Learn To Paint Pet Portraits With Procreate Free Brushes Included

1. Introduction: Hello everyone. My name is Paul. If you follow me here on this channel, you're used to seeing me waving around one of these on some watercolor paper. Usually today we're doing things a little bit differently. We're going to learn how to paint this dog in procreate on the apple ipad using. I started painting pet portraits traditionally in oil paint. Here's some lovely examples. I then started painting pet portraits traditionally in watercolor paint. And here are some examples. But I have to say my favorite way to paint pet portraits is in procreate using the apple pencil on the apple ipad. It is easy. I can do it anywhere. I can carry my whole studio around with me in the backpack. I can stop and paint anytime I like. I can take a commission on the road. I can upload it to a print on demand service and have it printed and shipped to someone anywhere in the world. I have painted and ship pet portraits all over the world. Today, I'm going to teach you how I do it. It's very easy. It is not intimidating The way that I have developed my style of doing it and my system for doing it, breaks it down. Super, super, super simple. All you need to know how to do is hold one of these and be able to do this on one of these. If you can do that, you can paint this. You don't need to know how to draw. You do not need to know how to mix colors. You don't need to buy supplies. You would need to have the ipad of the pencil, I guess. But need to buy paint and brushes and a whole bunch of other stuff. We're going to learn how to do this painting today. This dog, Paddington, was a friend of mine's dog who sadly passed away. And I painted this for him as a gift, and I thought I'm going to make Paddington a class. And so here we are. We start off by just literally scribbling in the paint colors. It's easy. So imagine you're painting with one of those big giant crans. You know, like when you're a kid, you literally hold like this and you can just on the ipad if you like. This class is meant for beginners. It is meant for everyone. Why beginners? It looks complicated, but it's not the way that it's broken down, makes it super simple. Nothing to stress about. Easy peasy. You're going to love this. It's easy. And when you're done, you're going to be able to paint whatever dog or cat, or parrot or When you're done your painting, I would really appreciate it if you could take that painting and upload it into the projects and resources section and share your work with me and with the other students. It helps me make new classes and see like, hey, I did that right? Or who, maybe I should have explained that a little bit better. I really appreciate you taking my class. It means a lot to me. There's nothing more inspiring than logging on and saying, hey, I got a new student, that's awesome. That's really cool. I really like that and I really appreciate it. It's very inspiring for me. It makes me want to keep painting and teaching more classes. Thank you again. Happy painting. 2. Preparing Your Reference Photo: So one of the first things we need to do is we need to start with a good reference picture. I will tell you right off the bat, when you're painting a picture for someone, a pet portrait in particular, people with dogs or people that want pet portraits are notorious for providing you with terrible pictures. So the first thing we want to do is we're on an ipad. You're going to bring your pictures in from your photos section. So we're going to open up the picture in your photos and we will click the edit button. And what we want to check for is we want to make sure that the picture is fairly well exposed. We don't want it to be like, for example, let's say our dog here is, our picture is really dark and we paint it like that. When people say, oh my dog's not that dark, my dog's brighter, it's whiter fur. You don't want that? Or the same thing with the color, temperature. If we change the bins, where are we here? Warm tint. One of these ones is warmth. There we go. So let's say the dogs now really yellow or really blue. That's actually pretty accurate there. I say, you can see there, it's just a more neutral white. But this dog is a bit of an off color white. So I'm going to click Done. I'm going to click Edit. I'm going to revert it back just so that we can start from scratch. One of the easiest ways that you can do this, you can check it. You see this little button here that says auto nine times out of ten. That will get you pretty bang on accurate. It'll balance the colors and the exposure fairly well. I would just make sure if your picture is good, great, start with that. If not, open it up in photos and edit it so that you can start with that. 3. Createing The Base Layer: Now we've got our picture done in photos. We are going to go to procreate. And here is my finished one, so we're going to make a new image in the gallery. Here I will make a new canvas. I'm going to use 11 by 14. That's generally the size that I print my pet portraits at, so that's the size that I used to make them. One of the first things we need to do