, so it's nice and tight and there we go. And so far, this is fine. I can do my various different drawings or whatever. Choose any color I want. Let's chose a different brush. Let's try technical pen. How big is that? Let's make it nice and small. And you can see this is great. And if I want, I can even come in and I can even smudge certain areas. Let's make this brush a little bit smaller. And so far, I'm having a great time. But then I decide I want a little bit more detail. So I put my finger and thumb on the iPad, pinch outwards to zoom in. And as I do, oh, dear. I'm getting jagged edges. That is because I don't have enough pixels along the width and up the height to effectively zoom in. When it's screen size like this, this is not a problem. The only problem happens when I come in and I want to add more detail, and pretty soon, I start to see the individual pixels that make up this file. Now you'll notice with some of these look if I zoom right in. You can see I have my deep red brush stroke, and just around the outside, I have these kind of halfway house pixels, which aren't quite the red of the brush stroke, but they're not quite that cream color of the background. They're halfway in between. That is because the makers of procreate and the makers of any image editing software program know that a set of bright red pixels next to a cream background is going to look really blocky and jaggy. And so they try and help things along. By putting down a series of intermediate color pixels. The problem where you get these jagged steps is known as aliasing. And so these halfway house pixels in between the brush stroke and the background are known as anti aliasing. They're designed to make your brush stroke look smoother. Now, zoomed in, it's very obvious, but when you start to zoom out, in fact, if I zoom out to this point, it works. If I zoom in a little bit again, yeah, you can start to see the anti aliasing the more I zoom in, but it does help. Compare that with that soft brush stroke I made. If let's try that again, I will come to my recent brushes. What was I using? The medium brush there. And I'll put in the brush stroke with a softer outline. If you have soft areas like we've got now, even when I'm zoomed in, because there are a lot of soft transitions there, you can get away with a lot fewer pixels on your image. Now, the problem comes when you've got all these fine detailed areas like these brush strokes here, that's when you have to consider basically making your file bigger. The one thing you can do is if you've done a file and you really want it to be bigger. Well, you can kind of help yourself by, in the case of procreate, coming to the span icon, coming to the canvas and come to crop and resize. And if you come to settings and also resample canvas, you can come to, say, the width measurement and what is it 2752? Let's try increasing that to 4,000. Resample canvases on, so it'll make everything bigger. You can see the height as adjusted to the same ratio as the width. Click on Done, and the canvas can get resized. If I zoom in on this area here, you can see Procreate's done a reasonable job of smoothing out the jagged edges. But if I compare that with what we had before, you can see because those brush strokes have been smooth when the file was resized, they're not quite as crisp as the original brush strokes. That is an emergency measure. Let's put it that way. In which case, you are better off when you are creating a new file. Try and avoid things like screen size. It may look like a lot of pixels, but well, actually not too many. But look, we were talking about A four. There's a setting forward. A four, SRGB. Let's take a look at that. I'll use my two things to twist it round like this. Let's make the background. Again, a little bit less intense. Let's take it to about, say, here. And if I use the same brushstroke, let's choose some of the colors I was using before. Now, because this file size is bigger, if you zoom in, you can zoom in a long way before you start to see those little smoothing anti aliasing pixels. The more pixels you've got, the more detail you're going to get in your files. So make things bigger. Now, the brushes infrogriate or the brushes for any other art program. The brushes have a lot of flexibility, but if you like, there's a Goldilock zone where the file size is neither too big nor too small. We've seen what happens when the file size is too small. Now, what happens if I come over and I'm going to come to this little button, which I'm wiggling my mouse in front of at the moment. Click on that to create a new file, and I'm going to create a huge file. Now, I can see how many layers I've got. At the moment, I've got 444 layers. That is a stupid amount. That little DPI that you're looking at, 72 DPI, hopefully by now, you realize unless we're talking about inches on something that's going to be printed out, that DPI means absolutely nothing. In fact, I wish that unless you are specifying inches as a unit of measurement, millimeters or centimeters, or inches. Yes, fine. Put in the DPI. But if you're just dealing with pixels, I wish that DPI field would just get grade out because it doesn't matter one tiny bit. Your file size of 2048 by 2048 is going to be the same size, no matter what this field says it is. I wish it would just go away, it would avoid a lot of confusion. But end of my runt, how big a file size can I make this? Let's try 101, two, three, 10,000 by 10100000, am I gonna get it? Oh, blame me. 10,000 by 10,000 pixels, that's gonna give me 14 layers. That is a stupidly large file, but come on let's make it even bigger. Let's try 121, two, three. 12,000 pixels by 10,000 pixels, create. That is one big file. Let's try Oh. Can you see that? That is one really fine scratchy line. And if I finger and thumb drag out woods to zoom in. You can see I've got a ridiculous amount of detail there. That's all well and good, but what about if I make my brush size maximum size? I can see a line there. It's fairly fine, but all of these brushes are designed to work with different patterns, different brush heads, different textures, and they're designed to work within a certain range. That is the range they are happy working with. Like, I was using airbrushing, medium brush, how big I can make this. That's not too bad. Actually, that's quite nice. But depending on how powerful your iPad is, you are asking it to cover a massive area like I'm coloring in now very quickly as quick as I can make my brush strokes. Now, because of my work, I need the top of the range iPad for testing purposes. And so it can handle this, but an older iPad asking it to do this much work would probably make it fall over. There's also other brushes which use textures to make good brush strokes. There comes a certain point where your file size is so big that those textures don't work quite the way they should. They can end up looking a little bit crude. And so, like I say, there was a goldilocked zone the brushes themselves are going to be the happiest. Now, in the case of the course I'm doing at the moment, learning to draw in the digital age, I've given a whole load of different papers. This particular set are designed so they can be printed out at A three size at 300 dots per inch. And if I come to my mi tans pastel skirt shirt, use a different color for this, you can see, I get a decent looking paper texture. If I compare that with the one I was using before, that massive file I was using before, can you see now all of a sudden we're getting some very small, not very distinct textures that I've got to zoom writing to see what I'm doing. Compare that with what I had before. Yeah, the pencil that I'm using is designed to work on a file size which is a little bit smaller. It's still a good size. It's still 83, 300 dots per inch, but you can see the texture so much more clearly. Okay, here's a couple of things for you as well. If for example, you wanted to print out a business card that would say 3 " by 2 ". Well, okay. Let's come too. Canvas, and that's set this to inches. The width, I want 3 ", the height I want 2 ", the DPI well, because I'm specifying inches this time, yes, it does make a difference. Well, I can try 300 dots per inch. Click on Create. And now, in theory, if I create my business card with this, I should be able to get a good crisp resolution at 3 " by 2 " because it's 300 dots per inch. That said, I've done illustrations for various different books, and one time, I did a series of illustrations which combined plenty of soft areas like you can see with my medium brush. And that was fine. But then I did outlines around some of the illustrations. That was at 300 dots per inch. The client came back to me and said, Well, look, we can see the little jagged edges on those sharp lines. So I said, Alright, not a problem. Luckily, I'd used different layers. And so I resized the entire image so that instead of 300 dots per inch, it was now 600 dots per inch. And I went back in and I deleted the layer which had all the hard outlines on, and I redid them at 600 dots per inch. The client came back to me again and said we can still see the jaggy edges. So in the end, I went to a different kind of illustrated program, and I used something called vector art to create the outlines that way, and that guarantees crisper edges. That is a subject for another time. But what I want you to take from this is if you are designing something for print and it does have things like fine detail, there is no reason at all why you can't. Come to your gallery, create a new file. And that was what inches 3 " long by two pixels tall. And instead of 300 dots per inch, because remember, it's not a magic number and it's not a technical number. It's just an expert opinion number. And instead of 300 dots per inch, you can try 450 dots per inch to get crispo lines. Or you can try 600 dots per inch to get crispa lines. As we've said, it won't matter for some of the softer detail, but for some of the crisper detail, why not do that? The printer will happily print out a file that is 3 " by 2 " at 600 dots per inch. Now, one more thing. I know this has been a long one, but I just want to mention one more area where you see the phrase dots per inch, and I'll mention it now just in case you come across it. In fact, you probably have without realizing it. So let's show you. I'm going to call Affinity Designer, which is a vector based illustration drawing package, and very good as it is. To. I'm going to come to new document, and I've got a number of different choices here, and I'll come to landscape. And oh look at that. A four. Come to Okay, creates the new document there we are. And the next thing I'm going to do is come to my artistic text, and I'm going to type in Hi there and return. Alright, take a look at the top. It says that text is 125.4 points. Alright. Select a lot. And I'll make this. How many times have you used a word processing package where the type you're working in is 12 points. There you go. That's how big an area regular font is at 12 points on an A four piece of paper. That might look familiar to you because you'll have used the word processor, and you've probably said, Oh, that says 12 points. And if I make it bigger, 24 points. Does any of this look familiar to you? That is because in the old days of lead type or movable type, you had to have a way of measuring how big the fonts were so that you could say to the people you work with, Well, I want the title in 36 points, and I want the main writing to be in, say, 12 points. And then you could specify the font. Everyone knows what everyone is talking about. And when it comes to the old fashioned movable type, which we still use the convention nowadays in word processors, guess how many typography points there are to an inch. Yes, 72 points to an inch. The only reason I mention this now is not to give you a nervous breakdown. It's because when you do see PT or points in a word processing or a design document or Photoshop or whatever, when you see the points, that's what it's referring to the old fashioned way of measuring how big a font was, and that is 72 points per inch. So that's the point at which 72 points becomes relevant. And I almost wish I hadn't mentioned that because it can be really quite confusing. Okay, hopefully, I've given you enough to be getting on with for that. Let's just call up another one at random. This is from the watercolor course. If you want to check the file size within Procreate, come to crop and resize, come to settings. And yeah, you can see that is 5,000 pixels on long edge and 3.5 thousand pixels down. And if I click on Counsel for that, you can see that gives me plenty of sharp, crisp edges. But it also gives me plenty of soft graduated tones like you can see here with this hard crisp edges on the edge of it. Okay, that is DPI. It was a bit of a long read. I'm sorry about that, but I had to do two things. I had to dispel the myths to do with DPI and give you a solid foundation on what DPI actually is and when it matters and in what way. And let's move on. 47. Helper / Utility Layers: Okay, so a while ago I did this drawing. It's a stone statue of, I think, a fertility goddess. And I thought it was really very impressive. So I did the drawing. That was a while ago, and I want to come back in and carry on with it. At which point, there's a risk that I am completely lost because I might not remember what brush I used, I might not remember what color I used, what brush size, I used. And the chance of me finding the exact same color again is about 16.8 million to one because that's roughly how many colors you've got to play with in your typical modern computer setup. And believe me, the more time you spend with digital art, the more you're going to encounter this problem because this is not like your art studio at home where maybe you have 30 pastel colors, and you can pick out the right one very easily, and you get to know what the colors are. And let's say those pastel colors all come in one size only a stick. You see where I'm going with this? In the real world, your supplies are limited, and you're going to be using them again and again and again and getting to know them. But with any digital art package, you have literally hundreds, no, thousands of different brushes to choose from and up to 16.8 million colours. So what do we do about that? Well, the first thing I would say is, yes, you do have access to thousands of brushes, if you want. And you can waste lots and lots of hours going through all the brushes, looking for that magic brush that's going to make your artwork brilliant by magic. Or you can concentrate on just a few brushes and really get to know them, but that's a general piece of advice. The whole point of this tutorial is, look, come up to the wrench icon, and I want you to insert a file. There is a file attached to this lecture. I've put mine in my drawing guides folder, and it's called helper Layer 01. Add that. I will move it you can move anywhere from the outside or on the inside. I'm going to put it just here, fairly bright colors as well. So hopefully this will show up on most backgrounds. Then come down to, in my case, the bottom right corner and drag this out. Like this. And then if I come to my layers panel, you can see inserted image. Well, that's my helper file. And this is my new helper layer or utility layer. And it's not very exciting, but it is going to be so useful for you the more time you spend inside any digital art program. The first thing I'm going to do is I'm going to click and hold, so it lifts up slightly, and I'm going to drag it above my paper layer. If I zoom in and I turn my paper layer off, you can see that is the paper texture. Turn it back on again there. You want your helper layer or utility layer right on top of all the other layers and definitely above the paper layer. I'll explain why in just a little bit. Okay, so you fill it in. The first thing library and brush. Well, if I count, too, my brush library. I'm in DC drawing, and if I come down to DC MtonPastal sketcher, that is the brush I was using. But look, I'll show you. I'm still on the layer. I can use, in this case, I'll use, say, a blue color so it stands out. As it stands, that is not very good for writing with. If I make it much smaller and I'll increase the opacity, Okay, that should do. So what was I using? D C. That's a little bit too thin. I'm having a bit of a problem with this. Let's try making it a little bit bigger. D, C, I know which brush it is, so I'm gonna find a brush which is going to work easier for me. DC pencil extra fine. Let's give that a try size of 3%, paste on 100. Oh, that's much easier. So D C, drawing, slash me tans pastel sketcher. Okay, next thing, brush sizes. Well, what size did I use? Means. Well, I've got my little notches here. I've got one, two, three, four. They are at 1%, 3%, 6%, 19%, one, three, six, and 19%. Now, I know they're those size because I set those notches quite a while ago, and I haven't changed them since. Okay, so brochure pasits. Well, that's the slide have been low. Let's go back to our metons pastel Skircher. And I've only got one opacity there. That's at 50%. Okay, so 50%. Incidentally, in case you forgotten, let's just remind you, Mutants pastel sketcher, supposing I wanted to set a little notch at 25%. I tap to open up the little paste box, which you can see now. And if I slide across and try and get to that little plus sign, everything disappears, which is annoying. So tap on there, keep your pencil hovering over that little rectangular notch, and then press the plus sign. To create a notch there. Now, whenever I slide about, I will snap to those notches. Anyway, that is for my brush. Pastes, there may be more than one apaste there depending on what you used when you made your drawing for my erasers. Well, you may use a different eraser to take away your brush strokes than the actual brush itself. In my case, I know use the same brush. So again, it's me tans pastel, so Me taints. Pastel. Skircha. Okay, for smudges. Well, that's this icon here with a little finger? Well, I didn't use any smudges for this because I thought I would get some rather too smooth effects. I want to keep the texture of the paper, so come back to my brush and none. Paper textures. Well, you can already see here, Matins fine. Me. Meat tants fine. I know this is a bit difficult to see, but trust me, it's there. Texture mode and opaste Well, the reason I do that is because my meat ant's fine. If I swipe to the left and come to unlock, I've got the texture blend mode set to overlay and the opaste on 60. So overlay 60%. Now, what was that color I used for the main work? Well, I've got blue at the moment, that's kind of a reddish brown. Do you see my problem? Unless I make a note of it, I may never find that color again. Now, as it happens, if I come down to my palettes, I'm pretty sure I used one of these watches for my DC drawing colors palette. Now, what was it? Was it this one? Well, let's come to the darkest area and try that. No, that wasn't it. That's too dark. What about second row down on the right hand side? What about that? Yeah, I think that was the color I used. And so now I make a note of that. That was DC drawing colors. For the swatch, well, I could write down second down. Let's come up with a code ten M. That stands for tenth color along on the middle row. So if you were choosing, say, this color which I'm hovering over, that might be for T for top or two B for two bottom, or in the case of these swatches, I've given them names. So really, what I would rather do is rather than having to go searching for names like Capet Mortem or sanguine one, I would rather just come to my swatches, get a brush that doesn't have too much texture, get the actual swatch itself, and do just make a solid block of color like this. Now, you've seen me do all this for one brush and the different sizes, pastores, so on and so forth. But what about if you're using more than one brush? Well, in that case, I suggest you'd learn to write small if you have to duplicate the layer and have two helper layers. For the most part, though, I think, look, this other color that I used, now what was that? You see my problem? I can't quite remember what it is. And this is why it's important to do this before you say, Okay, I've done my picture, time to sign off. In the case of this, what was it? That color, second row down, fourth along? Was it that? I can't really tell until I use my metons and use the same brush. And yeah, I think it was that color, as I vaguely remember. But because I've got that texture there, that's going to be very difficult to pick that color up again by placing my finger and holding until I get this little color picker. So it makes sense to find a pencil like DC pencil extra fine. Make sure I'm on the same layer. And put down a solid area of color like this. That way, when I come to pick my colors, I'm not picking various different colors around the central color. I've got one solid area which I can just pick up from very easily. Now, what I hope is you're going to draw a little bit more neatly than me, and you're going to put your swatches all in one place like this or plus to create a new layer, rename as two. Swatches. And for this, let's repeat that. It's making my brush size a bit bigger so it goes a bit quicker. And another one there. And now, when I'm drawing my inserted image, which, come on, let's be sensible. Let's rename this two. Hope is zero, one. And now I can just make it invisible. And now when I'm drawing, ifever I want to call up the colors I'm using on the file, just place my finger on those watches in the top right, call up my colors really, really quickly, which means I don't have to keep on opening up my palettes and looking around for the exact right color because in the case of DC drawing colors, there's a lot of colors which are similar to those two colors I'm using at the moment, and I might get it wrong. But in the case of this, place your finger on. It doesn't matter what layer you're on, and you've got your colors ready to hand, and when you're finished, turn it off. Now, I did say, put your helper layers at the top, and this is why. There's my lovely clean pristine colors. If I take my swatch layer and I drag it so it's underneath my paper layer, I'm going to zoom right up. Close and personal on that deep red swatch. And yeah, you can see it. I know you can because I'm looking at the screen recording. I've got all these different varieties in colour because the paper texture, if I turn it off, and back on again is creating darker and lighter variations of my basic color. And if I put my finger on there to try and choose a color, can you see the top half of my color picker is changing color ever so slightly. Maybe you can see that maybe you can't. Look, very obvious, it's changing color. But inside, I've got lots of different variations of my base color because of the paper texture. So let's drag that back above I paper layer again and there. Now I have my flat swatch. And I'm good to go. And when I come to this drawing in another two years' time and decide, Goodness me, maybe I'll actually finish it or try and make it just a little bit better, I have all the information I need to hand. Get into the habit of helper layers. You will thank yourself that you did two years down the line. 48. Preparing a Photo for Drawing, part 1: There is a lot to be said to drawing from life, but let's face it, a lot of the time, we're going to be drawing using photos as a reference. And on this course, we have to use photos as a reference. But there are things you can do to a photo that can help you. So let's take a look at a couple of those things now. I'm in my A four paper folder. I'll just use any old file. Let's try DCA four paper fine, swipe to the left and duplicate and open up my duplicate file. The next thing, okay, I need a photo. For this, I know I'm going to import a portrait. So I will turn my canvas round so it's in portrait mode. Then I will come to my wrench icon, click on it, come to add and insert a file. Here we are, portrait, zero, one, choose that. And then click anywhere, commit to that. Okay, the very first thing I want to do is I don't want the fine paper texture to get in the way, so I'm going to turn that off by coming to a little tick icon. Turn that off. The next thing I'm going to do is crop this because I don't want those blank bits of paper at the top and at the bottom. And also, when I come to draw this, if my file has the same ratio as the photo, that can help me a lot when it comes to measuring things. On the other hand, if I had, say, a square canvas and I was trying to reproduce something from a very wide landscape, that will give me problems trying to measure things. To crop to size, come up to our wrench icon again and this time come to canvas. Crop and resize. I will just pinch outwards just to make things a little bit easier to see. And it's a bit hard to see just at the top and at the bottom. But if you do this, hopefully you'll be able to see there's thicker bits just in the corners and in the middle of the sides. I'm going to use my finger on the middle bit and drag down, and there now you can probably see it and drag this down to about that, come to the bottom and drag drop up there, and then just come to. Done, cross the canvas. There's my picture. Okay, I'll just put that to one side for a little bit. And come to my layers. Okay, so now the very next thing you do is you come to your layer with the Photo one. You slide to the left and you come to duplicate. You can make the original layer underneath invisible, but you always want it there because we're going to be altering photo. And if we completely mess it up, we have a spare at all times. Okay, so I want to prepare this for drawing. I know I want to do kind of a pencil drawing, so that means various different shades off. Well, it's not quite gray. There's little bits of desaturated color in there. But just for now, let's say, a grayscale image is going to help us. Well, right. Here's the easiest way. Come up to our adjustments panel, and you have a whole load of stuff here. And if I just want to desaturate my photo, I can come to hue saturation brightness. Three sliders at the bottom. Come to the saturation slider, drag it to the left. I can tap anywhere off the canvas like where you can see my mouse right now. And come to apply. Then just come to any other icon just to commit to that. So there we have a desaturated layer. That's the most straightforward way, but we can help ourselves a lot more. Let me show you a problem. I am going to come, create a new layer, and for my brush, what shall I use? DC pencil medium from the DC drawing? Yeah, that's as good as any. As for my color, well, if we come to our palette, beginning of the course, I gave you a few palettes, and the one we want at the moment is DC drawing colors. It's my default palette so that if I come to cards, you can see the various different colors with the names. And for this, I'm using a medium pencil. So supposing I wanted to choose soft pencil. So I click on that to select it. That's my color. And then finger and thumb zoom right in. Let's zoom in on a darker area. I now have my soft pencil color, and it's the darkest tone I've got, and I'll just scribble just on one particular area. Let's make that a little bit bigger so we can see that more clearly. Right. Now, that is the problem I was talking about. That is the darkest color my pencil can give me. But if you take a look at the photo underneath, there's a lot darker tones going on there. And I remember when I was a teenager and now I see it when I go to my son's school, the art department has some very nice drawings, but often you'll see this where the person doing the drawing, for example, wanted to do those shadows around the eyes or in the darker parts of the hair, but the pencil doesn't go dark enough. And so you find this effect where they start scrubbing as hard as they can in the shadow areas, and it kills the grain of the paper, and it doesn't quite work, and that might happen to you if you're drawing in real life. So here's something you can do. I will come to my layer, which I converted to black and white. I will swipe to the left. I will delete it. Be it didn't work, we have our backup, like we spoke about, swipe to the left and duplicate that layer. Make the layer underneath invisible. Now, instead of coming to our adjustment and going to hue saturation and brightness, there's something here called gradient map. Click on that. You get a choice of different gradients here. And what it does is it takes in the case of this one or mocha. It takes the darkest tones and makes them black. It takes the darker tones, slightly lighter and turns them into a deep purple. It takes the mid tones and turns them into kind of a bluey color, and it takes some of the lighter tones and makes them pink. And that can give us some interesting effect, but we can lever this technology. So come to plus sign. That will give us a completely new gradient map. Now, so far, this looks like what happened when we desaturated our image. But I'm going to come to this little square on the right hand side on the gradient. I'm going to tap on it. Oh, look what pops up. Drawing colors. Well, I don't want this to be the drawing colors. I want this to be my paper colors. Now, supposing, for example, I want the paper color to be that kind of creamy color in the top right. So I tap on that. There's my creamy color. Now I'm going to come to that black square on the left side, tap on that, and this is where it starts to get interesting. My drawing colors, what color did I choose? I think I chose the second from the left on the top row. And that's a good point if you're doing this. Make a mental note of which of those grays you used, I will tap on it. And now my new darkest color is the same color as my pencil color. And if you take a look at that, yes, the whole thing looks lighter, but you're still getting a broad range of tones. So this can really help us, but we can do more than this because look, if I come, can you see there I'm hovering my pencil just on that slider, supposing I put another point just there, tap on it, and I can choose the same color. And it's starting to get dark there. But now I will come to the top end, tap there. That's a little bit too dark. So now I come to my paper colours, choose the same paper colours before. And so now what I've got, at this end, I've got a slider where I can control how much of my picture is dark, and on the other hand, I have this other square at the other end. I can slide that about and I can control how much bare paper there's going to be in my reference image. Something like that could be quite nice. How much dark is that? Plus all the bits in between. Now, here's my first tip. I'm moving my square around and you can see it moving. When you're doing this, don't look at the square, look at the image. So something about maybe that. In fact, I like what the light is doing, but the dark, bear in mind, if I commit to this, all the darkest areas, I'm going to have to draw in, aren't I? And I don't want to have to spend a lot of time scrubbing with my pencil for what is, at the end of the day, a lot of rather dead detail, just a dead, deep gray. So if I just tap and hold on that little square curative then let go, I have the option to just delete that. And I think I prefer that because immediately I'm getting more detail in the darker end. But this is the nice thing. With these control points in between, I get to control how much blank areas or blank pieces of paper I've got and how much detail to put in. Now, when I'm doing this, I'm looking at the eyes mainly and also the mouth and how much detail I have in the eye area. And I'm thinking, Well, that can look quite nice, but that looks more like a stylized fod than it does drawing with a little bit of detail in the highlighted area. So I'm going to drag this slider off to the right until I just get a little bit of detail around the eye area and also the mouth area. And I quite like that. So I'm going to come to done. And if you see here, that's a gradient I made. I can come and I can call my keyboard. And I can call that soft pencil. So now if I call up the gradient maps again, I know I've got a gradient map in there called soft pencil, and I know which color that refers to because DC twine colors, soft pencil. So that's one way when we're searching for tones and trying to figure out our darkest tones, this can really, really help us. But there is more we can do. Okay, here's a new file. It is the same file as before DC fine paper. Well, let's come back to our wrench icon, come to add come to insert a file. And this time, I'm going to choose Kangaroo. Click on any icon like the Layers panel that commits to it. And let's do what we did before. Let's come to Canvas. Come to crop and resize. Let's zoom in a little bit. So now I can drag my little top draggy bit around to there, pinch in to zoom out, and zoom down to the bottom, do the same thing down the bottom, there and click on done. There's our kangaroo. Come to the Layers panel. It says, draw here and swipe to the left and duplicate and make our original layer invisible, that's our backup layer. Now we're going to repeat this, but instead of doing a light bit of paper with some darker drawing on there, we're going to do more of a midtone piece of paper, where we can do darker stuff, but we can also do lighter stuff. And let's show you what I mean by that. Let's come to our adjustments again, and come to gradient map. I'm going to create a new gradient map. And the first thing I'm going to do is click in the middle of my gradient. Then I'm going to tap on it. They are DC paper colors. I'm going to choose more of a midtone paper. Now, if I come down, not there, not let's try that one. Or maybe that one or that one. No, that one, definitely. Three rows down, one, two, three, four, five, swatches along. That's going to be the color of my paper, and I'm also going to create another one with exactly the same color. And then I'm going to come to my darker end, remember this is going to be the color of the pencil or charcoal or whatever virtual mark making we're going to be using. We don't want DC paper colors we want. DC drawing colors. I'm going to go for one of these sanguine colors, one of these reddish colors. I could use that, that's looking quite interesting. What about something a little bit darker? Yeah, one, two, three down, and one, two, three, four, five along. That does have a name, but we'll just remember now three down, five along. And if I want to, I can create another one here and choose the same color. Now, what about the other end? Well, at the moment, it's white, but what I'm thinking is I'm going to be using a deep red for my shadow areas. I'm also going to be using more of a chalky color for the lighter areas. Now, what do I have here? Well, you can see if I choose different colors, you get some interesting effects, but all I need is a light maybe not white, but a slight off white color. Now let's try three rows down the swatch on the end. That'll do me. And so now what I do is decide how much of my picture I want my red marks to be. And that's going to be a case of moving this watch around Anything in between this swatch and the swatch on the far right is going to be the deepest tone we can manage. Anything in between this swatch here and this swatch here is going to be where I'm going to be using gradual shading. And I can fine tune that to where I want. And it's starting to get a little bit awkward to move these things around. I'll try using my finger. Will that help? Yeah, that does help. And I'm going to move this around. Remember, look at the picture, not a little swatch moving around, and maybe move that to maybe about there. And now I come to the other baby colored swatch, and I can move that around to decide how much highlight I want there. Now, as a rule of thumb, when you are doing this two tone technique, generally speaking, I would advise you to have a lot more shaded areas than you do these little highlights. I want just little touches of highlights. If you make it too much, Oh that looks more like a photo, and there's too many lighter areas there. Maybe something on the edge where I'm just getting a few flex of highlights just on the surface of the leg and on the chest and maybe just a little bit around the eyes. That will do for me, so I will call that done. And in fact, before I do, it can do what I did before. Now, if I had thought ahead or I knew which colors I wanted, then I could write down the colors here. I could write down the name of the sanguine color. I could write down the color of the paper, and I could write down the name of the swatch I use for the highlights. But for this, I'm just going to call this sanguine to chalk. Come to down. I now have soft pencil and sanguined chalk. And if I wanted to see what that would look like, if I was draw with soft pencil, I can choose that swatch, but no, I want this to be sanguined chalk. I will come up. I will choose anything else like my brush icon, and I am good to go. 49. Preparing a Photo for Drawing, part 2: Okay, I've come back to this portrait because I want to show the other big thing I see when I see a load of drawings all laid out, and especially if people are doing things like hair. People try and draw the individual strands. That is not a good way to do it. What you need to do is imagine the hair as being like, thick billowing clouds. Get the overall form there and then work in the detail afterwards. That can be hard because when you're up close and personal, it's very hard to see the billowing clouds for all those strands of heap. So this is what you do. Come back to our Layers panel, and I'm going to swipe to the left and duplicate. Then are going to come again to our adjustments, and we are going to come down to Gaussian blur. And I've heard that called Gaussian, Gesian Gaussian. I really don't care. Pronounce it anyway you want, but the important thing is. At the moment, it's set to zero. But what you do is you put your finger just where I've got my mouse cursor. Now I'll use my finger for this because the mouse cursor doesn't do this very well, and I will, Whoa, you see that? You see that little thin blue line at the top, and I'm getting gauzianblur and you're getting the percentage there, I need to set to something very low. But look, supposing I do gauzian blur of 5%. Because the picture is blurred, all that fine detail has now gone. In fact, no, come on. Let's put our money where our mouth. Let's make this, say, 8%. Now, instead of seeing all those fine strands of hair, I'm just seeing areas of light and dark on the hair, especially, but also on the face. I will come to my layers panel. To accept that. And if I compare that with the layer I had underneath, a whole load of really, really fine detail. Turn the blurred layer back on again. And now, when I come to draw the hair, if I was to use this layer as a reference, I'm much more likely to put in those graduated dark light areas. Then afterwards, I can revert to this particular layer where I can start to put in bits of fine detail. If I was tackling this drawing, I would not try and do every strand of hair. It's really labor intensive and often the end result can look a little bit overworked, just while we're here, actually. I wonder if this is going to work. I've not tried it, but one thing you can do, you can play around with a layer blend mode. And if I take this and I change it to say overlay. Oh, look at that. You've got this lovely, nice, soft focus portrait. Maybe you could use that as a basis for your work rather than the original very crisp layer. But what we're doing here is something you do with image editing programs like Photoshop, Affinity Photo, all the time you play with a different layer blend modes to see what kind of effect you're going to get. We did have overlay. There's soft light. There's hard light, and you can control how much or a little of the effect right here. So that can help you with your drawing, but if you want to take a nice soft focus photo, there's a technique you can use. I'll leave it like that just for now, because, yes, that could be a nice reference. But one thing I will do, I'll come to layer four now. I'm not sure why what layer four is there, but if I turn it on and turn it off, there's nothing on this layer. So what I'm going to do is I'll come I'll make a note, DC pencil medium, and the color I'm going to use is already active. So now what I'm going to do is I'm going to come to the top corner and I'm going to scribble to make as much as possible a solid swatch like that. I am also going to make a mental note of what brush I'm using DC pencil medium, so I write DC pencil, medium, and how big have I got it. I've got it set to percent 2% thickness, 2% thick, and I've got it set to a paste 100%. Past 100%. Now, why am I doing that? Well, look, I do life drawing classes, and unless you choose to bring your own materials, everybody uses a two B pencil. Everybody uses the same eraser, and everybody uses an A three sheet of paper. Of course, if you want to use something different, you're very welcome to do so. But we've just kind of got into the rhythm of doing that. And so I can look through all my drawings and know they've all been done with a two B pencil on a certain kind of paper, which is a three in size. Well, procreate is not like that. If I come to my brush library, that's just one set of brushes, and there's took five, six, seven, eight, nine, ten brushes to choose from. Lots of different colors. In fact, look, I used soft pencil, didn't I? So I can come down here and I can come too. D C. Drawing colors, and I used soft pencil. Soft pencil. And for my paper, I used, what was it? One, two, three, four, five, six, and there is the problem. These don't order themselves in the same way they do when you use the compact view and also not in the same way as when you're calling up your colors. So in that case, what we do is we make every layer invisible, hold my finger on the surface of my iPad until I get, it's called a reticule, my little color finder and let go, and the background color becomes the latest watch on my color, and I can come up to here and scribble in that swatch. So now if ever I need to find those colors again, I can just come up. There's my pencil color. There's my paper color. I want the pencil color, don't I? And the whole point of making these notes is because we don't have a two B pencil and the same piece of A paper. We have an entire large art shop inside Procreates. And when you come back to this drawing in two years' time, you're never going to remember what brush you used, what colors you used, how thick the brush was, what a paste it was on. You won't remember any of that. So you make a layer and I'll rename it too. Reference. And now, whenever I see that, I know that when I make it visible, I will have all the information I'm going to need to recreate the style of drawing that I used. It's called a utility layer, and they are very useful, and people often don't do them because they want to draw. This is boring stuff. Do the boring stuff at the beginning. So you can get into the flow and the rhythm of the drawing afterwards, but you will know that if you want to create this, you'll have all the information you need. Okay, let's move on to the next video. 50. New Section! What is Perspective?: Okay, so welcome to this new section. And in this section, we are going to talk about perspective, and it's a very important thing to learn because it is what lets you take a flat piece of paper or computer screen and draw things in such a way that they appear to have depth. They appear to go into the canvas or the computer screen. It can be a little bit confusing to start off with, but once you learn a few important principles and techniques, it actually becomes very easy. Okay, so you're looking at an example of perspective right now. This is a corridor from a French hospital where I was staying earlier on in the year after I'd had a rather nasty skiing accident, which nearly killed me, but I had a team of French doctors to fix me and a team of French nurses who really cheered me up and made me feel very welcome. To them, I would just like to say a very humble mercy Bien. Okay, so back to this corridor. Let's use this to point out one of the major principles of perspective. And yes, it will sound like I'm stating the obvious, but things appear to get smaller as they go off into the distance. I mean, take a look at those seats on the left hand side. The seats which are closer towards us appear to be bigger, and the further off they lie in the distance, the smaller they appear to get. Now, because you and I are sensible people, we know that those seats are all the same size. It's just that they appear to get smaller, the further they get away from you. That is the overall guiding principle of perspective. But of course, there is more to it than that. I stood in this corridor and looked straight down. I didn't look up, I didn't look down. I didn't look to either side. I just looked straight down the corridor, took a photo, and I've got something here called one point perspective or single point perspective. Then I stood on a chair and took another photo in spite of the fact that I was injured, but that's because I'm stupid. I took this photo. Notice the difference between this where I was standing and this where I stood on a chair, my eye level was higher, and so that affects my point of view. Then I lay down on the ground and took this photo quickly before some poor harassed nurse rushed up and tried to rescue me because they thought I'd fallen over. You can tell that I'm lying on the ground, and maybe already you can explain to me exactly why. But I'll do that in just a second. Then I stood up again and I moved to the side of the corridor and I took this photo. In every single one of these, my point of view was different, high, low. To the side. Now because you and I are sensible people, we know the corridor didn't change. Everything still appears to get smaller as it goes off into the distance, but all the photos are different, and that is because I changed, my point of view changed. Normal stood on a chair. Lying on the ground off to the side. That is the other important guiding principle of perspective. One, things get smaller as you go off into the distance, and two, what kind of perspective you have depends entirely upon your point of view. I want you to imagine there is a single beam of light which is shooting out from in between your eyes and going straightforward. And that beam of light is a little dot that shoots off to the horizon, and wherever you look, that beam of light with a little dot changes with you, and that is your point of view. Alright now let's take a look at this a bit deeper. I did say there's a good chance you could probably tell me why you can tell things go off into the distance. Things get smaller, you are right. But if I make some lines that I drew more visible, there. I took the top corner of the corridor plus the bottom corners of the corridor and I just traced a line going straight back. Sure enough, you're looking at what a whole load of artists from quite a few hundred years ago discovered that if you take a series of parallel lines either in a corridor or on a street, you trace them backwards, eventually, they come to a single point. That is known as your vanishing point. And yes, I did say your vanishing point because that is going to depend on your point of view. And here's something else they discovered. If you're looking straight ahead, not up, not down, that vanishing point will always lie on something called the horizon line. That is your eye level. And that horizon line is if you are in the middle of a desert where there was nothing for miles around, that horizon line would be where you'd see the horizon, if you were looking straight ahead, not or down. And the vanishing point always lies on the horizon line. Now, if I take a look my high corridor, you can see, I've still got the lines, and they still go to a vanishing point, and I still have my horizon line. But if you compare that with what we had before, you notice the horizon line is always at eye level. But with this, because I'm standing on a chair, I'm higher up, I see more of the upper bits than I do of the lower bits. And so if you wanted to draw something with a hole out of sky, you might lower horizon so you've got more space to paint your sky in. Compare that with the corridor when it's low. Now everything goes to a point, but because I'm really close to the ground, I just see more of the ground and my horizon line there. Is higher because I'm lower, and that is something that can confuse people. But basically, if you're high up and you're looking straight ahead, you'll see more of the sky. If your eyes are very low to the ground, like say you're a cat and you're looking straight ahead, you're going to see more of the ground, like that. And if you are off to the side like this, yes, everything still goes off to a point and the horizon line is still on that vanishing point. But because I'm at the side of the corridor, my point of view or my perspective has changed, and so I see this kind of thing. Everything goes to a point, and when you are looking straight ahead, that will always be on the horizon line, but the horizon itself can be higher in your picture or lower in your picture depending on your point of view. Let's go back to Corridor one. I'll tell you what. I've got a pixel layer selected, I'm going to choose my paintbrush and I'm going to imagine that somebody put a cardboard box in that corridor and they put it down, so it's lying parallel to every other line in that corridor because let's face it, just about all the lines are all going in the same direction. Supposing I come here and I will draw the shape of a box. It's looking very rough, doesn't matter. Let's just crikly color. This isn't that is the bit of the box that's facing me. But now I want to make it look like a box is going back toward the horizon. So I will choose a lighter version from my pen and I'll make it a little bit smaller. I know that any line that I have, which is lying parallel to the walls is going to go back towards that vanishing point on the horizon. So I can take the line, I can trace it off like this. I'm doing single point perspective at the moment. The lines going side to side on my corridor, they're not going to change, but the lines going back, they are. They're going to obey the laws of single point perspective. Now, let's make my brush a little bit darker because what about the side of the box? Well, I'm not going to see very much of it, but imagine again, I need to draw a line which is going to come down. Like this and that bottom of that line, because it's lying parallel to the corridor, the bottom line of my box is going to point straight back to the vanishing point, which I've tried to do there. And so what you end up with is a box that you have drawn in perspective. I've lent that over a little bit too much, so I'm going to come to my errastol. Make it nice and small. And in fact, come on, let's zoom in a little bit on this. And erased tool again. Make it nice and small, and let's try and crisp this up, and let's try drawing that line a little bit more vertically like this, make it a bit crisper here. And there's my very crude, very simple box that I've drawn in perspective, and it's obeying the laws of single point perspective because all the lines which are parallel to the sides of the corridor are all going back to the same vanishing points, and that is the trick. With perspective, but of course, there's a lot more to it than that. But don't worry, we are going to explain all of that. Okay, so here's a question for you. How did we discover the laws of perspective? Well, to understand that, you need to go right back quite a few hundred years to one of the sieges of Constantinople. And what happened during that awful time was that a whole lot of refugees escaped and they were glassmakers. And many of these glassmakers ended up in Venice and they set up shop and they rebuilt their lives. Only problem is, if you've ever been to Venice, it's a whole load of wooden houses sitting on canals. Now, glassmaking involves using extremely hot fires. That's not good for Venice. And so the people who ran Venice decided that all of these glassmakers had to go off on a separate colony all on their own so they weren't going to burn Venice to the ground. This meant you had a whole load of different glassmakers all being forced together, and guess what happened. Well, it's a pretty old story. The sons and daughters fell in love. They got married. Families grew close together. Family started sharing trade secrets and so there was a revolution in optics. One of those things that happened was magnifying glasses or lenses became much, much better. So you could use these lenses to project light from real world scenes onto a wall, pretty much like the photo that you can see here. And so if you put a piece of paper and you traced off the various lines that made up that scene, you're going to end up with something like that. So bright spark said, Well, hang on. We now know All these parallel lines go off to a point off in the distance. Well, why not draw a point in the distance and let the lines radiate from there and reverse engineer the whole thing. Now you've got single point perspective where you draw a point off in the distance on your horizon line, let the lines radiate outwards, draw shapes based on those lines, and you've got perspective. This was an absolute revolution. Here is the first known use of single point perspective. Now in its mathematical form, linear perspective, which is what we're looking at is believed to have been devised around about 14:15 by the architect Filippo Brunelleschi. My apologies to any Italians because I've pronounced that wrong. But this painting was done by Leon Battista Alberti in 14 35 noly 600 years ago. But you can see these lines here and I'm sorry if I'm not drawing them very straight, but if you take the various lines here, they gradually go back. To a vanishing point. And if you notice that vanishing point, if you draw the horizon line, which is at your eye level, take a look at the eyes of the characters in the background. Most of the eyes are lying either on the horizon line or they're a little bit above because they're taller or they're below because in the case of this character, he's kneeling down. His eye level is going to be lower. And here's another character for you off in the distance if I make my brush a little bit smaller. You've got a baby here, a small child. Their eye is below the horizon line because, well, they're smaller. But if you take a look at what is that his mum there? Her eye and the person she's with, even though they're further away, their eyes are lying on the horizon line, and that obeys the laws of perspective. Now, they didn't always get it right. Look, here's another one, the Battle of San Romano, done by ucelllo who is a massive fan of perspective. And you can see he's kind of nearly got it right, but not quite. Because although these things are obeying the laws of perspective, for the most part, well, let's come down a little bit to the bottom part of the picture. Take a look at this person here, they're falling over, they're lying dead on the battlefield, and they appear to be a little bit smaller than some of the people they should be the same size as. If you look at that, if you look at, say, this person here, they're pretty much lying about the same distance away from you as this person here, but this person here appears to be much smaller. So ucla didn't quite get it right there. But also, if you notice these various different broken lances, which look very evocative and dramatic. Well, you can see they're probably all going to go to a certain point, the vanishing point, which is going to be around about the eye level of these people here because that's the people that ucla wanted you to focus on the most. But in the chaos of a battlefield, I put it to you, those broken lances aren't going to line up parallel all in the neat row facing the same direction, which happens to be parallel to your point of view. There's also little things as well like this helmet here. Appears massive next to our poor little guy there. Maybe that was a hobbit. I don't know. But I doubt it cause let's face it, Ten hadn't written the hobbit yet. But everyone is going mad for this. All the important people wanted perspective, and so every artist was learning perspective. This is supposedly done by Dura but Look, if someone tells me bro, I'll accept it because that toy looks rather modern to me, but everyone was studying the laws of perspective. Now, if you didn't have your nice sheet of ground glass, which is projecting real world objects onto a wall which you could just trace off, you could always do this. Look, you've got a frame with either a sheet of glass or some pieces of string stretched out