is we need to get our image here. So you can either copy draw from a picture on your phone or draw from a picture you have sketch it out. This class is not about drawing, this class is about painting. Drawing is an excellent thing to learn. I highly recommend it, but it's well outside the scope of this class. Let's go over here to the Wrench button on here. And we're going to click on the Ad button. And we're going to click on Insert A Photo. Now we're going to go to our photo of Paddington that we just took there. And we can scale it up to whatever size we like. I'm basically using two fingers. You can see here, once I put it on, I can move it around, you can change it after, but you want to get it into the spot that you want to have it and idea like where's your picture going to be? Okay, So I'm going to say that's going to be mine. It's fairly well centered. We've got some room here to add in a little bit of body. I don't want too much. It is a portrait. So once you get it to where you want it, you're going to click on the little arrow button there, and that will deselect it. Now we're going to go back over here to our layers. We're going to click on the layer, and we're going to lower this opacity just so that we can see what we're drawing easier. Okay, so I've just clicked on the layer and now I've slowed the opacity over. You can put it wherever you like. You want to be able to see the details, but you also want to be able to see the pencil that you're drawing with. Okay. You can use whatever you like. I've got all different types, so I'm sure you do have different brushes that I try. And then I also have a lot that I made on my own. I'm going to switch this up and go to a bit thicker one here where I can see I just want to be able to see the line. Okay, a new layer now we're going to put our pencil line on, the new layer, the rough outline one. See how simple and easy I'm doing this? Nothing crazy. I just want to know roughly the shape of pit interior. It's very important that you make these lines connect. For some reason I always seem to leave a big gap in the middle. So just make sure that there's no gap in between, that you have one solid outline there. Okay, now we're going to come back here, we're going to make a new layer and this will make sense, and I'll explain more detail on this layer. We want to focus on where things are like on the details here, like the eyes, these little bits here. We want to be able to see those. Now, it's important that you know what it is that you're drawing. Because what I find difficult anyways, is I lose sight of, okay, what is what I've got, all these like squiggly lines and when there's no photograph behind it, if I start, you know, adding in every little hair, I'm never going to know what is what. It's not going to make any sense at all. So I try to keep my outlines as simple as possible just so that I know where things are, okay. Now I tend to draw mine, like sketch them out or draw them because I'm fairly good at drawing and it's just good practice. And I like drawing, but you don't practice drawing on your own. For this, we're just keeping this nice and simple. I want to see where the highlights are and where the shadows are. So what do I mean by that? So if we look at this eye here, I can see, okay, that's where the eyeball is. That's a pretty important detail. You know, where are the dark areas here, where are the light areas? So this area in here is kind of dark, right? It's inset into the picture. All right, those again here you can see this bit of fur that comes down here, that's a defining section. Obviously the nose is a defining feature. We want to keep it really simple. I'll probably speed up the camera at some point here and you want to see what I'm done When I'm done. That way you're not basically just watching me trace around a whole bunch of images here. I'm just going around and I'm going to do that now. We now have our finished outline there. Why did we go to all that trouble? We're going to turn this layer off with all the outline on there. And why did we go to all that trouble? The reason is, I'll show you now. We're going to go back here to our first layer. Come on, click on the end there, bring the capacity right back up so that we can see what we're doing. Now we also want to have a reference picture. Speaking of seeing what we're doing, we'll click on the thing here. We're going to go to the canvas and we are going to click on Reference. It will default to the canvas which the reference is showing you what's on your canvas. We want an image, we're going to import an image. Go back to our photos here, find our picture of Paddington and bring that in. Now I can see on my reference picture, basically, I can now zoom in and I've got my picture beside there. So when I'm painting, I can say, hey, okay, what am I painting here? What exactly am I looking at? Now what I'd like to do is take one of the darker areas, if not the darkest area here. So I'm just going to scroll Neo dark. That gets in there. It doesn't have to be that dark, but that's pretty dark. So now I'm going to go back here. So I've got that color