in a grid pattern. And if you take a look at what artist is doing, look at that. A grid. Now, we've done the grid method, so they're doing the same thing. He's using the grid method to trace off what he can see behind this grid, and there he's probably studying foreshortening, which is all about how things get smaller as they go off further into the distance. Now, the other thing to notice here is, look at this thing. The reason that is there is so that that artist can keep their eye in exactly the same position when they're doing their drawing because you remember me saying that it all depends upon your point of view. This method he's doing, and I'm assuming it's a he because no hair. And my apologies if I've got that wrong. For this technique to work, you would need to keep your eye in exactly the same position. So your point of view is always the same. If you moved off to one side, your point of view would be slightly different. If you moved up or down, again, your point of view would be different and this whole technique wouldn't work, so you need to keep your eye in the same place. Now, luckily, if you're just doing a straight trace off, you'll be using a lens which stays in the same place. You're working directly from a photograph. The point of view is fixed by the camera lens when you took the photo. Again, you don't have that problem. But if you're drawing from real life, you need to keep your eye in the same place to do a really effective job. This was one point perspective, and this is probably one of the finest examples of single point perspective. It's the School of Athens by Rafael. Can you imagine if you've never seen perspective before, you've never realized that a flat plane like a canvas or a wall with a load of plaster on it could actually have depth. Imagine looking at something like that. No wonder all the rich people were going mad for this. It's also the School of Athens because, well, it was the renaissance, the rebirth, where people were attempting to go back and rediscover all the old secrets and all the old glores of places like Greece or Rome. And the more you could show on your walls, the more status you had because you could hark back to this wonderful vanished time. And to be fair, they were looking to the past with kind of Roman tinted spectacles. But hey, if you were an artist and you knew the lots of perspective, you were making money. Okay, so I'm going to wrap up this video for now. I wanted to give you a quick introduction to perspective what it is. The two main principles, things get smaller the further away you get, and also perspective is always going to depend on your particular point of view, not the person standing next to you, your particular point of view. But at the same time, I think we need to point out a couple of things. Single point perspective will work up to a certain point, but there's more than single point perspective, and there is an example of it, and it is right here. Also, just to leave this, this is considered to be one of the greatest examples of single point perspective around, but you may notice that most of those wonderful perspective lines going off into the distance are all in this very central bit and also maybe just a little bit down here with these tiles, but you may notice with this that Rafael has rather cleverly put a whole load of people standing or sitting or kneeling in front of quite a few of the perspective lines, especially around the edges. That was quite clever of him, and I will explain that in a video coming up. But for now, this is perspective, let's move on. 51. ... from the point of view of Captain Secondary & Zoe the Wonder Cat: Okay, so in order to understand things from a slightly different point of view, I've created a quick diagram with Inpro Create. So in this diagram, we have Captain secondary who can get away with wearing all secondary colors and his underpants on the outside of his tight because he is just so manly, and next to him, we have Zoe the Wondercat. They both want to draw this scene in front of them, consisting of a path, a very square looking shed with a door and a window, and a rubbish bin, because apparently urban dreariness is the hot ticket in the art world this year. Okay, so let's show you a couple of things and introduce a few new terms, which you will hear people using when they're talking about perspective. First off. Do you remember me talking about a line that shoots out from between your eyes in whatever direction you are looking in? Well, there you go. There's the line. And that is where Captain secondary is looking right now. But bear in mind, we have forward facing eyes. We can't see all around us. Our eyes are designed to focus on one point. Anything around that point? Well, we can kind of see but not focus on. But there comes a certain point where you get your peripheral vision, the corners of your eyes, and beyond that, you can't see anything. Like, you can't see directly sideways, for example. And that area where you can see things, that is what's known as your cone of vision, and that's what I'm showing right now. So, okay, Captain Secondary is looking straight down that garden path. You can see various things that's all very well, but he needs something to draw on. So you have something that is known as a picture plane. Imagine you're standing in front of a sheet of glass and you're going to draw on that glass. Everything that you see. Imagine that little circle that has appeared is what he would see with his cone of vision. And so, do you remember a video or two ago I spoke about how when they figured out perspective, they figured out you could take a point off in the distance and draw lines that radiated out from those points, and those would be your guys to draw your perspective lines. Well, okay, here we are. Here are the perspective points that Captain Secondary has drawn, and if he decided to splash out and use a lot of that perspective plane, and what he might draw would look something like this. That perspective point that he drew was at his eye level. He drew his horizon line. He has his vanishing point, and all the lines in that scene, which are parallel to the direction he's looking in, they are the lines that go off into the distance. And so that's why the path, which you can see that goes off into the distance. The squares that make up that path appear to get smaller as they go off into the distance, and the horizontal lines get close together on the drawing. Okay, so that is captain secondary. What about Zoe, the Wondercat? Well, from Zoe's point of view, her drawing would look a little bit like this. Breaking that down, Zoe's eye level is about that high off the ground, which means Zoe's horizon line is much lower in the picture. Zoe's perspective lines would radiate outwards from the vanishing point. But Zoe's drawing again, would follow the vanishing point. Couple of things to notice. Because Zoe's eyes are much further to the ground, the horizon line would appear to be close to the ground. And so that hut off to the left hand side, would suddenly appear to be a really tall, impressive looking structure. And as for the lines of the hut that go off into the distance towards the vanishing points, they still end up at The vanishing points. But take that roof, for example. The line that goes towards the vanishing point is going to angle upwards a lot steeper than it would for Captain secondary because Zoe's point of view is lower towards the ground. Also, one thing to notice, Zoe is looking in the exact same direction as Captain secondary. But as well as being lower down, Zoe is off to the right hand side, which means she is right in front of that litter bin, and she's lower. So she can't see the top of the litter bin, and also it's right in front of her so she can't see the side. If you compare that with Captain secondary, this is what Captain secondary sees. He sees the top of the he also sees the side, so that's what he draws. But Zoe can't see that, so Zoe draws this instead, what she sees from her perspective or her point of view, and it's different from captain secondary. And if you're an English speaker, you'll know we use the phrase from their perspective or from their point of view. We use that in everyday English. And now you know why. Everyone looks from their own point of view or from their own perspective. And you may notice that while Captain secondary draws a garden path going straight ahead with lines coming out to either side, Zoe is to the right of the path. So when she draws it, she draws those two lines that make up the path going towards the vanishing point off to the left of her point of view. If I was to take Zoe and put a zoe on top of Captain secondary's head, then she would have a different point of view. She'd be looking down on an object much more than Captain secondary. But for now, Zoe is there, and so that's what Zoe would draw. Things get smaller and that vanishing point is unique to whoever is looking at something. 52. Building up our Perspective Drawing: Okay, enough theory, enough history. Let's actually do some perspective drawing. We're going to start off with single point perspective. And the first thing, let's create our file. And my first bit of advice is do not even think about trying to do a perspective drawing using a small file size. For example, screen size 2,752 by 2064. No, forget it. I want something large now. What do I have here? Let's try Look, let's take a look at paper. 11 " by eight by 5 ". Let's take a look at this. I will pinch in just a little bit. I will change the background color because that's a bit too light and it's a bit glaring, so let's find one of our paper colors. Something a bit more muted. That's fine. For my pencil, I'm going to use the technical pen from the Inking library. That's the one that comes with procreate. The reason I'm using this is because, look, it's a characterless pen. I just want this for construction, and I don't want any characterful lines making things unclear because we will be doing a lot of construction. Okay, so let's try this. It's on 100% opacity. What about the size? Let's try it around, what, 10%? Let's take a look at that. Yeah, I will go with that size because I'm recording this. And then I've got to edit the video. It's got to get to you. But if I was doing this for myself, I might use a thinner pen size. And the reason for that as well as the reason for using a large file size is that when you're constructing a perspective drawing, you can end up using a lot of construction lines. And so if you've got a thick pen, all those construction lines will start to interfere with each other. And if you're using a very small file size, you simply won't have enough pixels there to put all the detail in. So two finger tap to do that. If I was setting up a file to work with, in fact, come on, let's do this now. Let's come to Gallery, let's swipe to the left and delete that file. I will come to my plus sign, and I'll come to new Canvas. I'm working with pixels, and the width and the height at the moment are 1024 by 1024, that gives me a maximum layers of 1,000. Come on, that's ridiculous. Let's try 7,000 by 5,000. Which gives me a maximum layers of 49. That is with my fancy Schmansi latest generation iPad with 16 gigabytes of RAM, which I need for my work. Your iPad may well have less RAM. When you're doing this perspective draw make your file size big. Just try and make sure that you have a maximum layers of, say, four or five, because all you're going to do is construct this using just a few layers. And then what you can do is create a new file and import your sketch into the new file at whatever size you want and resize it. Or duplicate the file, and on the duplicate, which are your version two, you can crop and resize that down to the size you want. I will go with 7,000 by 5,000 pixels, 49 layers, and that's easily more than enough. I will come to create. Do what we did before. Come to our background color. Let's choose a fairly light gray, and I brush now needs to be a little bit darker. We're good to go. Okay, so now let's come to our wrench icon again. Canvas is selected. I want to come down to reference and turn it on. I'm going to come to image. That picture you saw in the previous video. I put it into photos. There it is. Let's draw what Captain Secondary is seeing. Okay, so you can see from here, and hopefully you saw from the previous image, he's staring off into the distance. He has a path. He has a hut on the left, and a wastepaper bin on the right. Now, what did we say? If you're looking straight ahead, you're not looking up, you're not looking down, the horizon is going to be at your eye level. Alright, let's pinch in to make this a little bit smaller. And the first thing you'll do is draw the horizon. This sets where your eye level is going to be. And for this, let's make it about halfway up the page. So draw a line across, hold until I get assisted drawing, press another finger, or in this case, I'm putting my thumb on the screen, which constrains to a horizontal line. That is my horizon line. Imagine the only things you can see are the path stretching off into the horizon, the hut, and the trash bin. And so now what we're going to do is imagine that we're kept in secondary, and we're going to draw our picture on that sheet of glass in front of us. So zoom are a little bit. Well, I've got my horizon line. The next thing to do is to put in my vanishing point. For this, I'm going to put the vanishing point pretty much in the center of my screen, so about there. And all the objects in this little universe I've created will obey the laws of physics, and they will appear to get smaller the further the way they are. Let's start off by drawing that path. Well, that's straightforward enough. I come to my vanishing point, and I'm going to draw out a line like this, wait until a sister drawing clicks in. I'm going to put it here, then I'm going to come back to my vanishing point. I'm going to draw another line here. Now imagine Captain secondary is standing in the middle of the path, so that other line is going to be about the same angle as the first one. There's my path stretching away into the distance. But you can notice that path is made up of a series of squares all laid out on the ground. Alright. Now to draw those, I'm going to draw a line like this, wait for a city drawing to kick in, and I'm going to hold another finger on there to constrain it so it goes horizontally like that. Now, because those square path tiles are on the ground and they're going into the distance, you're not going to get the same distance going into the picture because now we're talking about going into the picture as they are, if they're going side to side on the picture, you're going to get something called foreshortening. And so the next line might be about there. And the next line might be about there and the next one about there. And you notice as I'm drawing them, those lines are getting closer together because the tars themselves are getting smaller and smaller and smaller until eventually they become infinitely small. Now, I think that one. No, that seems to be about right. These lines are getting closer together the further into the picture you go. And so the next question is, well, how do I know? At what point to put those lines? Like the next line I draw, is it going to be there? Is it going to be there? Is it going to there. Well, there is a way to work that out, and I'll show you that when we talk about two point perspective. But at the moment, we're talking about one point. So for now, let's just guess at it. Okay, look, I could keep on going, but hopefully by now, you get the idea that that path, which is a series of square tiles gets smaller as it goes off into the distance. Okay, great. The next thing, what about that hut? Well, okay. The first thing I'll do is draw a line which is going to represent the bottom of the hut. I would just wait until I get assisted drawing and let's draw a line say there. Now, take a look at that hut. The first thing I'm going to draw is going to be the wall which is closest to us, and then I'm going to draw that wall with the door and the window on, and I'm gradually going to build up the shape like that. Now, what do I know about that hut? Well, I know that the line that I've just drawn represents the ground, and the ground is below my eye level. So that line I just drew comes down from the horizon line. But I need to draw the end wall, and the rule is, with one point perspective, if something goes vertically and it's lying in the same plane as that sheet of glass which I'm drawing on, it's going to be a vertical and the line going left to right. Well, if that's lying on the same plane as the plane I'm drawing on, it's also going to go side to side so there, and it's there. And what about the rear wall? That's going to go vertically upward us, as well. Now, what about the roof? Now, we know that the roof is taller than us, and if that's the case, then if you draw a line, it's going to go higher than the horizon line. It's going to go up from the vanishing point somewhere above the horizon, and let's call it there. But then you get the corner of the roof where you get the end wall, so you're going to get another line going side to side there. Okay, so what about the far side of the hut? Well, there's the end wall let's call it about there, and that's also going to be a vertical line. And you can see, as I'm doing it, I'm starting to build up various different construction lines. And I think, actually this one bit of a mistake with that. That's at a slight angle. Let's redo that now. Okay, so the next thing is one side of that hut has a door and a window. Which one do I draw first? And the answer is, whichever one is closer to you. This is another very important rule when you're doing perspective. And so I'll show you, Look, I've got another vertical line here, which represents the side of the door, and then it's going to go back. Now, that doorway presumably is higher than our head, so there's going to be another line coming up from the horizon and heading upwards, maybe to about there. Then I've got the other side of the door coming straight down like this. Hold my finger down to constrain to a vertical line and if you notice, I did the nearest side of the door before I did the further slide. The reason you do that is because this can be complicated, errors can start to creep in. And so if you do the bigger stuff first and then make it smaller, those errors are going to matter a lot less than if you make an error on something very small, and then you project that thing forwards to you so things get bigger. Well, that small mistake is going to become bigger as you come closer. So always do the things closest to you first, and then if you have any lines like we've just done, which get projected backwards, big lines first, project backwards, then do the smaller. Let's just zoom in a little bit on this because that brown doorway is inset, what do I do with that? We'll take a look at it. That inset is on the same plane as that sheet of glass I'm drawing on. So for my base of the doorway, I do this, do a line, and also another line here because that doorway is taller than me, I'm going to see the underside of the top of the door frame. But now, let's draw a line going down, which is going to represent how deep that door frame is. And if you notice, I've got a point here and a point here, which represents the two bits where the door meets the door frame. So for those for both of them, I take a point outwards like this. And I project it past that point there, and now I have perspective for the roof, and I'll do the same thing. I'll project a line downwards. And project that line down so that it crosses that point there and carries on. And while we're here, let's take a look at that window. Now I can see from the picture, the top of that window frame lies lower on the building than the roof of the doorway. So maybe about that, is that the roof of it? And then take that, check that line backwards to the vanishing point. And what about the bottom of the window sill that looks like it's below eye level, yes, it is. So then another line is could come down below the horizon line. That's a little bit too far away from my vanishing point. Let's try and get that a little bit more accurate. Out there. And from there, vertical line straight downwards because vertical lines will stay vertical in one point perspective, Andrew another line here. That's going to be my window. Let's zoom in a little bit more, add another vertical line for the window frame on one side and another vertical line on the other side. And I'll move that line in just a little bit. It's going to be a tiny bit thinner than the other side of the window sill. But then take a line, project it forwards from the vanishing point to where the top of the window frame is going to be and another line from the vanishing point. There. Now, I can do this because I've got assisted drawing, so I have this elastic band. That is just one more example of why digital drawing is great. But now I've got a window frame in the middle. The horizontal bar of that looks to be about halfway down, so that's going to be about What about there? Take those two points, project them backwards to the vanishing point. And then we've got that vertical. Now, where would that be? Well, look, here's a little trick for you. I'm going to draw a diagonal line that goes from one corner to the other of the inside of that window. And where that line crosses the center point of that halfway alarm bar, that's going to be where that vertical frame lies. When you're doing perspective drawings, you're always measuring one thing against another. And it's actually quite a dry process of measuring. Let's make that a vertical line. I will come to the top where it says edit line, and I will move it around to about that, draw another line going straight down. And that's my window. And now, can you see what I mean when I say, use a big file? Do thin lines? Because already you can see, I've done these various different construction lines, and that building is looking very complicated. We will simplify that in just a second, but just before I do, well, we got that rubbish bin, haven't we? Well, that is to the right of Captain secondary. So let's draw a line coming down like this. About there. Now, I notice with this that trash can is closer towards us than the hat. Its base is still at ground level, but because it's closer towards us and it's below eye level, the bottom of that trash can in our picture is going to be lower in the picture. So let's make it about there, Constrain it by holding on my finger. And if that is the lower corner of it, there'll be a line coming up like this. Constrain that. It's quite a narrow trash can, so another line coming straight upwards like this. And then the side of the trash can going off into the distance, let's call it about there. Do a lineup like this, and let's say, this is a top of the trash can, constrain it. And so now I've got two lines to take toward the horizon. I've got this corner which goes all the way back to the vanishing point. And I've got this corner. Which is going to go all the way back. And then I've got a point here where two points meet, constrain with one finger, and there is my trash can. The first third is the top of the trash can, so maybe about there. Constrain that. A line will go back again to the vanishing point there. Then I've got a couple of little boxes there. So for the first one, let's just draw it in. And I'm just guesstimating this so it is quite rough because I'm realizing time is starting to move on. Now I need to draw the one on the other side. So again, I'm going to guesstimate this. A lot of the time you do end up kind of estimating stuff. You make your key measurements with lines going back to the vanishing point. But there comes a certain point you can get so overwhelmed that you judge it. And it looks good, it looks good. Now, the only thing I need to know is those lines going backwards. Well, that's easy to do. I can take this top line here and just extend it and this bottom line here and extend it until they hit the corner. And then if I take a couple of lines back from there, there's one back to my vanishing points. And there's the other one. Back to my vanishing points. That way, I can get the right perspective. Okay, so look, I've done my various different construction lines here. Oh, my goodness, wasn't that a labor of, I was about to say love, but that's not the word I want to use. Constructing perspective can be quite dry and it requires a lot of concentration and measuring one thing against another. Measure your new things against the things that you have already drawn, and you are confident are right. The next thing you would do come to our layers panel and create a new layer. For the layer we drew on, tap on that N, you get the apaste slider and you take the apaste back so that you can just see what you're doing. Come to layer two. Now you can either use a more character full pen if you want to draw on top of that or stick with a pen you've already got, but I would recommend choosing a different color. Let's try just a dark a darkish brown. What's that look like? Yes, I can clearly see that. And from there, you start drawing in the various lines that you did, and you ignore the construction lines you don't need. Like this. Okay, I'm just going to slow down at this point because I want to make a point. Let's just come to this bit here. I could have just drawn to there, let go, and then drawn to there, and then let go. If you do that, you always run the risk that you're going to get a slight mismatch in those lines. I'll make it a little bit more obvious. Supposing I was to do that. You can see the nearest part of that window sill is clearly thicker than the far side, even taking into account the perspective. So for something like that, go across, match it up. Then come to your eraser. I'll use the same pan to erase with, and then just come in and get rid of the bits that you don't need. Okay, we are there. I think I will come and turn off my reference. Then turn up a construction layer, and that is the view that Captain secondary is going to draw. Everything that goes side to side is going to stay the same. Everything that goes off into the distance is all going to travel to the same vanishing point. And that is the technique of one point perspective. In the next video, I'm going to draw the same scene, but from Zoe the Wonder cat's point of view. Just to show you how it's different, but also, I'm going to use something called assisted drawing, which is there to help you. But also, I want to point out some of the difficulties you are going to find with one point perspective. That's coming up. I'll see you in the next video. 53. Using Draw Assist: Okay, so previously, we drew our beautiful desert scene from the point of view of Captain secondary. Now we're going to do the same thing, but from the point of view of Zoe, the Wondercat. So I will come to my construction file, the large file. I'm going to swipe to the left. I'm going to duplicate, and I'm going to work on the duplicate, and I'm going to clear both layers. Come back to Layer one. What's it on at a pacity of 100%. My color, let's come back to the color I was using previously. That color, I think, is that right? And the same pen. But let's come to our wrench icon again. Call it reference, image, input image. And this time, we're doing it from the point of view. Of Zoe, the wonder cat. And there she is. Now, the two things to notice, which are going to be different from the previous drawing is that Zoe's eyes are a lot closer to the ground, and also she's standing to the right of Captain secondary, which means she has a different point of view or a different perspective. If someone's eyes are close to the ground, it means you're going to see less of the ground and more of the sky. So in the case of this, a horizon line is going to be a lot lower in the picture, like this. That is the far horizon as far as Zoe is concerned, and you draw it at eye level. You're going to end up with more sky and less ground because we are imagining we are drawing this from Zoe's point of view where she is looking straight ahead. And that's the thing about single point perspective, when you're looking straight ahead, your vanishing point is going to be pretty much in the middle of your picture because that's the middle of your point of view. You can move that point of view off to either side a little bit, but if you move it too far, things start to look strange. More on that later. Now, let's take a look. The first thing we did last time was the path. Well, in the case of Zoe, she is to the right of the path. So as far as she's concerned, the path is going to be to the left. So if I zoom in a little bit, the first construction line is going to be off to the left, and second, the far side of the path is going to be much more over here. Because Zoe is lower down, she's going to see even less of the square tiles that make up that path. If Zoe was a bird instead and was flying directly over the top, those square path tiles would look square, but Zoe is not a bird. Zoe is a cat. Zoe's eye level is really low down. So these various lines that make up the squares of the path are going to be a lot closer together than they were for Captain secondary. Oh, I must admit, at this point, I'm dying to tell you what you do to make the distances between those path tiles correct. But I'll save that until we talk about two point perspective. Okay, I'm not gonna keep drawing those backwards because by this point, we're thinking about the will to live, I'm sure. And actually, I think I might not have left enough space because what is right in front of Zoe the trash can. That is right in front of the Zoe, so that is going to occupy an equal amount of space on either side of my perspective. So it's going to be like that, is it? Maybe about there. Imagine that is the base of the trash can. The trash can is taller than Zoe, so the vertical lines of that trash can are going to go up past the horizon line like this. The top is going to remain horizontal because that bit of it is lying parallel to where Zoe is. Now, what about the upper third? Again, that is above Zoe's eye level like this. Let's just quickly zoom in and draw the little hole which is there. So that's what Zoe would see. Now, what about the hut? The near wall of the hut is further back than the trash canter. That's going to appear higher in the horizon. Maybe somewhere around here, but let's make a horizontal line. That will still be horizontal because it is lying on the same plane that Zoe is drawing on. Let's make the vertical line about there, but that's going to be towering above Zoe. So we're going to have to make that very, very tall, and then we're going to get the line going backwards to the vanishing point and the other line going back towards the vanishing point. That is the side of the hut with a door and the window on. Let's draw the rear part of it like this and there'll be the roof, which is going to go off side to side. The door frame, let's make that about there going backwards. Going down, like this. Add another line for the far side of the doorway, which I construct after I've done the near side of the doorway. Another horizontal line going across like this, and then coming down, meeting there. And another line going across where the two lines meet, that will be corner of the doorway, take a line from my vanishing point, take it up, project it past a little corner of the doorway. That will be where the roof of the door is, and same down the bottom. I'll do the window and then I'll block in in brown to give you the finished sketch. Okay, so now I've done my drawing. If I turn off my layer where I did all my construction work on, that is what Zoe sees when she looks out on the same landscape as Captain secondary, but from her point of view or her perspective. And if I turn on my construction layer again and I come and zoom right in, you can see sometimes I want to go back to the same vanishing point for all of these lines that are going off into the distance, but I didn't quite get it right all the time, but also there is an easier way of doing this. I will create a new layer, and this time, I'm going to come to my wrench icon again, canvas and come to this thing, drawing guide. If I turn it on, by default, I get this two degrid. Now we've seen in the past two Dgrids can be useful for all kinds of things, but we want perspective. So we come to Edit Drawing Guide to change the kind of drawing guide we have. And look here, two degrade, isometric perspective. Now, it may ask you to tap anywhere on the screen to set your vanishing points. As it is, I've got a vanishing point already here. So what I'm going to do is I'm going to come and put the tip of my pen on that little blue circle to drag it down to the vanishing point I had before. And you can see, I get a horizon line, but I also get all these lines radiating outwards. Now, at the moment, I have it set quite dark. If you take a look at that little rainbow bar at the top, just underneath where it says drawing guides. There's a little dot there, and if I drag it around, you can change the color of that drawing guide. Let's set it to about there. If you can't see it very well, you can change the thickness of it here, so it's either very thin or rather obvious. I will make it rather obvious because I am recording my screen. I want to be sure you're going to see it. I can also change the opacity there. I will keep that on maximum. I will come to Dan. The next thing I'll do is I will turn off that layer which had all my construction on there because that's just confusing things. For my layer two, that's the one with the final drawing, I will take the opacity of that write down. I'll just use that as a base because now if I come to layer three, that's my new layer, the layer I want to draw on with my new construction alliance. If I come to the little square icon, I will turn on drawing assist. Once I do, you can see I get a little message there saying, Assisted. Choose my pen, technical pen, same size, same color I used to construct things before now, watch this. If I draw a vertical line, that's not me with a very steady hand. Procreate knows if I'm drawing using one point perspective, my vertical and horizontal lines are going to be just that vertical and horizontal. So it gives me a straight line. I'm wiggling my pen around, but I'm getting a bang on straight line. Now, what Now what about this hut off in the distance? You do the lines closest to you first. But now I want to draw that line going off into the distance. If I do that, seen that? Look, I'll do a few more lines. Whenever Procreate sees a line that looks like it's going off into the distance, it will make that line completely straight. So this is really going to make my life quicker. But the thing is, I wanted to make sure that you understood the principles of one point perspective before we started using this to assist us because now you understand the principles, I hope. That's true. Horizontal line really easily. Oh, this is nice. Now you understand the principles. It's easy to apply those principles with a greater understanding. I'm starting to repeat myself. And look how quick this is. Now, stuff like this, that is a horizontal line there. It's going to get a bit confused because the line I'm trying to draw is so close to horizontal it doesn't really know whether it's supposed to draw a perspective line or a horizontal line. So just be aware of that. That can happen. And there was one thing hit that I wanted to show you. Let's draw this little letterbox, because at the moment, that is just flat. That's going to have a bit of depth in, isn't it? You're going to see a little bit of thickness there, so just take a point going back and a point going back, which is helt by the perspective drawing assist. And because it knows we're in one point perspective, horizontal line stay, horizontal, the vertical line state vertical. Now, there is one more thing. I just wanted to show you Supposing that hut didn't have a square window, supposing it had a round window, which fits just around where that square window is. Well, you can use construction to help draw that. For this, I'm going to have to turn off assisted drawing because what I want to do is draw a little X shape in the middle of that square, and I can't do that at the moment because the drawing assist doesn't realize I want to do that. So I will come to my layers, come to where it says assisted and turn off drawing assist. Now, I just use a quick draw function to get my little elastic band and connect that corner there. And that corner there. So I've got the diagonals. Now I can come and turn drawing cyst back on because there's lines going directly up and directly down. And those are going to be the axes of my ellipse. I will create a new layer. Doesn't have drawing cyst, I will come here and I will take the opacity down like this, come back to that new layer. Now, this is going to be easy. You use those guidelines I just created to create the outline of your ellips and I'm doing a terrible job of it at the moment. But this is what the circle would look like from a one point perspective, point of view. Let's make this even more invisible. But there is an easier way to do this. If I come back to my layer, I'll create a new layer. Draw just a rough ellipse like this. Edit my ellipse. I can move it into place. I can drag the axes down like this. But you'll notice with this, it's not being affected by the perspective. Well, show you a little trick. Let's make the layer behind it invisible and I will turn on transform. I will come to distort, and now I can take this and this. And I can take those corner points and match them up to the corner points of my constructed perspective ellipse. And that's how you can do an ellipse that obeys the laws of perspective. Now, listen to what I just said. I obeys the laws of perspective. That does not necessarily mean it's going to look good. Let me show you this. I will clear that layer. I will clear the layer underneath as well. I will use this layer to create a circle. Imagine there's a round circle right where Zoe is. Well, okay, that's not a problem. Let's turn on drawing cyst for that. And I will do a line here and a line here and a line. Here. Actually, no, what I will do is I will take those lines, and I'll extend them off to the site like this. So a line here, a line here, and a line here, I'm guesstimating here. And what I'll do is I'll do something about here. Does that look more or less in front of us with equal sides? Okay, that's fine. I will also do one A there, you do find the more extreme the angles, the harder it is to judge stuff like this. So I've got that. I will lower the opacity down a little bit. I will turn off drawing cyst for there. I'll turn off drawing cyst for here, and I will turn off the drawing guide here. So the only thing you can see for our purposes, is that square there, and that square there. One is right in front of us. One is way off to the side, and the one on the side has a more extreme perspective than the other one. Let's do what we were doing before. Let's come to a layer four. Let's change the color so it's a nice bright ish red color. Choose a different layer. Yeah. That's what I want. Nice, big red hole drawer and ellipse like we did before. Coming to Edi'elips and I'll take the corners. Yeah, just about there, and we'll do what we did before. Come to transform, distort, all I need do. Is take the corner dots of the ellipse, match them up to that background box, and in that way, I can construct an ellipse which obeys the laws of perspective and looks pretty good. Very accurate. Let's do the same thing we're having so much fun. New layer. Let's draw our ellipse like. This can be as rough as you like, because we are going to be using edit ellipse and we're going to match it up so that those dots side to side are lying on the right plane. They're definitely side to side. They're not going up or down like this. Let's repeat what we've just done. Take these points match them up like this exactly like we did previously. And let's take a look at that. Now, here's a question for you. Which one looks good, and which one looks odd? And now, you're not going to get a price for guessing which one. This one here, that looks great. That obeys the laws of one point perspective, and it looks fine. It looks realistic. It looks convincing. It looks like it's sitting in perspective because of that little trick we did where we did an assisted drawer and ellips and then matched it up to that construction box in the background. Compare it with this one, that also obeys the laws of one point perspective. You saw me draw the ellipse, and you saw me guided into place using the same construction box that we had before. Why does that look odd when the other one looks natural? That has to do with how we look at the world, and the way we look at the world is different to the way a camera sees the world, for example. T, let's show you this. Do you remember this original diagram? Well, in this, I did show you Captain secondary's cone of vision. Do you remember that? We only actually focus on small areas of the landscape at any one time. We need to be able to judge distances very acutely, so we have binocular vision, which means we focus on a particular point in space. And you can only focus on a very small area at any one time. If Captain secondary is drawing on glass panel in front of him, there's only a small bit that's going to be in focus, and at the moment, he's staring off into the distance. But if Captain Secondary wants, for example, to look at the rubbish bin, well, that's in his peripheral vision. So what he's actually looking at is going to shift down to about, say, here, so that he can focus on the bin. And then if he wants to look at the top corner of the hut, for example, his kind of vision, well, the bits he's looking at is going to be doing this. Where we are constantly shifting our eyes around, scanning to see where things are. Our eyes never rest in any one place at any one time, but you can see, I've got all this picture plane to draw on. Now let's take a look at what we just drew. Which bit of the picture are you focusing on? That's right. The vanishing point because the vanishing point is always in the direction you are looking at. And then if you wanted to go and take a look at the circle underneath or that hole in the ground, your point of view or your vanishing point would shift from where we've drawn it down to there, that would be a new point of view. And if you wanted to look at the back part of the hole in the ground, your point of view might shift to there. If you wanted to look at the front part, your point of view might shift to there. But with a drawing, you only get one point of view. You can't change that. You get your vanishing point and you've got to stick to it for the entire drawing. And that means drawing things which are outside the cone of vision of wherever you're looking at. Now, in the case of this ellipse here, if your point of view is shifted down to about that, yet it still looks natural. But the further outside that cone of vision you go, the more things don't look natural. Like, for example, that problem hole in the ground we've got off to the right hand side, you would never see that in real life. It would be outside what your eyes can see when you're looking at this point. Instead, if you wanted to look at that hole in the ground, you would suddenly come here, and that might be your new perspective. In fact, let's do that. Let's come, too. Drawing guide, edit drawing guide, let's come to perspective. And let's put that down to where your new point of view would be. Come to Dunn. And all of a sudden, it doesn't make sense, because that grid I used to help me draw up that ellipse is no longer the right grid. It's skewed off to the side. So this picture is obeying the laws of one point perspective, but it looks off because one thing that a picture or a photo can't do is change its point of view depending upon where you are looking. Just very quickly, do you remember this picture? Rafael Athens. And I said, Good old Rafael was smart. He didn't have those perspective lines going right to the sides of this very white painting. He kept those lines going backwards into the middle part of the painting. And also, there is a whole load of people in there who are well, they're the point of the painting. All these famous people from the time are in there. But they're standing right in front of all those rather awkward perspective lines, you're looking at people rather than lines leading you in and out of the picture at sometimes rather extreme angles. 54. Two Point Perspective, part 1: Okay, now, hopefully you remember this from a few videos ago. The French hospital Corridor. And I drew this cardboard box as a way of showing you how one point perspective works. Now, that is all just fine as long as I live in a world where I'm looking straight down corridors, and everything in that corridor is a square or cube, has straight edges and lies parallel to the walls. But what happens when somebody comes by and knocks that cardboard box off to one side so that it's at an angle to the corridor. It's not lying parallel. Well, for that, you need something called two point perspective. And if you're used to the idea of one point perspective, two point perspective is really not that difficult. It's just more of the same. Twice as much more to be exact. First of all, I will zoom in so we've got a little bit more space. We can see what we're doing. And for this, I'm going to need my horizon line. I'll make that visible again. If you remember, I put in the main lines of the corridor and where those four red lines met on the horizon line, that was my vanishing point. With two point perspective, your vanishing point is not straight ahead of you where you are looking because the things you're going to be drawing in two point perspective are lying parallel to the direction you are looking in. That's a bit of a mouthful, but if I show you this, I'll turn off my main lines. I will come to the layer with the box. I'll drop the opacity of it. I will make it invisible very soon. But I'm going to pretend that the box was knocked in such a way that one of the front edges pretty much stayed where it was and everything else pivoted around it. Choose my paintbrush. I will choose a color from these little blobs at the side, which I created, which are the colors of my original, and I'm going to just draw in that front edge for the sake of this demonstration, that was the one bit of the box that didn't move. But now that box has been knocked around, so I can't use these perspective lines anymore because my box doesn't lie at the same angle as the walls of the corridor. Instead, I need a couple of extra vanishing points now they will be on the same horizon line, but they're going to be off to the side. Like, for example, supposing I put one. He, let's move this across. I've got as much screen space as possible. Supposing I put one about here on the right hand side, can you see that? What I'll do is I'll create a line. It's going to be a rather thick line, but going from the edge of my box all the way back to that vanishing point. And then if I come to the bottom of my cardboard box at that point, I would draw a line going up like this, which goes upwards until it meets that vanishing point. Then for this, well, I'll need another vertical line, won't I? Because I need the back edge of that box. That's going to be not the same with here as the original box because things get smaller as they go up into the distance, and so that distance will be slightly less. Let's make a line about, say, there. And this bit here, that's the bit of my box that was facing towards me. Now it's at an angle. And then because this box is now at an angle to me, I'm going to need another vanishing point on the other side, two point perspective. So I will come and I will choose a darker color of the box. And let's create a vanishing point as far as possible as I can get away with on the left hand side, and then I repeat the process. I take the top part of that box and extend the line going back towards that vanishing point, then I come to the bottom of the box and do the same thing. Extend a line which is going back towards the vanishing point on the left. And then I need the rear edge of the box, and this is two point perspective. So the verticals are still going to stay vertical, and that is the rear end of my box, and I will make my original box invisible and just color in this new side. And from there, I will choose the color of the top of my box. And I wonder if you can tell what to do next. I need to draw the top of the box. I've already got two other lines that form of the box that's this edge here and this edge here, which doesn't show up too clearly against that floor. But we need two more edges to complete the top face of the box. And because this box has a lot of parallel lines, there's no funny angles there, the two lines are going to go back to the same vanishing points I used for everything else when I made this box, and I'm hoping that you'll be able to guess where those go. One of those lines is going to come back towards my vanishing point on the left, and the other one, which I can't see at the moment, let's just move across. There it is. The other line is going to come back to that vanishing point on the right. So there and now I didn't need to do any of those dotted lines. I just wanted to show you the direction of those construction lines heading in. And if I color that in, and let's just neaten this up a bit, I'll quickly use my arrays tool. There you have it, there's my box at an angle, but that is not a problem because now we know about two point perspective. Now, this particular box, it's not perfect. Because if there is one thing that trips everybody up when they are doing perspective is that those two vanishing points are too close together. And so you end up with a shape that looks like you've taken a photograph of it using a very wide angle lens with a camera. The angles are a little bit too steep. It can look a little bit distorted. I think one of the reasons for that, especially when people are learning, is that they have to put their horizon line and then their two vanishing points on the same piece of paper that they are drawing their object. And so you can get classrooms full of drawings done by students with very extreme angles to the buildings or whatever it is they're drawing. That simple reason, they have to put the vanishing points on the same piece of paper they're drawing on, and so the vanishing points are too close together. Well, that's not a problem. In the next lesson, we are going to go into Procreate because you can set up multiple point perspective drawings, but your vanishing points don't have to be on the same piece of paper or file that you're drawing on. They can be way off to the side, but we'll take a look at that in the next lesson. 55. Two Point Perspective, part 2: Okay, this is something you should be familiar with. This is when we were drawing in one point perspective, and you can see the various different construction lines just there. But now supposing we want to do something in two point perspective. If you remember, we had a drawing guide, edit drawing guide, and we came to perspective, and I could so up close and personal create my vanishing point just about that. And let's make the guide look a little bit more visible by dragging that little rainbow slider at the top to something we can clearly see. Let's make the thickness a bit thicker so that when I do take this out to video and it arrives on your screen, you can see what we're doing. Okay, we did all this, didn't we? And if we want to do something on this new layer, which I just created before the start of the recording, select the layer tap on the thumb now, come to draw on your cyst. And now, what have we got the same pan? That's good. We can draw whatever lines we want. They will snap. To either the perspective lines or vertical or horizontal. So far so good. But what about if we want to do two point perspective? Well, let's make Layer two invisible for a second and come back to our range icon. Edit Drawing Guide. I can move this perspective point to wherever I want, maybe do it around there. And if I just tap I create a new perspective point and I can drag that around. And if you notice, I can drag it up and down so that I can have Well, if you do something like that, it would be like you're tilting your head to one side so the horizon goes. At an angle. Imagine you're flying in an airplane and you bank. Now, it's not very visible at the moment, so come to a rainbow bar at the top, and let's make the guidelines. Okay, that white color. It's an idea to make your different guides different colors because this can get pretty complicated. Come to down, actually, you know what? I'm making it more complicated than it needs to be. Let's take this and drag it down. I said, as far as possible, it's level, and I'll drag it off to one side a little bit like this. Come to done. Now, Okay, look at the same layer. Supposing I wanted to draw a simple box. Well, if I'm looking down on it, I can draw a vertical line like this. I can take a line back and a line back, and you can see everything is snapping to either vertical or one of these two lines, it doesn't have to go directly on that white guideline. It can be anywhere in between. It will always snap. I think sometimes when people do this, they think it's got to line up exactly on the grid lines that I'm seeing. It doesn't have to. And then just drag something like that. I can draw horizontal lines as well, but usually you wouldn't do that. It tends to be either vertical lines or these lines going off into the distance. And so from here, I come up to top left, drag a line back, come to the top right, and there's my cube. If I just erase one or two bits, that's how straightforward it is. Now, that me looking down on top of the box now supposing. In the world of teaching people perspective, there's always flying boxes up in the air. Don't ask me why, but I can do the same thing again, just drag some lines backwards, always draw the shapes closest to you first, then go backwards. It makes life so much more accurate and easy. Drag your vertical lines. Neaten that up just a little bit. Oh, let's not forget to do the underside because this is perspective. If something is above you, you're gonna see the underside, aren't you? So there's our box. No, I want to create a new layer. And I'll make this invisible for a second. Imagine I was looking directly on top of a box. So I've got a straight line like this, straight line like this, straight line like this, and a straight line like this. That's me looking directly down on top of the box. Well, that's easy enough because I've already really kind of drawn that twice. One where I'm looking down onto a box and one where I'm looking up at a box, but there's square boxes. It's fine. The lines go straight back. But just supposing for this box, I have corner taken out of one bit. And imagine let's come on let's go wild with this. Imagine I've got a chunk taken out, roughly circular, like this. So I've got that shape. All of a sudden life becomes more difficult. The trick here is to plot things out. So what I'll do? I'll call my original shapes. I will take this off to one side, maybe put it here, and we'll have to imagine that we've got two views going on at the same time here, and I'll choose a different color. Let's choose this light blue construction color Now, what I'll do is, I'll just do this by means of demonstration. Supposing that bit I cut out of the bottom was this closest edge. Well, what I would do is I would look at my overhead view and decide, well, it's cut out about that much of my leading edge and the long edge, it looks like it's cut about that much. So now what I do is I just take a line straight down and a line straight down. And then I'm going to have to turn off assisted drawing because remember, it restricts my lines. And these lines that I'm going to draw in now like this one here, that's not lying on the same plane as those various different perspective lines. So just for this bit, I do that, come to my eraser. Get rid of these bits. I'm doing this as I go along. Normally, what I would do is draw the entire shape, then create a new layer and trace over the top, like you saw me do a couple of videos ago. And there's my new shape. I'm going to keep pressing do quite a few times because I want to get back to that original box like that. Now, what about semicircle? That's going to be more difficult, isn't it? And so what I will do is, I'll draw it on this side of my box here. And again, it's the same thing. This point and this point here, I figure out how far into that long they are cutting. So turn on drawing a sister gown. I reckon it's about there and about there. Draw two lines straight down because I've got a cylinder cut out of this. It's not just at the top. And then, well, that cylinder looks like it's cutting in about halfway into my box. Maybe just a little bit over. So about this point here that goes back now, actually you know it's gonna be a little bit more than that. Let's make it about there. That's as far back as my cylinder cuts in, but what is the furthest point? Well, that's okay. That's going to be halfway in between this point and this point because with a circle or a cylinder, the central point is always going to be halfway, so that's gonna be about there. And so from there, I take that point back and where those two blue lines cross just here, that is the furthest back point of my cylinder. But what about the bottom bit? Again, that's fairly easy. I take this line down until it meets the bottom of my cylinder, then drag that line back like this. And if I take another line down here, where those two points cross. I'm not going to see that, but it will act as a guideline when I come to draw in my shape. Now, I will come to red here. I will turn off drawing a cyst because now I think it's going to get in the way. But what I'm going to do now is draw a curve like this going around to that point there. Hold, and I've got arc created. I'm going to edit that arc. Now, this is going to end up being a little bit of guesswork, I reckon it's about like that. But the guidelines that I've put in are really helping with this if I come around to here, edit the arc, and it's going to be something like that. Let's do the same at the bottom. Now, I know that you can be as messy as you like because you can use the Edit arc function to create the arc using the guide I have set up here. Now, I did do something here, which really I shouldn't have done. I should have done all this construction, especially those blue lines on a separate layer because then I could just take them out. As it is, I'm going to have to do quite a bit of erasing. I'll do that now just so you can see the clear shape once I've erased the things that need erasing. Okay, only there. Oh, that was really messy. I really, really should have put my construction lines on another layer. I mean, it's digital art. That's one of the main advantages you have being able to use multiple layers. If I just turn off the drawing guide for a second, that is an example of how you would go about well, in the case of this cutting out a cylinder from a block or a short while ago, taking a piece out of a block. You take a series of points that you know to be correct, and that's usually going to be the closest edges. And then you take the lines back towards the vanishing points. You start with what you know, and then you plot out by taking lines backwards to create new shapes. 56. Constructing things in Two Point Perspective: Imagine you're on a fairly tall building and that block at the bottom is a building, and it's on a street and it's on the corner of a street. Well, that's easy. There's your street, and if it's on a corner of a street, there you go, Oh, hang on. I did the wrong way around there. I went from far away to close up, and it didn't quite work. So take a line back there and take a line back there. Turn drawing your cyst off. Zoom in maybe a little curve like this. Oh, that's very rough, but I can do another curve here. And yes, use hit the arc at the top. I get my two little control points. And it is so much easier with assisted drawing. Okay, so this is all very nice. Imagine somebody built a new building just a short way back. Well, that's not a problem. Turn on drawing cyst again. And they drew it to be the same height as the building we've got. So take a guideline back. Draw that there. Draw that there. Extend our lines backwards, always backwards. It's built to the same depth. How do we do that? Not a problem. Come to the back end of my first building until it meets. That is how deep our building is going to be and take the line backwards. There's our new building. What happens if someone decides to build a building in between the two, and it's not parallel to the first two buildings? What if it's at a slight angle? So they do the first corner, which is closer to the street there, and, of course, it's going to be taller. But like you say, it's not at the same angle. It's a slight angle. If that is the case, we can't use that vanishing point off to the left because it only works for any object which is lying in the same plane as my first two buildings. If that's the case, what we would have to do is come and edit our drawing guide, and move this, in this case, I'm moving it off screen. This is a huge advantage of digital. You don't have to have your vanishing points actually on the file you're working on. And so for this one, I can move this one and a little bit to compensate for that. Those are our new vanishing points and make sure, drawing sisters on. So now my new line is going to go back like this, go up again. It's going to come back like this. And let's imagine this is a very thin building. It's going to come back like this. So we've got a wonky building. Turn of drawing assist. Make the drawing guide visible because it's already getting very complicated, and let's do a little bit of raising to try and save your sanity. Okay, there we go. There is a street corner with two buildings lying on the same plane, one really awkward building at a slight angle, which is taller than the rest, so you don't see the top of the building. And the point of this is that two point perspective, yes, it works. And in an ideal world, because buildings tend to be built next to each other on the same plane, down the street, you can use the same two vanishing points to construct all those buildings. But occasionally, something will be there that isn't lying at the same angle as the buildings or the street. If that happens, you need to work out the two new vanishing points for those shapes that awkwardly refuse to lie in a neat grid pattern. Now, just before I go, let's come back to this drawing here. I did say there was a way for you to figure out the distance between these tiles as they go off into the distance. Well, you do that using two point perspective. And to do that, I will come to this later and I will make it so it's much more faded. Got the basic shapes, but let's set up our perspective, drawing guide, edit drawing guide, perspective. That was my original founding point. Let's put that right there. Make it thicker, make it darker so we can see what we're doing. Turn on drawing your cyst so this perspective lines will work. And I draw. Let's make this a little bit thicker I can't really see it. Let's draw our pathway going off into the distance like this. I'll do is I'll come in, and I'll put in my first marker. And personally, I think I left too much space there. Let's say that is my first square. And now I want to make all the squares going off into the distance so they are correct. Well, the first thing I'll do, I will make a layer. I'll drag it underneath. This is going to be my construction layer. I won't make the same mistake I made a few minutes ago, by trying to draw everything on the same layer. Come back to my brush, I'm going to change my color to that rather muted blue. Drawing assist is not turned on for this, so I'm going to come here. I'm going to come to the bottom corner. I'm going to draw a line going straight diagonal. And can you see what I'm doing? I'm making sure that that line goes through the bottom right corner of my paving tile and the top left corner, it's going diagonally. And so then what I do is I come back to my drawing guide, and I want a new perspective point off screen. Let's make it way off like this until imagine that blue construction line going back until it hits the horizon. That is where I want my vanishing point. I'm having to guestimate this a little bit, and this is a good example of why sometimes it's an idea to draw very large so that I have enough space to take my blue construction line all the way back to the horizon rather than ha to guess it, which is what I'm doing at the moment. I will make my line lighter so I can see more clearly what I'm doing. And if I come to it done, yeah, that looks to be about right. So now what I do if I take this point here and turn on drawing assist and take that line back so it goes back toward that second point. Where it hits the side of my path, that is correct. Point at which I draw horizontal line like this. Because, if you think about it, imagine this is my garden path looking directly from above. It's a bird's eye view. Well, these lines, these are the lines that were going off towards the horizon when we did our one point perspective. But you've seen me do this. I drew a diagonal line here, which goes off until it meets the horizon. Now in a bird's eye view where we're looking down from so far above, there is effectively no perspective. Every single one of those diagonal lines is going to go off in the same direction like we're seeing now. So the edges of the track, two parallel lines going off into the distance, things appear to get smaller as they go off into the distance, and so they come to a point. But it's the same with those diagonal lines. As they go off into the distance, they're going to appear to get smaller. They're going to appear to get close together until eventually they appear to go to a single point. And that's exactly what we're doing here. We're just taking the various different lines. And instead of those lines going parallel, they obey the laws of perspective, and they go back to a point like this, there will come a certain point where things start to get a little bit hazy, little shapes start to merge into each other. And if I just quickly go over that in red, I will make the drawing guide invisible, I'll turn off all that construction, plus what we had in the background. And that path going off into the distance because I've used those parallel construction lines, which because we're drawing in perspective, go off to a point, that would be how you do the correct spacing. You construct. And that is two point perspective in a nutshell, just in case your brain is completely fried, there's also something else called three point perspective. See you in the next video. 57. Three Point Perspective: Okay, so in the previous lessons, we have spoken about one point perspective, which is what we have here, where you're looking straight down a street, for example, and everything that you can see is either parallel to the direction you're looking at or as a right angle to the direction you're looking at. And then we spoke about two point perspective. Where instead of looking straight down a street, you're looking at an angle to the buildings. And so we got something like this. Now, what about three point perspective? Well, with one point perspective, you were looking straight ahead on a parallel street and two point perspective, well, that's what you get when you turn your head from side to side, and you might end up looking at something like this. The point perspective, well, that's when you're looking up or down, as well. And that is why I kept on saying, imagining you're looking straight ahead because once you start to look up or down, then chances are you're going to need a third point. Which really is not that hard. It's just more of the same. So let's take a look at that. Let's imagine that we're standing on a street corner, we're looking diagonally at the buildings. But also, I've gone up to, like, the sixth floor of a block of flats, and I'm looking down at the roofs of the buildings. Let's come to our wrench icon again. Come to our drawing guide again, come to Edit Drawing Guide. And so for this, I've already got two points here, so I'll take that point in the middle and I'll dry it across like this, and then I'm going to need a third point. And so I'm going to tap below to get that third point. And the reason I tap below is because each of these vanishing points, we've got three of them here, they represent one of the possible ways you could be looking like if I started to look more towards this point of view, for example, that would mean I'm turning my head more to the right. And the same with this one. If I was to turn my head to the left, I'd be looking more towards here. But for this one, if I was looking down, I'd be looking more towards this fanishing point here. Now, I'm going to zoom in a little bit so you can see the lines because I have to tell you that those turquoise lines do I have for that third perspective point? Those are fanning out way too much. The general rule of thumb is, if you've got your third point of perspective, and it's dealing with the up and down, it needs to be as far away as possible to stop everything from looking too exaggerated and also one more thing. If you're doing the kind of three point perspective where you're looking down on something, instead of having our horizon line low down, you have your horizon line much higher up in the picture like this. Now, can I get any more? Yeah, I can zoom out a little bit more, and I'm going to drag down my vertical perspective as low as I can. Can I get any more further down? No, Procreate's not letting me zoom out anymore, so I will come to Dunn and there are my grid lines. I'll pinch in just a little tiny bit. And now, we've got layer one for our construction layer, our brush, technical pen. That's the one we've been using. And I've got that blue color. I'm not sure how well that's going to show up against the color of the lines I've got. So let's change that to let's change it to that brownish color. So now let's do what everybody does and forgets to activate my layer, so I draw like this and think, why aren't my lines being constrained? To finger tap and two finger tap to undo that. Come to our layers, and, yes, let's turn on drawing assist. So now let's do that again. There's a corner of my street. There's another corner of my street. C turn off drawing your cyst, and let's draw a very rough curve like this. Be as rough as you like, because we're going to edit arc and we're going to turn that into a smoother street corner like this, drag the points wherever you want. And when you're doing this, try and get it so that the start of the curve is going in the same direction as the two lines on either side. If I make it like this, you can see the start and end of the curve are going in very different directions to my straight lines. So try and get it so it all matches up. In fact, I can zoom in. Let's do it nice and precise. And About there, one thing you'll find when you're doing this, you are going to have to move the curve from side to side, as well as up and down to try and get those two ends to match up smoothly, like about there. And you can see the center of my curve is not equal distance between the start and the end. That's just the way it's going to work out. Come back to my pen, and there's my smooth line. Now, what about my buildings? Well, let's say the nearest building start off about here. And I just did it again, didn't I? I forgot to turn drawing assist back on. So let's do it about there, and there we have the drawing assist. That's nice. I'll take it up to about this point here, and then I'll take a construction line going back on either side. Because remember, we always go big to small, and the top of that building is going to be a little bit bigger than the bottom of the building as we see it in this drawing. Let's do a line going down to about street level, another line going down to about street level there, and then take our lines back and where they intersect. That is the basic block of our building. If I zoom in a little bit here. When you're doing construction lines, don't be afraid to go a little bit further than you think you need, because if I look at this point here, I didn't go quite far enough. So if I try and do it now, okay, I got lucky here, but one thing you'll find is when you're trying to match up lines like I just did, you're going to be ever so slightly off. You don't want to do that. So top of the building, top of the building. There's our first building. In fact, at the bottom, come on. Let's do a doorway. Let's do a doorway. About here. Line goes back. Line goes back. Let's make a doorway a little bit inset. There, the only reference point I have for that is the bottom bit, so I have to take a line. There, you may have noticed when I'm doing this that sometimes I will take a line backwards towards the vanishing point, and sometimes I will take a line, like I just did here, from a certain point away from the vanishing point. That is because I'm constructing this drawing based on things I already know are in place. And in the case of this, that was the market I know is in the right place. And so that's why in this case, I draw away from the vanishing point. Now, come on, while we're here, let's do I'm not an architect. What do you call this particular bit This little bit that sometimes sticks out to stop people from getting wet while they're waiting in front of a door? Well, whatever it is, it's very, very easy because every single line I drew just then was either estimated or it was based off point in space that I've already constructed. Alright, so let's draw a couple of other things. I want to imagine the next building back is a bit lower, and it's also inset a little bit. So about there. Take a line up there. And because it's a bit lower, you are going to end up seeing a little bit more of the roof. That wasn't quite right. Come on. Let's make it a little bit more precise. And let's make a building on the other side, sticking out a little bit more, but even lower than that. So sticks out a little bit. Take a line up like this. I did say it's going to be lower, so let's make it like that. Take a line backwards, take a line backwards, and go from the existing point, take that backwards. Now imagine this is a street kiosk, for example. So we're going to have a window like this, there'll be a shelf there, so put on shelf. So whoever owns this can sell things. C put out things like newspapers, already, I'm starting to think with this my pen, which I'm using to construct these various different lines is a little bit thick, because the more things I put in there, because now I'm getting down to some finer detail here, if your lines are too thick, they can start to interfere with each other. Let's take this back a little bit until it meets the edge of the building. In fact, 'cause it's a kiosk, I'm going to make it fairly narrow like this. And so you can see what I'm doing here. It's basically what we've already been doing, but the only difference is I have three vanishing points instead of one or two. 58. The Human Figure in Perspective: Okay, do you remember quite a few videos ago, when we were in the section on construction, we used some simple shapes to construct a human form. Well, we're going to do the same thing now, but we've done a little bit about perspective. So I'm going to draw a human figure here, but I'm going to put it a little bit into perspective because it just adds an extra flavor to my drawing. If you look in comics, when people draw the figure in action, they'll use perspective all the time. Just makes things look a little bit more interesting. I'm not going to go overboard with this. It is going to be subtle, but hopefully just enough to make things interesting whilst not leaping out at you that's Hey, well, this entire comic was filmed using an extreme wide angle lens. Alright, let's get started. I'll make my figure a little bit larger so maybe you can put in a little bit more detail and maybe make it a little bit more mangay. The only thing I'm going to do there is the head is going to be bigger than it would do as if it were real life. So I'd like to make a start. I will do what I did before. I will start off using the rib cage or the chest area. It's a good place to start off. So my brush just to double check, is going to be DC fast sketcher. That is set to 2% size, 75% opacity, and the color I'm using to draw with is DC drawing colors, bottom row first color along that deep blue. Alright, so the first thing I'm going to do is the ribcage. I want to do a slightly Spidermanish forward jump. So when I'm doing that, my rib cage is going to be angled over a slightly forward. There's the sternum. There's the other side of the rib cage coming around, like this. If you remember, you've got the notch at the bottom, and you're going to get a bit of a circle here where the neck joins the whole chest area or the rob cage. Now for the head itself, I said, I wanted to make this a little bit bigger than it would be in real life. So I'm going to do the back of the skull coming around, like this, coming around again. Going into the chin area, let's do a little bit of a neck here. If I'm going to do that, let's anchor the orientation of the head by putting an ear in place. I'm also going to put in a center line to the face. It's not much, but it just helps give the idea of the head is not completely sideways. It's facing a little bit towards us. And while I'm here, let's put in roughly where the eyebrows would be, roughly where the nose would be and roughly where the mouth would be, assuming the mouth is closed. From here, the next thing to do would be I've got my spine going down the back. I'm imagining where that line is, and I want it curved. I want the whole figure to be curved forward. The only bit, the human body that is capable of bending is the spine. Okay, you can bend at the elbows. You can bend at the kneath the wrists, but the only line in the human body, should we say, is going to be the spine. That's going to come down like this, which is going to join the pelvis. Let's do the pelvis, put the pelvis in place. Gonna come down like this. I'm going to do an ellipse here for one side of the pelvis, and I'm going to have to imagine the llips on the other side is going to be a little bit like this. No, I've done that. I can always connect these up like this. Maybe the nave there. Let's try putting in the center of the body, as well, just to provide a little bit more reference. Now, what about the arms? I want this to be a hunched figure. I want the shoulders to be up up towards the ears, not by a silly amount, but if I put one shoulder about there, another shoulder about there, this should give the appearance of hunt shoulders but not too exaggerated. Now, once I've done that, let's put in the arms. Now I want an arm going upwards. What I'm trying to imagine is where the elbow would be. It's going to be, it's a point around there if I do a quick dot there, but that's going to come upwards round in kind of an ellipse, if I was to imagine the arm down at my side, in which case, the elbow is nuzzling just around the bottom of my ribs. Then if I raise my arm up I'm trying to imagine this arc, as to where the elbow would end up, and I think it's going be about here. Let's try and draw it around that, see how I get on with that. A little bit of a bulge for the shoulders there. For the forearm, let's cut in a little bit, not too much and draw it around about here. I'm going to put in a couple of contour lines. Remember, we discussed contour lines way back when we were talking about constructing just to give the impression of that arm being round. Now that I've done that, I think I can join the arms of the body a little bit, a little bit of definition for the lats. Also, there's going to be a line coming down here of the chest muscles which are going to join just around that little notch in the rib cage where the two sides join, but that will be a bit stretched out because the muscles going to be stretching because the arms up. Now, are you going to draw breasts? Well, they'll be around here, and the tissue tends to join close to the sternum. And if anything, I would rather suggest a breast rather than doing what I see where people do these ridiculously large breasts. I'm sorry. I just can't do that. So I'm just going to suggest the line of the breasts about there. I might just rb one or two bits just so the underside of the breast shows a little bit more there. Maybe bring this round like this, raise a little bit here just to make it clear that we've got a new line about there. From there, I've got another arm coming down here. I'm imagining, again, a point about here, just where the elbow on the far side would touch, and it's going to be swinging forward to about I want to make it about there. Now, I did say gonna do a bit of perspective. So for this, I'm going to make the arm a little bit thinner. I want to make things just a little bit smaller. As if it's filmed using a wide angle lens, but nothing too extreme, hopefully, and put a wrist about there. Now, before I go on to do the hands, let's do the legs, as well. Look, I need to find my anchor points, don't I? So I think there's gonna be an anchor point about here on the far side, there's going to be an anchor point maybe about there. I'm having to imagine I've got X ray eyes so that I can see through to the far side of the hips. From here, you don't just draw directly from here because don't forget the legs join the body, but there's a whole load of bum, as well. So this whole thing needs to come down by quite a bit below. So the whole thing needs to come down a fair amount below that pivot point and then start curving up towards here. At this point, I'm kind of guestimating where the knees are going to be. For the knees, I tend to think of them as being a little bit like a signet ring. Look, you've got the face of the ring there and it's bulging forward over it slightly, a little bit more towards the top. But then around the back, you've got the bit of the ring which joins, well, which you put your finger through. That is kind of how I imagine they need to be. So for this, I do the kneecap. That's always going to be either forward or the top side of the leg, and that's the point it bends from. When you're bending your leg, you don't try and bend it from the back. You try and bend it from the forwards, back. Otherwise, you end up with legs that bend unnaturally. Let's do the other leg and that's going to be a little bit in perspective. Coming down like this. Slight bend to the top, a little bit around the thigh. Again, that leg might end up being a little bit smaller than the leg in front. A little bit smaller is fine. I don't want it larger, definitely. But look, while we're here, let's do the calf of the leg in front like this. And the front bit, the shin, again, have it bend a little bit slightly, just beneath the knee and then straighten out. From here, we're going to come down to well, there's an ankle bone on either side, but I can only see one, and that leaves us with a heel. I'll have the feet pointing forward, I think, for this coming around. And for this, it's a bit unclear as to which direction the feet are actually facing in. So I'm going to put a little bit of a line there, which is slightly bigger towards the big toe end, just to suggest that this bit here is where the big toe is, and I'm just going to put another guideline here just to denote where the side of the foot is. Doesn't need more than that, because now you know what the orientation of that foot is. Let's carry on with this bit here again. I'm going to have it a little bit smaller maybe. Another bone there just to show me where the ankles are. I'll have this foot pointing downwards, I think. And also, because with this, we'll be seeing the insle of the foot, I want to make that a little bit more bent like that. Outside of the foot straight, inside of the foot, more bent. And again, put a couple little guidelines just to let me know where the side of the foot is and where the top of the foot is. Okay, finally, the hands. Well, for this, let's do a little bit more construction with this than we've done before. So let's start off with a hand in the distance. I want this to be a little bit smaller than the hand in the foreground in keeping with this whole perspective idea. I'm going to put a slight curve on top of the box. The box is slightly narrower at the wrist. It flares outwards, and then it curves slightly. That's where my fingers are going to go. And for this, the fingers are going to be pretty much the same distance as that distance there. Well, certainly the middle finger, which is the longest finger. I want to do a bit of a cartoon style hand gesture where you get the two middle fingers are kind of stuck there, and then you get the unix finger on one side and the little finger sticking out at the end, like this. And they're looking a little bit formless there. I'm going to put in there's going to be Three joints. I'll do the middle two just as one, three joints, so that's going to be two divisions there. As for the thumb, I'm going to put a ball to suggest the base of the thumb, and the thumb is going to have two segments. Now, that's the hand and oh just very quickly. Let's draw a couple of segments there, so it's all in keeping. That's bending back a little bit, just the two middle fingers, so I'm going to get my adjustments, my liquefied tool, make it a little bit smaller. I'm just going to take those forward a little bit because frankly, they're starting to annoy me. Make it a little bit smaller. That's a bit too big for what I need, and maybe take this one down just a little tiny bit. Okay, I'm getting a bit too fussy there. Look, what I'll do is I'll come onto the top bit. This hand's going to be bigger, and I want the fingers in a slightly more dynamic pose. So the first thing is that kind of square shape that I did, I need to be able to draw that, but at an angle, I need to see the side of it. So I want to draw kind of a shape like this. Come down there. From there, well, look, let's do the thumb first. I need a big ball for the base of the thumb there. If you take a look at your own thumb, look at the base of your thumb. That ball of thumb comes halfway along or halfway into your hand. And from here, let's draw a bit of a shape here. With the thumb, you go to bend it back just a little bit like that. And what about the fingers? Well, basically, I've got four divisions, which you can just about see here. That will help me show the base of the fingers. Now, when you're doing the fingers, take your hand right now. Hold the fingers straight, then bend your fingers forward. Can you see how the back of your hand or the backs of your knuckles, that's the point you bend from. You don't bend from the front of your knuckles. That would look strange. So use that to make your form decision when you're bending your fingers. They're going to be quite stubby like that, and I think I need to rub out a little bit there. That was too much. For my next finger along, my ring finger, I want it to be a little bit further forward. And you know I'm drawing the back part first, if you like the backside of the fingers. Those are the bits that are going to bend, and I'll draw a little circle here and then fill in the bits like that. Now for my next finger, I want this to be more up in the air. But again, I'm drawing from the back of my finger from there, do my little curves and then join the bits like that. For the very last bit, I'm going to have a finger pointing more or less straight up. The middle finger is obscuring what that finger is doing. So I'm going to have to kind of guesstimate it a little bit. I'm just again using my Xray eyes to see through. Okay, so now I've done that look like zooming a little bit. I'm just going to neaten this up ever so slightly because some construction lines look nice, but if they start to get in the way of what you're trying to do, then they become a problem. I just want to get rid of just enough there so you get an idea of where I'm going with this. Maybe make a slightly round bit at the base and maybe curve this line around here, smooth them out a little bit. Let's zoom out a little bit. Are there any more confusing lines? Maybe one or two, maybe this spine. It was necessary at the time, but now I feel it's starting to get in the way of the flow or the dynamics of the body because I want this to be a dynamic form. Certainly that chin, as well. Let's get rid of that. And once I get rid of it, you get much better idea of what's happening with that neck, I think I want to get rid of various bits around here, just to strengthen the idea that there is a leg there. I'm not erasing them completely. I want just a hint of them there, but definitely get rid of some of these little points, I was showing where the elbows would be in relation to the body. And I could keep on going with that. But the main point of this is, I wanted to come back and draw a human body, but do you notice, look, if I take this hand here, by selecting it, come to my transform. I'm going to move that hand over to the other hand. You see the difference in size. One hand is much bigger than the other hand, but I did that on purpose because I wanted to give a suggestion of perspective. And when you see it in context and off in the distance a little bit, then you start to realize that I'm getting that body in perspective. It's not screaming in your face perspective, but it does help create a dynamic looking and hopefully exciting figure. It adds to the movement. Okay, let's move on. 59. An Introduction to Shading, part 1: Okay, it is time we spoke about light and shadow because we've done things like contour drawings. But what's really going to bring your drawings to life and make them feel like they're popping off the page is effective use of light and shadow. So I did a few photographs. I've loaded them into Affinity Photo two. It could have been Photoshop. This time round, it was affinity photo two. And these photographs are off. A square rubber, which I cut in two, cut an angle off one of them, plus a white egg and a black rubber squash bowl. And they are all on a white, heavy paper sheet. What I've done is taking the same photograph but with different lighting conditions because that will let me start telling you about various different terms we use when we discuss light and dark. So the first thing is we talk about values. The light values, well, that's the whites and the very light grays, and the dark values, those are the black and the deep shadows, and then you have your mid values, you'll also hear people refer to the same thing as tones, light tones, dark tones, mid tones. It's nothing to do with color, how red something is or how green something is. It's all to do with a light and dark. Values. If I just take my color tab and take it down here a second. If you take a look at this area above, we have the histogram. This shows you all of the dark and light values. At one end, you have all the black tones and how many there are, as you start going towards the right, you start getting towards the mid tones, and you can see I have a whole load of tones here which are just a little bit lighter than mid gray. As you carry on, you get a falling off of the amount of lighter tones until eventually you get right to this end, which would be white. But you can see in this particular picture, there's no completely white tones. Which might be a surprise to you because well, I did say white rubber, white egg, white piece of paper that they're all sitting on. But that is the first point. Just because we look at something and say a white egg, it doesn't mean you're going to be using a lot of white when you come to draw it. In actual fact, let's take a look at this. I have my color slides down here, I will change this to grayscale. You can just see the color changing as I slide this gray slider around 0-100. But here's the thing. I have my color picker selected and I have it set so that whenever I click anywhere on my screen, it will take an average reading of the pixel I'm sitting on top of plus all the pixels around it and work out an average reading for the brightness of it. If I take it to this egg, for example, I click on it, I take a look at my gray scale reading. That is a value of 74% bright. If I come to the lightest point here, the brightest bits are 90% bright. But what happens when I come over to the shadow area? Let's take these mid shadows. That is 28% bright on a white egg. If I come to the deeper shadow bits, that's 24%, so that is the next thing. It's a white egg. Trust me on that, but its values, dark to light, that's very much going to depend on what kind of light is falling on it, which direction the light is coming from, and how much of that light there is. Now, in the case of this, there was one light source and one light source only. That was the sunlight coming in through my window and you can see that I have very soft shadow areas on the egg and the shadows in the background. That is because especially if you have, say, an overcast day, but it's still bright and you're close to your windows, those windows act as a massive soft light box where you got lots of light streaming in and creating these soft shadows in the background and the soft shadows in the shaded area of the egg. Just while we're here, look, we have that squash wall there. Do you call it softball in the states? I'm not sure. What about the color values here? If I go to the darkest point? Well, that's a value of 4%. That is pretty dark. What about the lightest point? Lightest value is 20%. Just before we go on to the next picture, the reason the egg is white and the reason the squash ball is black is because the squash ball, due to the nature of its material, absorbs a lot of light, which is why it has a very dark value. If you like its local value, that's the value that we all think it is when we think of a squash ball. That value is very dark, whereas the egg on the other hand, most of the light bouncing onto that egg bounces straight back outwards. It's got a very high diffusion value. It diffuses light straight back out at us. Lighter something is, the more it bounces light back out at us. Let's go on to the next picture values to sunlight and area light close. What I did was I took a photographic light. It's an area light which is 6 " by 4 ". That's 15 centimeters by 10 centimeters. I held it reasonably close to the objects. You can probably tell where I was holding it. I was holding it in my right hand and slightly above the different objects. The reason you can tell that is because of the shadows. Look at the shadow of the egg, for example. Well, if there's shadow, you'll find the light on the opposite side of the shadow. The light comes down, hits the object, light travels in straight lines, and so it can't get past the object because it's busy bouncing off the object. And so in the case of this area light, it can't get behind the egg on the left hand side, and so that's where you get your shadow. Okay, let's give you a few terms here. We've already discussed the local value. The egg has a lot of light values. The squash bowl has a lot of dark values. Now, what do we call the border where the light can light the object and the bit of the object that our light can't reach? Where does light start becoming Shadow. Well, that line is called the line of termination or the terminator. Let's go back to the previous picture. Yeah, with a single source of sunlight, take a look at these two erasers. Take a look at the smaller of the two. In the case of this, the angle bit of that eraser, it's receiving plenty of light, but the bit on the other side, that's not receiving the sunlight, but it is getting light bounced off the paper, plus also the walls in my room. They will be bouncing light around. But because eraser has got some pretty sharp edges, you get a sharp terminator. Compare that again with the egg, you get a gradual terminator. Just where I'm hovering now incidentally. This bit, the terminator, the light can be said to be bouncing off it at a glancing angle. The light is just scraping past it. And do you notice with this where we have the terminator or the glancing angle, that is where I can see most of the detail of the texture of the egg because an egg does have a slightly rough texture. You don't see it in these fully lit areas, and you're not going to see it in the shadow areas, but at the terminator, the light is just grazing the top, and so the light is going to pick out all the little ridges and ignore all the little valleys. And that is why on the terminator, you'll tend to find the most texture. You compare that with the squash ball. That is just so dark that even with the regular sunlight going onto it, you don't see much texture there. And also, if you take a look at the egg, there's a bit there which is almost burnt out, very, very light. That has a value of 89 compared to the areas around it, a value of 77%. That little highlight area is called just that the highlight. Compare that with the squash ball, which is not diffuse at all and also has a rough surface, you get a very dull highlight. Like surrounding area is 12, the highlighted area is 19. If that was a black snooker ball, for example, you get a much stronger highlight because a snooker ball is smooth. But the rougher the surface, the less of a highlight you're going to get. Okay, onto a couple of other terms, you get more than one kind of shadow. If we take a look at our first egg, the shadow on that egg is caused by the egg itself. It's just that the egg is so far turned round that the sunlight can't reach it, and that shadow, which is created by the object, is known as the form shadow. But you can see just underneath it, the object itself is creating a shadow on the white paper. It's blocking the light from getting to the paper, and that is known as the cast shadow. If we come to our second photo again, you can see form shadow just at the back of the egg. You can see form shadow just on the sides of the erasers. That's what's letting us know what the shape looks like. But also, my squash ball is creating some cast shadow on the egg. You will get two different kinds of shadow, while we're on the subject of shadows, you get more than one value in a shadow. Let's take a look at the shadow of this egg, for example. I come very close and I take a value reading, this shadow area, the darkest part of the shadow, seems to be around 18 and we got anything darker than that 17 15 even right around the back of the egg. If I compare that value of 15 and I come down to say this area here, it's still in shadow, but that is a value of 30, 30%, twice as much light in that area. So what's going on? Well, the light is coming down. It's bouncing off the paper, back on to the egg, and you can see some reflected light there. And from there, it's reflecting back onto the paper. Light bounces around, and the lighter the object the light strikes, the more it's going to bounce. And so in this part of the shadow, which is around the value of 33%, I've got some light bouncing from the light I'm holding up to the right onto the paper onto the egg, back onto the paper. I also have a little bit of ambient light. Just bouncing off the walls in my room. And when you're drawing, you have to take into account the ways in which light is bouncing. Okay, one more term for you before we move on. This bit here at the back, you can see how as the shadow gets further away, it gets softer before it disappears altogether. This particular bit is called the penumbra. Conversely, you're going to get the darker shadows in areas like here, which is a value of 12 ridiculously dark. That area, if you like, is the place where light goes to die because whatever light is in that area has come down, it's bounced off the egg, it's bounced off the floor, it's bounced up to the egg, it's bound to the floor. There's a little bit coming off the black squash bul, but that is creating its own shadow in that area. Every time light bounces, it loses some of its power and so it can't illuminate areas, and so you will find in the little creases and crevices, like this little creasy crevicy bit just underneath the egg. The light gets trapped in these small areas, and these darkest areas, they're known as occlusion shadows. Now, if anyone's done three D, quite a few years ago, all of a sudden everyone was talking about ambient occlusion. The way light dies in all the creases and crevices and it makes things look very realistic in three D. Well, it's the same when we're drawing. The more light bounces around in the deep crevices, the more you're going to lose it. Okay, let's move on. 60. An Introduction to Shading, part 2: Okay, I've got seven of these pictures all with different lighting conditions. They are available for you as a download, and they all have different lighting conditions. They're all there to make various different points. But one thing I do have to say, I tried to get these so they had a similar range of values, dark to light. So you had very dark areas and very light areas. And also the camera itself, I didn't set it to the same setting for every single picture because for one thing, I wanted to show you the maximum range of values so you can see the highlight areas and the shadow areas. Also, I wanted to make the point that when you are drawing from a photo, a photo does not see value the way you do. Now, I've already mentioned that a camera can lead to inaccuracies when it's taking photographs with perspective, but it's the same with value. And for the same reason. When you look at this photo, your eyes are going to be looking maybe at the egg overall, then you'll focus highlight maybe then you'll take a look at the terminator here and you'll look at the cast shadow plus the form shadow in this area here because you've learned about it. You'll be looking at the reflected light in the shadow of the egg. You'll be looking at the highlight on the squash ball, which is lighter because I'm holding the light closer. But that's the point. Your eye is going from one area to another. A camera doesn't do that. The camera took all of this in 128th of a second, I think it was, and so it has to make compromises. When you look around, when you look at the shadow area of the squash pool, the iris in your eye will get bigger to let in more light so that you can read all the detail in those areas. Conversely, when you look at the light bit of the egg, the iris in your eye will get a little bit smaller, so it lets in less light so that your eye doesn't get overloaded with all that light. Your eye is always adjusting to the amount of light it's looking at at any one particular moment, and for that reason, you can pick out so much more detail in the shadow areas and the highlight areas than a camera can. A camera has to do it all in one take. Your eye doesn't just to give you an example of that. This is light room. Now, a camera is capable of giving us photographs that we can composite together, which means we end up with a photo that acts more like the human eye does. I very simple terms, this photo here is very, very dark. But you can see plenty of detail in the highlight areas on those white buildings and on the sloped and circular roofs. On the other hand, here's the same photo with a whole load of light coming into the camera lens. You can see now all the detail on those roofs is blown out. It's just white. There's no detail there, but we're getting detail in the shadow areas, which we just couldn't see in the previous photo. You can take this photo and this photo and maybe another photo with in between values and you can put them together to create something like this. This is known as a high dynamic range photo where you stack photos together with different exposures to draw out as much detail as you can. And so with this, if I look at this little swimming pool, well, if I was actually there, my eye would adjust to take in that amount of light and so I could see the detail. Then if I looked at the top of this roof, for example, my eye would adjust again so I can take in that amount of detail. If I come up to the shadows in the corners just above this roof, my eye would adapt to let in the right amount of light so I could take in that detail. So this photo is behaving much more like the human eye than a regular photo. Now there's been quite a bit of criticism of this technique from, shall we say, more traditional photographers, because it takes away the art of light and shadow to create an evocative photo. Let's move on. The one thing I wanted to say with this was, Okay, we've got all this bounced light going into the shadow areas, and you can see there's quite a bit there. Let's take a look at the local color in a well lit area. That is 85% bright. But if you look at this area here, well, that still looks really, really bright, from looking at that, I would expect that to be somewhere pretty close to 85% bright. Let's find out. Nope, it's 57% bright. It's quite a bit darker. And that's the point. The top of the egg? Well, that's direct light. The bottom of the egg, that's reflected light. Reflected light is never going to be as strong as direct light. And one very common mistake that people make is making the reflected light in the shadow areas too strong. It's never going to be as strong as direct light. What about the light in the terminator? What's that? That's 43%. So look, just go quickly through it. The high light area marks 100%, that's a bit blown out. For the direct light area, that's 82%. For the terminator, you're looking at 58% for the start of the shadow areas, 43%, going back into the reflected light, that's 56%, or what about the shadow areas? Where's the dark bit? Just hiding. Underneath the egg, that is 27% bright. What about the light bouncing back from the egg into the shadow areas? That's 33%. What about coming out towards the penumbra, that's 21%. 20%, 23%. As you go further out, 29 cent, 39%, and then we get to the paper. Compare that with our squash bowl, which has a rougher texture. 54%. 61%. Great. As I go away towards the weld area, 33%. Go towards the terminator, 18%, go towards the shadow area, 9%, go towards these deep shadow areas. Eight. Oh, a little bit of reflected light here. 26 there. Ooh. 8%. So if we're coming to draw these, you have to bear in mind that I've got 54% in the highlight areas of the black squash ball and in the terminator where you're starting to get the shadow, I've got 47. So the highlight of that black squash ball is very similar in value to the start of the shadow area of the egg. Now, I would never have guessed that just by looking because I look at the black ball and I see the highlight, and I think, Oh, wow. That's a highlight. It must be bright. I compare that with the start of the shadow area on the egg, and I think, well, that's a shadow area. It must be dark. I'm making assumptions. Assumptionits, nearly got me again. Come on, let's move on. This is still sunlight, but with the aerial light at a very low angle. Take a look at the values of the egg, 100% highlight, the lit area, 84%. Take a look at the terminator area, 41%, take a look at the darkest bit of the egg. 15. The light's coming from pretty much the same direction, and that light is pretty close. When you get the light source close to the object you're drawing, you'll tend to find you get a great difference between the lit areas and shadow areas. Also, you can see the shadows are getting longer because the light is placed low down. The lower the light source, along with the shadows. This one, the sunlight, there was some there, but the area light was set to practically right in front of the camera, it was just above. So that would be a difficult thing to draw because everything looks flat. The lights coming in straight towards the objects, compare that with the previous those will be much easier to draw because the light is coming in at an angle which helps define the form of the objects because we're getting much more definite form shadows. That's that one. Let's take a look at this one. That is just the aerial light from the front. There's no sunlight there. A little bit of sunlight helps soften things overall. But this is just stark. Imagine drawing that and then trying to draw that. That's going to be much more difficult to draw because there's no form shadows helping to define the form. There's also very small amounts of cast shadow because the light is coming from practically where we are looking. So when you're doing your drawings or you're setting up something to do a drawing from it, think about the light. If the light's coming in at an angle, usually to the top right or the top left, looks the most natural, that's going to give you the most to work with in terms of light and dark. Finally, this one here. This is where I closed the curtains and I took my area light and I moved it so it was quite far away. Now, the area light, well, it's six by 4 " or 15 centimeters by 10 centimeters. Because it's an area light, it gives softer shadows. But if you compare this picture with, say, this one, take a look at that shadow. That's fairly soft because my area light is quite close, and so the middle of my area light, yeah, that's shining directly at those objects, but also the sides of my light can reach just a little bit around the edges of my objects like the edge of my egg. Not all the light. If you take a look at this area here in the deep shadow, there's no light coming from my area light there. If you take a look at this area, of the ground. Well, all of the area light is hitting that. If you take a look on the outer bit of the shadow, most of the area light is catching that directly, so quite a bit of light. As you go towards the middle, only part of my aerial light is touching that particular bit of the paper and part of it isn't. You've got a value of 59, just the start of the shadow 46. In the middle, it is 35 where some of the area light is catching the paper and some of it isn't. As you go towards almost complete shadow where only a little bit of the area light can catch it, that's 27. And when you go right into the shadow, we've got a value of 20. That's where the area light close. So you get soft shadows with the area light far. You're getting some harder shadows closer to the objects and the shadows are longer, but as they go away, they gradually get softer towards the penumbra. All right. That was quite a lot of information to take in. I wanted you to have a thorough understanding of the concepts as well as the various terms we use when we're talking about light and Doc. Now that we've done that, come on, we need to draw. So let's do that in the next video. 