selected that I've chosen from the reference picture. One thing I'd like you to take notice here is when you select a color from your reference picture and you look at it over here, you might notice like, wow, that's a lot darker. That doesn't even look like a brown color. The reason why is colors look different when they're next to other colors. So when you zoom in on here, that area that I picked is that color. But it doesn't look that dark when it's all blended in around these other colors. The other colors affect how that color looks. That's one of the trickier things about painting in traditional oil painting is that getting your color is accurate and that's a fantastic thing about procreate is that allows you to do that above all the, so not having all the chemicals and paints and everything around as well. So we've got one of the darker colors chosen here and now we're going to go here to our outline layer. So that's the one that we just did, that really simple outline. We're going to grab our dark color here and we're going to slide it over. We're going to drop it in that outline layer. Now if your color goes in and it bleeds all over the place, right, probably because of your threshold. You see up at the top here, the threshold is really high. Without lifting your pencil, you're going to slide that over until you get a solid color there. I will show you that one more time. So grab your color over top of this outline and slide it over if need be, until you get your threshold accurate. The threshold will default to what you had the last time. So now I'm going to get rid of my layer of Paddington. No offense Paddington. But your work here is done on this layer. So now what do I have? Well, now I'm going to turn back on my outline layer and that's what I've got. So, you're probably thinking, what Paul on Earth are you doing that does not look anything like poor Paddington? That's not our finished painting. That would be funny if I said it was okay. So now we've got our reference picture over here at Paddington. And we've got our outline here of a rough shape of what Paddington is. Why did we do that? Well, in traditional painting, we work our colors up and our details up from darkest color to lightest color, and from very little detail, which this clearly is, to more detail. There are different ways of doing this in traditional painting. Sometimes what we do is we just block out all the dark areas, okay, And we put a total wash over the entire canvas. So we might take like a light neutral color and you know, a warm color in this case because it's a warm painting and put it over the entire canvas and just block out our dark shadows, that's one way of doing it. Just to me, I find this super simple and much easier. And, you know, really it's up to you. Traditionally you would block out, you would have like the dark area here blocked out, and maybe the eyeballs blocked out and the nose here halfway blocked out, the mouth blocked out. And that would be the brown area. I just put it all on and let's go for it. 4. Roughing in the first layer: Okay, let's make our palette colors. So when we look at our colors here, we can see I've got some palettes here. And you'll notice on mine they say palette from image. So what does that mean? We can look on here, we can click on this, and we can click the plus button. I'm going to click a new palette, new from photos. Just follow me through here. I'm going to click on my Paddington Picture. What that's done is it's gone through and it's chosen out a very simplified version of all the colors that are representative. In here you can see the, there's the bandana that's underneath, there's some of the browns or some of the lighter colors. And this is a very great way for us to go through now and block in some of our colors because we can choose what colors are we using right now. You can see where it looks like all these cream colors were there in the brown wasn't there earlier when I said it doesn't look like that brown color. But you can see when you break down that palette into these colors, look at all those colors that are there. How that isn't that interesting. Now there's another way we can pick our colors and it's a bit more detailed. But we can take our colors like this and we can say, hold your finger over and select your color, whatever I've got there. And you'll notice now that changes. We can go back over here. We're going to go to the you're going I'm using my own oil paint brushes. Now, as I mentioned, you can use the procreate brushes that come with it. We've got the painting brushes down here and you've got, I think there is an oil painting brush there, an oil brush here that you can use. I suggest, as I always do with watercolor painting, is use the brush, the largest brush that you can control your painting with. Okay? Now, one of the things about these oil painting brushes, what they do is they blend the colors from underneath, right? And that's with traditional oil paint. Traditional oil painting is an oil medium and the colors blend together. And you usually have your paints diluted with some kind of medium like turpentine