61. Shade Basic Shapes, part 1: Okay, if you are still with us and you haven't fallen asleep after that long explanation of the different terms we use when we're talking about light and shade, let's draw the egg and the ball and the eraser. I am going to come to my wrench icon. Then canvas is selected, and I'm going to choose reference turn it on, and I've imported a file from my photos library. This particular one is value 03, sunlight and area like behind because I think this gives me plenty of different things to talk about. Now, I know the canvas looks suspiciously like an empty white area, but it's not. This file is called shadingbsiczer one dot procreate. It's available as a download. And if I come to my Layers panel, you can see there's actually some different layers with white shapes. These are the shapes of the egg, the ball, and the erasers. Look, if I come to my background color and I make it a different color, there can you see now. I have the different things on different layers, and that will make our life easier because in this tutorial, I only want to concentrate upon shading. So the size and shape and position of the various different objects, I've already done that for you. And I'll start off with that dark squash ball and we'll take it from there. So back to my background color. Let's make that as white as everything else in this file. Ball is selected. Also, if you zoom in very closely on this, you can see I have the shape of the ball, but also the background is a checkerboard pattern of medium and slightly darker squares. That means that that layer is alpha locked, and that means I can only draw on that layer where there are already pixels. And the only pixels there are in the shape of a ball, which is white at the moment. But let me show you what that means in practice. I have DC pencil medium selected, that's fine. For my color, I'm going to go pretty dark with this. I'm going to go top row and eighth one along. That is a pretty dark charcoal. I'm doing that because the ball itself is very dark. And if I come over to my settings, I'm on 100% opacity at the moment, and one by brush size, I'm going to want it bigger than this, because what I want to do is scribble in that area to get everything looking dark, and then I'll work lighter afterwards. Okay, so I'm just about to start. But one thing I would say is, if you are going to follow along with me, don't follow along just yet because I'm about to do something wrong deliberately so I can illustrate a point. Alright, so, like we said, we've got our ball right there, and if I just scribble, there's my ball. And what's even nicer is. You see my erasers layer? If I take that layer and just hold my finger on until it just skips up slightly like that, I can drag and rearrange the layer order, and when I let go, my erasers are now in front of the ball, which is how they appear in the picture. All of these layers that you can see in the layers panel, well, that's called a layer stack. And the higher up a layer is in the layer stack, the more it appears to come towards you or in front of the things below when you're actually drawing. Now, let's zoom in here. And so so far, come back to my ball, which has Alpha lock selected. Let me just turn that off a second, and Oh, dear. You see with Alpha lock not selected, I can draw wherever I want. So two fingers to undo that. If I turn Alpha lock on again, though, I'll try doing the same thing, and you can see in my brush trying to make marks, but it can't. That's what Alpha lock does. So far, great. Okay, so the next thing I'm going to do, let's just make this a little bit bigger. So that you can clearly see what I'm doing. And I think that's actually tilted around a little bit. Yes, it is. Let's get it at the same angle as my reference image. The next thing I'm going to do is I'm going through a arrase. I've said this several times in the course, you can erase as easily as you can make marks. So I'll come to my arrays tool. I will choose the same pencil DC pencil medium. Now, for this, I want my press size. No more than halfway up. That's 22%. The reason being is, can you see that pattern gets bigger or smaller? As I change the size. And if it's too big, it's gonna give me rather relevant texture to the one I want. Although, I can experiment with it. The next thing is my opacity is definitely not on 100%. That's way too strong, way too fast. So I'm going to take the opacity way down. I'm going to take it down to what? 22%. And then, well, the first thing is, I've got that highlight so. If I just start brushing very lightly over a pretty wide area like this, that's starting to work. And you can hear my pencil in the background. That'll be the screen protecton making those noises. I'm going to drop my opacity down even more down to what 7%. Let's try that because I'm getting a bit of a sharp terminator here where the light becomes dark, I want that to be even more subtle. I'm just working on the outside edges of that highlight I'm starting to build up there because I notice it's a very gradual transition. I will stop there. I will take my pasity up to where is it there, 22%. Let's try that again. I'm pressing very lightly just on the outer edge of my squash ball because there's some light reflecting off the egg just on the side of it. Can you see that? So let's include that. There's also a little bit of light just at the bottom. Which looks like it's reflecting off the paper underneath. And now I've done that. Let's work on that highlight. So about there, it's a smaller, sharper highlight. Let's take the opacity up to 50%, see how that goes. And, yeah, that's starting to work. Now, I could keep going with this, but before I start getting too pleased with myself. Let's come back to my ball layer, and you can see now the entire layer is dark. This is all very well, but what would happen if I decided to change my background color? Because this is just a very stark white. And this is the first time on this course we've used plain white paper. I've always tried to use colored. It's more interesting. But look, if I come to my layers panel and come to my background color and try and alter the color to something. Well, let's come to our palettes and DC paper colours. If I choose an off white color, that's not too bad. If I chose a slight creamy color, you're starting to get creamy highlights on that ball instead of plain white. That could be fine for you. Because if the lightest color on your piece of paper is that cream color, then that's pretty much what you'll get. But what if I wanted to change the background color, but I still wanted that local dead white colour on that ball area. Or at least you wanted the option of either this new tinted highlight or the original dead white highlight. In which case, what I'll do is I will come to my gallery. I will get rid of that file. And I will duplicate my original file, shading basic 01, and start again. And if you are going to follow along, now's the time. And if I open up my layers panel, that ball was set to Alpha lock. It's a useful way of working. You've seen what it does, but well, look, I also wanted to show you another way of working, which is very common in Procreate. I just has one or two advantages. So I will come to my ball layer, I will turn off Alpha lock. My ball layer is selected. So if I create a new layer, it's going to be just above my ball layer. If I then tap on this layer and come to clipping mask, Did you see that? I now have a little arrow that's pointing downwards, and the icon for the layer is just a little bit inset to the right. That means that layer is attached to my ball layer. And if I come back to my pencil again, it's the same pencil, I can still make my marks like this. But those marks will only appear where there are pixels on the layer underneath. Look, if I take this and I turn off clipping mask, so it's just a regular layer, all I've got is a big blobby area. If I turn on clipping mask again, I have this nice tight outline. Similarly, if I come down to my ball layer and I'll choose a simple white and I draw just a little bit off to the side. Take a look at my ball layer. You can just see I've drawn a load of white pixels just shooting off the side of the ball. That means these pixels on the top, which are shooting out in black can appear because there's pixels underneath them. But if I hit the undo button again, they disappear. So the clipping layer, you only get pixels appearing on the layer above where there are pixels on the layer below. Let's turn on a reference. Come to image, import image. For my photos, Library, there's same thing as before. Same thing here. Come to my layers panel. Take my erasor layer, stick it above. Oh, just with erasers because I dragged it on top. It's now clipped to this ball layer. I don't want that tone clipping off of that. And do what we did before. Let's come to our eraser, same eraser as before, and rinse and repeat. Press lightly as before. Let's take the opacity up so I get some sharper texture there rather than building it up gradually, which means I would get a smoother effect. I want something a little bit textured there. I think I've gone a bit too far with this. That is not a problem. Let's choose our brush again on this time. Hang on. Drawing colors eighth one along on the top. Let's use that. Let's take our opacity weight down. Brush size 12%. That'll do the job. Let's make it a bit bigger. What's that? 22%. And just gradually knock back some of these highlights I was getting a little bit happy with this. Sorry, I said happy, excited. Come on, I'm allowed to be happy. Knock that back there, a little bit at the bottom, a little bit at the side. And one final thing come back to my raise tool, I want the br size pretty small. In fact, no, a bit bigger than that. Let's try 12% just at the bottom, I noticed there's a bit of a local highlight there that I want and carry on with this. Make everything darker overall, like I said, I was getting a bit excited. And I will call that done for now, although I may come back to it. Now, if I go to my background color and I change it to something else, you can see that highlight doesn't change because I erased various parts of my layer five to create those highlights on top of that ball. And so what you're seeing there is the white color of the ball layer underneath. Well, that's all very nice. You've got your highlights there, but what if you wanted your highlights to be the color of the background. So it looks like the paper is showing through in those areas. Well, that's easy enough. Come to our background layer. DC paper, colors, let's try, say, top row, ninth one along. No, let's make it a bit more obvious. Middle row, last one, tenth along. Come to D. And then for the ball layer, well, yes, I'm going to turn on Alpha lock again. Come to my colors, same color as before. And now, paste right up. I normally do this with a solid brush, but I don't want to get things too complicated. I can now scribble over that layer, and now the ball is the same color as the background. So you now have the choice of that or that, and ultimately, it's more flexible than Alpha lock. I'll just turn my background back to the same white as these various shapes I've got. I think that's enough. But now, I will stop and I'll come back to you in the next video where we will carry on. 62. Shade Basic Shapes, part 2: Okay. The next thing, let's take a look at these two razors in front of the ball. Angel, let's zoom out a little bit, because we're now about to start doing the white objects. And I'm trying to do that against a completely dead white background. So what I'll do is I'm going to zoom in a little bit so that I can see the background right up against my reference window. So you see the light gray of the background against the complete dead white of my background color. And so now I'm going to come to my background color. I'm going to see, I can drag it around to any color I want, but I'm going to take it back to white and gradually take it down until I get some kind of gray there that is close to the colors of the background in the photo. If I take it so that the top right is almost invisible in my reference window. Well, that's the color of the paper in the top right, but if I take it down and so the bottom left part of my picture becomes almost invisible, you can see there's two different shades there, so I'm going to take something in between. I've got kind of a grayish color rather than a dead white. That's probably going to help me with my erasers. In fact, you know what? For my erasers, I'm going to be cheeky with this. I'm going to take my reference window. I'm going to drag it over. And I'm going to zoom right in just where those lightest areas are. My erasers are selected, I will temporarily turn on Alpha lock. Oh, come on. Let's be really cheeky with this. I will come to what I think is the lightest point on my erasers and grab the color there. And I will paint the erasers in that tone. Is that really so bright? Let's take a look at one or two other areas. Yeah, there's a bit in the top right hand corner of that eraser. Did they get that or did they get the background? It's hard to tell. Yeah, which is just a tiny bit lighter than what I put down. But I keep on calling those the white erasers. In actual fact, they're not. They're kind of a grayish color. But then my problem is, when I take a look at my reference image, I can see that the top of that eraser is actually slightly lighter than my paper background. And so do you see the problem going on here? As I'm working through the picture, I'm having to make compromises. Now, these compromises, you wouldn't really notice them if you were just drawing this using a piece of paper, but because we're using digital, well, the advantage is we can compare colors and values, which is what we do directly against each other with incredible accuracy. But the disadvantage is we can compare colors and values against each other with incredible accuracy. Whole point is, that paper that all those objects are sitting on, the color value is varying slightly as you go down the screen. Look, I'll show you. Those are my bright colors. I I set my color there. I've got the color now stored. If I come down to this point here, the top half of that semicircle is the color I'm currently hovering over. The bottom part is the color I've got. I just got the color from the top right, and when I compare it with the color on the bottom left, you can see it's a couple of shades darker. Oh, dear. And so by measuring things as accurately as I'm doing, on the one hand, it's great. It makes my life easier, but unless I'm going for a complete photo real representation of this, which is frankly too much like hard work, the other alternative is, I have to make a few compromises, so the picture looks right. And in the case of this, I'm going to come back and choose the same color. I lay before, and I'll make things darker as I go on. Okay, that was a bit long winded, but let's turn off the alful lock. I will create a new layer to fit on top and buy a razor layer, set it to clipping mask, like I did before. Now, what color were we using? Were we using this very dark color because I wanted to get the dark of that squash ball. But now I've got a bit of a problem because that color is very dark to be laying down some light to medium gray tones. The answer for this is going to be very low opacity. So take the opacity right the way down to what, 10%. Try that. By size, I've set that to 22. And for these top areas, I'm just going to put down a very light frosting, which you can barely see just on the top areas. Now, you're probably thinking, Well, I can't see anything. Let's try making this layer invisible for a second. Let's make sure you can see it and make this top layer invisible. Hopefully, you can see that things just got a tiny, little bit darker, just a tiny bit. And then I'm going to create a new layer on top of that. I will set that to clipping mask. So this new layer I've created is also attached to my eraser's layer. Now, let's do a bit on the side. And this bit on the side is just a tiny bit darker than the paper that's just to the right of it. Alright, now, let's do this eraser, I'm doing pretty smooth strokes. You can see where my brush cursor is bouncing around. And yes, it's going over the border or the edge where the side of that eraser turns into the top, for example. That's right. I don't mind that. Just putting down these areas, not worrying about the edges. I'm just putting down the tone. And you can see it's darker in the bottom bit, definitely, than it is in the top. While I'm here, just a little bit of dark just at the bottom. The other eraser there. I think I can see just a tiny bit of dark just where the side of the eraser turns into the top there. But of course, you're looking at this, and you're thinking, Yeah, but what about the edge? Okay, come to our eraser. Certainly a paste to 100%. Let's make it nice and small. And Start making marks like this. And remember, whatever we can brush on, we can take away just as easily. I'm going to have to guesstimate this a little bit, aren't I? I've got a line just here, which is running parallel. So what I'll do is you can see my cursor making empty brush strokes. I'm just following the line of this digal bit of the eraser. And once I'm confident that my hand is at the right angle, then I start making the brush strokes going down like this. Going parallel to the first strokes I made until I get where I think the edge of that eraser is. Now, what about the bottom bit? Again, I will repeat. I'm making dummy brush strokes here. And once I'm confident my hand is at the right angle, I will take my entire hand back make my arrays marks until they get to the corner. Now I think the top bit needs to go down a bit further. Same thing for the top. I pass it on 100%, M one or two dummy marks, then bring this down like this until I touch. A corner of that eraser. And again, come down like this. Okay, I can do it this way or for the sake of showing you another way of doing it. Come to my selections and see how I'm tapping out a series of points here. I'm not dragging, not like this. I'm letting go and tapping, letting go and tapping down, and then come back to complete what I've done. I will clear that. Instead, now that you know what I'm doing, there's this area here wasn't there. And the reason I do that first line, even though it's not going to do anything is just to give myself a little set of marching ants to act as a reference guide. Two finger tap to do that and drag this up so this new line which I'm moving now should be pretty much parallel to the marching ants on the other side because that's what's happening on the side of the picture anyway there. Because only that area is selected, I can come to my layer seven and I can come to clear, and only that part of the layer, which was inside the selection is going to get cleared. Everything else is fine. But you can see the problem with that. That edge is very crisp and we're very well defined, whereas that top edge, for example, which is more what I want, because I still want to get that feel of pencil on paper, I'm gonna have to come back in with my eraser and just tease that edge. So it's not quite as severe as it was. And you know what? Quite often, I see tutorials where people say, Use the selection tool, then you can get nice crisp edges. Actually, I'm not so sure about that because the edge that you get when you do a selection is very, very sharp. Maybe you don't want that. Okay, last thing with this primve on, I noticed that I've been a bit timid with this edge here, it's at a slight wonky angle. Yeah, those sides are a little bit more parallel now. Same with the top and the side. I was a bit too timid, but come on. Let's get this looking a little bit more like it should look. Okay, we're happy with that. Look, I'm happy enough. I can always come back later at some point, but what I will do is I will come to this layer and I'm going to merge down. Then I'm going to create a new layer. And turn that into a clipping mask because I want to repeat the process, but what I don't want to have is load and load of different layers. Now, this file is smaller than the other files I've given you, and that is so people who don't have such powerful iPad as the one I'm using aren't going to run out of memory because we're using quite a few layers for this. So the file size is small, but sometimes people will use dozens and dozens of layers, they don't name them and they can't figure out what those layers are for. So, create a new layer, and when I get to a certain point where I think, that's what I want, I'll go with that, then I'll merge it down with a layer underneath and carry on. So pencil paste low, press size fairly large, which is giving me this mottled texture, which is what I want. So now, just come to this area here, clipping mask is set on, so. I'm not going to go over the edge on the left side. I am going to go over the edge on the right side, but I don't mind that. Definitely a bit darker at the bottom. But looking at this side I'm doing now it's not quite as dark as the right cheek of that smaller rubber. So before I get too carried away, I will put a little bit just towards the top to add a little bit more definition. Then into my erasol it's set to 100% and then come in and get rid of all the stuff that I don't need. When I was hit, listen to that sound. I'm just doing this all in one go. When I get to the critical bits, you can it I'm doing individual brush strokes. That's because if I mess up, I've only got one brush stroke to undo. Whereas if I do all this, and then I realize, Oh, I've got it wrong. One undo does all the work that I've done. I may not want that. So nice and careful with this, we are allowed to turn our picture around. I just come hit and just get rid of stuff hit. Of. I wonder if there's anyone out there thinking, Well, no, you can't do that. It's too easy. It's cheat. Oh, come on, please. This is digital. You take advantage of every opportunity you've got with this. Now, look at that. That definitely needs more of an angle on it. Alright, that'll do for that one. What about the small of the two? Well, let's just scribble hit. Incidentally, look, let me quickly show you. If you're looking at this and thinking, don't like the grain of the pencil, well, you have the choice. You can always use DC Pencil Extra fine to do the tutorial. That will give you a finer grain, or you can make the size of the pencil smaller. And if I scribble like this, because the pencils size is smaller, you do get a slightly finer grain. But if you want to do this exercise or any of the other photographs and you want to finer grain, DC PentilEtra fine will do the job. Anyway, where was I? I'm having to judge this because one thing I haven't got yet is the shadows on the piece of paper. To really mix and match these values so they look good next to each other. I do really need that. And so this is why quite often with drawing, it's a case of doing one section, then doing another section, then going back to your original section, revisiting and seeing what you can do with that. Okay, pretty much there. Now, I notice with this, I've got a slight curve on this. Here we are. Do that. And I think that edge just around the bottom should be a bit darker on the right cheek of that smaller eraser. That's not a problem. Come back to our pencil. I'll make it a little bit smaller and just darken this up. I am going to met this layer down, but I can also draw on it. I don't have to just erase Let's make the opacity. Come on. Let's set that to 50%. Let's try and keep you awake for this. Yeah, and just that little bit make the brush size a bit bigger. Just that little bit of extra dark that is helping to sell the form of that a bit better. Layer panel, merge down. New layer, clipping mask, and paste down. Brush size up because the last bit is This bit, let's do it. All over. This bit is darker than the blow bit. It's a bit darker at the top. But I notice there is a slightly lighter area just on the edge. So let's try that. Come a razor, nice, small, set full. Again, this is slightly curved around, isn't it like that? And there's a ****. And let's take this edge here. And, let's do this bit here as well, there's a little bit of dark down there. That is a pencil mark, which came off my knife when I was doing the cutting. I'm not gonna worry about that. I'm going to leave it. My breast size pretty small, and I want just a little bit of a slightly lighter area. Just here. Undo that a few times 'cause I haven't quite got what I wanted, and then a paste set very low because I think it's too dark in one or two places. I'll take some of that back, try and get an in between tone. Now, looking at this now, I've done nearly as much as I want to do with this, but I want the tops to be just a little bit darker, so set my paste really low and just go over this again. There was a point where I thought, Okay, those tops are about the right value. But now I put down the sides of my erasors. As I said before, you have to go back in, you have to do various different adjustments. I have just a tiny bit darker just against the side of that dark ball. Too dark. And while I'm here again, I think, again, I think the side of that eraser Cdc being just a little bit darker again. I know it's local color is white, but on the shading there. You take the lightest, whitest thing you can possibly think of and you stick it inside a room where there's no light, and it's black. So it's all about the lighting. Local color, yes, but also lighting. Okay, look, I'm going to stop here because I'm looking at it and thinking, Yeah, I want to do this, I want to do that. But time is moving on. This is about showing you principles, not you listening to me agonizing over the value of one shape relative to the next one. So let's move on to the next video. 63. Shade Basic Shapes, part 3: Okay, so the neck shape the egg. I save this one to last because this is probably going to be quite a challenge. I was talking with some of my friends at the live drawing class the other day, and we were sharing stories about the things that you have to draw when you're learning how to draw. And one of the things that came up was a shoe. Another thing that came up was a crumpled soft drink can. And when you're painting and you're learning how to do values, an egg is part of your journey, trust me. So let's make a start with it. One thing I would say, though, is in these videos, I'm concentrating on the individual objects. If I was doing this for my own benefit, by now, I would have put another layer on and added the shadows because they form a very important part of placing your objects in space. And also, you kind of need them there to compare your color values, so you can go back and modify, like we were talking about in the previous video. But look, let's get started. Let's come to layer seven and merge it down, like we said we were going to do. And so you'll notice that the ball has one clipping layer above it. The erasers has one clipping layer above it. I always want to keep that clipping layer above the ball layer or the erasers layer. I don't want to merge it down so they're all on one layer. Otherwise, I'm going to lose some flexibility. So come to the egg. Creation new layer and come to clipping mask. Now, the thing about this layer is I've got a little highlight there. I think I'm going to cheat with this. I'm going to come to my background layer. And for now, oh, this is a tricky one, because my background color is slightly lighter than the background at this point. So at some point, I'm going to have to fudge this. Maybe when I come and do my shadows sofa now, I'm gonna come to my egg layer. I'm gonna turn on alpha lock temporarily. And I'm going to cover the whole thing in almost the same white as my background, which makes it a little bit difficult to see. Not a problem. Come to palettes, choose DC drawing colors and eighth one along. Right now, for this, drawing size can be big. In fact, I want it to be big because I have a lot of very soft shapes in my egg. And trying to do that with a very small pencil is going to be a bit of pain in the backside. But I also want a very low pasty I'm going to take this down to what, 9% and come to the outside. Of my egg and just very slowly and gradually build up the outline like this. This is gonna end up being darker. But I just need to see where the actual egg is. That'll be nice. Definitely got a darker bit here, but I'm pussyfooting around a little bit. You see where the terminator is, the bit where the direct light fades away into the shadow area. That's a bit I want, and it's kind of an elliptical shape. So for this, I have to make slightly elliptical brushstrokes. You can see why I'm doing it, and gradually, you can see I'm building up the form of the egg like this. And I can definitely see that terminator, that area where the light becomes shadow is deeper color than towards the bottom of the egg. That is more to do with reflected light. And just quickly, I think I showed you this in the previous video, but if I put my finger on and set the color to the top of that egg. Well, when you look at the bottom of the egg, you can see all this reflected light from the paper it's sitting on, and you may be thinking, well, what great. That's the same value as the lip part of the egg. I mean, look, there's a lot of reflected light there. Well, okay, we have the local color here of the lip part of the egg. Let's go down to the reflected part. Remember, the bottom part of that circle is the color we've already got. The top part of that circle is the color that we would get if we were to let go, I E, that's the bit of the egg we're looking at right now. And look at the difference in value. There's a huge difference there. That can really trip people up. But we've got digital technology, so we can measure it. I want the bottom part definitely to be in shadow. And when we draw the shadows underneath, you can see they're quite a bit darker, so that will appear to make this bit lighter by comparison, but let's keep on going. Let's keep on building up our tone. We need this bit to be darker. Well, look, your pasta is on practically nothing. Let's take it on 5%. Temptation can be after a while to think, Well, come on. Let's up the apaste and get this done quicker. But especially with a soft object like an egg, the more color you put down for any one brushstroke, the harder that brushstroke is going to appear to be. Look, sometimes it's nice to see the brush strokes. But for this, I want to try and get as smooth g as possible. Now, I think with this, I've gone as far as I can go with this particular level of pasity. So I'm going to take this, I'm going to take this up to 20% now, but I'm making light brush strokes. And I'm having to concentrate some of these brushstrokes in some of these darker areas. You can see the bit at the front. Well, that's the bit, which is in shadow from my squash bowl. And actually, it's pretty dark. And there's a bit at the back. One that's built at this terminator, a little bit more. Built this bit here. Alright, I'm just going to fade back in. I've had to do some undoing because look what happened. Somehow I managed to pick up this medium gray color. That's not what I want. I need the same dark because I'm trying to make this like a drawing where you use one tone and you vary the pressure of your pencil or in the case of this, you vary the pressure and the opacity. Otherwise, you're kind of painting. So opacity. Let's take this back to 10%. And again, make light strokes I'm getting to the stage now where I need a little bit more on my terminator, just to get that transition from light to dark, but I'm starting to need some darker stuff on the actual edges. So for this, I'm going to take my paste to 20% now and make some darker strokes to really start to bring out the form. Just a little bit more on this terminator. And I think I'm getting here, but it's very hard to judge this without the shadow underneath. But I think there's a darker bit down here. And then if I come to my eraser, set it to about 50%, I want it set fairly small in size, so I've got 4% there because there's a little bit of reflected light just on the underside of my egg. Just a slightly lighter area just here. Okay, last thing I'm going to do make my bras size a bit bigger, crack my paste up to 100% because I want to put in. Actually, no, that's 100%, yes, but smaller brush size 4% because I want to put in that highlight, make my brush size a little bit bigger and press not quite as hard. And just tap for that slightly mottled highlight that I've got here. Very subtle, but it's there. And also, I noticed there's one or two slightly little bits there. That's too strong. I'm going to put the subtle bits here, and let's take the opacity down to 22%. And there's just a little bit of light bouncing around just toward the rate of the egg. So paste 50% because that's not quite strong enough. So just about there. I've got to be careful with that because I can see it in the photo, so I think great, put it in there. But someone coming to the drawing won't see that, and they may be thinking, Well, is that supposed to be there? Is that just something where they didn't get the shading quite right? But look, I've got my basic shapes there. I'm nearly there with this, so the final thing to do is to put on the shadows. 64. Shade Basic Shapes, part 4: Alright, so let's put some shadows on there. It definitely needs those shadows because I probably need to go back and do some tweaks to balance up the values of those various different objects. But at the moment, they're just floating in space. They need the shadows to ground them to give a sense of where they are. So, come back to my layers panel, I will come down to my lowest layer, add a layer, then I'm going to drag this layer underneath all the other layers. Come on, let's rename it. Shadows and return, let's get started. As my brush. It's the right brush. I'm going to put this on a lower pasity 20%, and let's start off with the. Well, look, I know the angle of my wrist and how it works, so I'm going to toss the whole thing round like this and start making circular strokes like this. Keep it nice and light. And I can see one of the darkest areas is. Come on, let's make this big. There's a definitely a darker area down the bottom here, all around here. And you can see, as I start to do that egg immediately. It's a happier egg. It's sitting on something. Karen going And I'm aiming for a fairly smooth, consistent valley underneath because then afterwards, I will go in and start erasing areas. Now, also the panumbraRmember, the penumbra, that's this bit. That, you can see, is a softer edge shadow than the other bits. So I want to try and keep that soft edge there. That is about as far as I want to go with that shadow, come to my eraser, again, make it very low and big because in the central area close to the egg, I've put a little bit of reflected light there. I want to include that. And I've done that, come back to my pencil, and I want to just beef up the shadows just in one or two areas. Especially when you're doing big areas like this, lots of light scribbling and trying to keep just nice smooth strokes of your hand. Now, what about the other bits? I want to keep this at an angle because this is the angle I find most comfortable for doing this. Alright, well, I've got that ball. That's coming on doing this. Art layers wonderful things you can draw behind objects, which you can never do with traditional drawing. Now, a shadow is a shadow. I know that's an obvious thing to say, but I need to try and get this broadly the same value as the other shadow for the simple reason that it's absence of light on a white piece of paper, so where there's no light there, you're going to get the standard shadow which is going to be similar in value with variations from reflected light like at the bottom of the egg, and also the penumbra, is going to be a similar level of softness. It's a case of bouncing up the shadow with the egg, and I think that's a very similar set of values. Because that squash ball is so dark and it's absorbing light, it's not bouncing back into that shadow areas the way the egg is. So you're not going to get as much reflected light in there. Oh, there's a very deep bit of shadow here. This is a very common thing. When people are doing shadows, they get a bit timid and they don't do the shadows quite strong enough. Quite often you'll find when you're doing shadows, sometimes it's hard to see where the object ends and the shadow begins. Alright, I'll go with that. Now, let's do these erasers. There's more of a straight line going on here, and there's a very sharp bit here, which I will probably erase when I come to refine this a little bit. In general, I think the shadows on these erasers are a bit more interesting than either the egg or the squash ball. They're definitely darker than the eraser themselves, but maybe because the different angles, you're getting some rather interesting effects going on here. Come on, that's definitely darker. That needs to be darker. Now, this is a very good case in point. You see how deep the shadow is underneath that shorter eraser. But at the moment, what I've got, it looks like it's floating in mid air. That's got to be darker. So for that, my brush size doesn't need to be smaller. And I really do need to build up the shade in that area. See, now, it's starting to work a bit better. A little bit here as well. My brush size back to its original size. Back to being smaller because I need a pretty sharp angle here and fairly dark just underneath the base of that eraser there a little bit darker there. Then when I come to my eraser, crack up the opacity, make it nice and small, and I'm going to try and get just in this one area a fairly well defined shadow like we've got in the photo. Make my brush a little bit larger. I'm not going hard with this. I don't want to overdo it. That's as much as I want to do. Come back to my pencil tool and just extend that line. Let's make it a little bit bigger. We were on opacity of 30, brush size of 12, and just extend that a little bit there. Now, I could keep on going with this because I keep on seeing little bits of reflected light in there, but I want to wrap this tutorial up because I've now got a good opportunity to talk about what I've been saying for a while. Now that I put the shadows in there, I can start to judge the values of my objects. Let's stay with these erasers for now because now the shadows are there, I'm going to come back to my erasor layer that's clipped to the erasers, brush is selected, and I'm going to take the opacity up to 50%. Brush size 12%, because I realize there's more bits so with this bottom of this eraser, can you see how I'm getting a little glowing edge just on the base of that eraser? If you look, those edges almost blend into each other. So make my brush size smaller, but I want to go over this line here just so it almost disappears, then come back to my shadows and build up that so it's slightly darker. Then come back to my eraser layer and I'm flipping in between two layers, just trying to balance those values against each other. B size bigger because I need that darker area to extend upwards a little bit. That's a good example of what I was talking about. Having to go back and revisit. Oh, now take a look at this bit here. I'm still on the eraser layer, but this is way too light, isn't it to be darker. And like I said, it's not until You put in the values next to an object that you can start to judge the values of what you've already got. Come back to my shadows that needs to be darker down there. Make this a bit bigger, and did my shadow come back to my eraser and deepen the side of this? I could keep on going with this. There's certainly plenty of areas now that I've got all the valleys working next to each other. I don't want to go back and start fiddling around with. Like, for example, look, this bit here, I can see just a tiny bit on my shadows layer. Now, I'm wondering whether this is just a bit of sharpening that's been done by the camera because what I can see is a slight lighter rim just around the side of that ball, which I'm not sure you would get in real life. Sometimes when a digital camera sharpens an object to make it stand out, it'll put a light in a dark border on the actual object, and I think that's what's happened here, actually. I think that works better visually in a drawing when I don't have that slightly lighter area. So, in the case of this, I'm saying, I don't care what the camera says, I'm doing it this way. Let's take a look at egg. Wow. Now, take a look at that reflected light. That is way too light. So I paste right down, size nice and large, and garage build up? Reflected light. It looks like my terminator needs to be a little bit darker, as well. And I think the very bottom of that egg needs to be a tiny bit darker just so it's starting to sit against that shadow rather than floating above the shadow, if that makes any sense. Yes, you want shadows definitely to place your objects. But you want your objects and the shadows to be part of each other. What you don't want, which I'm getting a little bit on the bottom of this egg, is the feeling that that object is somehow floating above the shadow. But also, bear in mind, this is a drawing. People know it's a drawing. And so you are allowed a certain amount of artistic license with this like with this shadow. Come on. Let's make this a little bit deeper, a little bit deeper in this area here, which I can see in the picture. Okay, there comes a certain point where you have to say enough. Close my reference. Pinch outwards. And yes, I'm looking at this thinking, Oh, I want to do this bit, I want to do that bit. But the whole point of this is not for you to listen to me obsessing over my drawings. The whole point was to show you how you can go about shading in a different series of objects. And I'll just repeat things I've already said on this course. Your arrased tool is every bit as valuable a tool as your brush tool. Layers are your friends, and in the case of this tutorial, you've seen how we can Alpha lock layers so that you can only draw where there's already pixels on that layer. Or you can add these clipping mask layers, which are more flexible, but they're more layers, so they take up more memory. And whenever a layers clipped to a layer below, you can only draw where there are already pixels on the layer below. But also from a drawing point of view, you saw me draw these basic shapes. Then as they added more shapes around them, I went back to my original shapes and tweaked the values because it's only when you see the values next to each other that you start to get an idea of how accurate what you've drawn actually is. Okay, so you've got this file you've got shading basic 01 Procreate. What it suggests you do is you import it and you make a duplicate and you work on the duplicate because you also have seven different variations of an egg, a squash ball, and a couple of erasers. And so you can practice your different lighting setups using the same file because all the objects there are in the same position. And I suggest you do practice with these. The reason I chose them is because they are a broad selection of simple objects to start off with. You've seen me do this. You're really going to start to get the benefit when you start doing it yourself and try with different brushes. Try with DC pencil extra fine in case you want less of a pencil texture on your work. Alright. Enough talking, I will speak to you in the next lesson. 65. Shade Basic Shapes, part 5: Okay, let's add a tiny bit more to this project because I realized I was getting a little bit precious with this. I was saying, Oh, no, we've got to use the same pencil throughout. So we can emulate what would happen in the real world. And so I chose the pencil I thought would best match that squash ball, that slightly rough texture. And yeah, I could use the same pencil to draw the erasers and the egg and the shadows. Then I had a word with myself, and I thought, Oh, come on, stop being so precious. People use different pencils when they're doing a drawing all the time. And so I went back in Annie's DC pencil extra fine, and I readd everything apart from that black squash ball. And I came up with this. And simply by changing my pencil and just doing what I'd done before, I was able to get a texture to the erasers and the egg and the shadows, which were closer to what I was seeing in the photo. Now, there were also a couple of other things as well, and I think it would be a good idea to mention those now. I made the background a little bit darker. I forgot to go back and edit that when I was finishing off my drawing. And here's a couple of other tricks, as well. Looking at this, I think maybe the shadows are a little bit dark. So that is not a problem. I come to my layers panel. My shadows layer is selected, I'm going to come to that little N on the right where I'm circling, I'm going to tap on it, and I'm going to adjust the opacity of the shadow layer. Look, if I take it right the way down, that's what it looked like before we put shadows in there. And again, with this, when you're altering the opacity or when you're using a slider, don't look at the slider, look at the effect it's creating. And in the case of this, I think it's not by much, but I want it just lowering just a tiny little bit. Maybe about there. Now, what have I got? 95%. So just a tiny bit, but it's helping glue the shadows into the picture as a whole. So it's just lowered by 5%, but I feel that works better. Also, I noticed when I did this, if you compare, say, the erasers against the squash ball, those edges are a little bit harsh. This is a problem that you don't get in the real world, but you do get it within digital art too harsh borders. And the reason that's happened is because I have my eraser layer there, and the edges of those white blocks that make up my erasers layer are just a little bit too harsh. So I'll turn on the shading on the clipping layer above that. Okay, watch this. I'm going to come to my brushes. I'm going to come down to airbrushing. These are some of the factory presets. I'll use soft brush. I will make sure it's on 100%. I'll also make sure it is very small. 2%. Then I'm going to zoom right in on, say, the top bit of that eraser. And you can see it's looking a little bit too harsh against the squash bowl. So come up to where it says adjustments. Then come down to Gaussian blur. Then you see where I'm circling, tiny little triangle, tap on that, and I have a choice here of layer or pencil. At the moment, it's set to layer, which means that any changes I do will be applied to the entire layer. Look, let me just show you this. I put my finger on the top left, and I slide until eventually, and I discover a bug within procreates. I've seen people mention this on the various different forums. If I have Gaussian blur set layer, sometimes you can't drag a little slider along at the top. In that case, look, we need to use a pencil anyway, so I will come back and tap on pencil there. You see at the top, I get a slider. That is currently set to 60%, which is way too much for our needs. But I can put my finger on that blue slider. And slide it left to right. That increases or decreases the gaussian blur. I wanted to decrease this right the way down to. Well, let's take a look at 4%. You can see my brush there. I'm going to make this even smaller. 1% if I zoom right up close and personal. Can you see how that edge is getting blurred? But the problem is somehow it set itself to 4%, I need this to go down further. That's 2%, and even within 2%, if I slide around, I get a little bit of a change. I want this down to 1%, and I want to gradually fade this edge next to that squash ball. Now, at the moment, it's very obvious, but if I zoom right the way out, it's almost not noticeable. It's only when you start to zoom in and you compare the top edge of that erason on the right with the one on the left that you start to see. Well, yes. There is a slight difference, and what I want to do is put a little blur on those borders because you'll find if you're doing, say, a digital photograph, for example, you'll take a photograph of something and you say, y, that's a hard edge. It's only when you zoom up close like we are now that you start to realize there's a lot of in between pixels between, say, a light border and a dark border. And that's what I'm doing here, pulling just a few pixels along the border, which blend one edge into another. As I say, when you zoom out, it won't appear to make much of a difference. Well, you won't notice it, and that's kind of the whole point. It has to be a subtle effect. But it will help to soften the border just slightly between one object and another, as you would see in a digital photograph, and it will stop those erasers from appearing to be rather harsh and standing out a little bit unnaturally from the background and from that squash ball. So I will tap on, say, my Layers panel to commit to that. Let's just come back in and I will just two finger tap to do that. That was before this is after. It's giving me just that little bit of extra polish. On the drawing. Now, I've done that with erasers. Now, what about the egg? Yeah, if you take a look at the border of the egg against some of the darker bit of the shadow, it's looking a bit unnatural. So I will come to my layers panel. I will come to my egg layer. Oh. I will tap on it, and I will turn off Alpha lock because if Alpha lock is on, this is not going to work and do what I did before. Come to my adjustments, come down to Gaussian blur, Gaussian blur is on at 0%. Out there now. Now, if I drag with my finger, you can see the effect as a whole. And what that's doing is taking the white areas and blurring them out. And so you're seeing a little bit more of the scribbles I put on the layer above, which is the actual shading layer. And for the sake of showing you another way of doing it, I'm going to be lazy. I'm going to just slide this entire thing down to 2%? Yeah, let's try 2% and come to my layers panel, just to commit to that. Let's two finger tap to undo that. And then three finger tap to redo. And the only way I'm really gonna tell with that is if I two finger pinch inwards to re slice my canvas and two finger tap to undo, three finger tap to redo. Yeah, that is helping my egg to settle into my picture and kind of relax a bit into those shadows in the background. Okay, one very, very final thing. My grain layer at the top, look, I'll zoom in again. If I turn that off, you can see how it's contributing to the picture as a whole. I've still got the grain of the paper there. But if I slide to the left and unlock, the blend mode from this layer is still set to overlay, but I had it higher. I had something like 31% or 27%, and you can see the grain is a little bit too strong, at least for my tastes. Let's zoom that out a little bit more. And so, again, as you're working through, and especially when you're giving a final polish, like we're doing now, just give another quick tweak around with this. Take it all the way down to zero if you want, and then just gradually fade it in until you get the amount of grain you want for this picture. So again, I'm looking at the picture, not the slider. I will let go whatever I got. 15%. Turn it. Off and on again. Yeah, it is subtle, but it's really helping sell the picture. Alright, slide to the left and lock that again because I don't want to risk drawing on that layer. And, okay, that really is it for this particular project. I did go back because I wasn't happy with the drawing I'd done, but it also gave me a chance to make one or two extra points, especially when it comes to adding that final layer of polish to your work. Now, let's move on. 66. Return of the Blob! Part 1: Okay, now, do you remember this? This project was for when we were talking about construction drawings and how you can use contours to show the shape that you're doing. Well, now I want us to shade this in. I can tell you from now, this is not going to be the easiest of projects. In fact, it's actually quite difficult because let's assume that whoever is going to look at this will not see the original photograph. The only thing they're going to see is your drawing. If that was a drawing of a banana or a face or a house, Well, people know what bananas look like and faces look like and houses look like, but they've got no idea what this little blobby shape that you've just drawn actually looks like in real life. So if you get the shading wrong, it's just going to look confusing. So it's not the easiest of exercises. And for that reason, it makes very good practice. Let's get started. There is a file to download. It's called Blob 01 Masterpiece two. It's what you're looking at right now, so we're going to start from the same point. Okay, so the first thing I want to do is get rid of that reference photo, so I will do that by coming up two. A wrench icon, canvas, and then come to crop and resize. When you do this, you will find there is a box which surrounds the outside of your canvas, and I want you to come to the left side just where my mouse is hovering. There is a little marker. If I zoom in a little bit, maybe you can see it, maybe you can't. It's not that easy to see, but just about halfway down. And if you drag it across, you can see it's turned blue. I want to drag across so that I completely get rid of a photo. Once I've done that, I come to done. That is what I want us to color in. Now, just quickly, while I'm here, I'm going to come back. To my wrench icon to canvas crop and resize, and I'll come up to where it says settings. My file size is 1,689 pixels by 1416 pixels. That is not very big. Eventually, I would like this to be bigger. But I'll start off with it smaller for now because it is quite a common practice with digital art. To start with a fairly small canvas, you can see there's not that many pixels there. And then as you start adding more and more detail, you can make the file size bigger, but there's a way of doing that, and I will show you what that way is. So come to Dunn I know it said cropping canvas, but it's still the same size. The next thing, I want my reference image. So come to my wrench icon. Canvas, reference, turn that on. At the moment, I'm seeing just my canvas. If I come to image, I took my original photograph and I put it into my photos app. And so you can see now what it is we're looking at. Let's try and put this off to one size here. If you have a spare computer screen, put that on your computer screen and give yourself a little bit more screen space on your iPad. But look, I will move this over to here. I'll make it a bit smaller so I can see both things at the same time. And for this, I'll use the same color that I used when I originally drew this. That's DC drawing colors, second row down, and it's the third one in from the left, that kind of light brick red color. My pencil, I'm using DC pencil course. I'm starting off with it on around about 50%. Now, one thing I could do is create a new layer and then do my shading on that new layer and then make this layer that you're looking at right now, this line layer invisible. But one thing I have been saying on this course is that with the arrase tool, you can completely erase any brushstroke. And also if your eraser is set fairly low opacity, you can gradually fade away brush strokes. So I'm going to do my shading on the same layer that I did my drawing, and I'm gradually going to knock away various different construction lines. And so, in fact, if I swipe to the left with that layer underneath, I'm going to delete it because they don't need it. My reference image, what's on my reference image? There's nothing there. That was the original photo, wasn't it? So I can get rid of that. So now I've just got one layer. I know sometimes on the various different social media groups, people will say, Well, I did this painting, and I only used one layer, like it's a good thing. In general, I don't really see the point of doing that. Layers are a huge advantage to you as digital artists use them. But just for this, I want to make the point that I can erase any lines I want and then build up on top of my sketch. Just for this, all on one layer. Here it goes. First thing, my arrased tool is set to the same brush as my drawing tool DC pencil course. At the moment, I'll crank it right the way up to 100%, so it completely erases, my brush size is what, 10%. I can just start to get rid of some of these lines around the outside, which I don't really need. Well, I don't need them at all because they were construction lines. Now I'm shading. I'll get rid of the bounding box around the outside. And that little diagonal line down there. And now there's construction lines which were helping me, but are now a bit of a distraction, they're going. And would you look at that? It looks like I missed a little bit. Right here. By the way, did you notice that with my reference image, I can pinch in and out. I can change the angle just by using two fingers or finger and thumb, dragging things around. So I'll do that for about Okay, so first thing I want to do is put in the broad shading. As with construction, start off with the larger areas first, then refine downward into smaller detail. Okay, so for this, there still seems to be a bit of an unwritten rule that when you're drawing, you throw using a series of brush strokes or scribbles like this to gradually build up your shaded areas because that's what you do with a pencil. Forget about that. Don't need to do that. Let's make our brush size much bigger. Say, 23%. I will take down my paste. What's that on? 22%? Is that big enough? No, I'll make this brush size bigger. Take it up to say 48, 49%, and I'll gradually start to put in the shaded areas. I'm starting off with this ellipse on the end because that to me, looks like being the darker bit like this. And there's also a bit on the underside, which extends about halfway up the side of my blob, which peters out just as I get toward the right hand side. And you notice I'm not that bothered about going over the borders because I have the eras tool. Same where there's a little bit on the top, which is a little bit darker there. This is my first pass, alright? A little bit darker there against the light of the paper in the background, and I will make this darker on successive passes. But there was one thing here, as well. I jumped straight in and went, great. Let's do the blob. But it's not the darkest part of my picture. The darkest part of my picture are the shadows underneath the blob. You can see, look, I'll make my breast size quite a bit smaller, 11, 10%. There's a darker bit just here. It goes underneath. And there's also a bit of a shadow on this side as well. And I'll make my size a little bit smaller because here, the pencil I'm using or the color I'm using, doesn't go quite as dark as the shadows in the actual photograph. And you see this all the time when people are learning to draw. They want to draw a dark shaded area, but that pencil they've got in their hand. Well, we always tend to think it goes to black, it doesn't goes to kind of a medium to dark gray. And so they start scrubbing away, trying to get the darkest bits of their drawing as dark as possible, but the pencil they're using just can't do it. And so you've got to adjust a little bit your whole idea of what are the darker bits of your picture to take account of that fact. A little bit up here. I extends down a little bit. And now what I'll do is I'll come to my erased tool. Pasty set to 100%. I want this fairly fine. And I can just start chipping away at this bit at the top. Once I've erased it and you can't see it, it's gone for good. So I do this. And you can see I'll get this nice combination of soft shaded areas, but with a sharp terminator, a sharp cut off point. That is a huge advantage of digital. Now, I notice with this just where I am now, that right side, there's not enough of a tonal difference between the shadow and the actual blob itself. In the photo, it's more marked. So what I'm gonna do now is I'm going to take my pasity of my eraser right the way down to, what, say, 20%, my breast size, say 6%, and I'm going to come just where the border is between the blob and the shadow, and just make that little area a little bit lighter so I get a bit more of an edge there. But already, I'm starting to run into a bit of a problem here because my file size is small, and I can't really get edges that are that sharp. So this is what I'm gonna do. And when I come to my wrench icon, I'm going to come to crop and resize, come to settings. I'm going to lock this little field here. See that little chain so that whatever I do on the left side, the right side will get increased proportionally. But I do want to turn on resample canvas. So that means that when I make this file bigger, which is what I'm going to do, so I've got more pixels to play with, my drawing is going to be made bigger at the same time. So I've got 1689. Let's turn that into, say, 2,500, and you can see on the right hand side, that number got bigger proportionally, as well, that should work for me, then come to done. 67. Return of the Blob! Part 2: Now when I come to well, let's crack up the opacity up high, make the breast size nice and small. Now when I come to say the top, I can get a much finer cut off point. And in fact, when I notice when I do this, I've got some little grooves and indents where those cantors on my blobby shape were made. Okay, let's shade this in a little bit more, shall we? Come back to my pencil, sent me a pasty up to 50% again. Let's take the pro size to what. Let's try 8%. What's that gonna do? Quick test with that? Yeah, that should be okay, because I can see I need to make the underside a little bit darker, although there's a tiny little bit of reflected light just in one or two areas. Now, let's make it a little bit bigger. Let's make it 22%. I'm going to just gradually scribble in certain areas because I can see there's one or two little thumb marks and finger marks, which I haven't looked at so far because they will finer detail. I was doing my broad past first. But I'll start thinking about them now. Definite thumb mark around here. I don't want to go overboard with the shading, because the colors kind of a mid brick red, shall we call it. I simply can't get my brush strokes as dark as the photo, so I have to bear that in mind when I'm doing my drawing. Trying to add in detail without it getting too, shall we say isolated. Sometimes when people are drawing, they put a little bit of shading here, a little bit of shading there, and the drawing can end up looking like a series of different shady areas, but it's a load of separate areas rather than the drawing as a whole. So when you're drawing one area, quickly flick your eye around and see, say this bit at the top. I'm having to judge it. Is that bit I'm shading at the top, this bit around here. How far does it cut in? And is that bit at the top, as dark as say the bit on the end? And in this case, I think, yes, it is. So I can afford to make the bit on the end a little bit darker. I say the bit on the end. That's the bit. The right hand side. There's also a little bit coming down here as well, and a little bit more shadow. But again, come to my raised tool, I paste on 100. The brush size is set really low, and let's cut into this area here because that's only a small shadow. I can see there. I don't want to go overboard with it. You make brush size a little bit bigger. 