or linseed oil or other type of medium to dilute them with. But you can see, if we zoom in on here, you can see what's happening is the brown underneath is getting kind of swerved into it and blended around. It's like it's picking some of that up and it's picking up other colors. That's what the brushes are made to do, in the ones that I have here now. So one of the things I want to point out to you, you might want to do this. We're going to slide this over and we're going to lock that drawing. Because what I find I do, if I don't, is I end up somehow on top of my lines and then I'm painting of my lines. I do the whole painting, and I realize I can't get rid of the lines or the lines are gone. And this way I can keep them there and I can still see them no matter what. So if I paint like this, my lines are still there. Okay, So now I'm going to go around and I'm just going to block in this little area here where I've masked that out. I've got a large brush that you can see there. Okay. And I'm just blocking that in. Okay. I'm going to go over here where the dark area is there. And this area is fairly close to what we have underneath here, so it's a little bit lighter there. Okay. Going in the direction of the fur. Okay. Don't worry if you go over top of it a little bit, it's fine. I will go back here to my darker, darker area here. I'm just going to put that shadow back in that I took out using my brush there. Just going to darken that down a little bit because I want that shadow in there, just show underneath there. And I went over it too close. I was not paying attention because I was talking a, a yada story of my life. Okay. What am I doing here? I'm just putting this shadow in. Okay? And you can see how I'm not really working it too hard or putting a lot of attention in. I'm just going over some of these lines in here where I put I said, oh yeah, there's some shadows in there. So I want to make sure that I get those and I put those lines in the line details there. Okay. Back to my brush, again, biggest brush that I can use effectively. Okay. It doesn't matter where you are. You can just pick different areas. I'm picking colors off of here. You can, if you prefer, you can use the palette colors that we did. I tend to find, okay, I jump around a bit thinking, what about this area over here? I want to get that area right now. I chose this area in here and I'm coming over here and making sure I'm putting that in. You can see it's got some pinks in there, which is right again, I'm not worried if I go over top of the eyeball because I've got those lines there and I can see what I'm doing. I'll save the eyeballs till the end there. Right now, I'm just blocking in some simple colors. If you find that you don't have enough lines, go back to your line drawing and add in more like right now I can say here where that might be a little bit difficult to see. Okay? So I'm going to basically go around, I'm gonna select some colors and I'm gonna block this in. And I will speed up the painting a bit and I will catch you on the flip side. There we go. There we go. Here we go. There we go. 5. Reviewing The First Layer: All right, so we've gone through quickly and we basically, so what we did is we selected some colors. We chose colors around. For example, we chose, you know, this color in here, this pinky kind of color blocked in the eyes there. And we chose different colors from different sections of the painting and very roughly blocked them in. Now my brush that I used is basically my basic brush that I used to mimic my favorite brushes, which were like an ox hair brush. It's like a stiff bristle brush that spreads oil paint and leaves. Kind of, you can use it for thick paint, thin paint however you like. Those are my favorite brushes, so we can still see some of the brown underneath. And that's okay. That's fine. But what I just wanted to show you now is we've basically got our painting blocked in. Now, I've turned off my line layers there so that we can see it's not as distracting. But now we can say, okay, we've still got the dark area underneath, we've still got some shadow areas. But now we can see where we can see some of the lighter areas and the different tones and the different values that we have in there. And it's starting to look like a dog. We'll do the eyes last, we'll do the details on the nose part way through. Now I want to go through and use a bit finer of a brush as well. I'm going to show you another technique after this. We're going to come back and we're going to use a blending brush. Oil painting and traditional oil painting, blending is a very large part of it. Blending is done by mixing, say, this color and this color together. And what we use a blending brush for in digital oil painting. We'll jump onto the next video and we will work on putting in some high light areas and some more details. Remember, as I said, we start off with the darkest and the least amount of detail and then we bring ourselves up to more detail and more lighter areas. Okay, when we come back, I missed a few spots here, so I'll just quickly adjust those. Like some of this area down in here for example, I'll just put that in again. Don't worry so much about where you are. You can be as detailed as you like or not as you like because you can always come back and get a do over. Okay. I'm just basically trying to get the general shape here for Paddington. And there we go. Okay, now we'll come back and we'll do some of the lighter areas and we'll start working up to the finer details and then move on to the blending. 