3%. No more than that. Try and get that fairly tight shadow area, because you can see it's it's dark. It's the underside, and then all of a sudden it goes to a much lighter tone. It's not a gradual shadow. It's a fairly sharp dividing line there. And also, there is a little bit of reflected light which is helping the underside stand out a little bit more. So I'll draw that in, which would help to find the form a little bit more. Yeah, that's starting to work. While I'm here, as well, I do have these gouges, don't I? They really should be put in. I'm not going to do all these little wrinkles in the lines. You have to decide which bits to put in and which bits to leave out. Like say, I've got a bit here where there's a little bit of that modeling material which has been raised up. When I made my little gouge. I don't want that there. So now that I've got some overall shading in place, let's put in some of these darker gouges. Again, this is going to be some of the darkest color that I can get away with. My brush, I need to set in pretty small, don't I? What size is that? 2%. Okay, around 50% opacity, but I'll press hard. So I've got a bit here which comes down quite sharply. And because I've resized my canvas, I can do sharper lines. I can't do them really deep shadows because, again, my red pen doesn't go that deep. That's a bit too much, I think, this little area here. I don't want to get too close in because I'm still working on overall tone here with one or two darker areas. But if you spend all your time zoomed right at close and personal like this, you'll get an uneven tone on your actual picture because basically what will happen is you look at this bit and you say, right, darkest bits, lightest bits. And so you'll press as hard as you can for the darkest bit and leave the lightest bits completely erased. Then you come to another area. Say down here. And you'll go, Darkest bits, lightest bits, you repeat the process. But if we zoom out, you may notice that the area I was just zoomed down on was a little bit lighter overall than the previous area. So you've got to look at the picture as a whole. You can't spend all your time just focusing on just the tiny little areas. Otherwise, you get a picture that looks like it's made up of lots of tiny little shapes, but it lacks cohesion. You've got to make up your mind on something like this, which bits of detail you want to include, which bits you want to throw away. Crop my past it down because I can see one or two lighter bits just on the end on either side of those grooves, and I think those need to be put in. So now it's just a case of swapping between my brush and varying the size. If you can get away with a larger brush size, use a larger brush size. And using fine when you have to. This little bit down here. This groove needs strengthening up a little bit. And then knowing when to erase. What I'm going for here is, I'm not going for microscopic accuracy. I just want to go for the overall form of this plus one or two slightly carped foot bits like these little finger and thumb marks just on the side of it, I'd call those fairly characterful. But what I was talking about earlier about them being, it's nice doing them, but you don't want them to exist in isolation because I realized the edge of my blob, let's make them by brush size bigger. That means it's a little bit of shading in there because it was starting to look a little bit indistinct. And there is a bit of shading there. It's not the lightest part. You will also notice that I'm leaving certain areas without any brush strokes. That's because I'm using this light gray of the paper to do my shading for me. Like, especially the left side of my blob, that is a good candidate for just leaving blank, but I'll just put in and strength and then just this top gouge or groove, just to give a little bit definition just in that area and a tiny little bit of shading just on the bottom. But in actual fact, I can come to my eraser and I can get rid of some of these lines because they're helping to define the form, but they're a little bit too strong because tonally the left side of that blob is very similar to the color of the paper in certain areas. So I want just strong enough of a line so that you know where the blob ends and the paper begins. Anything more might come across as being a little bit too harsh. Come to my pencil again, make it small. I need that gouge line there. A little bit bigger and a little bit darker around here and a little bit darker around here as well. And then come to my eraser because most definitely there's lighter areas there above and below, and also just on this bit here, that's coming down like this. A little bit to try and accentuate the lighter and darker areas just where those finger marks are. Now, how am I doing with this? I'm nearly there. I just want to come, choose my pantal again, make it fairly large, and I just want to make this right side a bit deeper, just scribbling lightly over the top of it. You notice in several areas here, I've put down my basic tone. Then I've put down my darker tones. Then I've erased a little bit, and then I've gone back in, like I'm doing now and adding some darker tone again, and I've gone a bit too far there. Come to my eraser, knock that bad, come up up to 100%. The knocked down percent a little bit of the opacity to about 40%, and I'm on 7% here because my shadow here is looking a little bit indistinct. Remember, you can see exactly what I'm looking at this area here, but the end user won't be able to see something like that. And so this shadow here, just on the end, let's take a look at that. Let's come back to my pencil tool, 50% opacity, press size, make it pretty big again and just gradually add a little bit more shadow in this area. I'm not sure how much I want, because, in fact, no, I'm going to undo that a little bit, make it much bigger, make the pasity much lower and add a little bit of shading here. Not too much, though, because I want to get the idea of there being a shadow there. I maybe come from multiple light sources, which we get two different flavors of shadow there. You get a deep shadow and much more of a mid shadow. Same with underneath here. But for my purposes, I just want this to look like a shadow so that people can look and say, it's a shadow, and it helps sell the whole idea, maybe make the midsection here just a little bit darker in certain areas, tiny little bit building upon the end, not too much, a little bit more on the far side, tiny little bit underneath. And I could keep on going with this, but there comes a certain point where I need to say, Have I done enough to convince you, the person who's looking at it, of what this general shape is like? And I think I've got close enough with this. Remember, this is an exercise. I don't want this to be a completely finished drawing which I've spent hours and hours and hours over. Just before I do sign off on this, though, I'm going to come to my adjustments. Come to liquefy, yeah, good old liquefy again. And I think that's about the right size for me, but I'm going to come over to this ellipse on the right side, I'm going to drag the whole thing in. Like this. No, it needs to be slightly bigger. About there. Because, yes, you can use the liquefied tool for altering lines and sketches, but you can also use it for shaded areas like this. The same rules apply. Make it as big as you can get away with, and there will come a certain point where you can push things so far that you start to smear the pixels rather than moving them. And you can see by doing this just by pushing those little finger and thumb marks in a little bit, I'm starting to get a slightly better realized form. Okay. I'll stop there. Just a couple of things to note. Do you remember when we started this video? I had a sketch with a whole load of sketch lines in there. You can barely see any of them now, in fact, let's take away a little bit just on this side here. Because it's digital, you can completely erase and add and then gradually knock back the things you've just added, and that is a huge advantage of digital art. I'm sorry. That little kink at the bottom is not quite how I wanted it. It's a bit sharper. And another thing to note, as well is that quite often digital artists will start with a smaller print, and they use it to put in broad strokes, broad shadings, and then they will make it bigger. The golden rule with this is you do your soft shaded areas. You do those first, and you can indicate where some of the sharper areas like the different grooves on this blob are. But you wait until you've made the picture bigger and they're maybe bigger and they're maybe bigger again before you start adding in the fine detail because you need the extra pixels of the larger file size to put in the finer detail because you can't do though define detail when you haven't got enough pixels to work with. And also, Procreate, along with just about any other image editing program, has a lot easier time of making soft areas bigger than it does a lot of hard linear detail. The finer the line you've drawn, the worse it's going to look when you increase the size. So save the finer detail and your final lines until after you've increased the size of your image. Okay, I will stop there. I will see you in the next video. 68. Your Turn! Draw a Puppy: I have no idea what you're looking at right now. The reason being is I've got a complete project, which will most likely take in elements of various things we've learned on this course, but I just wanted to do a complete project start to finish so you can see the workflow. And presumably it turned out okay, because if it had turned out to be rubbish, then I'll start again, and you wouldn't be looking at what you're looking at right now. I've decided I want to do a puppy because this isn't a specialized course on how to draw animals or how to draw people or landscapes. This is a general introduction, but a lot of people want to draw animals. A lot of people want to draw things like fur. And also on various different forms, sometimes I see people drawing with very hard edges. And so the brief I've set myself is to draw this puppy, but in a soft style. And now I've cut away from the finished image. At least we're looking at the same thing. I'm in my A three paper folder. I'm not planning on using many layers to create this image because it's a particular drawing method I want to show you that doesn't require a lot of layers. And for this, I'm going to use DC A three handmade paper, the one in the top left. I'm going to slide to the left, and I'm going to duplicate my piece of paper. I'm going to open it. Now, the very first thing I want you to do is to come over to our wrench icon. Come down to Canvas, and I want you to come to Crop and Resize and click on that because that shows me at the top, it just went away very quickly. I'll do that again. Come to our wrench icon. Come to Crop and Resize. There will be a number in the middle of the top of the screen, take a look at it. It says, 103 layers available. And I want you to do that because I don't know what kind of iPad you're going to be using for this. And if that number was something like two or three different layers available to you, I suggest you use the A four version of this file instead. But if you got something like eight or ten layers available, you should be absolutely fine. So now I know that I'm going to come to cancel. The next thing I want to do is come to my pencils. I'm using various pencils from my DC drawing folder, and given I'm likely to be spending quite a bit of time with this and I want a soft finish, I just want to experiment with different pencils on this particular piece of paper to see what kind of effect I'm getting. So while I want the soft drawing. What about charcoal soft? Let's take a look at that. I'm set to a paste 43. Let's make it fairly large. That's a size of 27%, and just have a quick scribble. I just want to see what this looks like. On the page. I will also come to my eraser and choose the same brush, DC charcoal soft because I want to see what it looks like when it erases, and I'm going to try different sizes and different opacities just to get an idea of how it looks. Like if I make it very hard and very small, I'm going to get a hard edge. If I make it larger and I make the opacity much lower, I am going to get a much softer effect, which I can build up and end up with a softer edge like this because well, look, I'm going to give you a law. It is my universal law of how to create something interesting, and it is very simple. Blend opposites. For this drawing, I want dark and light. I want soft edges, and I want Hard edges. It is thick and thin. That is how you can create some interest in what you create, and it's not just illustration. In music, you get soft passages and loud passages. You get low notes, you get high notes. In a film, you vary the pace. You have slow bits where the characters talk about their motivations. Then you get the action sequence where the characters act out their motivations and fight each other. In a piece of writing, you may get short sentences, long sentences, action sentences, thoughtful sentences. It is by blending opposites together. That, to my mind, is the secret of good creativity. And the difference between a straight up painting like this, which is from the solid foundation course, which is just a straight copy of something with no thought given to any decisions and a great work of art, like, say, the mona Lisa or GnkeORothko or a pollock. The difference is the decisions that the artist or the writer or the music composer decided to make. Good creativity is all about what decisions you make. Anyway, let's come back to this. That is my charcoal soft. It's not bad. Let's take a look at DC pencil medium, just for something different and paste about halfway. Let's make it fairly large because I want to see how these various pencils put down broader areas of color because what I'm planning on doing is putting down broad, soft areas of color and then cutting into them and refining them, using the eraser, then reapplying, using the brush, and building up a picture that way. Let's make this a little bit less opaque, see how it gradually builds up. You should be doing this. If you have a pencil and you're starting to draw something fairly large, take your time. Experiment with different pencils and see if they give you the kind of effect that you're looking for. Now, that I do quite like. It's quite mottled, and you know what? I think I prefer that over the charcoal soft, which is a bit surprising because I thought I wanted a nice soft picture. Maybe I should have named them differently. But yeah, that is giving me the kind of effect I want. I will long press on my eraser to make it whatever tool I've been drawing with. If you take a look, Yep, DC pencil medium. Let's see how this erasers. Yeah, I quite like that. Let's make it a little bit crisper. Yeah. I like that. That is giving me a hard edge, but not too hard. Come on, a puppy is cute. I don't want a whole load of hard edges. Now, I could carry on, but I hope you get the general principle. Go through the brushes, decide what you want to use, and I've decided I'm going to use DC pants on medium. What I am going to do is come to the layers panel, and I'll come to handmade paper. I'm going to swipe to the left to unlock it. And then I'm going to come to that little Oh. Click on it because I have this set to overlay, and it's on 30%. What happens if I play around with the opacity? If I take it down, I get a cleaner effect if I up the opacity, that's zooming a little bit more on this so we can see this very clearly. Come back. Well, I quite like the more textured look, but I notice because we're using the overlay blend mode, it's starting to affect the color of that blue. So what about if I put it into something like soft light tends to be a bit more gentle. That's looking nice. Now, what if I turn this off? That's without the paper texture. That is with the paper texture, but this time set to soft light, and I've really crunched it up quite high. I quite like the look of that. I can always reduce it later on if I decide it's too strong. But I think that's working with my chosen pencil, the DC medium pencil. So the next thing I do, obviously. Well, not obviously because I've been caught out in the past. Slide to the left and lock that again so I cannot draw on that. The amount of times I've made changes to my paper overlay on the top, and then I've started drawing and thinking, Well, I can't see the marks on my iPad. What's wrong? And then I realize I'm drawing on my paper layer. So always, always, always, if you are adjusting your paper layer, lock it afterwards. That's the first thing you do before you move on and draw anything else. Anyway, I quite like that. And so I will come to my draw here layer, click on it, and I can come to clear or I can three finger swipe down to call it my quick menu, which we have discussed in the previous video and come to clear layer. And now just to double check. I'm using my DC pencil medium. I have it set to different notches. I have it set to 22%, 12%, 4%, and 2%. I may alter those as I carry on with the drawing. As for my capacities, I've got them set to 75%, 50%, 30%, 20%. So now when I'm drawing, I can come to, say, the middle notch on the opacity, the top notch on the size. And as for the color, I'm using DC drawing colors. I'm using bottom row, first one on the left, that deep blue color. Okay, this was the preparatory lesson. So in the next lesson, we'll call a picture and start doing our initial sketch. I'll see you there. 69. Position the Sketch on the Page: This picture I did a while ago, and it's an example of the kind of drawing style we're going to be doing for this project. Basically what happened if I zoom in. I was just sitting in front of my iPad and I was bored. And so I put down just an area of this brick red color. And then using the same pencil type, I started errasing bits of it, then adding bits to it, adding bits around the outside, raising bits around the outside. Varying the opacity and size of my pencil and my eraser. And I started off just doing the eye, and then I gradually built up the details around the side of the eye. I decided I wanted it to be some kind of mythical bird, so I added the beak, the feathers on the side, those kind of hairs on the top, and I thought, well, let's have the bird actually interacting with something. So I had some kind of a thief who had stolen something, added a background, and I just gradually built up things by putting down clouds of dark color and then starting to sculpt them by erasing bits, adding extra bits. That is the kind of technique I want to do with the puppies. So let's call up a file that we were working on the A three file. Now, because I've been drawing for, well, quite a few years, just something I like to do. Just draw a cloud of color just absent mindedly doodle and let the ideas come from the shapes I'm seeing in the chaos I'm drawing. It works best when you're relaxed. It works best when you're listening to some fairly relaxing music with not too many words in there. And sometimes late at night when I'm feeling quite tired because then the random ideas start to flow more freely. But this is a course on learning how to draw, so I'm not expecting you to do the same thing. So what we're gonna do is on one layer, we are going to put down what I hope is a fairly accurate sketch, which is quite linear. If you like, we're doing the outlines of the puppy, and then we'll draw on another layer using that pretty accurate sketch as a reference. Speaking of puppy is, come on. Let's take a look at the little critter. Come to actions, Canvas. Reference. Now, yeah, there we are. This is what is available for you as a download. And straightaway, I'm thinking, Well, how much of that puppy do I want to do? Because this is going to be quite a long project. And the purpose of it is for, well, you to draw something nice. Hopefully, you've got nothing against puppies, but also to show a technique, and there will come a certain point where by the time you're drawing the third or the fourth leg, there's not much more to say about the technique. So I'm going to select the part of the puppy that I want, and I'm thinking head and shoulders, something like this. And now I come to my first problem. I want this to be portrait, but at the moment, my picture is landscape. Now, I could just turn my entire canvas around so it's portrait like this. But I want you to see as much as possible of the canvas while I'm working. And especially when I come to do my sketch, I want to be able to draw fairly large. So what I'm going to do, which will also quite help me is I'm going to turn my canvas to the side like this. I'm going to take my image of the puppy and turn it so it's on its side and make it so it's bigger in the picture. Let's resize what I'm doing. And as I'm doing it, I'm looking at the left hand edge of my reference window. Can you see? I can move it around and at the moment, look, the picture is at an angle, and you can tell that by looking at the left hand edge. So what I'm doing is I'm trying to get the picture fairly large on the screen, but also the edge of my reference picture parallel with the edge of my reference window. So I have that little sliver of black just on the side. And what I'm going to do is draw my sketch on the side because I want to see all of the picture I'm doing. In fact, let's make it a little bit bigger. While I am drawing out my big sketch, I want to go into the details, then I can turn my paper around when I've got the overall proportions of the head. But for now, I need to see the puppet's head as a whole. And so I will draw sideways. That is no bad thing, because in previous videos I've spoken about if you look at your picture from an angle which is not what you're expecting or not how you usually see it. And so you stop thinking about what you're actually drawing and you start to think of what you're drawing as a series of shapes. And that can help you get more accurate drawings. Okay, so if you don't have a spare computer or you don't have a smartphone, do this. Call it your reference image and make do by moving your window around when you draw on different parts of your screen. However, I do have a computer in front of me. I also have a phone, as well. So if I was to call up this picture on the phone, I'm probably going to get the same physical size to draw from, or if I call the picture on my computer, I can get the same size, I can get larger, I can get smaller. And so for you, call it up on your computer or call it up on your phone or if you have to do what I've got here, which is the reference image and move your window around. I want the license to be able to just draw big shapes all in one go. So what I'm going to do is come to my Actions icon, I'm going to turn off my reference window so that just for now, I can use every part of my screen to build up my sketch. Okay, so let's start doing the sketch. And bear in mind, I'm looking at my reference, in my case, on my computer screen. So my pencil medium is selected. I want this. How big is my pencil size? That is way too big. Let's make this what? 4% size and take a look. That will do, but what I am going to do is come to my colors, and I'm going to choose any other color than the blue I'm going to be drawing with. So in the case of this, I'm going to choose second row down, one, two, three, four, fifth, one along that kind of red color. And for this, I'm just going to be making rough strokes. And the first thing I'm going to do is sketch in the overall size of the head, which looking at my reference image, it's kind of a wide oval shape, so I'm going to do it round like this. And then as with any animal, I'm going to mark in where the eyes are. And the eyes are probably somewhere around about about there. And once I've done that, I'll start marking the center position for the nose, which I think is about halfway down. And, oh my goodness, I nearly started thinking, Well, with a human, those are the kind of proportions you're gonna get. Roughly halfway down for the eyes, roughly halfway down again for the nose, but I'm not drawing a human, am I? I'm drawing an animal. I'm drawing a little dog. Look carefully at your proportions. Take measurements if you have to. Use your pencil if you want to. In the previous video, I have referred to proportional dividers. You can use those if you want. You can use regular dividers if you want to. Just start measuring your shapes. In fact, I'm gonna need some kind of a center line coming down the middle, aren't I? And you can see so far this is very, very rough. What I want to end up with is a much more precise and detailed drawing. And once I know that is right, it's going to give me confidence to draw my softer shapes. As for the line of the mouth, that is probably about here somewhere. And what else can I see? I think I'm getting there for the basic proportions, but it is different. I've kind of got these ears at the side, haven't I? So let's try and mark those ears in very roughly like this and have I got the right size on my page. I think I have I've also got the top of the head, which is kind of maybe like this coming round. I've also got a touch of a collar down here somewhere. And the sides of the animal come down. There's a little bit of difference between dark fur and light fur coming down here. Now, have I got the right size there? I think I do have the overall proportions. That's as much of the puppy as I want to draw. So the next thing is, let's draw in. Well, let's draw the eyes. So one about here, one about here. And there's also the nose, as well. Let's do the nose. While I'm here, as well, let's start drawing some of these divisions for where the fur is. That's kind of about here. There's also a bit coming down here as well. Maybe a bit coming down here. And I think those are the major, major landmarks when just positioning where I want my subject on my canvas. I mean, I can always move it around. I can resize it, but I want to try and get it right from now. And so the next thing I'm going to do is go away and make a cup of tea, and I will see you in about ten or 15 minutes. Okay, I'm back. Now, the reason I did that is because in these early stages, I want to make sure my eyes are fresh. Because if I get my measurements off at this point, I'm gonna have to live with those mistakes for a long time. And yes, I can move things around. This is digital art after all. But I'd rather get the overall measurements right in the first place so that I don't have to further down the line. Alright, so the first thing I'm gonna do is I'm going to call up my reference again. There's my little cute little puppy. I'm sorry. I'm trying not to start talking little baby voices with a you would you little puppy? I will stop. Okay, so the first thing I'm going to do is zoom out. So I have them lying kind of next to each other, and then I'm going to come up here and I'm going to flip horizontal and back, and I'm going to flip vertical and back. Now, flip vertical. While the puppy is kind of symmetrical, so that won't make as much difference. But when I come to flip horizontal, I'm already starting to see one or two mistakes. In fact, it's starting to look like a different breed of dog or a different age of dog. So I'll flip that back. I can also Turn a puppy round like this and turn my picture around like this. And yeah, the nose, I think that needs to be higher up. I think one of the eyes is over slightly off. I'll take a look at this. Move this round. Again, I'll do what I did before. I will close this window so I can work on the picture as a whole. And yeah, looking at this, things are a little bit off. Okay, I'm on the same layer that I'm drawing with, and I'm going to come to my selection tool in free hand mode, you can see that just down the bottom. And first thing is that nose is way off. That's way too high, so I'm going to draw around it like this, complete by tapping on that little gray circle. Then I'm going to come to my transform tool. I've got uniform at the moment. I will come to free forms because that way I can stretch things like this a little bit, as well as make things bigger. And if I come to the inside or the outside, I can move this around. I've got magnetics or snapping turned on. I'll turn those off so I can move this around freely, and I want to dock that in about there. It needs to be wider, as well. So about there. Yeah, I prefer that. Coming back to my free hand tool, the eyes seem slightly off as well. Let's come to this one and come to my transform tool. That needs docking to about there. The other one as well. That's looking a bit off so come to my selection tool, grab that bit and dock that to about a little bit lower. I think about there. Oh, that collar, as well. That's way off. That bit there most definitely needs moving up into place to about maybe about there. And the top of the head, yeah, that's way off. It's too low. So I'm just gonna come to my erased, I'm just going to raise this, bit that's way off. The top line is a bit closer, and for the sake of showing you another way of doing this, I'll come to my adjustments, come to liquefy, push is selected. How big is this? That's way too small. So come down to my size slider and make it big. I know I keep on saying it, but when it comes to the liquify tool, which is incredibly useful, by the way, especially for something like this, make it as big as you can, in fact, even a bit bigger because I want to push so I get that more like peaked, slightly domed forehead, a bit more like that. And that already is starting to look more like the puppy in the picture. My pull things in a little bit towards the bottom, as well. The bottom of the chin, I'm okay with, I think that's looking more like I wanted to look. I think this needs to come down. I'm noticing more of the ears maybe stick out a little bit more, and then they kind of taper inwards towards the bottom. I think that's very characteristic shape of a dog's ear. So come to my eraser and just erase one or two lines. I'm just refining the very basic forms. For the mouth, well, I've got a central bit there, which kind of comes down about as far as here. I've got a little patch of fur just underneath the nose. What about the actual nose itself that's coming down? A little bit more flattened there. Let's put in the nostrils there, and oh, hang on. Nostril is way off the w. So let's put some rough nostrils there. Let's try and put it in a little bit of these kind of eyebrows. Now, I'm putting in some guidelines because I'm dealing with fur here. And yes, I want some fairly hard areas so I know what I'm looking at. But also, I want some little general guidelines to show the direction of the fur. I will go into this in more detail when I do a more detailed sketch of this, but I'm just putting in broad areas where I can see either bits of fur or divisions between dark and light fur, anything which is going to give it a little bit of form. And now I've done that, I think this bit around the outside, this original ellipse did just started to get in the way a little bit, so that can go. And looking at that, let's get rid of some of these cross lines. I'm not making it up as I go along. I'm modifying things and things that were useful when I was drawing in the overall shape, and I started to get in the way a little bit. Now that I'm starting to put in more detail. Swan. Let's make our line thinner. I think there's a little bit. Okay, so look, we're going to have to maybe put in a little bit more detail, so I'll come back to my brush. First it's fairly small, and I want to put in things like eyelids and bits of shapes of fur around the outside of the eyes as well. So, look, what I'll do is I'll call a holt now, and then the next video, I'll turn the entire picture on its side, zoom in, and then concentrate on the details of the face, things like the eyes and the nose. So I'll do that in the next video, and I will see you there. 70. Refine the Sketch: Alright, let's go in with quite a bit more detail. First thing I'll do is I will call my reference image so that we can at least see where I'm heading with this. So reference image. And, yeah, if I pull this out a little bit, I'm going to zoom right in on the puppy's facial features so I can do more detail. And for that, yeah, let's turn my entire image around. I'm just going to zoom right in so I can see plenty of what it is I need to see in order to do a fine detailed drawing, which I'm going to splurge bits of dark blue ink all over the top of. Okay, so for this, looking at this now, I could do with a bit of refinement. Let me just check that I. I'm going to make this window a bit bigger. Zoom in as close as I can. On those eyes because looking at it now, just check a top. Yeah, I'm pretty certain that left eye, which has given me problems a while ago, it's too high. The eyes are the most important part of any picture if there's eyes in there. So that whole eye needs moving down a little bit. And I'll probably end up drawing over the top of it, but for now, I just want to see whether I can get I think looking a little bit more like the puppy's eye before I start drawing over the top of that. I just want to get the positions right. That's looking a bit better. It's ever so slightly down compared to the one on the right. And I'm just putting my pencil parallel to the top and bottom of my picture. Yes, it definitely is. Now that I've zoomed in, I realize that. Okay, so while we're here, let's come in here. I'm going to make my pencil how thick is it? Now I'm zoomed in. I'm going to take it down to 2% thick, how's that? That's much fineer and I'm seeing some fine lines here which I need to do you know what I need to do some erasing, as well. I know where the lines. I'm going to mostly erase the lines I've already done. I want it so I can just see enough of my old markings before I do a more detailed version of this eye. The old markings are there just to remind me where the overall position is, but this definitely needs more work because you get the eyes wrong, the entire picture is going to fail, no matter how good everything else is. So come to my pants again, and I'm seeing kind of an eye going around like Well, there's the eyelid there. And you've got the overall pupil, because there's definitely a pupil there. That's coming in a little bit like this. I've got the lower eyelid in place here and a little bit of a lower eyelid, which looks slightly furry, so I'll mark that with a slightly furry line. I do have one or two little bits of fur coming in there as well, and it looks like little shape here. The moment, I'm thinking in terms of shapes, that's too low. That needs to go up a little bit. And that I think is much more, I'm happy with that. Now, I've done that because the eyes are so important. Let's do something similar with the eye on the other side, arrays are nice and big. And I'm mostly erase what I've done, so I can just see vaguely what I've got. I'll get rid of that Santa line completely, come back. I think the top of the eye where the eyelid is, that was looking okay. And the actual eye itself, I'm sorry, I find it quite difficult to watch and talk at the same time. So if I end up saying things which don't make much sense or there's a large pauses in my drawing, it's 'cause I'm trying to draw various shapes which I know there, let's do that pupil there. Interesting. It's not around pupil. There's a lot more detail in there than there is with a regular human eye. So I'm trying to put that light bit around the side there. And this is all going to come in very useful when I come to actually draw or put down my areas of color because these are my anchors. These are my boundaries which are going to be so useful for me. And I'll admit it, this is taking up a lot of concentration. But when I come to put down my various different bits of deep blue and then erraising and then want to be in a lighter state of mind. I want to be a little bit playful. When I'm putting down shapes and erasing them and using thick and thin and soft and hard, I want to be in a slightly more playful mood. I don't want to have to worry about positioning. I'm doing this now, well, this is the hard work. Get this right, and I've got the confidence to really have some fun when I'm doing the drawing. Now, what about the nose. Et's make this a little bit smaller so I can see the nose in relation to the eye. And again, I'm going to come to my arrays, I'm going to do array so I've just got some very light shapes. Let's get rid of this big cross line here. I don't need that anymore. Now in previous videos, I have said, Well, even the construction lines. They can look good on the final drawing. They can let people know what you were thinking when you were drawing. But in the case of this, this construction is not going to be seen in the final drawing. It's just a framework to base the final drawing on. So be as savage as you like with this. Right, let's come and take a look. I think the nostrils are a little bit low down. I do it being just a touch higher up now that I'm looking at this, and they're more like this, and you're getting that a bit of a curve coming around here, round like this. So let's try a razor, make it fairly small and get rid of. Old nostril. And this one as well, is looking, Look come on let's draw this in. I think that's going to be much more like this. You only get this slight sharp shape at the bottom, our dog's nose like that. That's going to come up here, curves in slightly goes up and round. At the top, I'm going to put a dark border there coming around like this. I'm just starting to show indications of the direction of the fur. I will come back to that later on. Let's come down here and just choose our razor and just start lighting up these initial brush strokes that I made here 'cause they are starting to get in the way. Come back to my pencil, and I need to draw that. We'll look. I do have a bit coming down here. I only mess that up. Come down here. And I've got a line here, which is the line of the nose that you get in dogs and cats that curves up around here. And that gradually fades away. The mouth is not very distinct, is it? It's basically it's a dark area with bits underneath, and I think that light that I did here is looking a bit intrusive. So let's take that right back. Instead, come on. Let's try and mark kind of a general area. I think I can see part of the mouth just coming down here, so I'll mark a bit of fur there, and there's another bit around here coming down. And now I've got my landmarks in place. I'm going to get rid of some more of these lines and start to refine things a little bit more because I can see the chin is coming down about there. What I'm doing is I'm taking a look at the sketch close up, but I'm looking now at the bits which are distracting me the most. And this line at the top is distracting me the most. There's a definite bit here where you got these lovely transitions from either the dark to light or the tant to light and the lovely directions of the fur as well. I just want to quickly indicate those. So it's kind of sweeping that way a little bit. And then it's curving back ground in itself around here, and then splaying outwards here, a little bit curving upwards there. What I'm doing here is I'm giving some indication of the direction of the fur because when I come to actually draw this, these shapes are going to be very useful. There's still a bit around their nose, which I could do with doing as well. Because when I'm actually drawing the fur, I like to concentrate on the character of the fur, the thick and thin of it, how light it is or how dark it is compared to everything around it. And if I don't have to worry about direction at the same time, then I am doing myself a favor. Let's zoom out a little bit, and I'm starting to see if you like the outside of the eyebrows coming down like this. Let's get rid of some of this stuff. Don't need that anymore. I'm quite happy where the ears are. They're not bad, but oh, there is a little bit the side of the face coming down here and it seems to join where the mouth is like the cheeks of the dog. I've als got border of fur coming around here. And I've still got bits of this chin coming down around here. Do one or two guidelines around here. One idea that maybe I should have done, this may get confusing later on is to choose a different color when I show the direction of the fur lines. In fact, you know what? I do want to make life a bit easier for myself later on, so I am going to do just that. For the boundaries between the dark and light, yeah, I want to keep those in place. When I'm just showing the general direction of the fur, say around the nose, I am going to come and I'm going to choose let's choose that mid blue color. I no, come on. Let's choose a green. Let's chooe any green. Okay. What I'm going to do is just show the general direction that the fur is going Okay. I'm looking at the picture. That's coming down between 3:00 and 4:00 down to about definitely a steeper angle as we go down. And this is going to help me when I come to do things like the eyebrows, come on. Let's get rid of these bits around here. I will put these in as my fur direction lines. A little bit around here. There's also little bits around here. Oops. Also, if I move this to the other side, yeah, I've got some more directional fur lines here. These are especially going to be useful, I think, areas around the mouth, for example, because what I'm going to have to do there is do a darker area, then do lighter bits of fur on the top, and it will all depend upon the direction of the fur as to how successful that's going to be. So why don't I just put in some guidelines right now to help me on my way. Now, I'm going to come back to my red color again. Let's come to Classic, which if you have a larger ipad, you're going to get your color history. So I can see my two colors just where it says history and I'm swapping between the two. I'll come back to my original color. I will put in the transition between the dark and light here. Look, you've got a bit curving down just on the side of the cheek. Leave you like these are my hard transitions. These are my tonal transitions. And then if I come and choose my green again, then I can start to put in more some directional lines. There's a bit of a change in angle on the cheek there, but let's put these in. Should we put two of those little whiskers in there, as well? We can do that. There's one or two around here as well. Okay, we started getting rid of these bits. This is really in the way, isn't it? Get rid of that. Come and choose one or two direction lines just for the side of the face can see them in my reference. There we go. And one or two bits down here as well. Okay, by now, I'm pretty sure you've got a clear idea of what it is I'm doing. Oh. I think this is a red marker here. That's the top of the eye proud coming around. Also, maybe the side here. I'm just refining that a little bit just down the bottom, as well. Look, let's zoom out a little bit, start getting rid of some of these lines here which are starting to get a little bit in the way now. I will carry on with this. I will carry on refining this so that what I end up with is hopefully a pretty accurate sketch with various different parts in red to show the hard borders, in fur or the eyes or the nose with some green direction lines which show the direction of the fur. I'll carry on with that, and I will see you in the next video. 71. Prepare the Photo: Just before we get started on the actual drawing itself, let's put into practice a couple of techniques I outlined for you in a previous video about how to prepare a photo. For this, I'm using a four sheet of paper so we can accommodate people who have older iPads. The actual handmade paper or the paper, I don't need that. So I'm going to slide to the left and unlock this because you need to unlock it before you can delete it. Okay, so let's come over. Try wrench icon, come to ad. We're going to insert a file. Where is it? Here we are, Pexels, poodle the name off. Now, I know that I didn't use the entire puppy. I'm just using the head, so I'll make this a bit bigger like this, so I got most of the detail I'm using in the drawing. Maybe bring it up a little bit and come to, for example, my layer panel, just to commit to that. And maybe I'll slide to the left and duplicate that layer and make the layer below invisible, just so I have a backup in case I don't like what I do. But the first thing is, I'm going to come over to my adjustments. And then, do you remember we did gradient map? Well, if I call this up, straight away, I'm getting a rather interesting idea of the kind of color values I'm going to get when I use the blue pencil. Okay, so at the moment, I have various different presets going on here. And one thing I noticed was the sang winter chalk. I was trying this out just before I started recording, and I noticed that when you come in and edit a preset or you create a new preset based off an old one, it overwrites. So instead of having a deep red to a chalky white, I now have this. These are the colors at the bottom, which I'm using or I'm going to use to draw with that deep blue that you can find in the color pencils palette. I also have another one here, which I can slide around to affect the colors. I don't need a whole lot of deep blue like that. That's really killing all the detail in the shadow areas. So I'm going to make this a bit lighter, like this. As for this, this is my paper color. If I come to where my paper colors are, where are you? DC paper colors. It's actually one, two, three, four, fifth. I This one as I'm looking at it, the second row down and one, two, three, fourth one along, and that is placed pretty high up. What I'm trying to do here is, well, that's way too light and getting blown out detail in the highlights. If I put it about there, I'm getting a good idea of detail in the lighter areas of the fb, but maybe you can see this on screen. On the very far side, I have a completely white swatch and how you can do that by coming to any one of these little buttons underneath, supposing I come to this one and just crank it all the way up to a simple white because later on in the drawing, I think I might use a chalky white or a white pencil just to add one or two little highlights. But I like the look of that. I'm getting good tonal variation. I'm getting plenty of paper color, but I'm also getting just one or two little highlights going on. The main thing is, I think I've got something here which I can work with when I come to laying down various different tones when I'm drawing. So I will come to done for that. Let's zoom out. Come to any of my other icons to commit to that. And now I will take this and I will export it. I will come to my wrench icon. I come to my share icon, share image. Well, I'm just going to share this as a JPEG. I'm going to use AirDrop. I'm going to send it to my Mac. That goes through. Thank you very much. That's my first reference, but then what I'll do is I will come to my drawer here there. I will duplicate this, but given I'm only exporting these to us as reference files, I don't need to. So duplicate. And now let's zoom in a little bit. And once more, I'm going to come to my adjustments now I'm going to come down to Gause and blur. And I'm going to put my finger right at the top of the screen and slide and slide sideways and, Wow. I'm getting this way blown out gaussian blur here. I'm going to take this down to something like no more than 5%. And the reason I'm doing this is because when I'm drawing, I don't want to get bogged down in all the detail of the fur when I'm laying down tonal areas. So if I come to, say, my layer panel, that will commit that top layer. But if I make this top layer invisible, so you can see what's underneath, that's the image I just duplicated and then blurred. And you can see all this crisp detail. But now I've got this. That means there's a lot less distracting fur, which could be useful for me when I come to put down my various different tonal areas. So once more, come to our ranch icon. Come to share and save this as a JPEG. It's going to have the same name, but that won't be a problem because when I come to export it, say if I airdrop, in the case of a MAC, all I get it's the same file name, but with a two on the end. I will rename those to Puppy Prep one and two, and I'll make those available as download so that you've got the same reference images as me for you to follow along with. So next lesson, let's go wild. Let's actually do some drawing. I'll see you there. 72. Lay Down the First Areas of Blue: Okay. In this video, I want us to start putting down an initial layer of dark blue just to show the darker areas. Now, if you don't have a computer screen or a phone to look at reference pictures, well, okay, come to our wrench icon. You come down to the Canvas, then come to a reference. And for this, I'll come to image. I will import image, and I want Puppy Prep 02 blurd. Now I've got three files for you waiting. Puppy 01, that's the procreate file we're going to be drawing on. And Puppy Prep 01, that was where we converted it using the gradient map to various shades of deep blue through to the creamy paper color we're using. But I've just called up Puppy Prep 02 blud because for this, I don't need a whole load of crisp detail. What I need is to put down the darker areas and not be distracted by a whole load of fur. So for this, I'm going to be concentrating on the eyes and nose area. If this is the way you prefer to work, then great. What I will do is I will refer to my computer screen for the simple reason that I can turn off my reference, and I can show you more of what it is I'm doing. Okay, so I'm going to come into the eye area. Don't start drawing yet if you're planning on following along. Because I want to show you something. I only have two layers here because this is a large file. It's designed to be printed out at a three at 300 dots per inch. And so there's only two layers. The top layer, the handmade paper layer and the outline layer. Well, that is that sketch we did. And so what we're going to do is come up to plus sign on the Layers panel. And create a new layer, rest your finger on it until it jumps up a little bit, then drag it down to beneath the outline layer. The reason being is when you come to draw on this, you should still be able to see the outlines. And the outline layer will act as a useful guide until you've got enough detail on the layer underneath that you can just hide the outline layer and only work on the sketch layer. To that end, as well, I will come to my layer three, click on the icon, and I will come to rename. I will call this Draw 01 and return. And yes, I know I'm getting naggy, but please, please try and rename your layers as much as you can. It will make your life so much easier. Now, I've called it draw 01 out of habit. I always name most things 01. That is from my time spent in professional studios where you need to name a number just about everything. But now let's come take a look at this. I have DC pencil medium selected as my pencil. I past it to around, say, 50%. My brush size is fairly large, and I just want to put down a dark area of blue behind that right eye as we see it. And if I do this, see, I'm just putting down these gentle areas. And my problem is, once I get past a certain point, I simply can't see the red and green lines on my outline layer. So what I have to do is slide to the left for it, come to unlock, slide to the left again and come to duplicate. See how things got suddenly much stronger? Now, supposing I can do that again, supposing I come to duplicate. That layer has been duplicated twice, and now I'm getting a very clear idea of where my guidelines are. So I'll tap on the top one on this little icon and come to merge down. And I will do the same again, tap and come to merge down. That means all those three layers are merged into one layer. And the reason I ask you to hold off if you're following along is because I don't know how many layers your iPad can handle with a large file like this. So now if you are following along, Okay, let's just delete this. Come to your outline layer, duplicate it twice, and merge those layers into one, so you've got what I've got here. But next thing, and this is very important. Slide to the left and lock your layer. At no point do you want to be drawing on your outline layer, unless you fancy a really difficult, frustrating time doing this project. Okay, so as before, come to our plus layer. Now you can follow along, drag it underneath, tap on it, rename it, and call it. Draw 01. Hand return. Okay, that is selected. Let's zoom out a little bit. DC pencil medium is selected. I'm going to set it large to around 50-60%. The opacity is on 50. Let's take that down to 30% to gradually build up some darker areas. My eraser, that is the same thing, DC pencil medium. Not going to be using that yet, so come back to our pencil. And we're going to start to put down different areas of blue. I'll start around the eyes. They seem to be pretty deep in color there or deep in tone, should I say? And I'm looking at my guidelines and trying to gradually build up the color. I don't want to go too dark, look if I zoom in on this, okay, that is way too dark, way too fast. I might end up with tone that deep, but I'm building up different tonal variations here, and I really don't need anything nearly as deep as that for now. Let's see what happens later on. So two finger tapped one, do that. I can see around the eye area, though, things do get quite a bit darker. I also wants the cheekbone, and this whole thing is coming up like this. Oh, no, I'm going over the border of the year into empty space. That does not matter, right? This is going to be the draw on wipe off technique. So I really don't care about that. I'm trying to provide a little bit of thermal variation here as I put things down, but most of it will come when I start to use my eraser. And also, come on, I need to cut into the areas where I have lighter fur, especially in the bits where I have lighter fur laid over darker fur. There's a lot of fur here, and the way you draw fur is 90% of the time. You put down the darkest bits, the bits which lie underneath the fur, that's usually the case. And then you draw the lighter fur on top. Pretty soon we're going to be working in quite a bit of detail, but it always makes sense to try and put down your general values, your dark and light areas because when we do work in those bits of much greater detail, we'll probably end up being zoomed in. And if you do the thing where you work on a smaller bit of detail on a small section of the screen and get it looking how you think looks right, and then you go to another section of your screen and get to how you think it should look, you'll end up with a whole load of bits which tonally look great. Until you put them next to each other, then you realize that maybe you made that bit too dark and the other bit too light and you've given yourself a whole lot of headaches. So at the very least, yes, we will be working in quite a bit of detail, and we will be spending time being zoomed in. That is why it's important from now to try and get the tonal areas pretty close to how they're going to be later on. Now with this, you can see around the outside of the nose. There's a fair amount of light fur over darker areas, especially around this mouth. So let's put in the darker bits there. The nose itself, there is a darker bit that I can see. Look, I'm talking about things you're not looking at on screen at the moment. Let's come to our reference layer there. See that? The actual nose itself, you can see it has kind of a dark band above. That's maybe a pasty bit brighter, so I get stronger strokes above like this. But actually, there's a fair amount of midi ish gray there. Definitely that bit there needs to be darker, just around maybe the outlines of various different bits and also just around the side of the nose maybe. But already I'm starting to get a little bit bogged down some of the finer detail. I don't want to do that. That's just quickly put down areas where I think I'm going to need some dark. I said I'm going to be doing a fair amount of detail here. That will mainly be at the bits of the picture where people spend most time looking at. That is going to be the eyes and the nose. As I go more towards the outside of the picture, there's probably going to be a lot less detail. In fact, I'm pretty certain there'll be a lot less detail. So I'll put in the broad tonal areas for now. But you'll find people do that when they draw a lot. I'll concentrate on the bits they find interesting or they know other people will find interesting and not put a whole lot of distracting detail in the less interesting areas, the less important areas. Just let these darker areas cut in a little bit more. I think when we're younger, we spend so much time coloring in things. And what do you get praise for when you do that? Oh, look, you call it in right up to the edges of the picture, and that's what you get praise for. And so that's what you do. But I need you to cut over those areas because we will be cutting these areas back because this is not traditional drawing that you learned when you were at school or at home. This is digital, and it requires a different mindset, especially for this technique where you apply your brush strokes, and then you rub them away. I am very nary there with this quickly, I'll come to my razor. I'll set it to very low. That is, what, 22%. Make it. Let's try 12%. Now let's make it bigger. Let's make it what's that 22%. I'm just going to lighten up certain areas around let's call it the eyebrows because I'm gonna be concentrating upon them next. So let's make sure that they are how I need them to be. Okay, you know what? That's enough. That's my general shading put in place. So in the next video, I want to start working on one of the eyes, and I'll do that in detail because let's face it, that's the thing you want to see. Then after that, you can have a go at the other eye. I will see you in the next video. 73. Add Some Detail to the Soft Areas: I still have my blurred reference image. I'll move it to the side, open up a little bit, and I'm going to concentrate just on this eye area here and I'm going to zoom in on the same area of my file. Double check. Draw 01. That's the right layer. And let's start putting in some detail. The first thing I want to do is start taking away some of that dark. So I've got my eraser selected. I've got it set to 22%, and let's see how I go with that. For my size, I'll try 12%. Let's just try a couple of exploratory strokes. That might be Look, I'll start with that, but I think I'll go lower in a little bit. First thing to do, I I said at the end of the previous video that I was going to do great detail, then you have a go, but I think we'll make it a little bit easier on you. I'm not going to go into huge amounts of detail here. I'm just going to refine what I already have for this eye, so that I've still got the blurriness that I have in my blood reference layer, but I'm just starting to tighten things up a little bit. I'm getting the same problem I had last time. I rest my hand at the side of the screen, and it starts sending my paste values all over the place, which I can't say I'm too keen on. Anyway, let's carry on. I'm just putting in Differences in tone gradually. Like there's a lighter bit just on the underside of the puppy's eye there, and a lighter boot comes down just on the eyebrow. Let's refer to it like that. I'm going to make my breast size down to, what, 4% because one of the major areas is this upper eyelid. I had two smaller brush size. I still need it larger, so I'm going back to 12%, and I'm making repeated light brushstrokes just to get that area in place. It looks like it gets bigger on one side. And the other. And there's also a large part here. Looks like the iris of the eye coming up and going around a little bit, plus a little bit just here. I'm resisting the temptation at the moment to just go for the really detailed version of this. So I'm pretty clear in my own mind that I'm doing the right areas, but let's keep it blurry for now. I do not want to start getting bogged down in detail straightaway. I definitely can see on the outside of the eyebrow, that's definitely a lighter area there. So let's put that in. It's a pretty large area of pretty light. Just above the eyebrow, let's make eyebrow size down to 12% again. Just put in some of these areas, which I think come down a little bit further on the outside of the eyebrow. But what I will do now is I will come back to my pencil. I will make it a smaller size. That's 12%. I will make it 50% opaque. I'll come back in because there are certain areas here which are darker and no it needs to be smaller. Let's make it 4%. And I want to make some of these areas definitely darker because I think around the eye area, this is where you've got the darkest tones above and below. Let's zoom out, so I don't get too bogged down in the details. That pupil is most definitely dark. You know, at some point, I think I'm going to have to start playing some music so that you know that I'm still here because I'm finding at the moment, it's more important for me to put down these areas and just look at what I'm doing and concentrate. And it's very difficult to do that while you're talking. It's almost impossible sometimes because you're accessing different sites over your brain. I will make my breast size a bit bigger because I think I need some darker areas of fur here for me to cut into later on. Also some bits around here. Make these bits darker. I'm going to do a variety of different things, okay? I might do fades from one scene to another. I might let some music cut in or I might speed up what I'm doing because you need to know that the sound is still working, but at the same time, I need to concentrate on what I'm doing. So if I am just a little bit less eloquent than I usually am, I'm not saying that's much, but usually I'm better than what I'm like right now, that would be no bad thing. Alright, what I'll do is I will just come to my outline and I'll turn that outline layer off, so I'm getting an idea of how I'm doing. And yeah, now that I've done that, I can start to see more clearly the values that I'm trying to do. For example, I'll make my eraser smaller, maybe make it past your 50% to work in a little bit more boldly. I'll put my pencil at the side, which tends to give a broader softer area for this particular brush, but I'm just going to put in certain areas, which I think do need building up. You know what, I'm ignoring that highlight in the eye. That definitely needs doing because that's the brightest local point, that little reflected highlight. That definitely needs to go in there because if I don't have that in there, and I'm finding it very difficult to compare the various different values that I've got, I've got my darkest points in my lowest values. But without that very light highlight to show me the way, it's very difficult to judge the various different shades when I don't have the lightest possible shade there. Now there is a bit here, which is also light, but I think that's going to be first, so I'm going to hold off that for now. To my paste down a little bit and just draw a little bit of the corn via there and come back to my pencil, 50% opaque. It's reasonably large because I realize I need to take down some of the values just underneath. And this is what I'm doing. I'm just playing with the values while I have this nice and soft. The corner of the eyelid, that could do with being just a little bit darker. I'm starting to see just little bits of fur coming out at the side like this, and these are the kind of things that will be done in more detail, but for now, I'm just getting a feel of the different values. And also, you notice when I'm doing it as well, I'll be zooming in, I'll be zooming out. That helps me take a look at the picture as a whole, plus also the detail when I need to because you're always comparing your values in a drawing with another part of the drawing. And I think for this, I've come as far as I want to because no, I haven't. No, I need to do a little bit more with this. Come on. Being very timid with that highlight. I've got to remind myself what I'm telling you all the time. Nothing's fixed in stone. I can raise as easily as I can add marks, and I can do it as often as I want. So, come on, let's be a little bit bold with this. Remember, bolder brushstrokes always look better. Well, not always, but if the observation is as good in both cases, the bolder the brush stroke, the more confident of the brush stroke, yeah, that will always look better. Alright, I'm going to say press pause, and then what I want you to do is come over to this eye. And start putting in the color values for that. Make your initial values. But as soon as you can, start to compare the values that you're doing with the values of the eye on the other side. So have a go at this eye, and then after the pause, I'll come back in and I'll have a go myself. Okay, press pause now. And we're back. The first thing I'm going to do is I'm going to come to my brush and I'm going to extend some of these darker areas down a little bit because I realize when I come to do my fur, they've got some dark areas with some pretty light fur there. So let's get that in place. I also need a little bit of dark. Just around the actual eye itself between the upper lid of the eye and the eyebrow. Plus also underneath this lid that needs to be a bit darker here. You probably have something different. I'm just talking out loud here about the stuff that I need to make to my picture. But let's come to our eraser. I'll set it low and gradually build things up. What am I on 12% size and opacity of 22%. Let's put in the obvious areas. Let's put in that eyelid at the top. Seems to be bigger towards the center than it is on the outside. I've got this iris, this very light looking iris there. Let's do that. Maybe make the top of this eye a little bit bigger because that sketch I did seems a little bit narrower. Maybe I was a little bit conservative there. I will come back to my pencil because the pupils definitely darker on me. My size is smaller, 12%, opacity of 50%. And I'll start to put in this pupil. That needs to be darker. Come a little bit down here. Come back to my eraser. It's set low. I want it set fairly big because I've got the underside of the eye as well that needs building up. I'm just trying to build these values relative to each other. These will change when I see the final detailed picture, but I don't want to do that yet. I know me. I know what I'm like. I'll just put a little bit of fur just in one place, just to see what it looks like, and before you know it, I'm doing the fur and I'm not thinking about my tonal values. So I'm going to have to ask you to do something which I'm not that good at, and that's be patient and trust the process. What trusting the process means is you get to a certain point and you think it's not looking how I want it to look, I want it to look different. And so this is the point where you start putting in bits of detail just to see what they look like. And ultimately, it does not do you any good whatsoever. I'm trying to think about what the finished drawing is going to look Rather than build it up one tiny detailed section at a time, which is very gratifying to do, but I want the picture to be coherent overall. And my brush size a little bit smaller. That's 4%. Is that gonna be too small? Because, look, I want to do this highlight here. And the reason I've done this is, well, look, I want to compare that highlight with a highlight from the other. These two highlights, yeah, they can be different because highlights will be different depending upon the eye and the lighting, but tonally, I need them to be as bright as each other. Me put a little bit of light just here. I'm comparing. Let's take this and make it narrower and make them bigger so I can see both of them at the same time. Now I've got my general landmarks in place. The only way I'm going to be able to tell this properly is if I turn off my outlying layer and then start to compare them. And when I do that, the first thing I notice, the thing that stands out for me, is that the iris on our right is lighter than the iris on our left. So maybe up the opacity to 50% size, let's try what, 12%. Let's try that. It's just a little bit, just down in the bottom corner. Need to make it a little bit brighter. For all I know, I'm going to have to come back in and make those lower. In fact, looking at this now, yes, I do have to do that. I'm going to come back to my pencil, opacity on 30% set fairly large, 22%. And I'm just going to scribble over both irises they've both suddenly got too bright. I got a little bit too happy there. Now, while I am here, oh, look at that. It's a cute little nose. So let's come here. Outline back on, 'cause I need to see what the outline of the nose is. And I think the first thing with this is I'll add the darker areas because I can see a bit. Look, this bit just above the nostrils. That's dark. That's what's giving it this slightly shiny effect. So passing on 50%. My brush size set to, say, 12%. Let's see how I get on with that. It's not very big. This darker area. But the reflections, that's what's giving the idea of it being shiny. And we'll work on that when we welcome the fining detail. Now that I've done that, come on these nostrils. They are definitely dark. And there's a little bit underneath as well, which is hanging down. Maybe it curves around a little bit, on the outside of the nose, just around the top here as well, a little bit around the bottom. Now, let's come to our razor because there are certain bits here which are actually pretty light. So pasty 50% of my brush size. Let's start off with 12 and see if I need to go fine with this. Yeah, definitely a lighter area here. It's almost white. A bit around here coming down. That splurged out a bit too far, but I can come back in and change that. A paste lower, breast size smaller because I need some lighter areas around here. I've got my pencil it angle, which will spread my breast stroke a little bit more, a little bit underneath as well. A little bit around here, just on the top side of this nostril. Coming down again. Brush size bigger again because the whole of this underside of this nose is actually quite light. So let's do that. Hopefully, I haven't made it too bright, I can always come back in and glaze over it with a light lower pasty scribble of pencil. And there's a central area here, which is overall a bit lighter. A little extra white bit just there. And I can see just a tiny bit more just at the top here. But right, let's take a look at this. Let's close our reference window and turn off my outline. You can see things start to take shape. I think I've got enough detail in there that for those bits I've just done, the eyes and the nose, I don't really need my outline anymore, and as much as possible, I want to get away from the outline because when it's on, it's harder to judge values. And at the moment, that's exactly what I'm doing. I'm judging values. That said, I've got an important decision to make, I think, because look in the photo, the one eye is slightly higher than the other. But do you remember me telling you? There are things in a photograph which people will forgive. They'll forgive just about anything in a photo because they can see it's a photo. But when it comes to a drawing and they know it's a drawing, they're a lot less inclined to forgive they won't turn around and say, Well, one eye is slightly higher than the other. I don't mind because it's a photo. They're more likely to turn around and say, Well, one eye is slightly higher than the other, and I think it's a little bit off. So at this point, yeah, I think I will do this. I'm going to come to my adjustments and I'm going to come down to my liquefied tool. Now, how big is that Brush? That is way too large. I'll make it smaller. I've got push selected. Make it a little bit bigger. Again, the golden rule, make the brush as big as you can get away with it and I'm going to make this one eye just a little bit higher. I'm going to make this other eye a little bit lower, as well. And you notice I'm altering the position so that they're much more equal with each other. But what I am going to do, and I know that you can see the outside of my brush because it's wiggling around. I'm going to go to just below that left eye and pull it down a little bit and then come above and pull it up a little bit. I'm pulling it from the outside, so it's just a little bit bigger. Same with the other one, because the whole thing about young creatures is they have big eyes. Big eyes are more appealing. Not by much. I don't want to make this too obvious. I don't want to make this into a carcataw of a puppy, but just a little bit bigger, and the eye level much more evenly spaced. Now, I could do this once all the fine detail is in there. But you tend to find that the liquefied tool works. Well, it'll work on any set of pixels. But the finer the detail or the harder the edges that you are moving around, the more chance there is that they're going to start to smear and become a little bit soft. Now, I don't want to do that. When I come to do my fur, if it's hard edged, I want it to stay hard. So if I'm altering the features now, when everything's soft, I'm not going to encounter that problem later on where I'm smearing sharper pixels around. Oh, and incidentally, you ask any successful portrait painter, whether it's pets, whether it's people, a certain amount of changing reality, just a little bit like I've done here, when I make these eyes just a little bit bigger. That is perfectly acceptable, especially when you're doing portraits. If you want to get paid, you try and present the person you're doing the picture of in a flattering light. And if that means making the eyes a little bit bigger or the spot on the side of their face a little bit smaller, then with the painting, it's a very common and accepted way of doing things. Less so with a photograph, but with a painting, yes. Okay, enough talk. I will speak to you in the next video. 74. Detailing the Eye: Okay, this file is called Puppy 02. I have made it available for you as download so that we're working from the same position, because by now, what you've got will look very different to what I have, and I don't want you to be discouraged because of that. And while we're here, the first thing I'm going to do is I have unlocked my outline layer because you remember I did that really great idea where I made the eyes, different levels, and slightly bigger, so they're more appealing. Well, that's all well and good, but now my sketch layer doesn't quite match up to the actual eyes themselves. That shouldn't really be a problem, but let's just make you aware of it. And so let's come back to our liquefied tool. You can see there's the size of it, and I'm just going to drag. That may make it a bit smaller. I want to drag this eye so it's matching up with the changes I made. This is just so that when we're referring to the eye layer a little bit further down the line, for example, that mismatch is not going to lead to some confusion. Now, I already did it to a certain extent on this eye here, but I thought to myself, Oh, hang on. Maybe I should show the people who are doing the tutorial the same thing. Now, that has distorted in a not very nice way. I've got to be aware of that. But I think that is pretty much how I want it, so just be aware of that. Okay, so for now, slide to the left and lock it because we're looking at outline layer. So we don't draw on it. I'll make it invisible. I'll come to my draw one layer. The eye will come to. By reference. And for this, well, if you remember, I had a blurred image. I don't want that anymore. I'm going to start doing the finally detail on what we see is the right eye so. Import, and it's this one, isn't it? But a sharper crispier detail. Let's make this bigger. Let's move it over a little bit so I can get a little bit more central in the screen. And I think I have enough soft areas to act as landmarks for me to not need the outline layer there. Now, at this point, you might be thinking, Oh, I'm a bit nervous. To be honest, so am I because we've already even spent a long time doing this. I don't want to mess it all up for you. So you've got a choice here. If you have enough layers available on your iPad, simple enough, slide to the left, duplicate and make the bottom layer invisible. I will change this, of course, to draw 02. To be honest, I don't even need to do that, because I'll always know that the topmost layer is the layer I'm currently working on. And once I get to a stage where I'm confident that the top layer is how I want it, just delete the bottom layer. If you do not have enough memory on your iPad to be able to do this, come to the gallery, and it's called Puppy 02. You'd slide to the left and duplicate the file, call it Puppy two A or whatever you want to call it and work on the duplicate. Okay, so my drawer here are two layers selected. Let's get right up close and personal with this. And from here, it's more of the same. I will be using some of the larger size brushes, but to get the finer detail, I'm gonna be using finer brushes. Alright, now let's see what we've got. I'll come to my eraser first. The eraser was set to 22%, it size to 2%. Can I get away with 4%? Let's see, because I realize there's rather a large area at the side. Yeah, I can get away with it. There's rather a large area at the side like this, which it's taking a look at. I'm just gonna get the form a bit better defined. It's much more angular than I had it, but then I'm going to come to my brush, paste, 50%, brush size, 4%. Can I get away with that? Because I realize I do need to refine it a little bit, for a slightly harder area coming down. And you can see what I'm doing now. I'm starting to add areas and I'm going start to chisel away areas. Like, for example, if I come back to my eraser, there's a very fine line here, side of the dog iris, which I couldn't see when everything was blurred. Now I can see. Let's do it there. And while we're here, there's a fine line going all the way around. Maybe make this 2% and up the opacity to 50%. I'll til the picture around so that I can use a natural curve on my hand because this goes round like this. And I notice this here, there's a much lighter bit. I'll change it to 4% size and take the opacity back down. And even putting that fine detail in there, all of a sudden, this is starting to spring to life. Let's come back to my pencil opacity on 50%. Let's take it down to 2% wide because I can see the highlight there. It's divided up into different areas. And I'm going to make it this bigger and lower opacity because the top of that highlight is a little bit darker than the bottom bit. Now for this, it all depends on how painstaking you want to be. I am going to be painstaking around the eyes because they're the bit that people look at the most, and they're the bit that people that are gonna say, Oh, look at all that wonderful crispy detail. That person's a genius. Well, no one said it to me yet, but here's hoping. It's a case of just simply refining the shapes I've already got there to get something that looks a little bit realistic. I need that lighter edge needs a little bit more work behind it as it comes round. There's also the white of the eye if somehow I missed that bit, probably cause it was hidden by the fur, so I didn't quite notice it, but that's definitely a lighter area there. Is size even smaller because I want to have just a little bit more this rather interesting iris of the dog. And I will come back to my pencil. I will make my brush size bigger, opacity lower, and I'm just going to go over the bottom bit of that iris because it's a bit too bright. It's nice by itself, but I don't want it competing with the other elements in the eye, but my eraser. What else can I find? Slightly lighter in some areas. There's a little line coming down and across there. Let's try it out. I can always get rid of it. I don't want it looking too fussy. It's definitely a much brighter bit here. Come back, small size, higher a pasty to my pen because it's getting a bit too bright in one or two areas. Come back to my eraser, paste it up a little bit, so I can work a little bit faster, 'cause what I'm finding is I'm starting after a few minutes to settle into what I'm doing, which means I can work faster. And if I wasn't talking, I would probably work faster still. It's just taking a look at one or two of these little details here and there, and there's a bit I definitely need to get in. Got the top of the eye, but there's also the bottom rim of the eye coming down like this, which is thicker than I first thought. I definitely needs putting in there, and it kind of comes up a little bit here. Come back to my part, that needs to be fine, 'cause there's a darker area under here. I get a little bit bigger I come I want to put down areas of color rather than scribble in areas of color. I need some darker areas here. Probably the darkest areas I'm going to do take back this eyelid a little bit, so it's all one tone because I think now I'm going to come back. I'm going to make my brush 12% big and 50%. I'm going to do very lightly this area here even that. Let's take that down to 22% because it was too bright. And I've got an area here of the eyelid. Coming down. A bit closer. On one side, a little bit further away on another coming down here. But as it goes closer towards the nose, it gets a little bit darker overall, so it come back to my blue opacity, low size 22. When you're doing something like this, you're giving your pencils a really good workout. You're really learning what sizes and what opacities are going to serve your needs best. So I keep on saying size 4%, apasT 22%. And after a while, you just instinctively know what is the right pencil size and opacity for the effect you want to do. That is when you know your pencils, and that is a very important thing. A little bit liter in one or two areas, a little bit darker in one or two areas. I'm getting to the point now where I could happily lose myself in all this detail. But I am aware that you're watching me work. You may be following along, and you're probably ending up with something rather different to this. So what I'll do is let's zoom out and compare the more detailed side with the less detailed side. And yet, yeah, you can see the difference. Also, I'm starting to realize that one or two lines need to be a bit thicker, and I can start to add in little bits of that fur detail. I could keep on going with this because I keep on noticing things where I think, Okay, change that, change this, and you can really get lost and spend many a happy hour basically getting lost in your drawing. Put in just little bits of fur. So I will come to my pencil. I'm looking at that eyelid. Brush size, that's very fine fur. I'm going to set that right the way down to 2%. I paste it on 50%, and I'm going to start to just make one or two little brush strokes cutting into that eyelid area. Can you hear the sound that my brush is making? Some very short brush strokes like this. A little bit down the bottom, as well. And now that I'm starting to do that, I realize I do need to make underside of the eye a bit more uniform dart because there's gonna be some lighter fur coming over the top of that. Then I'm going to come to my razor, same brush size. Shall I try it on 50% and just do some light strokes? Should I try that? Okay, yeah, that's starting to work. And you can start to see some brush work going in there I must doing some of this flyaway fur. That will be important to really sell the idea and bring this down, hit. Being this round, a few lighter bits down here. Same with the bottom in fact, I can make this bigger, and I can see look, I'm going to increase my brow size a little bit, very lightly trace in. There's a slightly lighter rim of fur just around the base of the eye there, and making my breast size is a bit bigger and a bit less opaque. And just extend this down a little bit. Come back to 4% and 50%. I can remember what the numbers are now. That means I'm learning how to use this brush and put in that slightly lighter rim there then come back to my paint brush. Set very small, 2%, 50% opacity, arms going to start to cut into this area a little bit. Remember, paint on, erase off easy way to work. Then come back to my eraser and add in one or two lighter areas. Very fine fur around here. I'm not going to use 2% for all of the fur, but just this fine fur around the eye, I will do. And I think I need to just bolster up one or two of these little highlight areas here a little bit on that bit of the eye there. See your mouse a little bit, and that is looking really quite realistic. Drop my paste a little bit. There's one or two little bits here, which do a bit of building up and a little bit of knocking back and a little bit further down here. When you're zoomed in very close like this, it's great having all this surgical control and putting all these finer details in. I tend to do areas a little bit too small, because well, they look great when they're zoomed up, so when you start to zoom out, you realize actually that area that I was doing is actually pretty small, and it needs to be bigger. When you're sketching, do it from different angles. Well, you're doing your tonal work. Look at it from different sizes. That's not something you'll hear traditional artists say because you only get one zoom level, but this you get much more than one zoom level, and you've got to take that into account. Alright, I've got to a certain point with this, and already I'm still looking at this thinking, I want to change that and want to change that. But that's 'cause I'm getting lost in the drawing, which is a really nice place to be and something we all want to. But time is moving on, and you know what's coming up next, don't you? There it is just waiting for you. Have a go at the unfinished eye, and I will see you in the next video. 75. Your Turn - Detail the Other Eye: Okay, how did you get on with the other eye? Good, I hope, but just in case, let's do it now. Alright, so that's the eye we're talking about. I wonder if I can move things around a little bit so that I can see the one eye while I'm working on the other one. Yeah, I think I can, at least in the drawing so I can bounce things out a little bit better. Okay, let's do pretty much exactly what we did for the first eye. Alright, so a razor set to 12% size, and, you know, let's try 22%. I know I could put in other notches, but I'm just trying to get a feel of the way this particular pan works at a series of different sizes and opacors. Let's swap the pencil and firm up that pupil because there is a slightly harder edge to it than the one I've already got. Let's make it slightly larger, 50% opaque. It's interesting. I've not really noticed this before, but with a dog's eye, it's not just a straight round shape like we have as humans. It's much more an interesting series of shapes. Let's make this a little bit bigger, definitely darker in the corner and underneath. There's also the slight lip underneath the eyelid, which needs deepening up a little bit. There's a bit of a broken line there. I come back to my razor, nice and fine. Small tip size, paste 22%, and let's build up things like that. Lower eyelid is definitely lighter in the picture than I've got it. It's a little bit just at the side here, which is really quite light. Let's make this a little bit bigger. Let's firm up the edge of the iris, as well. I'm going to make my brush lower paste and fairly large, and I'm just going to lightly brush over the top of that eye because there's a fairly large area there, which is just it's not dark. It's not completely dark, but it's not completely light. It's kind of a mid gray. Then come back to my pencil and add in a slightly darker area here. Also the upper eyelid, as well, that needs firming up, as well. In fact, come to our razor, very small size. That top eyelid needs to bring you out a little bit more, doesn't it? Care not to make it too thin. I used to be a little bit thicker than it is now. And that's form up this bottom area, as well. I've kind of been avoiding it, but let's do this pupil. Opacity up to 50%. And let's take a look at the highlights, possibly on the single most important bit of any portrait. Small brush size. But to my brush, slightly larger, lower opacity. I need to extend the bit just below the eye a little bit. Also, the bit at the top is slightly lighter in certain areas. And I think I can see just hiding behind all that fur, there is the white of the eye there. While I'm here, I'm comparing that eye with the eye on the other side. Come on let's zoom out a little bit? 'Cause looking at it, that eye on the right hand side is a little bit larger than the left hand side. That's gnaw that's natural. But again, for the reasons I've already mentioned, this is drawing, and I don't want there to be too big of a mismatch. Going on there. So what I will do is one more time, come to my liquefy tool and I'm going to draw down the bottom bit of the eye. Things are still very soft at the moment, so I can have a lot easier time doing this. And I prefer that. That's said. I think that Iris could have been pushed down a little bit, pushed in a little bit. So it's slightly more square. You know what? I'm sure there's someone watching this thinking, Oh, come on, you can't do that. That's cheating. Well, no, it isn't another tool. The same way, a screwdriver is a tool. And now that I've done that, yeah, there's a better balance between the two eyes at this point. But there's very definite things here which I do need to take a look at because if you take a look just at the corner of the eye, there's a bit here, which is way too low. That needs to be higher about there. And if I do that, I come to my pencil, make that slightly larger. I lose some of that area there. There's also some bits coming down, some lighter bits coming down from the side here, which we need to take a look at, slightly lighter area around here. Come to our pencil again. That top eyelid needs just a little bit of working up my eraser again. Look, I could keep on going at this, but let's do what we did before, let's put in some finer detail. So come to my brush, the smallest brush size. I paste on about 50%. I want to move it around to here, 'cause I'm just gonna find that a little bit easier on my wrist, and I want to start putting just one or two little direction lines just cut into this lighter area a little bit. What a little bit down the bottom as well. Let's make this a little bit larger. It's getting a little bit too fine detail, which I will lose the minute I zoom out. Let's come from a razor and just add in a little bit of directional fur like this. Oh, I don't come back. This top bit definitely needs roughing up of that area beneath the eyes and firm up certain areas and take down other areas. I'm not getting there with this. I just need to add in just a little bit of slightly lighter areas just underneath. It needs to be fairly subtle, but I'm going to increase my opacity up so I can see more clearly the lines I'm doing this way, I can create lines just by sketching fairly lightly, but if my opacity is way low, I've got to press a lot harder and I want my brush strokes to be fairly light and flicky. And, yeah, now that I've done that, I'm able to get just a little bit more expression or a little bit more fur into these areas. I went a bit too strong there. That's really not a problem. Let's come back to my brush and just knock it back. Let's just increase one or two areas around here just to provide a little bit of interest, so it's not one tone or the other. A little bit of variation in the tone, make my brush much bigger and lower opacity because I have a larger area here, and I really do need to raise up that. I put it a little bit. It's too low. So now that you know the technique, I'm doing that right now. And then once I've done that, come back in, add the bits of fur. Now that you know what I'm doing, I can do that a lot faster into my razor. Nice and small, 50%, and just adding one or two bits of flyaway fur here. Not too much. I'll do that in a later lesson, but come on let's compare this again. I think by now, I've got the eyes to more or less match each other in terms of detail and the variety of tone. So I'll call those done now, and then I'll carry on working with the area around the eyes in the next lesson. 76. Draw the Eye Surround: Okay, in between the previous video and this video, my head cold is really starting to set in. So if my voice sounds a bit rough, then I am sorry, but let's move on. We've done the detailing around the eyes. I may come back to that once I've added some more detail, but for now, I want to do a bit of a repeat of the previous two videos. I am going to come back till the puppy's eye area. I'm going to make my reference window a bit bigger. And I want to concentrate on the fur around the eye. And one of the reasons I did a fairly symmetrical portrait for this tutorial is so that I can do one side, and then you can have a go at the other one once we've worked through this together. Okay, so let's make a start. I'll make this a little bit smaller. Let's just call it the eyes a little bit here just so I can see the eyes on screen, what I've been working on over the previous two videos. That's what we had before. This is what we've got. Now, I'm pretty happy with what we've got at the moment. And so I'm going to come to the layer underneath, which was an earlier version. I'll swipe to the left and I will delete it. And at this point, I think it's quite common to feel, while I'm happy with what I've got so far, I don't want to mess it up. And so people start to get a little bit timid. But I think when you're doing something like fur, those confident strokes I was talking about, they're really gonna start to matter. You're going to have to learn to trust the flick of your wrist to create some decent fur. So we'll do what we did before. We will swipe to the left and we will duplicate what we have so that you have the confidence of knowing that your backup file is sitting just underneath. Okay, let's get started. I'll be staying on the same layer. Let's make this side bigger in the picture. And the way we're going to work is we're going to erase parts of the blue area and draw in parts of the blue area. So we're going to be flicking between our razor and I paint brush. And the way I want to do this is to do broader strokes first and then come back in and do some fiiner strokes. The broader strokes will be mainly to create the overall fur effect. The smaller strokes are going to be a little bit more standout for these little bits of hair that you can see standing out. Let's zoom in on this bit, for example. You can see a mix of background fur, which is kind of a texture plus one or two lighter bits which are just standing out. The background fur, I will do at 4% size and whatever opacity I think is right for wherever I'm drawing. And then for the standout hairs, which are going to be mainly the eraser, we'll take the width down to 2% and up the opacity. But for now, I just want general first. So I'm using a size 4%, opacity of 22%. Okay, so let's zoom out a little bit so I can see what I'm looking at. And for this, do you remember when we were doing our sketch or our outline? Well, this is going to help us now because I drew in some directions of the fur. When I did my outline, that's going to help us. Just make sure you're still on the correct layer to draw on draw 02, the duplicate layer we just did. My eraser is selected. I'm on 4% size, and I'm on opacity of 22%. Let's start drawing in a few things now. So I've got my general border of my fur just coming down here. Already, on that fairly light area, I think I need to up my opacity a little bit. Yes, that's giving me some better strokes. When I do my brush strokes, I'm concentrating on this little bit just here. Seems good places only to start off. But what I'm not going to do is just a series of parallel strokes like this. That's not really going to give me the effect I want. So let's undo that a few times. Instead, I'm doing it fairly lightly, and I'm going to cross my brush strokes a little bit. Let's give you an example down here, for example. It's going to be like that instead of like that because this is a fairly shaggy fur. You see more shaggy in other places, but vary the brush stroke around a little bit. And thank goodness, I did these little guideline areas. The red as I remember is where I get the light for going into the darker first. Let's put some heavier stuff around here. What I am going to do as well, is come to my pencil with pretty much the same setting, size 4%, and a paste Let's try a paste 30% because I want to cut in to these areas. It's not just a case if I just make my outlier layer invisible for a second. It's not just a case of getting my eraser and just keep on scribbling away until I get the effect I want. It's going to be a blend of the eraser strokes, plus also the blue strokes. Crossing over each other until I gradually get the transition that I want. That is not opaque enough. I need the opacity on 50% for this. It's a case of judging the particular area that you're doing at any one time. I'll put in one or two darker strokes as well here because I think I can see them. And I'm gradually building up a patchwork of fur like this darker bit just to the side here, which I need to work on. And I'll turn on my outline again to see if I have any helpful guidelines, and I think I do. Yeah, I need to cut into this bit a little bit more. And hopefully you can hear how fast I'm working. This screen protector proved to be a fairly good buy because, well, you can hear my brush jokes and you can tell the rough speed that I'm doing. Now, that sound will occasionally fade out. That is because in one or two places I speed up what I'm doing because, well, I don't want you falling asleep. And in one or two places, if you're not learning anything new, effectively, you'll just be watching me draw. I don't want that. Ideally, I want to strike a balance between you seeing how the drawing progresses, but also you actually learning something on me, telling you something useful while I'm drawing. Got to be a little bit careful here. I'm going to come back to my eraser because I can see there's one or two bits here where the fur changes direction. Like I've got some white bits here coming up that seem to be going into the general ear area. Let's don't forget to cross over what we're doing. And another bit coming up here plus the fur changing direction. This is quite a difficult one to do, to be honest. You've got lots of different changes in direction, which you need to try and get in place. And I'm flicking my eye in between my reference with all the fur on and the actual drawing that I'm doing. Now, another person might be a little bit more methodical about this, but what I'm trying to do is flick my eye between the different areas that I can see, to try and get an overall feeling or an overall balance to what I'm doing. Like, for example, just around this eyebrow area or the outside of the eyebrow, I can see various bits going on here. I may be making my brush strokes a little bit too firm here at the moment. Maybe I should lighten up on them because it's going to make my brush size smaller. That's when I'm going to get those little standout lighter bits of swap over to our pen because I think I need some dark bits here and also definitely that little lighter area that I did just around the outside of the eye. That needs a little bit of breaking up now that we're going into some of the finer detail. Let me just take a look at what I've got so far. I'm getting the start of something I want. What I'm going to do, though, is take my brush size so it's bigger, lower the opacity, and just start to go over one or two areas and do areas of tone on top of the fur that I've already done. It can work quite nicely. I'll set my size to about 22% and just coming down to the lower right of the eye. I need to tone down some of these areas, I think, and maybe create some slightly darker areas. The point I'm making here, as well, is that once you made your brush strokes, you can tame them. You can tone them down, which is no bad thing because I can always draw fur on top of them. Let's do the same with the eraser, make it slightly bigger, make it less opaque, because there's still one or two areas here that I think could do with being made lighter overall, which I can work the fur into. This should stop me from getting a whole load of tiny little curved lines all over the place that approximates fur, because fur is more than that. You get your lighter and your darker areas. Look, I'll just show you in just one area. Take this bit here, which I will undo. Supposing I want that to be overall a little bit brighter, I can just lightly scribble just in the middle area. And if I undo what I just did, and then I redo it, when you're building it up, you don't always see it, but it is there. And this idea of bringing out certain areas and lowering certain other ones, that's going to help you get much more subtle effects. The last thing I want to mention just before I start, well, who knows? Maybe playing some music until I can think of something else to say. The last thing I want to say is, I'm looking at my picture, and I'm reproducing roughly what I see. On my drawing. But I'm not obsessively looking at every single hair and thinking, Right, I've got to do that bit there, and I've got to get that tiny little bit of hair in this other place and blah, blah, blah. Remember, the person who looks at this drawing at the end is almost certainly not going to see the photo from which it came from. And so I want to get something that looks like the fur on this young dog. But look, if that dog shook its head and looked at the camera again, a lot of this fur would be in a slightly different place. You get the overall fur effect, like you get these bits which I'm just doing now, these areas of a lightened dog. The actual fur itself, well, all the individual strands would have moved because the dog shook its head. And so what I'm saying to you is don't obsessively try and get every hair right in the belief that if I get every single hair right, it'll look absolutely realistic. Well, yeah, it might do, but why do that to yourself? Save yourself a little bit of time and effort and get the overall effect of going in the right directions, but not every single different strand of fur. Okay, from here on in, I'm finding it almost impossible to draw and talk at the same time. So I think I'll probably shut up until I can think of something relevant to say. Instead, I'm just going to work. I'm alternating between my pencil and my eraser. I'm still putting in slightly larger areas where I think I need them by using slightly larger brush strokes. But from here on in, it's going to be a case of varying the width of my brush and erasor and the opacity of my brush and my erasor. That's basically it. That's hopefully gonna give me the effect I'm looking for. Okay, so from here on in, I will shut up. Hello, yes, it's me again. I just wanted to quickly mention that now that I've zoomed out a little bit, it's helping me because when I zoomed in, right at close and personal, I was looking at all the fine details. I wasn't looking at how the details fit with each other, like, for example, this little bit down here, this little bit of fur. I was just looking at that ridge. I wasn't looking at how that fur relates to bits around it. Now that I have, I'm getting a clear idea of what I can do. And again, I advise you don't be shy with this. You can always tone down or completely draw over something you've just done. No stroke here is permanent. So again, I advise you to be bold. Okay, so now I've got to a certain point with this where I've laid down the general patterns and the general form of the fur. Hopefully, I've got an idea of the direction the fur is going in. Now what I'm going to do is take my arrays of size from 4% down to 2%. My opacity is on 50%. And what I'm gonna do now is put in one or two of these little sharp highlights of fur in area, say, around the eyebrow. I've got a little sharp bit there. Another bit here, another bit coming up around here. And what I'm hoping for is just to get the idea of little flyaway bits of fur of which there are plenty because this is one shaggy dog. So I just want to get a little bit of interest into this picture. I've got my fairly thick fur. Let's put it that way. Now I'm doing my thin fur. I'm blending things thick and thin. I've already mentioned that once before, but that is a really, really good way to add interesting variety and a bit of harmony into your picture blending opposites, thick and thin. I'm taking a little bit of time as to where I place these things because these are the bits that are going to stand out, these little flyaway bits, and people are going to look at these more. All the fur we've been doing up to this point has been background pattern fur where people look at the pattern and go, Oh, that is complicated. It's these little standout bits of fur that I'm doing right now. That's going to be what's going to draw people's eye. I am bearing the pressure a little bit, not all sharp white bits. And now that I've done that, I'm starting to feel like the pattern fur the stuff that I have been doing with the slightly thicker lines, I could do with taming down in one or two places. So I come back to my blue 50% opaque. I will make it how big. 22%, that's fine. There's just one or two places where I feel there's just a little bit too much fur in there. And it's starting to become a sea of fur rather than having any real form to it or shape. So I just want to take it down in just one or two areas. Let's make my brush size at smaller size 12%, and it just kind tame me down one or two areas, as well as coming to my eraser, making my brush size again a bit larger. 22% knocked down the opacity to 22%, and there's just one or two little bits. Down by this cheek bone area where the fur needs an overall lighting. And I think at this point, I want to say it's time to move on. That means, well, you know what that means. That means it's time for you to have it go at the other eye. Come on. Let go, Simon. Let go. Sorry, I keep on seeing bits. I'm in the zone. You know, that zone. The one where you just keep on finding things. You're completely absorbed, and forgetting the out the outside world. You're just having a bit of fun with what you're doing. That's no bad thing, but come on. I've done one side. It's time for you to do the other one. Now, the next video is going to be pretty much a repeat of what I've done here, probably with less talking, as well. So if you're feeling brave and you want to have a go at the left eye, as we see it, great. Give it a go. You don't need to watch the next lesson. In the lesson after that, though, we are going to be taking a look at how to deal with that mass of fur in the central area, and we're going to be tackling that using something called layer masks, which you've not seen on this course before, but they are very powerful. That's coming up after the next lesson. So in the meantime, I will sign off. Have a go at the left eye yourself, which is what I will be doing in the video coming up. I'll see you there. 