6. Using The Blending Brush: All right, so now we are going to take a look at the smudge tool and how it applies for the smudge tool. Brush, I'm going to use this one up here called linseed oil. I called the brush linseed oil because essentially what it is, what I would use, I would use linseed oil when I was blending my traditional oil painting, that was the medium that I used. What the blending brush is doing is it's going to, I'll give you an example here. Let's bring this up a bit larger and I'll show you here. So I'm going to grab some of this paint brush here and I'm going to slide it over. You can see what it's done is it's taken some of the paint there and it's slit it across, right? So it's picking it up. So it's imagine it's just basically sliding some of the paint from, if I go down here I'm going to bring some of the white. It considers the background paint. What I'm going to do now is if I look here, I zoom in on some of these areas here. I blocked in my colors. But I've got some of these shadow areas and what I have are just, you know, squiggly lines, right? So here if we look at the nose on our example over here, we've got our highlight area here. Now, the colors are not exact, they're not accurate, they're not perfect. But we want to sort of even out this base layer before we start adding in details. So we're going to use our blending brush here or smudge tool. It's called, I just call it a blending brush because that's what I called it in traditional oil painting. And it's called linseed oil. I should probably rename it to actually blending brush, but for now we'll go with linseed oil. So I'm going to top, I'm on the brush on smudge tool, I'm going to take my brush and I'm just going to blend in some of these areas here so you see what I'm doing is I'm coming along and I'm saying, okay, I don't, I want to put these together, right, smooth it out. I guess we could say in here, underneath the eye for example. I'm going to put the darker areas down first. And I can use it also to say, oh, you know what? There is a dark line here, like some dark fur that comes up around the eye. So I'm going to pull some of that up and give some of the shapes that I need here to find that more. It's pretty diverse, it's a pretty handy tool to use. It's one of those things that can be over used just like anything else here. Again, this fur comes over top of the fur behind it. So I'm going to pull that over top there. And I'm just blending it down again. I'm adjusting the size. I'm going to leave for this layer anyways. I'm going to leave them the opacity at the maximum. I will gradually lower that. Eventually you'll see you can you can go in any direction. But if I go this way, it's not going to look correct. But what I did here is I pulled, you know, as opposed to going in the direction of the fur because there was a dark shadow area there that I wanted to just cover some of that up with zooming here. I'm going to zoom out so I can see better. And I'm going to go around and do this to all the areas here. Get the fur going in the right direction. Get rid of that brown area behind there. Okay? This is making sense to you, what I'm doing, smoothing out. Okay, So I'm going to speed up the camera. We'll see how it looks when it's done. There we go. 0, There we go. There we go. There we go. 7. Adding The First Details: Now we can, from looking at our picture before, we could have done a bit more on the nose, but we'll get that later. It's blended in and a lot smoother. What we've basically done is we started with our dark color underneath. We blocked in some of the colors that we could see in our painting by selecting them, and then we smoothed out or blended those colors together. Again, these are all things that we would do in traditional oil painting. Now we can go through and we can start to add in some lighter colors. I'm, I'm going to try and find some lighter colors in here. For example, I'm going to pick up this part of the nose here and I can see that this is lighter than it is on the top there. Let's just go through, grab, go back to our paint brush here. See where we're at. And we can start in putting in some of the high light colors. Now some highlight colors here. We got a little blotch in there. We come over here, to this side. Now if I'm going to go back here to my, whoops, not that one. Where am I going to go? Classic. There we go. When I select that color, you can see, I can see where it is on here. This color palette here or whatever, is showing you your colors. If I slide this, oops, wrong one. If I slide this one over, you can see it's like the color spectrum. It's changing the hue of the color. Then down here, if we come down like this, we