77. Your Turn to Draw the Eye Surround: Okay, I'm going to do a little bit of talking just at the start of this video just so you know that your sound is actually working. But this is a video where, look, we've done the right eye of the puppy as we see it. Now we're going to do the left eye using the exact same techniques. I've said just about everything I wanted to say in the previous video. This is just going to be more of the same. Start off with your outline turned on to get the overall direction marks of the fur. Use. In my case, I'm using size 4% plus opacity. Well, I can try 50%, but fairly light brush strokes. Same with my paint brush when I'm applying paint, size of 4% opacity. Well, that's going to vary a little bit. Put down your general pattern fur to establish overall direction and what have you. Then, and especially with your eraser, you're going to take that down to 2% width to put in the little bits of hair that you can see sticking out. In various places. Do not try and draw every single strand of fur that you see. Just aim for something that looks like a fairly convincing fur effect. Try not to get a sea of different lines and call it fur. Try and get some idea of dark and light within the fur, which means it's perfectly allowable at any point to increase the size of your brush, maybe knock down the opacity and just gently put in lighter and darker areas within your fur. Oh, and one final thing, as well, you will be working fairly close up like this, but keep taking time to zoom back out again and comparing what you're doing with a one eye area with the area that you've already done, and there may be times when it would be an idea to work a little bit more like this. But for now, whoops, I resized my window, but I accidentally missed. I ended up drawing in razor mark with my finger, so two finger tap to undo that. Let's try not doing that again. There's my fur. Let's make a start. D Okay, I think I've got something here which is looking quite similar to the previous side. Oh, yes, I keep on looking at it, thinking, Yeah, actually, you know what? I want to change this bit. I want to change that bit. I suppose, at this point, this is something which you often hear people say. Part of it is just simply knowing when to stop. And I want to stop now because I really, really want to move on to the next video because you may have noticed with this, I have made a point of avoiding that hair, which cuts into the eyes, because if you've been feeling a little bit nervous about doing all this fur and whatever, you're going to be very nervous about trying to draw a line all over your existing artwork. So let's not do that. Instead, in the next video, I'm going to do the sides of the nose around the eye area. Using something called layer masks. It will also explain why I've got these rather large areas of dark just in the center section, just above the eyes. You may have been wondering, well, why is that area so dark when there's fur there? All will be revealed in the next video, which is coming up. 78. Say Hello to layer Masks: Okay, so in the previous video, I was talking about this thing called a layer mask. Let's show you a action. I do have to advise you, not warn you, but advise you that some people find layer masks a little bit difficult to get their head around. They are worth it, though. So what I've done is just create a new image. This is just a standard screen size image. I've got my brush, DC Pantel medium. And you know what? Let's choose a green color. Make my brush nice and large 100% opaque, and I'm going to scribble a layer of green. Then I'm going to create a new layer. And I'm going to create a layer of red on top of that. And so what we've been doing with the previous video, but with a little bit more finesse, I hope it come to our razor, and bear in mind we are on the red layer. I'm going to rub out bits of the red layer like this to reveal the green layer underneath. And if I'm on 100%, I'll do a very definite erase, and if I'm on a lower paste, I can gradually build up the effect where I gradually arrase the layer on top to reveal the layer below. So far, so good. But going back to our puppy. Well, there's my layer. There's my draw to layer. And so what we have been doing is gradually erasing bits of the blue to get lighter areas. But now, if I call up the reference photo, I've got these bits of fur, which are starting to extend into all these areas of fine detail that I've done, and I really do need to do those because that's part of the character of this particular breed of dog. But I'm nervous. What if I get it wrong? Well, I can two finger tap to undo stuff, and I can keep doing the two finger tap dance to step backwards. But that's going to end up with me doing a whole load of tap dancing backwards, then starting again, then tap dancing backwards again. And then once I take this file into the gallery and reopen it or I reopen procreate, all those undo steps will have gone. So maybe I'm stuck with some work that I didn't like, which has ruined all that fine detail. It's not a good solution. Let's go back to that file I did just a couple of minutes ago. There you go, rhapsody in green and red. Let's come to our layer palette. Layer two is selected. Come on, let's rename this. Red and green. Let's go to the red layer, the top layer. And now what I'm going to do is I'm going to come to the icon, tap on it to reveal our various different options. This is the one that we haven't touched before. We've done Alpha Lock and we've done clipping mask, but in between, you've got mask. Watch what happens on the Layers panel when I click mask. I get something called a layer mask. It is white. But you don't see white because this is a special kind of layer. You may also notice up in the top right, the color I'm using has suddenly changed to black. Now, make sure my layer mask is selected. It is the one on top of the red layer, and it's the lightest blue. I will come to my paintbrush. I haven't come to my eraser, I have come to my paintbrush. And let's choose a size. Let's take, say, 12%. Opaste is on 100% and Oh, look at that. I'm erasing parts of the red layer, and I can see the green layer underneath. Let's come back to our layers panel. Well, look at that. That brush stroke that I made was done in black, and you can still see black in the top right hand corner. But the brush stroke I made appears on my layer mask. Let's do a little bit more down the bottom. Come back to my layers panel. You can see just in this little bit here, just like all of these little square things just on the right hand side, they are little thumbnails of what you've painted on that particular layer. You can see the sploge of green on the green layer, the sploge of red on the red layer, and you can see the general shape. It matches what you can see on your painting area, but the layer mask has white apart from one or two black bits, and where the black bits are, I have made the red layer invisible. That is because the layer mask is attached to the red layer and only the red layer. It won't affect the green or any other layer. This layer mask will only affect the red layer. They're twinned to each other. And where one goes, the other follows. Now, so far, you may be thinking, Okay, this is just another way to erase part of a layer, but this is where it gets interesting. You know, I've been painting in black. Well, I'll come to my colors, and instead of painting in black, I will now paint in white. I will now come back to this area. You can see my brush hovering around, and I'll make a brushstroke. The red has come back. Wherever I paint in white on that layer mask, I can suddenly see my red paint again. Come back to my layers panel. This is the rule. When it comes to painting on your layer mask, white reveals black conceals. And what that means is, wherever there is white on the layer mask, the layer it is masking, which is a red layer, will be fully visible. But if I paint a dense black anywhere on the layer mask, wherever that black is, the red layer becomes invisible. So when it comes to painting, like I said, white reveals black conceals. Sometimes you might get the two of them mixed up. You might think, Well, does white or black conceal, I can't remember. So the way I remember it is black hole. You know what a black hole is in space. So wherever you paint black, you create a hole in the layer the mask is attached to. I'm going to rename this layer mask layer to Mr. Maski. So now I'll just say it again with some cutesy names rather than technical names. Look, do you notice when the red layer is selected, I get my red color. And I can change that to whatever I want, green, blue, gray, whatever I want. But as soon as I select Mr. Maski, it changes to white. It remembers that I was painting in white. If I change it to black, I can now erase. And then if I go back to red, I get the original color that I had. But if I come back to Mr. Maski, it turns to black, and I can erase. If I then come to white, I can undo my arrays and show the red underneath. Now, at the moment, I am working with 100% opacity. Just supposing, well, I could do it one of two ways I could either change to a gray, like a mid gray or I can lower my opacity on my brush stroke, so opacity of 50%. I'm painting on Mr. Maski and Look at this. In fact, I'll make this a bit bigger and gradually build up the brushstroke. And if I change to white again, I can paint with less than 100% capacity. I'm using a light brush stroke, and I can gradually reveal my red layer bit by bit, also gradually because I'm painting in white. The white is revealing the red layer. If I change to black, and I paint ever so gradually on my red layer, black conceals. So black is concealing the red layer, bit by bit by bit. You can use any paint brush you want on my mask layer. If I try to choose say deep red color, take a look in my little colour reticule. You can't paint in colour on your layer mask. You can paint in tone. You can paint a mid gray. But if you try and choose a bright red, which is halfway bright, you'll end up with a mid gray. Look, technically, all that's happening with Mr. Maski is that, yeah, you're painting in black and white and eventually gray. But with a normal layer, look, you have color values. If you have a value of zero, it's completely black. If you have a value of, say, 100%, it's completely white. With a layer mask, it doesn't show black and white. All it shows is different levels of transparency. So if you have a value of zero, that means completely transparent. If you have a value of 100%, it means the layer the layer mask is attached to is 100% visible. If you had a value of 50%, it would mean that whatever layer the layer mask is affecting would be 50% opaque. That is the trick to layer masks, and look, now will be a good time to stop this video. In the next video, we will apply this principle to the artwork we're doing. 79. Create our Layer Mask: Alright. Without further ado, let's apply a layer mask to our drawing layer. Just before I do, though, let's compare what we had with what we've got now. Am I happy with what I've got? Do I want to move on? Yes, I do. So you can keep this bottom layer if you wanted if you have plenty of memory, but if you're worried about memory. And the amount of layers you have available, just slide to the left and delete. Because whenever you add a layer mask, that counts as an extra layer in your file. And if you have a lot of layers with a lot of layer masks, you're going to double the size of your procreate file. But let's come to our layer. Let's click on it, and we'll choose mask. You can see what happened as before. Well, the last color I had was red. Look, if I come to my draw layer, it clicks into that red I was using in the previous video. If I come back to my layout mask, it clicks back into gray. So I'm going to come here. I'm going to choose black because at the moment, my entire layer with all the blue on, is visible. I want to selectively make things invisible. So this time, remember, we're not using our razor. We're using our paint brush to paint in either black to hide the bits of blue on this layer or white to reveal them again. My paint brush is well, let's turn it to 4%. I have 50% opacity. What's that gonna give me? I'll start off with this eye. I'm starting, well, you can see, I'm just jiggling the head of my brush around here. And what I'm going to do is paint in, you know what already? I think I need something smaller, let's crank up the opacity to 75%. And that's giving me more of what I want. It is quite thick, but come on. Let's do what we said we were going to do before. We're gonna be bold with this coloring these areas here. Well, I wonder, did I put any guides? Yes, I did. So make sure the layer mask is selected. Be careful with this. A very common mistake is to accidentally draw on your drawing layer, and wondering why you're getting all kinds of weird effects. Always make sure you've got your layer mask selected. I'm going to twist my entire picture around because I want to use a natural curve in my hand to draw some of these lines in like this. And you know what? Come on. I want to crank up my past to 100%. I want to be a little bit bold with this. What I want to do is get some of these hairs which are just on either side of the eyes. Let's bring this round, see what kind of effect I'm getting. And yet, I'm starting to get it. And can you hear how quickly I'm putting down my brush strokes? Quick brush strokes. That's what I want. And gradually build up the lighter areas. I'm starting. Can you see where my pressure is? I'm starting fairly far back into that white area, which is in between the two eyes, if you like the forehead area, there's a reason for this. But I'll carry around with this because I'll be honest, I've been looking forward to doing this. So I'm having a bit of fun. Got some nice, flicky brushstrokes. Let's just turn off our online layer, and, yeah, that's really helped me. And now, I think this one bit I did here, that's just a little bit too intrusive. That needs to go to a finer point. Well, fine. To a fine point there, make it nice and light. Then I will come and I will choose white because what I've been doing up until now is painting in black, which means I'm concealing the blue underneath. Now I'll come back to white. And when I start doing brush strokes, remember, black conceals white reveals. I'm now painting in white, so I'm revealing the layer underneath. It looks like I'm erasing the white marks I've made, but I'm not. What I'm doing is revealing the blue underneath. If I come back and I choose black again, I start to hide the blue bits underneath, but it looks like I'm painting the lighter brush strokes. How nice is this? Now, you are probably wondering why I was cutting in so much into these white areas in between the two eyes, the white forehead. Let me show you why. Let's come back to our draw two layer. So now we're going to be drawing on our original layer. I don't need that blue. What do I need? I need for my DC drawing colors? Bottom row first one along, that is the blue we've been using. My paintbrush is selected, I'm going to make it nice and large. I'm going to take the opacity right the way down. That's on 30%. Now, let's make it 20%. In fact, no, I'm going to make it nice and high, and I'm going to scribble and then undo. Take a look see we brush is hovering, I'm gonna make my breast strokes there. You see that? I'm revealing the brush strokes that I made on my layer mask. They're just sitting there, and if want to do something with them, great. But do you remember me telling you that for fur, generally speaking, the way you do it is you have a darker background, and then you put lighter bits of fur on top. That's the way fur works. Let me just undo that before I forget. Take a look at this area of the photograph. Well, that's what you've got. You've got these slightly darker areas with lighter fur on top. Well, we can emulate that. Let's drop down our pasty down to 30%, and I'm going to gradually put in a darker area here, and what I'm getting is the darkness of the fur layer underneath, but with my lighter strands of fur, which I'm drawing on the layer mask. That means, effectively, I can draw the fur wherever I want, but I can also control how dark the background is. Look, in the case of this, I can come to my eraser, make it large, and make it very low opacity, and I can control how dark fur is underneath those lighter strands of fur that I've drawn on the layer mask. Look, if I tithing and taped and do that, all of a sudden I'm getting a darker area. So with a layer mask, okay, yeah, they can be a little bit confusing to work with, and they can be a little bit intimidating. But once you get used to them, you can paint over all those fine bits of detail as much as you'd like, because, well, in this case, we're painting in black. Turn your brush around painting white, and you can erase everything you've done. All that detail you had in the eye is just waiting for you if you decide to either hide or show things with your layer mask, and you can affect how light or dark the fur is underneath all your lighter strands of fur. This gives you an incredible amount of control, even just in this little bit here. Imagine I was doing traditional media, and I decided I wanted a darker color just behind all the fur. Imagine coming in on our draw two layer and having to draw in all the darker bits in between all the bits of fur. That will be a nightmare. But we have layer masks, so we don't need to do that. Okay, I'm going to draw a little bit more on this, but I've got a fair amount of work to do, so I might speed up. Generally speaking, what I would do with this is now you've seen the overall technique. First of all, I will count to my draw two layer. I will set my opacity very low, make my brush very large. I'm going to put it in a general light gray, sorry, light blue in these areas now. And now you realize why I'm doing this B I've got my layer mask. I can just draw over the top of this anytime I want. There's certain areas where I don't think I'm going to need it. I just various bits around the nose. They're all practically all white, anyway. But even if I decide that actually I do need one or two blue areas, I can always come back and paint them in whether there is fur on top of them on the layer mask or not. And now do you realize why I put this rather large darker area blue in this particular area here. That's because on the photo, I can see there's darker areas underneath the fur. I knew I was going to see that. And so I put the darker bit of fur just in this one particular area because I knew I was going to be using the layer mask, and that darker area should hopefully just spring to life when I start working at it by using my layer mask. I'll tell you what I'll do. I'll stop this video now and in the next video, now the explanations out of the way, I will come in and start doing the layer mask and see what we come up with. 80. Continue with our Layer Masks: Okay, just before we start, I have saved this file off as Puppy 02d. It is a very large file, but if you want to download it so that you're starting off from the same point as me, feel free to do so. And just please make sure that when you start drawing, it will most likely come up like this. With your outline there. Yeah, that's going to be useful. I'll leave that on for now. But please, please, please make sure you are on your layer mask layer. The color you've got there and the top right may look like it's completely black. Yes, it is. Okay, we got lucky. Double check to start off with so you've got completely black selected. The brush, DC pants on medium. I'm going to crack my opacity way up high, I'm going to take my brush size. I'll start off by doing the final edges. It's a little bit of the reverse way that I was working before, but I'm reasonably confident you want to try cutting in to the areas around the eye. So I'll do the same. And again, you might get some music for this, which may fade out when I think I have something that you might want to hear. In fact, no, you know what? I'm going to start off with size 4%. Paste is on 100. I'm using my standard pencil brush. And look, let's just make a start. Okay, now I've got to a certain point where I think I've got most of my guidelines in place. And if you remember way back when we were doing this, I was saying, Look, those guidelines are going to come in useful for you. Well, this is the point where they did. So let's take a look at this with the outline layer turned on, and, yeah, that's starting to work. I am noticing that those guideline layers, maybe they're just not quite curved enough. If you take a look just here, you can see there's definite kink in the fur there. So, wow I'm here, that's come too. Adjustments liquefy Oh, that needs to be a lot bigger. Let's make it. Okay? At that big, and let's see what we can do with this. Oh, look at this. We can twist this fur around all we want. And, in fact, when you're learning to draw, this is actually very useful because especially when people are doing construction drawings, they tend to straighten things out, like if someone's leaning at an angle and the heads off to one side, when people draw it, they tend to straighten angles out and also with the curves here, there is a tendency. To straighten things out. I'm also going to maybe exaggerate this just a little bit because I like that sweep of fur. It's attractive. And so if I exaggerate it just a little bit, then hopefully I'm kind of pointing out that it's attractive. Okay, I will click anywhere either on my regular brush icon, I could also do my layer icon just to commit to that. Also, I'm going to double check. I'm on the layer mask because, yes, I am completely paranoid about it. Come back to my brush and carry on. I think I need to do a little bit more sweeps around here because I've got things going in slightly different directions here, which they're crossing over, which isn't too bad, but I do want to get the idea of a sweep of fur there. The moment, what I've got some very nice curves sitting on top of a darker area. I need the whole thing to be a bit more integrated. Now, I can do some more fur coming around like this. I am also going to put in some filer bits, so I'm gonna come and choose size of 2% and put some thinner bits in there. That's gonna help sell the effect of it being well, a little bit more chaotic. Otherwise, it would be a bit too smooth. What I am going to do is come down to my actual drawing layer, and this time, I am going to come to my eraser. I'll make it fairly large, 22%. Let's make it a bit larger. I'm on 53%, but my opacity is low, because what I want to do, can you see all my brushes hovering around? If I look at that bit and compare it with the actual photo, I don't have those dark gray areas behind. They're much lighter. But the good thing is, because I'm on the right layer, I can just gradually fade that fur into pretty much wherever I want. How cool is this? No. And let's not forget that in other areas, that fur is definitely darker, so I can localize. Is that the right word? I don't know. I can take out the bits underneath the fur, just in local areas. Let's make the pasty a little bit brighter. That's on 50%. And just do this. If I go too far, I'll get my pen and just gradually put in that blue. In fact, look, I suppose, I'll go, Yeah, that's brilliant. Oh, no, I've gone too far. Come to my brush tool. Let's set our pasty nice and low and make it fairly large. What? 53%. And I can come back and draw in that blue or take it away as much as I want. I can then come back to my layer mask and draw in and take away as much as I want. This is a ridiculous amount of flexibility. Okay, so here's a question for you. Why didn't I just use layer masks to create the entire image? Well, for one reason, they can be a little bit confusing to work with. So I wanted to ease us in fairly gently. But look, for the general purpose fur that we were doing over the previous few videos, the whole idea of painting on and rubbing off, that works just fine, and you can get a lot of decent fur effects. But in the case of this, where I have some very complicated shapes and some very complicated fur going over an existing area of high detail like the eye, this is one place where layer masks really do the job better than any other thing I can think of. Also, Fur is so often a case of a darker background with lighter strands of fur done over the top. And you've already seen with this that I can come in and edit how dark the underlying areas are to my heart's content. So those are two areas where I really do think this was the right time to talk about layer masks. Said, look, I'm starting to fall victim to something I said that I didn't want to do. And that's do a whole load of lines which gradually make up a fur pattern. I don't want to do that. I still want to be working in areas like, for example, good case in point, this area in the forehead, just in between the eyebrows, that is a fairly blank area, and it's going to take forever to gradually build up all these lines up bits of f one line at a time. That's going to take too long. So, in the case of this, I'm going to make my brush size larger, lower pasity down, and I just want this as an area of color. Can always cut in at any point and change this. But looking at this now, like I say, it's going to be a mixture of areas on my picture with some strands of hair there to represent the fur. I'm not going to do every single strand of fur. It's just going to take too long. And also, you can end up with a picture that just looks overworked. Where you get to see every individual strand that makes up the hair. That much detail can start to be distracting after a while. You start to lose the idea of the form of, in this case, the puppy. I did once to a soft portrait of a dog, but I've got these areas of really crisp detail, which I don't mind, but I want it to be more than just that. I want there to be softer areas as well as harder areas. And you notice again, I'm still working fast because I can come back and edit this at any point. But let's try and marry these shapes together because at the moment, it's still early days yet, but I'm starting to feel a little bit like I've got the puppy's eyes on the outside of the eyebrows, and then I've got the bit in between the eyes, and it's looking a little bit like two separate parts of a picture. That's because it's early days, but I do want to work right now On marrying these areas together. And now I'm going to do that by working on my layer mask, but also coming to my actual drawing layer as well. Come to my eraser, set the opacity low. The brush size is pretty high, and just tackle the various different tonal areas from both sides, using the different effects we've learned on both of the layers. Oh, also last thing on this, as with the fur lad, don't forget at some point to come down and choose a smaller brush size, so you can vary the width of the fur, just to get that little bit of chaos you get on these lovely little dogs, little bit of thick and thin, little bit of variety. Oh, that's one thing I should mention as well. I'm working on my layer mask, white is selected. So I'm revealing the colors underneath these whiter bits of fur. But look, if I do a light brush stroke, just see where I'm jigging my brush around there. Look, if I press very lightly, I can gradually fade just the tip of that brush and maybe just one or two bits around here to gradually blend those areas in to the background areas as well as completely erasing stuff. So you can get an enormous amount of subtlety that way. And I noticed some of these fineer strands, they gradually clamp together, so you don't get a series of just rats tails. Gradually, they clamp together to form solid masses. And that's what I'm working on just on this side at the moment. And also, let's just try and make this blend in a little bit with this eyebrow, which was done using the previous method. Like I say, I want these two techniques just to sit ideally seamlessly together so that the person looking at it doesn't realize there's been two techniques used. All they see is just a seamless hole. Okay, we're nearly getting there. I just need to try and match up things on both sides, which I've nearly got. And also, like I said, what I wanted to do was try and get the layer mask bit of detail and the layer underneath bit of detail to sit together so you can't tell where one starts and the other one ends. And I think I'm getting there now. And I must admit, I'm having fun with this. I'm enjoying myself. Isn't that what we should be doing? I mean, yeah, sometimes it's stressful. You're drawing and you feel nervous. Other times, you find your rhythm, you find your flow. And this thing just seems to appear before your eyes. And sometimes you have a bit of a hard time thinking, Well, I'm doing this. It's almost like the drawing just seems to fall out of your pencil. Anyway, listen. I think what I'll do is I'll stop now. And, look, I may come back to this. In fact, I probably will do, because the more I do it, the more keep on seeing bits where I think, Oh, no, I want to change this bit and I want to change that bit like now. I've just noticed there's this bit above the eyebrow, which really does need transitioning a bit more smoothly than it already is now. And now that I do that, I realize that, Oh, no, there's a bit on the other side. You see how I'm drawing in areas of colour and show you a way to work a bit faster. And then when I've done that, take my brush size down and throw in some fineer bits on top of the softer broader areas of color. And that way, I get a nice blend between the two. I'll be honest with you, that's going to work a lot better for the drawing as a whole than if I do a whole load of really fine detail. And, sometimes people do that, you can kind of admire the sheer amount of work that's gone into it. The effect can look very harsh sometimes. Hence me saying that if you remember, I was saying, well, no, I want to do a soft drawing. Okay. Oh, come on. I'm sorry. I don't want to stop. I'm enjoying myself too much. I don't want to lose that flow. I don't want to lose that place in my head where I am at the moment, I'm just relaxed. I'm not thinking about anything else. If I wasn't talking to you, I'd probably have the radio on or a playlist with some just nice, relaxing music. Really enjoy the whole experience. But no, come on. Discipline. I'll come on and do the nose next. It will be more of the same technique, but time is marching on. Okay. I'll see you in the next video. 81. Sometimes, you Just Have too Much Detail: Okay, this is not a puppy. Yes, I know that. But I wanted to make a point here, because I've been banging on about how I don't want to put loads and loads of detail into my picture, even though you've seen for yourself, you can put in as much detail as you want. And so I called up this picture. This is one of my friends, and maybe you agree. He's a little bit of a silver fox. And so I took a photo of him. I tried to get some fairly soft light in there, some nice, moody darker areas, but a reasonably soft portrait. Now, do you remember me telling you quite a few videos ago, these days, you can get some software which will take a photo and make it look more like something you might see with your own eyes, where it can even out the detail in the shadows as well as the highlights, and so you get a much more u and spread of detail across the picture. So I thought I'd do the same with this photo. I've taken a fairly soft photo with a little bit of detail in, say, the hair, maybe around the cheeks, the nose, the eyes, not in shadow areas. I ran it through some software with one aim in mind to get as much detail out of that photo as I could, detail in the highlight areas, detailing the shadow areas, and to get a rather exaggerated version of what we might draw if we could draw photo realistically I came up with this. That is all the detail I could possibly squeeze out of this picture. And that is ghastly. No wrinkle was spared, no skin paw was left untouched. No strand of hair that wasn't obsessed over in the quest for as much detail as we could get. Look, let me save your eyes. That was the original photo. I'll compare it just once more. Lo away if you don't want to see this. That is with every bit of detail remorselessly laid bare. And let's hide it again. I'm just trying to make a point here. I think with digital, there are plenty of possibilities over traditional media to do a lot of detail, but the next question is, should you? Oh, and just in case you ever meet this guy, I'm not going to give you his name, but in case you ever meet him, Please don't mention that I did what I just did to a photo of him. Okay, let's get back to our drawing. 82. They Have Wet Noses, Don't They?: Okay, I think it's time we took a look at the nose and also the mouth because the two are going to be very closely linked. Before I do, though, there is something I don't like about this picture. There is something off. And I think I've got an idea, but when you're in this situation, the best thing you can do is come to our wrench icon. Canvas is selected, and I will flip horizontal. That means I look at this through a fresh set of eyes. And yeah, straightaway, I can see one or two things I do not like. The top of the head seems slightly wonky, and also the eye sockets. Or, the eyebrows, they're not quite matching up. And I'm not sure about the position of that nose. I am going to come to my adjustments and come to liquefy. Let's take a look at my brush size. I want it to be bigger for the top, because the top of the head seems slanted off to one side. I don't like that. Oh, hang on a second. Before I do this, let's make sure I've got the right layer. Yeah, I need to kind of draw 02 layer rather than the layer mask above it. So come back to a fight and then move. Yeah, when I do that, now I can move the blue bits. Make my breast size even bigger because this does require quite a shift. So it's more central, and straightaway, that's making me happier. I need to make my breast size a bit smaller, and I'm just looking at these bits around the outside, the eyebrows, or whatever better phrase. I think I'm going to take the one which is currently on the left and just pull it outwards just a little bit. So it's slightly less arched a little bit more rounded at the side. Maybe do something similar to the other side as well. I just want to match them up so they look similar to each other. Maybe to about there. And I'm kind of preferring that I haven't worked on the nose yet, and I've got a feeling that the look of it is going to change. When I start doing what I did in the previous video and adding the hair using the layer mask, hang on a second. I'm going to make my brush size a little bit smaller. I'm looking at the underside, which I haven't worked up yet, but it seems the jaw is a lot bigger on one side than it is on the other. So maybe if I just pull this around a little bit and try and match things up, maybe, I'm going to do it. I'm going to push the whole nose ever so slightly off to one side. I'm also going to make my brush smaller. I'm going to just push it in a little bit. Remember, we're talking about a puppy here, a young animal, and baby animals, big eyes, small nose and mouth. I can always make it maybe a little bit bigger or smaller when I'm coming in and actually painting on it rather than moving elements around. But I just want a solid base to draw on top of. Like I say, at the moment, I'm not quite happy with it. I know that I am deviating from the photograph. But like I said before, people are like that. They will forgive just about anything in a photograph. They won't forgive the exact same thing or the exact same positioning in a drawing. And yet, I keep on seeing things. Let's move this side bit up a little bit, maybe move the other one down a little bit, just to match things up as much as I can. Basically, I'm going for a more symmetrical shape. Now, okay, there is no such thing as perfect symmetry in nature. But again, I am talking about a drawing that people can believe or drawing that people think is realistic. Things around not by too much. Oh, hang on, that went too far. I'm starting to play around with the shape of the eyes there, which I don't want to do. So, okay, I'm going to call that enough nudging around. Let's come back to our wrench icon, and I will flip horizontal again, so I'm in the same orientation as the photo. And yeah, overall, I think I'm a bit happy with that. There is one thing though that is really starting to bug me. My draw zero layer two is selected. My brush is selected. I'll set it to 4% and pretty high opacity. I'm going to come in this tiny little bit of hair that little squiggle on the end. I keep on looking at it. And if I keep on looking at it, that means it's distracting. It needs to form part of a greater whole. Okay, so let's take a look at this nose and the mouth area. I think this is going to be a little bit trickier than the previous lesson because well, you can see, I've got quite a few dark areas under the fur, especially just under the nose. I've got the nose itself, which is still fairly soft. I haven't firmed up the different textures on the nose. Got the fur going off in all different directions. I've got in some places like under the nose, I have some fairly dark background. In other places, I have some fairly light background. So I think it's going to be a case of gradually working this up. And one of the first things I'm going to do is I'm going to come to my outline layer and just take a look at where I perceive the mouth to be. And I'm looking at the darker areas under the fur. You can see right under the nose, I definitely have a darker area there, but then for the lower jaw, things suddenly get lighter. I'll start off with that. So I'm gonna need my eraser. What layer am I on? I'm on my actual drawing layer rather than my layer mask. Yes, I keep on checking it because, yes, I have to. My brush opacity is set to 50%. My brush size is set pretty large, what, 65%. And I'm gonna need it about that size to gradually get rid of this darker area here. Not all of it, because I notice that there is a very slightly darker area just underneath the mouth. This is going to be tricky. Look, I tell you what I'm gonna do. I'm going to take this right back and start again. Size 22% so it's narrower, and I'm coming in close now to the underside. Well, the top of the lower jaw. While I'm here as well, I think I've got it how I want it. So while I'm here, I'm just going to knock back some of these blue areas just around the side of the mouth because what I'm doing is I'm looking at underneath the fur and trying to decide what those toes look like. Like, if you take a look just above the nose, you can hardly make out any kind of fur. And that means that you've got the white fur against a very light or almost white background. A little bit you can see in between the strands of fur. Maybe my brush sise just a little bit small because in some places the fur goes in waves rather than straight lines. Actually, no, I have an idea. Forget that. I'll just do a general lightening of the area. I'm not going to worry about the direction of the individuals trans of fur because I think later on, the Liquify tool is going to be my friend yet again. Okay, I am going to turn off my outline layer. And I think now I've got enough to be working in. I can just see when I zoom out, I've got a little bit of a lower jaw going on there, which I didn't have before. Okay, come to my layer mask. My color immediately switches to black, which means I'm going to be hiding bits of blue. That conceals, it's going to be my eraser, in this case, even though I've got my paint brush selected. How about that for messing with your head? And what I'm gonna do I set my brush size to 4%. The opacity is set fairly high as well. Now, at this point, you might expect me to go very close to where I think the nose is and make careful brush strokes like this. No, I'm not going to do that. I'm going to crack the opacity all the way up so I can get brush strokes, even though I'm not putting much pressure on and I'm doing some fairly light strokes like this. And you can see, I'm very cheerfully cutting in to the actual nose air itself. Call my outline again because I did various guidelines there. Let's take advantage of them. But as I say, I'm very happily cutting into the nose, and you'll see why in just a short while. F now, let's just get some of these direction lines in there to get a sense of how the fur is curving around. And don't forget to cross your lines a little bit. You don't want a whole load of parallel curves or parallel lines here. This fur is quite chaotic. And I think as soon as I got an idea of the direction of these little strands of fur from the green lines, I will turn off my outline layer, and that makes life so much easier. Okay, I'm zooming in again. Now I'm going to go from 4% to 2% white because I want to put in some of these finer hairs. Again, I'm cheerfully cutting into the nose. And for these narrower hairs, I'm going to put a little bit more slightly more chaotic lines if you take a look around the mouth area, you've got lots of little curved bits of fur like I'm doing now, and I think they need to be there to add a sense of chaos just into these areas which I'm doing now, especially around the mouth. The line of the mouth, while the bottom jaw meets the top jaw, people are going to look there a lot, so pay attention to those areas. But like I say, a little bit of chaos. Now that I've done that, I'm going to come and I'm going to change my color from black to white. So now I'm going to reveal the layer underneath. Effectively, I'm going to be erasing the brush strokes I've just done. I want my brush to be larger. I want it to be let's try 12%, and I want it to be lower opacity. Let's try 50%. And now I come to the bits of fur around the nose, and I'm going to gradually erase them and start nibbling away just at the edges of the nose. And by doing it this way, I don't end up with a whole load of hair around the nose where all the brush strokes start off very carefully because I'm trying to match those bits of fur with the side of the nose. I could just make nice fast brush strokes, which is what they should be. It also, if I do it properly, let's the end of the brush strokes. I'm just doing it now. Fade in against the side of the nose rather than being a very abrupt start and end. And that will help bland these brush strokes against the edge of the nose. I've got a little bit here where the fur is more gentle and appears to meet the nose more gradually. But let's do this. My problem right now, though, is that I'm gradually blending these bits of fur against a nose which is still soft. I haven't firmed up the nose yet. So maybe that's something I should do in the next video before I carry on with the nose. So, yeah, I'll do that. I'll stop now. I'll see you in the next video. 83. Drawing the Mouth and Nose: Okay, so let's zoom in on this noise because in this video, we want to finish it. Now, one of the reasons I'm working on this so close up is so that you can see very clearly what I'm doing. Under different circumstances, I might be more tempted to look at the eyes at the same time. What I do need to do is come away from my layer mask layer and come to my draw two layer because trust me on this, if you get used to using layer masks, I don't care how much you use them, there will be times when you forget to do this. Make sure you're on the right layer, either your drawing layer or your mask layer. Okay, so for this, well, I can either start with my brush or I can start with my eraser. I will start with my brush, I think, and I'm going to set it to small, I'm going to have the opacity set at least on 50%. Because there's an area just underneath the nose. And in fact, actually, you know what? I think I've got this the wrong way around. I shouldn't be making things darker at the moment. I should come to my eraser, halfway opaque, set to. Let's try 12%. I need to make the bottom bit of that nose a bit lighter. Definitely a bit coming down here. And, yeah, that's definitely improving things. While I'm here, let's put in one or two of these areas around here. Look, I am going to zoom in for this because there's an area just around the outside of the nose, and I'll make my breast size smaller for this. Just around the actual nostrils themselves, there seems to be kind of a much lighter area that is fairly well defined, fairly hard edged, which comes around the side of the nose and swap back to my pen because dogs have this characteristic on their nose where it's almost like at this point, just on the side of the nostrils, it's divided up into two halves. Definite gap there. Same for the other side. And while we're here, let's add a little bit more definition. Run on the bottom side. I notice for this, the side of the nose seems to go pretty much vertically upwards and then just curve around slightly at the end. And I think I need to come back to my eraser and just extend the lighter area slightly, not by too much because one thing I realize is when I did this in its blurred state, there's actually bits of fur sticking down there. And if you take a look at the underlying brightness or lack thereof, actually, I need to come to my pen. Pasty set a bit lower. Brush slides a bit larger, and I need to darken brush slides a bit larger again. I need to darken some of these areas because these are going to have bits of fur on top of them. That's the lighter areas, which I didn't see when I was putting in my general shading because the fur had been blurred out. There is one bit, though. Look, I come to my razor, brush size 50% transparent and on 12%, there was a little bit of the nose here, which is definitely brighter. Just tap in a few places. Then I'm going to take my brush size down to what, 4% opacity way up to 100 and I'm going to stop. Can you hear that? Little taps. I'm doing little taps just to get that slightly dotty texture that you get on a dog's nose. And it's almost impossible to tell what that looks like until I zoom out a little bit. Now that I have, yeah, that looks okay, but I did need to zoom out to check that out. And there's one or two little bits just on the underside of the nose, one or two little details. Take my opacity down to 50% again, and maybe just add a little bit more mottling just on the side of the nose. You can see one or two slight contour lines just around the nostrils. Maybe make them just a tiny bit modifined. I'm flicking my eye in between the bit of the photo that I'm drawing and the actual drawing itself. And my eyes are flicking pretty fast here. Just want to get things in more or less the right position and the right brightness. The nose is one of those areas, well, you look at the eyes, then you look at the nose. So people will be looking at this to give them something to look at. Brush line is a bit bigger, and I just think I need to slightly firm up that transition between the dark top bit and the slightly lighter bottom bit. Come back to my pencil, Brush slize 12%, past 50%. Drop that down a little bit, just one or two bits underneath, which I think you make it just a tiny bit darker. And Okay, let's take a look at this. Yeah, that nose is looking better. It's going to look better again when I start putting bits of just along the top of it. And now I have my nose better defined. I can't help it. I'm going to come back to my liquefied tool, make it small because I noticed the bottom of the nose is coming down a bit too low. That needs to be a little bit more raised up like this. Little bit more heart shaped, a bit more like that while I'm here as well, I want to make my brush size bigger because I need to pull down this corner of the mouth, I think, because at the moment, it's a bit too high. Maybe pull this out ever so slightly. Okay, come back to my layers panel, choose my layer mask. And now the nose is a bit better defined. I'm in a better position to start going forward. Let's zoom in a little bit so I can see what I'm doing. I need black because I need to erase bits of the layer underneath, and brush size on 50% set to 4% brightness. Up the opacity that's not strong enough for stroke. I need some fairly well defined strokes here. So let's try opacity 75%. And yeah, that's starting to work better, but this is one of these areas where people will spend a fair amount of time looking at so pretty soon, I'm going to knock the brush size down to 2% to get some of these fine hairs. And when I sort my color over to white, I make my brush size a little bit bigger because some of the ends of these bits of fur I've just done, I just want to fade them in a little bit like this bit here is too strong. And just doing that has helped, so I will choose black again, set 4% and just start to try and marry this nose to its surroundings. It's still standing out a little bit too proud. And it's going to be a mix, I think, of the brush size being 4% wide and 2% wide. I'm tending to use the 4% width brush for my more general brush strokes and the general direction of the fur, and I'm using my 2% wide or my finer brush for the slightly more chaotic areas. Whoops too bright. Take that back. Well, lots of little X shapes around the bottom of the mouth. I can see rather a lot of quite chaotic fur around here, which is going to be very characteristic of the dog. So that's what we do. One or two slightly I hope that's not bits of food I'm drawing on these tiny bits of fur just around the bottom. If so, I'll go easy on them because puppies are really cute and adorable. They're even more cute and adorable without a whole load of food around the mouth. Back to 4% because I think I need to get some idea of some of the direction of these bits of fur. I need it to look like a mass of fur rather than a whole load of individual strands that make up something that looks vaguely like fur. God to think about the picture as a whole. If you remember, too much detail can be a very bad thing. Okay, now I'm way too close to see what I'm really doing, so I'll let zoom out a little bit. Yeah, it's starting to get there. I think at this point, I'm going to make my brush size a little bit larger, let's say, 50% large. Sorry, 22% large, lower the opacity a little bit. And I'm just going to go around the outside. You can see how my brush currently is, because at the moment, I'm seeing quite a lot of ends of the various lines I've drawn for the fur around the nose, just suddenly stopping. They need to fade into a mass. So I'm just disguising the ends of the bits of fur. And let's take a look at the lower part of the mouth. That's also important. I haven't really worked on the lower part of the mouth. I think one thing I should do at this point is come to my drawer layout. Blue is selected. That's good. I want my pasty set pretty low. That's opacity 30%, my brush size. I'm going to make it a little bit larger around 52%. I'm just going to play a little bit with these darker areas. Underneath the fur layer. And can you see this? Look, I make it very obvious. Okay, I'm going to erase that, but just before I do, look at how dark I can quickly get the fur underneath. Press on, do. If you take the time to work up these underlying darker layers, you are going to get a layer of flexibility, which you never would have had before with more traditional media. And again, I'm just flipping in between. The photo on what I'm actually doing and seeing how I can build this up. Right now, with that bottom lip, I'm not happy with that. Let's make my breast size smaller up the opacite cause underneath all that fur, I can see there's a very definite line there. Dogs lips are black, aren't they? It'll be just the lip of the puppy, which is going to need some fur put on top of it, but we'll do that. And make the brush a little bit bigger, and a little bit softer, a bit more transparent, just to darken this area here and fade it in a little bit. Okay, let's come back to our layer mask. As before, we want to be a raising. And by now, we know the drill. A paste up fairly high, we'll start off with 4%, then we'll go to 2%. I won't get my outline. There's a definite outline. Let's make my brow size a bit bigger where the chin is. Let's put that in. Luckily, I have this big red line underneath from my preparatory drawing to show me where the chin is, which saves me a whole lot of guesswork when I'm trying to worry about where the fur is going. I just made a mistake here? I think I have. Look, for my layer mask, I want this to be the individual strands of fur sitting on top of various shades of blue underneath, like you just saw me do. But what I've just done is put down an area of white by erasing things. And so for this, I want to keep what I do on the layer and what I do on the layer mask separate. I want to start tapping on D, but then I'm going to hold my fingers to step backwards. Can you see what's happening? Right. By holding two fingers down, you step backwards very quickly through the various undoes. Once you get to a certain point, though, I've gone a bit too far, I three finger tap to redo there. And at this point, I can see just down here, that was the first wrong stroke I make. So now if I two finger tap undo again, there. That's the point I should be at. So now, come back to my actual drawer layer rather than my layer mask. Come to my eraser. Opacity is set around about halfway up, and breast size set fairly large. Now I come in and do this. Do you remember me saying several times with layer masks, keep on checking your using either the right layer or the right layer mask, depending upon the task you wanted to do? Well, there's a good example of it. I just got caught out. I should listen to my own advice, but I think I managed to catch that. Now I can turn off the outline again. And now I want to do the first, so I come back to my layer mask. I need my breast selected, and I need to erase. That means painting with black. Where were we size 4% and start putting in various brush strokes here. Nice, short brush strokes. They are directional. They seem to be sweeping out towards either side of the mouth, slightly curved, but there's a lot of chaos in here. I don't have a lot of detail under the chin. Well, I'll do short stubby strokes just for where the bottom of the chin is where it meets the neck in the picture. Just to firm that up just a little bit. Nice, quick strokes. But then I'll come to 2% for the fine brush strokes, and I need. Well, you can see, you've got fur hanging down over the top of the lip, one or two bits of fur starting off just around here. So let's put those in. A little bit of chaos. Controlled chaos. There you go. That's a nice phrase. And while I'm doing this, while I'm concentrating on my individual brush strokes, I'm trying to take notice of the overall direction of the brush. Like just in this bottom bit here, I can see a lot of hairs which kind of curve round back in towards the mouth, so let's put some of those in. And presumably, yet also on the other side, they kind of curve back in. And now that I think about it, that is quite characteristic of a dog like this. I'm also trying to concentrate on how much the mouth is covered by all these hairs. And some breeds, like an old English sheep dog, you cannot see the actual mouth unless the dog has its fur trimmed. In other breeds of dog, you can very clearly see the mouth. So it's a case of judging for this particular puppy, how much you can see the mouth. And I think that's one of the characteristics of various different breeds of dogs. So it'll be an idea if I take my time and try and get this looking right, I'm not going to go to be able to tell that until I start to zoom out and see the picture as a whole. And yet, I think I'm getting fairly close with this. One thing I am going to do, though, is once again, come to liquefy. How big is my brush that is way too big. Let's make it smaller. Yeah, I want 34%. And what I'm going to do because I have my layer mask collected is just come in and just make one or two little sweeps with the fur because trying to get your hand to do a whole load of lines going in more or less the same direction, but with slight variations is really, really hard work. Especially when you're working fast, which is what I was doing, make my brush size a bit bigger. Always make the brush as big as you can get away with when you're using the liquefied brush. But can you see what I'm doing here? I'm able to get clumps of fur to move in similar directions. And by so doing, I can start to put it in a slight S shape. For example, just in this area here, and that is the kind of S shape I'm seeing in the photo. I want to be careful with this. I don't want to go too close to the actual nose and pull the whole thing over like that. That's two finger tap to undo that. And I'm not going to make it too strong an effect. I just want the effect of the bits of fur interacting with each other. So where some bits of fur go, others follow, and I can get waves of fur if you like. I tapped on my layer just to commit to that. And if I two finger tap, I will get the entire effect removed. So let's do that. To finger tap. The fur all of a sudden looking a little bit more straight than I would like. Three finger tap to redo. And yet, I'm getting more the effect I want there. I might come back to the mouth now, but I realize we do need to move on to do various other things. So I will call the mouth. No, I won't yourself. I'm sorry. Lay a mask. Brush, set very low. There's just one or two lighter bits of ctic fur I just want to do just underneath because what I had done, is starting to look a little bit like it's been tacked on rather than forming a seamless hole. Okay, I'm going to exercise a bit of discipline, which I'm not very good at. And I'll stop now and we'll carry on in the next video. 84. Construct a Frame to Check our Drawing: Alright, it's been a couple of days since I last worked on this. I had various family things to do over the weekend. And coming back to it, there are a few things that I want to change. And I think the most important thing for me is the mouth is almost giving this too much expression. I want the expression to come from the eyes, and the mouth looks just a little bit too downturned for my liking. So make sure I am on the right layer, my draw two layer. That's fine. Come to my pencil, zoom in and zoom in on my reference. Well, actually, I'm not sure I need my pencil. No, I tell you what I will do. Brush size two, 12%, opacity on 50%. I'm going to make this mouth just a little bit more round. I can see a kink in the lips, which, yes, I can see in the photo, but I'm not sure it's helping the picture. So I'm going to make that more uneven. But now I think the real work comes when I tap on my eraser. I'll make the brush size, what, 12%. My opacity is on 50%. And I need to tone down some of that darker area. It's giving too much of a downward turn to the mouth, which I don't like. And so, actually now that I'm jiggling my brush tip around, I need this to be a little bit bigger, I think. Let's try maybe that big. You can see the brush head moving around like this because I'm using one of the more recent Apple pencils, which means you can hover just above and see what you're doing. And this is useful for us because you can see where I am. So I'm just going to come very lightly. Take away some of that slight downward curve to the mouth that I can see. I'm going to do it little by little. And given I just open this file, if I just to finger tap to undo and just keep my fingers pressed down, I'll go back to the point where I last opened this file. So that's an easy way for me to see how much I've done already. So tofing a tap hold yeah, that's what I had and three finger tap and hold to redo everything. And yeah, I think that is working better. I prefer that. Stool could do being a little bit less distinct. I will then come to my layer mask, white is selected? No, I want black because I want to create some more fur which means raising that blue in the background. So just a little bit more just to work things up. So brush, pacity set pretty high. I'm on 75%. My brush size is either going to be 4% or 2%. I'll start with 2% and see how I get on with that, but don't forget to cross your hairs, so you get a little bit more of that slight chaos. And yeah, that is starting to help disguise the line of the mouth a little bit more. Maybe I needed to do that in the first place. Don't forget it does come round like this. And one thing I am going to do is I'm going to come back to white and make my brush size a little bit bigger, 4% because I want to reveal just that little bit of the nose coming down. It is distinctive shape, and I think I managed to obscure it just a little bit. Now I will come back to my layer underneath. I'll choose my eraser again. I make my size a bit smaller size 22%, 50% opaque because I'm seeing one or two little diagonal lines in the fur. Look, if I make it very obvious, oh, that's way too obvious. Look, can you see where my brush is? It's sweeping in a little arc. I'm just putting down just a little bit of a lighter area in one or two places because the fur is clumping in that direction. All right, let's zoom out a little bit. Let's see what I've got. Oh, I could keep on going. But what I am a bit worried about is the overall form of the puppy or at least how it appears in my drawing, because I've done a lot of fur, which is great. That's what we should be doing. But the form of a puppy's head or any other animal is not defined by fur. It is defined by the underlying bone structure and the muscle structure. At the moment, I've got an early all fur. And I'm worried that it's starting to distort the form a little bit, and I'm worried that little inaccuracies have crept in, especially around the nose area. And so what I want to do is create a cage, like we saw in a previous video, just to check where I am with this and just to get a better understanding of the form. Now, to do that, I will come to my layers panel. My outline layer, well, if you've got enough memory, fine, keep it. But one thing I am going to have to do is just for a short while, create two more layers. I'll get rid of them afterwards. But I'm just thinking about the amount of memory you've got. If this is a problem for you, then one thing I suggest you can do is slide to the left. I'll unlock your outline layer and then slide to the left again and delete the layer. That will free up some memory for you. Well, let's lock that again. One thing I was going to do, anyway, is crop this because I think there's just a little bit too much space above the puppy's head. That could do with coming down just a little bit. So to do that, it's pretty simple. Just come to our wrench icon. You want to come down to canvas, make sure that is selected, and then come to crop and resize. 103 layers available. So now you can see, well, look, there's a box surrounding the puppy. All I'm going to do is come with my pen. Just to the top bit, there's a little rectangle, which has turned blue, and I'm going to drag this down. And can you see as I'm dragging down, you can see I'm getting more layers available because the calmas is getting smaller. That frees up more memory. So I'm going to take it down to about there. It doesn't have to be exact. I'm just freeing up a little bit more memory for me and come to done. Oh, yeah, that's cropped. Move that to one side, move that to the other. Now, if you still have problems with memory and you can't get two more layers in your layers panel, one, two, then you can always try resizing your picture. Let's slide to the left, delete that, slide to the left and delete that. Instead, let's come back to our actions panel Canvas, crop and resize. And for this, for the resize, come to settings. You want to make sure for you start that resample Canvas is selected. Okay, supposing I want to change that number on the right, 4,695, if I change that to say 3,000, I suddenly get well, it just said, 275 layers available. That is a huge amount. Then if I come to done, it resizes the canvas and was still good to go. That is just an example. I will two finger tap, so I get back to my original size. That's just how to resize or crop a canvas, just so you know. But anyway, look, it doesn't matter where I put this layer, I'll put one layer above layer five. Doesn't matter what I call it, it's going to go soon. I will choose a different color, though. I will choose just a color that stands out, my pencil, I want it pretty narrow, and I want the opacity on 100. That's fine. I will zoom in. And the center of the nose that goes in between the lips of the dog, I'm going to draw a line there, draw it up, wait until I get my rubber band, and put my finger on the canvas to snap that so that it's vertical. With that there in place before I do anything else, I will come to my transform and just move it so it's right in the middle of the dog's face because it's facing directly towards us. Now, from here, I will start putting in landmarks. I'll put in just the sides of the eyes there. But what I will do is, look, I'll make my brush a little bit smaller. I don't need broad lines for this. And I'm going to start putting in little well, rectangles, polygons. And what I'm trying to do is trying to figure out the form of the muzzle. So that will be the mouth, the nose, bits around the nose. I just want to imagine I'm wrapping chicken wire. No, that's a pretty horrible thing to say. I'm just imagining that this dog's face is made of a series of planes, like a three D mesh. As we said in the video when I did this, this helps you get an idea of the form of the dog's face. But let's not forget these bits around here as well. This can be a triangle. Well, I don't mind that, but I just want to build up a pattern of if this was a three D form, what that three D form would look like? A little bit here just coming in slightly. Alright, let's make I draw a layer invisible. Just looking at what I've done and nothing else. Does that look a bit like a three D model of the dog's muzzle, as we can see in the photograph, this bit here. And I think, yeah, it does pretty much. So let's turn on what we had before. Then I'm going to come to layer five, and I'm going to slide to the left, and I'm going to duplicate it, and then come up. To my transform. And just down here, there's a little thing that says flip horizontal, tap on that. And from here, if I turn on snapping so that I can always keep in the same plane, I'm going to move this off to the side like this. A. Just sit on top of what we had before. And now I can come to the upper layer five and tap on the icon and come to merge down. Now I have everything in one layer. And now the moment of truth. Oh, please, please, please. Let's take a look at this. This has given me an idea of where I am with a dog, and I can see that it's close enough. I mean, in real life, a dog might look like that. I'm just a little bit worried about the way I did the fur on either side of the muzzle, it's slightly uneven, and it's giving me an uncertainty fail. I mean, I'm the one who's drawing it, but it's giving me an uncertainty fail. I'm not entirely sure that it is how it's supposed to be. And that is not a good place to be. Remember, if this was a photo, you might say fine. If it's a drawing, people will be much more judgment. So this is what I do. I'll come to my layer five, and I'll drop the apaste down so I've got a clear idea of what I'm doing. Then come down to my draw 02 layer. And guess where we're going now? Yes, we're going to our adjustments, liquefy. I'll make my brush nice and big about there. No, maybe a little bit smaller. And I think this little bit of fur just here going out just a little bit. Maybe this little bit of fur could do with being pulled down just down here. That corner of the mouth could do with being pushed up just a little bit. Now for the eye, I think the eye is very, very close. Can you see my little brush? I'll do this just to see if I can get away with it, because if I look on the one side, I have my two little red markers. And I hope you can see them. They're exactly in place. On the other one, if I just nudge whole eye just in just a tiny bit. Oh, not enjoying this. I'm feeling a little bit nervous. I think I've got away with that. Now I just push out this side of the cheek just a little bit more. Just so that the one side matches up more closely with the other one. And this is mainly the muzzle and just a little bit of the eye. And because I did that little three D cage, this is really helping me make my final adjustments. And from here, look, I will come to my layers panel that will commit to it. Turn off my layer five. Let's take a look at this. And, yes, I feel happier with that. Let's come to our layer five, slide to the left, delete it. And now that I have done that, I think in the next lesson, we really should start to work on the surrounding areas. We've worked on the eyes, we've worked on the nose, we've worked on the mouth. We've worked on all the bits that people are going to look at the most. But come on, let's get this finished. So I'll see you in the next video. 85. The Outer Bits: So just to remind you of something I was saying before, you put all your detail in the bits of the picture where people are going to spend the most time looking. We've already done that. That's the eyes, the nose, and the mouth, plus also the bits around the outside, the eyebrows, the lovely little bits of fur. But now Come on, let's work around the outside. I think for this, it's going to be a fairly straightforward matter, alternating between my draw layer and my layer mask, putting my general fur on the draw layer and the finer fur on the layer mask. For this, because we're not dealing with the central area, I want it to be a little bit looser, a little bit faster, flickier strokes. I may put a little bit of finer detail in the outlying areas for which I will use the layer mask, but for the most part, I think it's going to be the blue pan sat plus the eraser on the drawer, the 02 layer. To start off with, come on, let's take a look at the bib. Of our dog. And now looking at it, well, I think the first thing is the eraser set fairly low paste, but fairly large because I think some of these bits under the chin definitely need taking down, making lighter because there's not a lot of dark detail. Under the chin. And also, these are just general darker areas that I put down, right, in the earlier part of the project. So now these definitely need revising. Let's a little bit to see more clearly what we're doing. And at the same time, let's come to a pencil, again, set pretty large. Let's take this to, what, 12% and brush paste on 50% and start to just create a little bit of fum. No, I want the brush to be larger than this. 22%. And you can hear and see how fast I'm working. I'm not speeding up anything here. I want these brushstrokes to be fast and loose. I might put a little bit of detail in here just to keep the eye entertained because one thing that will happen is that once you spend a lot of time looking at the eyes, the nose, and the mouth, the next thing you do is your eyes flick to the outline of whatever it is you're looking at. Here's a really good idea. Let's undo that because it looks absolutely awful. Hey, carry on with what we're doing. Brush set large and very low opacity. I just want to add a little bit more dark into this area because I want to add some fur there. I'm going a little bit of detail in there, and the only way I'm going to get that is by rasing over a darker background. I can't erase over a lighter background because that will mean there's nothing to erase. Alright, back to my eraser. Paste set to halfway. Brush size set to 12%. Let's see how this goes. If it doesn't work, I can just make it bigger or smaller, alter the opacity and stuff like that. I'm seeing overall directions of the fur, so I'll put in some fairly big guidelines there just to base my sketches on. And I'm finally with this, I'm confident now to the point that this outline layer. I'm not really using it, so I lock, slide to the left again. I'll delete it. Make sure I come to the draw 02 layer, not the layer mask, which I very nearly messed up. I'm not concentrating on any one area in particular. I'm just Looking at the photo and just contracting on, which every bit happens to catch my eye, and I'm trying to go for the big forms like there's a little clump of fur just right here, which is very subtle, but it is there. So I want to make sure I've got the overall clumps in place then maybe think about. Working on some of the finer areas. When I do do the finer areas, maybe I will start to use my layer mask more. At the top of this lesson, I gave you some, if you like, some guiding principles of what I'm going to do with the layer mask, where I'm going to put the fur. Those were kind of guiding principles because look, for example, here, that darker bit just behind the fur I'm doing right now, it's a bit too dark. I'm not seeing that on the drawing. So what I'll do is make my brush size as big as you like. Take the pasty right the way down to what, 22%. And just lighten up the whole area like this, maybe up my pasty a little bit more so I can get just a little bit more of the form here. There's very little detail in the areas I'm doing now, so that given it's a white bib, that can be white, can't it? I'm not going to do that collar. It's not adding anything for me, so I'm going to make an artistic decision to just take it out. Press size is a bit smaller, paste up and work on a little bit more of the details around here. I'm just going to quickly go around the outline. I will make my brush paste higher. What am I on? 79%, but I'm only on 4%. I might alternate between 4% and 12%. In fact, I'll start off with 12% because one thing I'm not keen on is just the overall outline. I just splurge down some blue just to get an idea of the terminality. I want to put the dark bits where the dark bit should go. Now that I'm coming to look at the outline, I'm not happy with how splurgy it is. I want this to be a soft portrait, not an instinct portrait. As I mentioned to you earlier, when people come to something like this, once they looked at your inside areas, they'll start to focus more on the outer areas. They'll do a little trace around the outline of whatever it is they're looking at. That's just human nature, especially with animals, especially with people. So if they're gonna be doing that, we'll give their eyes just one or two things to catch your attention just so they can say, Oh, look, this person even did a really good job around the outside of the puppy. Boy, they're really dedicated artists. I must bite that work. Okay, now there's a tiny little bit of blue just around the top and not very much at all. So let's get rid of some of that. Nice and soft, remember. And also, there's one or two bits here. One thing I am gonna get busy with or be concerned with or be aware of is that, well, you can see it right now. I've got a lot of fine detail around the eyes and the nose and the mouth and a lot of very blurry detail. Immediately outside. Yes, I want this blowy detail, but I don't want it to be a sharp division between all the crisp detail in the middle and all the soft detail on the outside. So what I am going to have to do not now, but later on, is come back in and add some finer fur details just in these soft areas that I'm doing right now. Otherwise, it's going to be a little bit jarring. Look, let's just give an for example while we're here. Let's take my brush down. What was I using before, 4% and add in just one or two finer bits. Bear in mind this area here or this area here, because at the moment, I've got those fairly well defined areas, but also just on the outside. We've got these bits which are a lot blurrier. And again, you're getting this mismatch, which I was talking about. Now, when I'm applying my fineer fur bits or the hairs, I'm making them follow the softer blurrier bits. Like, for example, can you see my brush had just wiggling around there? There's a softer bit here, and there's also a softer bit here. So I'm going to add to the softer bits. Rather than going off on my own and doing a bit just off to the side. The reason for that is that, yeah, I have my softer bits, but if I add just a few crispier bits just to those areas, I'm making the fur work as a whole rather than Oh, here's a soft area. There's a harder area there, which has got nothing to do with it. To finger tap to undo that. If instead, I come to this area and just add to it like that, the whole thing starts to work together rather than two separate areas, one blurry and one hard. I'm just looking at what I've got here. By now, hopefully you can hear my hand is pretty relaxed. That's how I can get these fast, reasonably confident strokes like this. And yeah, you can see that I'm managing to get these soft elements to work. And it's not taking me too much time because I'm not doing every strand of fur. What would be the point? It would take too long. The whole thing might end up looking rather overworked and a bit too uncompromising in detail. Now, do you if you remember that portrait I did on my friend? Sorry, that awful portrait I did on my friend. That's what I'm talking about. Brush size larger 12%, apasti on 50%. There's just a little bit above the eyebrows here. A paste, somehow snuck up there. Let's take those. Brush stekes back. I passed it on 50% and just nice and light. And, yeah, that's working for me, especially in these background areas. You can see there's bit of detail there, but I'm just going to put them in lightly. In fact, that kind of works as well because if you look at the photograph, the photographer was using a fairly narrow aperture lens. That means a lot of light gets in there, but you have something called a narrow depth of field. That means that the eyes and the nose are in focus, which is what they should be. But where the ears are, it's ever so slightly out of focus, which suits my needs because that's what I want. But I should take that into account. There would be no point, and it wouldn't look right if I tried to invent a whole lot of really hard detail here. Ah, now, just look at the side of the face. I need to put in one or two brush drugs here, which agree with the general direction of the fur. I just put some slightly looser ones down here. Hardly anything down here. There's really not a lot of detail that. I'll make my brush slides a bit larger because I have one or two little lighter patches here. I'm doing a lot of erasing at the moment. Let's come back to my pan, make my brush size, what 22%, make my paste on 50%. But again, light brush strokes in one or two areas, maybe around the outline because I've done a lot of cutting away with my eraser of these darker areas. But maybe I need to add just a little bit in one or two areas just to tie things together. And if I'm doing this, let's make our brush size down to back to 4%, again 50% and just to add it just a few little details around the outside like I was talking about, just so that when people do their little trip around the outline, they've got bits they can look at. Okay, now, I concentrated on that one here. Compare it with the other one. There's not a huge amount of detail in there, but I think it is the right amount. I may come back and work on that in a little bit. But yes, now that I'm looking, I'm seeing one or two bits, so I think, Oh, yes, let's do that. Let's do that. Oh, now those bits down there, I just did. I'm not sure they're working. I could carry on working them up because I've got these little random strands of fur in there, which aren't relating to anything else in the picture. They're just a random strand of fur just for the sake of it. Let's eingertap few times to get rid of that. Instead, while I'm here, back to my eraser, about 4% big, back to 50% opacity, and instead, let's just pull out some of the fur just from the puppy area, just from the chin. Take some of these around there, and I think that's working a bit better. Anyway, I'm starting to get a little bit lost in my own, but I'm enjoying myself. Imagine that. Illustrator has fun. That's because I feel like I've done most of the hard work, and I can see doing those looser bits. It's a lot faster. Let's do the other side. As much as possible, I'll try and see both sides of my picture while I do this, so I don't want to get too zoomed in because I want to be sure that the left ear matches the right ear. 86. Finish the Outer Bits: Come to our pen. Yeah, I'll make do with 4% now, 50% of pasty just to add in what are your little detail rides around the outside. Maybe that was a bit too hard. Maybe I'll come back to that. Let's make this 12%. Come on. Do I want to get into the finally details just yet. That is one thing. I did do some darker areas just around the eyes, and whilst I want this to be fairly soft around the outside. I still want to have darker areas, areas which are as dark. That will help the inner bits of the face and the outer bits of the face sit together a bit nicely. Now, while you're watching this, you might be thinking, Come on, do that bit. Do the bit I'm looking at, which I think you need to do. Well, no, 'cause I can't guess what you might be looking at right now, thinking, When you gonna do it? You do it. I really hope you're having a go with this, either watching this and then have a go afterwards or following along. Following along might be a better idea because this is a pretty major project. In fact, this is the biggest project on this course. And in terms of the amount of lessons I've done for it, this might be the biggest project I've ever done on any of my courses. I just put in a few highlights here and there, a little bit more chaos because this is looking a little bit just a tiny bit neater on this side. That was too strong. Let's do that. Back to my blue size 4%. I want a little bit more chaos or just around on the outside of the is. Actually, I quite like those flicky bits I've just done. Oh, not too much, though. Maybe that's overdoing it slightly. But what I will do is, before I go back and raise some of those, I'll put on one or two bits just on the other side, because now it's a case of bouncing these up against each other. And again, I'm trying to put these in places where there's already a bit of detail so they can complement those bits of detail rather than just around a bit sticking out like that. Okay, back to my eraser. I just want to tidy up a little bit more just around the outside here because, again, I'm not keen on that, just a little bit more detail. One or two places take this back up to 12%. You'll notice from the outside, I'm tending to flip between 12% and 4%. The detail in the inet bit, I was swapping between 4% and 2% size of my brush. I'm just gonna do one or two more bits, just to join the inner bits, the higher detailed bits with the outer bits just so well, to try and get away from that effect, I was talking about where you're getting almost like two separate areas of the dog. I'm seeing a bit here and a bit there. And by now, look, I could take all day with this. Come on. Let's take a little bit of a look at some of the bits underneath with the body because really we do need to get this finished. We're at that stage now. Come on. How much more are we going to do? I am gonna get rid of some of these bits of fur just at the bottom. I want to take the whole thing in a little bit. What I don't want is to get those little bits of fur at the bottom. I want them fading away, but I don't want them touching the bottom of the canvas because I think that would be, it gets a bit too crowded. Hopefully, just gracefully fade out these bits, rather than just that splurge bit I've got here, let's just knock it back a little bit. If I take it back a little bit more boldly, around the side as well. So I've got rid of all those smudgy bits, which I don't like. And then when I've done that, then come in and start teasing the little bits just around the edge. I'm noticing some really frizzy little bits of fur. I'm going to stick in one or two little lines there just to try and copy that. Let's take down to 4% to add in a little bit of crispy detail just in one or two areas just so that people can look at the borders and recognize the similar kind of detail that they've got in the central area. And I think maybe that's it. If they see the same kind of detail just in one or two places, just around the border, it looks like the same artist doing the same picture at roughly the same time using the same techniques because I was a little bit worried that I was ending up with something that looked like two separate pictures, almost. But again, I'm trying to match these finer details with existing softer forms so that things work together as a whole. That's what I'm doing here, trying to make sure the picture works as a whole, because we've been very focused on different bits of detail in different areas. Come to my pen. It's on 50% capacity, 4% big. Let's add in just a little bit slightly darker detail in these areas because there is detail in the central area. So give people just enough so they recognize this as one image rather than two separate images. The detail a bit in the middle and the blurry detail around the outside. So now I'm trying brush size of 22%, brush pasty 30%. Light brush strokes around here just to try and get a little bit detail here. Dark on one or two areas so that I've got areas of dark and light rather than contrast the darker bits in the middle or the eyes and nose, which kind of goes to a nondescript kind of mid gray in the outer areas. Okay, what I will do is I will come to my layer mask because I want to draw a little bit more in black, just in one or two areas just to mix things up a little bit, because I'm still not entirely happy with that chest. As it is, I'm trying to cover a lot of area in a short space of time. So brush size on 22. Let's knock this down to 12%, 50% opaque. Painting in black to hide certain areas. And yeah, that's giving me more the impression of one of the lighter bits of fur underneath my main layout, there's a little bit of fur almost going sideways, just here, which I think we should put in. But there's too strong an area of mid gray, just in the area where I am. That needs breaking up a little bit, brush size down to 4%, opacity on 75% because I want to have a little bit more sharply defined just in these areas because my main concern at the moment is that the chest is just a little bit too amorphous. There's not enough sharper detail in there to yes, I'll say it again to make it sit with what we've already got. And these brush strokes I'm doing, they're almost random. They're not. They've got direction. They do need direction. But I want the person looking at this thinking, Well, in the chest area, the artist was doing a lot of very just loose, fast, flicky strokes to create a general texture. Brush a little bit bigger because I need one or two areas around here rather than individual strands, which we have spoken about before. And it's a case of working pretty fast with this, and then, at what point does it start to work? Well, you'll know when you see it. And I think this bit where I'm using the layer mask, it's helping me to see it finally. That can do with the bottom being just a little bit shaggier because at the moment, what I'm seeing is a rather defined kind of bit at the bottom, which is blurring out, and it could do with being broken up a little bit more, so it looks like fur that is gradually fading away rather than a blurred area which is fading away. Okay. I'm making the whole thing smaller because, look, I've been working pretty close up and personal with this, and it can be a little bit difficult, especially when you're working on the individual strands to get an idea of what it's looking like. So once I take it out like that, that's going to give me some new ideas of what to do with this because I think I do need just have areas rather than a massive fur which is not that cohesive at the moment. So brush size set, I'll set it higher. I'll set this to what 47% somewhere 40-50. My brush passed on 50%, and I'm just going to lighten up one or two areas. And yeah, that is helping me. There's less detail in there. But I'm getting more sense of areas of fur, which are clumping together rather than what I had before, which was a little bit of a nest of rats tails. Pinch outward to Zoom to size. I think I'm very nearly there with this. There is just one more thing I want to do with this just for the sake of showing you something different. I'll do that in the next and final lesson. 87. The Final Touches, and Thanks for Watching!: Okay, we are so very nearly there, which I'm sure you're broken hearted to hear. Look, if you take a look at the picture, there's just one or two slightly lighter areas. They're just pure white areas. I'm just thinking, let's make this into more of a two tone affair, and it gives me a chance to show you one more technique before the end of the course. Choose another layer. Same brush, but this time, I'm just going to choose a flat white. My brush size is set to 22. Let's take that down to 12% for now. The opacity is on pretty high. Let's take that 72%. Alright, I'll do that. And I'm just gonna repeat one or two lines which just follow the general line of the fur just in one or two areas. I can always arrase these at any point. I'm putting in just a little touches of highlights. Nothing strong, definitely nothing strong. Just a little bit. I can see just at the side of the muzzle, maybe one or two bits at the top, around the side. I'm doing this, and it's so subtle. Maybe you can't even see this after the whole thing's been converted. What I will do is, I've come to my layers panel. I've come to my background color, make sure I can see what I'm doing. And I will come to the little circle just at the top, and I'll just pull down the color of my background ever so slightly. That's by a tiny amount there. You're still getting all the dark and light values, but it means I can just see those tiny little bits of fur, which I'm doing at the moment, and I want them to be very subtle. Make my brush size smaller now down to 4% and just add a little bit of finer detail to those broader bits so that it looks like a lot of fine detail, but in actual fact, it's the appearance of finer detail with a lot fewer brush strokes. Maybe tiny little flicks just on either side of the eyebrows. Well, I am here, as well. I am going to come back to my trawze or two layer. My eraser is selected. I pasty set to about 50%. I'll try 4% because I'm just gonna come to the eyes and just add a little bit more hair. Just around the top eyelids. Because I've got a massive fur here. I just want to make sure the eyes have a little bit of interest there because people will be looking at the eyes more than anything else, so give them a bit of detail to look at when they're there and maybe just make these highlights of the eyes just a little bit lighter, a little bit stronger. And Come here. Turn off our reference image. Yeah, I admit it. I'm looking at this, thinking, I want to change this, I want to change that. In fact, I'll come to Layer four where the white fur is. My arrays are set full opacity and set to a tiny small amount and just knock away, no, 4% and just knock away some of these areas just to get the impression, I've got some very fine light strands there. And yes, I'm looking at it thinking there are still things I want to do. I just can't help myself. But I think now is the time that we call a halt to this. This has been easily the biggest project of the course, and so I think it makes sense that I make it the last project of this course. I really hope you enjoyed it. I have to admit it has been just about one of the most challenging courses I've done. There's a whole load of techniques in here, and I guarantee, like I told you, either in the advert or the beginning of this course, I can promise you some of these techniques you will have never seen before. I've developed them over the years. I've also developed one or two specifically for this course because the brief I set myself was drawing in the digital age. There are so many possibilities, so many things you can do, but there are also difficulties, and you have to understand what digital media is. How best to use it, but also with digital with just a little bit of thought, there are so many ways to help you learn the age old skill of learning how to draw. Oh, and on that score, as well, there's just a couple of files attached to this lecture. It is the same puppy done by the same photographer, but in different poses. So if you think I've just finished this course. What do I do next? Well, there are a couple of pictures just waiting for you and you can do this entire tutorial again, but using the different photos. Just follow along with the different photos, and you can come up with something that is uniquely yours. And that's what I would like for you. Keep using the techniques, keep practicing. You will only get better if you practice. If you practice, you will only get better. And I hope that one day you're looking at an original drawing you did, and you think, that looks great. I did that. And if you get that, I am very happy for you. Okay, there are a couple of reference videos just after this, but this is now the end of the course. Thank you very much for investing the time. And I have plenty of other courses for you, including procreate courses if you want to follow along with me some more. I hope you do. I will look forward to speaking to you then, and in the meantime, happy drawing and thanks for watching. 88. Bonus Video - A Procreate Primer: Okay, now, this video is just a very quick primer for Procreate. It's just in case you've never used the software before and you don't know where anything is. It's more just a quick tour of the interface. If you need more of an introduction, than I have Procreate the Fast Guide or Procreate solid foundations. And both courses have got very nice reviews. Thank you very much for that. Anyway, let's get started. There is your Procreate icon. I'm circling it now. And if I tap on the first place you come to is the gallery, and you can see various bits of work I've been working on. Now, yours will look different to this. Because if this is the first time, you won't have created anything yet, and so you'll just get the sample images that come with Procreate. Anyway, come to the top right. There's two icons there I want to show you. One is Import. If I tap on that, that's where you can load up various files that you may have downloaded from the Internet or from one of my courses. But I'm going to cancel that because instead, let's create a new file for you to work on. To do that, come to the plus sign and tap on it, and you have various different presets that you can load up. Let's just do this as simply as possible. The very top one where it says screen size. Tap on that. And you get a new file. If you take your finger and thumb and you pinch it inward, you can resize it. You can rotate by moving your finger and thumb around. And let's just move that to there. Great, you've got a file. You want to create something. And to do that, you come to the top right. You've got one, two, three, four, five different icons. Let's show you what they do. The first one is the brush icon. If I tap on that, you can see you have a whole load of different brushes. What you're looking at right now are a series of pastel brushes, which I'm working on for a new course. But what you will have are the brush sets that come within Procreate. If I come down to where it says sketching and I tap on that, there's various different brushes, and you have a whole load of different brush sets, which have brushes in Okay, so let's choose one. Let's try Nico roll, tap on that. Okay, so the next thing is, I need a color. To do that, come to the very top right where you can see that yellow circle. That is my currently selected color. If I tap on that, I have access to various different colors, and I have various different ways of choosing the colors. If you come to the bottom, you can see I have palettes highlighted in blue. Now, these are various different squares that you can get. So if I tap on, say, this red, I can draw with that. If I want to choose a different color, tap again in that little red circle. And you'll notice whatever color I choose, that little circle in the top right changes to that color. That lets you know what your currently selected color is. Tap away, and there you go. Now, at the moment, I'm not very pleased with that. It's not a work of art. I want to get rid of it. So take two fingers and tap. That's two finger tap once, and tap again, and you can step backwards through the brush strokes that you made. If I then realize actually that was a masterpiece, I can three finger tap to redo. Three finger redo, two finger tap to undo. And if you hold down two fingers on your iPad, just for a short while, you'll start to rapidly step backwards through the undos. Hold three fingers down for just a short while, and you'll rapidly go through any redos. Alright, back to these colors. So I have palettes selected at the bottom. If I go through these, where it says disc, tap on that, and you end up with a disc, and you can see around the outside all the colors of the rainbow. And I can move this around so you can see I'm selecting greens, yellows, oranges, reds. And these are quite intense reds because that circle in the middle, that controls how intense the color is, and you can make it much less intense and lighter or much less intense and darker. So you've got your full fat red there. You have darker versions down here. You have light versions across here. But as you go across, you get less and less saturated colors. You can see that is a very, very desaturated red. It looks like a brown. I can move it back towards saturation and I can move it here to achieve more of a pink effect. So that's the disc. The classic, this is my favorite when it comes to selecting colors. You've got all the colors of the rainbow laid out on a slider here, and you can see the full fat color is in the top right. Darker versions of it are here as you go down, and as you go towards the left, you get less and less saturated colors until eventually you end up with gray. White, black. Any color is available to you. And if you want a little bit more control rather than dragging this around, you've got your hue slider here. But underneath, you have your saturation slider, and you can see, as I move it around that little circle in the big block of color goes side to side as well. I also have my value or my brightness slider at the bottom. If I move that, you can see my little circle in the square goes up or down to get lighter or darker versions of my base color. Just underneath that, you have your history, which is all the colors I've chosen recently. Then the harmonies. You have lots of different modes here, split complementary. I'm not going to get into all of these. These are just a way of choosing things according to color theory. And you can move that central reticule around like this, and you can control the darkness or brightness of it with this little slider at the bottom. Next to that value. Well, it's a computer, and any color has a numeric value. Those three sliders I was talking about the hue slider? Well, look, there's a value. 193 degrees, 73% saturated. Now it's 46% saturated and 75% bright. And I can digest it that way. Also, you have red. Green and blue sliders. And you can achieve lots of colours that way. And finally, we get back to palettes, and let's choose a color again. That nice red. Let's come back to our brush tool. There's my brush library. Nicarole selected. Did you notice that it seems a little bit small, and it's not quite as intense as that color I chose in the top right? Well, the reason for that is because of these two sliders on the left. The top slider controls how big or small your brush is, and you can see the brush slides getting bigger or smaller. That's what? 39%, 40%. And yeah, sure enough, you can see the brush is bigger. But it's not very intense. That is because the bottom slider controls the opacity of the pression at the moment. It's set really low. If I take it up to 100%, I draw out. Oh, yeah, you can see that's a much stronger color. If I take the opacity, so it's way low. You can see that I can gradually build up the brush effect more subtly. And at this point, I should say, these two sliders learn to use them and learn to vary the opacity a lot. Learn to vary the size a lot because then you get small brush strokes, you get bigger brush strokes, and you vary your work. And if you alter the opacity, you can build up much more subtle effects. Let's choose another color for this. Let's choose a nice not very subtle yellow and crank up the opacity and the brush size there. There you go. Two really subtle brushstrokes. Now, supposing I want to get that red I was just using, well, that's okay. If I just press and hold my finger up in the top left where the little color circle is, hold it for a couple of seconds and you'll get the last color you were using back. Okay, that's our brushes, but you can do one of three things with every single brush in the brush library. You can paint with it like we've been doing. But if you come to the icon next to it, which I'm circling, this is your smudge function. And if I tap on smudge and come down to painting again, there, you can see, I have Nico role, but this time, instead of painting with it, let's come to that border. I'm zooming out by dragging outwards with my thumb and finger. Let's come to that red and yellow border. I made my brush size a little bit smaller. And if I just rub along that border, can you see what's happening? I'm smudging. Like this. And I can blend different areas of color. And if I come to a different brush, let's come to. Well, let's come to air brushing and choose, soft airbrush. I make my brush size larger because the brush size doesn't stay the same, no matter what brush you select. I chose a different brush, so now I have a different brush size. And if I come to that same area and I start smudging, can you see I'm getting a much smoother blend because the soft air brush is a very soft, simple blending tool. Alright, so that means we can create brush strokes with the brush function. We can smear the brush strokes around with the smudge function, but we can also erase brush strokes using the erase function. Again, it is the same brush, but this time we're using it as an eraser. So let's do this. Let's take the apas right the way. Let's make our brush size. But any old size, and there you go. I have now erased the paint strokes from that area, and this is a very important point. In traditional media, using eraser on a piece of paper, you can always see a bit of pencil leftover and the paper has been flattened where the brush stroke was. But this is not traditional media. This is digital. If you wrap something out, it's gone. There is no trace of the brush stroke to finger tap to undo. The arrays or anything else you've put on your canvas. That was 100% opaque. If I take this down to a much lower pasity say around 30, 34%, and I start building up, you can see I'm gradually erasing in this area. If I make repeated brush strokes or I press pretty hard, I can vary the brush stroke. And here's another nice thing. If I come to textures, let's try dove lake. My brush size, 6%. My paste is about halfway, and then, now you see that? I'm raising, but I'm getting the pattern that the brush makes. As part of the erasing process. So you've got lots of different ways to paint, lots of different effects when you smudge and lots of different effects when you erase. Alright, I'm going to pinch inwards to see more of my canvas. Now, the one icon we haven't looked at is this one with two squares in there. I'll tap on that. This is my layers panel. And you can see I have something called a background color and layer one. Alright. Well, let's take a look at background color. If I tap on that little white rectangle, that is the layer icon for background color. Well, you can see, I have my colors open up again, and I can choose whatever color I want. For the background. That's useful. Let's make it lighter. But for my layer one, if I tap on the little icon which I'm circling now, I get a whole list of options. I can rename it, which is always a good idea if you can remember to do it. And I can do various things to it. Like, for example, if I made a mess and I just want to get rid of everything, I can clear it. Two finger tap to undo that and bring back what I've got. But what I'm about to show you is something I've seen a lot of beginners not do, which is a real pity because it's very, very useful. Come to the plus sign at the top, right, tap on it, and I get a new layer layer too. If I come to my paint brush, let's try oriental brush, and let's try any color at random. Let's just try green color so it stands out. A brush size is big enough a I can draw. That's not standing out very well. Let's try upping the opacity. Yeah, that's better. And yes, I know it looks like a merge, but here's the thing. See that little tick mark right where I'm circling. That is a toggle switch, and if I tap on it, the layer becomes invisible. Tap on it again, it becomes visible again. See the little ensign next to that. If I tap on that, well, I have a whole load of things called layer blend mode. We won't talk about those, but you can see I have opacity. It's a slider, and I can make this top layer completely invisible, partially visible or fully visible and everywhere in between. If you decide what you did was nice, but it's in the wrong place, well, look at this. Come to the top left and look at this icon with the arrow. Tap on that, I get a box around everything on that layer where there are pixels. Because at the moment, we're using our transform tool. And look, if I tap anywhere, normally, it's an idea to go on the outside and move around. Look at that. I can move this. What's more, you see that little green circle on the top, which I'm circling now. If I tap and drag that, I can rotate this around. Like this. You notice you get an elastic line. So if you want to move it very subtly, drag the green line out and you can move things very slowly like this. If you want to move it fast, take the little green elastic line around and look at that. Alright, we've got different modes here. At the moment, I'm in uniform, which means I can resize it as well as moving and rotating. But if I come to something like freeform, I can stretch it like this. If I come to distort, I can take just one of the corners and move it out in like this, as well as the corners around the side. You want to do a quick bit of simple perspective, you can do that. If you come to warp, I get a grid. And if I drag where the lines cross, I can warp this. And if that's too much, I've got a reset button down the bottom. Let's just quickly warp this around like that, and say, I tap on my layers icon. That's now committed. The changes I've made are permanent unless I hit Undo. Now let's come back to layer one. And the next thing we're going to take a look at is this looks like a little S shape. It's the selection menu. Now remember, we're not on the layer with a green scriggle. We're on the layer with those big red and yellow marks. And you can see at the bottom, I have various different ways of selecting areas. At the moment, I've got rectangle selected. So if I come here, drag out a box, you can see where I've dragged a box. That area is clear, but I'm getting these little moving lines, which let me know that wherever there are moving lines, it's not selected. If I then come back to my selection tool, and let's just come back to let's try freeform. I can move this whole area around or wherever I want it to go. I can stretch it like this. And once I'm happy with that, I can just tap on, say, my selection icon again, and that gets committed. If I come to my selection tool again, you've got things like free hand. And if I drag out an area like this, if I come back round to where that little white dot is tap on that little white dot, I now have an area selected. Which is a free hand shape. So that is the select tool, various different ways to select things. Next to that, I have my adjustments. I don't want to get into these too much because there's a lot to cover, but supposing we come to hue saturation and brightness, I can take this entire layer and change the hue and swap it around. Can you see that when I do that, the red are getting more pinky and the yellows getting more orange because every color is being shifted around the rainbow. I can also alter how saturated it is, like, completely gray. To pretty bright. I can also alter the brightness, as well. You can alter the entire layer, but come to the top in the middle where it says, hue saturation brightness. But if I come to this little triangle which I'm circling now, instead of working on my layer, I'm now going to work using my pencil. And you can see my little brush icon has now turned blue, and it's got little sparkles there. And what that means is, let's choose something. Let's try wild light. That sounds dramatic. Check my size. The opacity is up full. I'm going to paint in a certain area like this. You notice how I went underneath that green area? That is because the green paint stroke is on the layer above. So my little brush stroke gets hidden. I've painted with this, but I can move the hue around and change this color, the saturation, and the brightness just in that area. And if I take my opacity down on my pressure, make my brush size larger, for example, paint in a different area, you can see I can gradually build up the effect like this. And if that's not enough, look, if I tap on my erase tool, I can erase these brush strokes while I'm painting in this mode. And if I come to my smudch tool, I can blend the effect I'm doing whilst I'm using hue, saturation, and brightness. So tap again on the adjustments icon to commit to that, but you can see I have a whole load of different adjustments, and I cover all of those on the solid foundations close. Okay, so now the one final icon is this little wrench icon, which is your actions icon. This is where you come if you want to add something like insert a file. Okay, let's do that. Let's come to palettes, and I'll load up blobs of joy 01. This is something I created for the watercolor course, and it gets loaded into its own layer called inserted image. Now, at the moment, I don't want it in the middle of layer one or layer two, so if I just tap and hold, I can drag it up to the top of my layer stack. And when I do, watch that green brush stroke, it suddenly gets placed behind those little blobs of joy because whatever at the top of the layer stack covers up whatever is underneath it, things like layer two and layer one. Now, supposing I like that layer, I can lock that layer so I can't draw on it, or I can unlock it. And supposing I don't want that layer at all, I can come to delete and get rid of it. Supposing I want to keep the layer, but I don't like that green brush stroke, I can clear the layer. Various things you can do. Quickly coming back to our wrench icon. You can add various different things. You can cut, you can copy, canvas. You get various different assists, which is beyond what I want to do here at the moment. If I decide that my little maroon and orange blob with cutout is a masterpiece, I can share it. And I can tap on Procreate JPEG, if you're going to place it on the Internet, and you can export it. I'll use AirDrop, tap on my IMAP. It gets exported. And we're good to go. You can also export videos. That's probably the videos you've seen on the forums. Preferences, that's more than I want to get into and help. Well, what we're doing right now is the help file. So that is a very basic walk through for Procreate, and it's just there to give you a quick head up so that you can follow along with this course a little bit more easily. Go back to the course, go and have some fun, and I will see you in whatever video you land on. 89. Download Resources from Skillshare: Okay, let's show you how you can import various different assets into Procreate from Skillshare. The class I'm using to show you this is one of my classes, learn to draw with Procreate. But what I'll show you holds true for any other class. Okay, so first thing, let's scroll up. You see a number of different tabs. Here you want to press projects and resources. And here, if you come down a little bit, you can see there's various different resources I have. So let's download a few files. Let's try. Well, for a Procreate sketch, at the top left, all I need to do is tap on that. Gladys sketch, Procreate. And I can also see something here which says, save. So I'll come to save, and I'm going to save it under my files app. Now, this is an app which comes with every iPad, and it pretty much does what it says on the tin. It's just a way of organizing your files, so I'll tap on Save. Now, while I'm here, let's download a few extra things. So I've got the procreate file. Let's try the file underneath, dolphin dot JPEG tap on that. And that downloads, which took a little bit of time and again, come to save, make sure I have file selected. And while I'm here, let's calm down a little bit because I want to find yeah, where I'm circling, learn to draw palettes. These are procreate palettes and I've compressed them all into a zip file. So if I tap on that, come to save, so I'll come to save save in files again. And also the brush set. I wanted to show you that, as well. So let's come to the brush set. And yeah, I want to save that and save that in files. So I will swipe up from the bottom of my screen and let's just come to my files app, and sure enough, here are the various different files that I downloaded. If I come to this rather small little symbol at the top, just where I'm circling, and I tap that is a useful little button because it will give you some information about where on my iPad these various different files are stored. Okay, so sometimes I have people saying, Look, I've got a problem. I have a ZIP file. I don't know how to unzip it. It really is easy. Let's come to this one in the top left DC line to draw brushes zip just tap on it, and it automatically extract. What about the learned to draw palettes? Tap on that. It extracts. And you can see I've got the dolphin there, and I've got the Gladys sketch Procreate file. Now what about DC A three paper file? This is a procreate file that's been compressed. Sometimes I have to do that. All you do with this, again, is just tap on it and the file unzips. I already unzipped it earlier, so now I have a copy. I'll come to the one which has two at the end of the file name. That's the second one I downloaded. If I tap and hold on it, and come down to the bottom, I'll press delete. So now, well, okay, let's come to DC A three paper file, Procreate. I'll just tap on that. It gets imported. And there it is. If I just pinch in a little bit, that's my file. Okay, well, that was straightforward. What about importing a brush set, for example? Again, very easy. Just come up to my brush icon, tap on that. And you can see I have various different brush sets on the left of the actual brushes themselves. Just where I'm circling, there is a plus sign tab on the plus sign. And then, well, at the moment, procreate things you want to create a new brush. You don't. Instead, you come to where I'm circling and come to import. Come to, in this case, I'll come to Chrome. So DC learns draw brushes. They unzip to a folder, tap on the folder, and I'll come to say, DC drawing brush set, tap on that. It imports it. And right at the top, you can see DC drawing. Now, I already have that from one of my previous courses just here, so I'm going to come up to that DC drawing. Tap on a little icon, and you get a number of choices there. I will come to delete. Yes, I did want to delete that. As for the palettes, again, very simple. Come up to the top right where I'm circling, tap on that. Come to palette at the bottom, and you can see I have a number of different files here. Anything which starts with DC is my work. Supposing I come up to the plus sign at the top right, tap on that. New from file, let's come to where I'm circling. Again, it shows me the path. I want the crown folder. Let's draw palettes dot zip. So let's try DC drawing color swatches, tap on that. And again, that gets imported at the top of my palette list, ready for me to do whatever I want with it. And I'm good to go. And that is how you can download files from Skillshare onto your iPad so that you can do whatever you want with them.