can say, okay, we've got more saturation. We've got a darker value, we've got a lighter value. But I want to choose my colors. And I want to start and jump ahead there, right around here. I'm going to bring this up a little bit, just so it gets a bit brighter. Because I want to brighten it up a bit and I'm going to put that in. I was over here, wasn't. I was adjusting my brush size to get the right effect there. Now I'm putting in some of these highlights. Where those lighter colors are there. Now again, I'm going through and I'm adding in some of the high light colors here. I'm going to zoom out so I can see better looking to see like where are these colors predominantly? Again, you can see my brushes fairly large. That's getting a bit on the pinky side. I'm going to bring this over, brighten it up even more. Where are those brighter colors there? Right, Where are they? Now? Pay attention to how I'm putting them down. You'll see they're just lines that are on top there. Right? We'll address that soon. But right now we're just getting in some of those highlight colors. Now you can follow along and try to do exactly like every little nook and cranny that you see, but you really don't need to. Right, a painting is a representation of what you're seeing. Really, it's up to you to decide. How much of that detail do you want to put in or have in, or not have in? I personally want to keep it as simple as possible. I want it to look like Paddington. But at the same time, I want to being an enjoyable process. And I don't want to be crimping and scrutinizing over all the details. Okay, Now you might be saying, Paul, you just made a mess of that painting. But bear with me, Okay? Now we're going to go back to our smudge tool. Now let's zoom in and take a look at some of these brush strokes that we make. Let's look at this highlight area right here. It's brighter. It's brighter up at the top here. But then it gradually gets a little bit darker with our smudge tool. Using our linseed oil brush, I can grab some of this. Shrink this down, manageable. I can see how that now is blending in. I'm going to the base of where my brush strokes started and I'm pulling up some of the colors over top can zoom out for that. And all of a sudden, now it starts to look more natural because it's all those values, the darker value going up into the lighter value, the hairs just don't pop up, all of a sudden. They're bright, they bleed in, they lend themselves into each other. Okay. You're probably thinking some of the lines are getting wrecked? Yeah, they are. But again, don't worry because we're going to add in more or later. Oops, I grab some of the nose there. That's okay. Yeah. We'll speed up the camera. There we go. There we go. 8. Painting The Eyes: All right, so padding is still looking a little dark here, but now I'm going to, I like to jump around a bit and this is my way of painting and bio means don't feel like you need to do this. You can finish going through because we are going to keep adding in lighter and lighter areas and defining these details until we get it the way that we like it. But I like to sort of give myself like the overall look of the subject, or in this case Paddington. And a big, big part of that is going to be the eyes. So, with the eyeballs, let's move on to those now. Let's take a look. Your so I'm going to grab this gray color here that I have. Actually, when it shows up on there, it's not actually that great. I'm just going to lighten it up a bit. I will for this, I'm going to use my soft blend brush here and get it to be about the size that I like. This is just that I have a little bit more control and get a little bit finer detail. This imagine is like a brush that I'm using and I'm blending my paints together. What I'm doing now is I'm just going through and finding the areas in the painting here and I am defining those areas. I am going to cheat a little bit. I am going to use a brown color that I think is more natural to a dog here, and I'm going to put that in. It's sliding your color over here to the orange area. Brown is essentially a variant of orange, just a low value. You can use exactly the same color if you like. I just think that it a little bit of warmth won't hurt Paddington. I'm basically after painting hundreds of dog portraits, I have a pretty good idea of what this looks like in the eyes there. I'm just going by memory. Feel free to copy me or feel free to copy the picture, it's really up to you. I just getting a darker color in here. For now, I have to go a little bit more neutral over to the blacks. And I'm just filling in these areas, so I see where the lines are there. It's super easy just squiggle, squiggle, squiggle. Okay. So what I've got here now is I have basically, if we zoom out, we can see I've got an eyeball now. It doesn't look the same color as padding, and that's okay. But I've blocked in some colors. Very simple. Again, like how we did with when we started our painting. We blocked in our colors. And now we're going to come over here and we're going to do that. On the other eyeball, I'm going to, so you can see in here, the brown is there. So I'm going to go back to my original, my first eye here. I'm going to select this color just that I'm working with the same color to start with. And I'm going to paint this in easy peasy. Just get it in there. And again, I'm going to go back to the dark color coming in here. There we go. There we go. All right, now we're starting to get some impression in there. So now let's just finish off the eyeballs while we're here, I don't like when we see the glassy because it's basically what we see here in the eyeball is we see different reflections, right? So if we look at this one over here, we've got this lighter area here, plus we've got a light area up there, plus we've got a light area there. What that is, is that's the area in the room. These are different things in the room or environment that Paddingtons picture was taken in. I like just a subtle hint of specular reflection and that's just like a little D there. So I'm going to go back to my regular brush. I'm going to choose a lighter color, almost pure white. You can use pure white if you like. Doesn't matter. I'm going to look at where that is in the eyeball. Because they line up, that gives it a direction where this sits, gives a direction as to where Paddington is looking. So, I'm just going to put a little speck there. Now, if I zoom out, all of a sudden I can see that I've got that specular reflection there. I think it's a bit too big because my brush was a bit too large. I'm just screen that down again. I use two fingers to undo. I did there. Just put a little bit in, There we go, that I'll be okay for now. Now this area up in here, it's very bright and overpowering in this area. So what I'm going to do is I'm going to select my dark color. I'm going to go back to my soft blend brush. I'm going to zoom my opacity way down here. And I'm going to bring this up to decent size anyways, just big enough that I can control it with. And I'm just going to go over top here ever so slightly, maybe a bit more opacity. If I go way up to get too dark. I jumped over to my eraser brush by accident. See I'm just making a shadow area. I'm just starting to fill that in so that it's not so bright and overpowering. Makes a very gradual, there we go, I'm going to come over here to the blackest black that I can get. And bring my opacity back up, make my brush a little bit smaller and just get those areas nice and defined there. Okay, now I'll come back here, grab my specular highlight color, shrink my brush down. It's sitting right around here. If I look over here, it's sitting right in this area. Okay. Zoom out and all of a sudden, wow, Am. Look at that, Paddington, as making a connection with us. Not awesome. I think we're going to need a bit more light around the eyeball on this side just to make it. And this needs to be a little bit less detail, but we're starting to get the idea here also. I think we need, Yes, we do. When we look at the shape of the eyeball here, this comes around. And on this side I've got some fur and I'm blending down there, and I think that's giving it a funny look. We'll just round that out. I'm just expanding it a little bit. There we go. All right. 9. Painting The Nose: So we've got our eyeballs there blocked in fairly well. You can see they're not done yet, we still have to do some work on them. But let's get the nose looking similar. We've got our soft blend brush here again, and we're using that, it gives us a bit more, oops, eraser jumped in there again. It gives us a bit more control and we don't really need to have it for the fur area. We've got a really dark black here and I'm just blocking this in where some of these darker areas are. I might have blended over top of them and I'm going to grab some of this color here. There we go. I'm just loosely, I'm following along. You can use your lines if you like just to see where everything is. I like to turn them off at this point just because it feels a bit more natural and they're not getting in the way. And I can also see better as to what I'm painting. I'm just going in again, the same as we did with the fur. I'm choosing some colors that are in there that I see that are actually defining the shape. For example, little block in here on the nose. This area in here is like a lighter color. Then I can see underneath here. If you squint, you can see these things happening easier, then you grab some lighter color per we're just blocking it in the same as we did with the other one. A line that goes up the middle and comes down. Almost every dog has this feature or not feature, whatever you want to call it, trait on their noses. Okay, now we're going to grab our blending brush and we're going to blend some of this together too big. Make sure your blending brush is the right size, a workable size, We'll call it lower my capacity a bit because I want to have I jumped over to paint brush there. I lowered the capacity a bit just so that it's not so drastic. I've got some of this median color in there that I don't really have and I should actually probably put that in. I'm going to grab my capacity down. I'm going to grab my brush and I'm just going to change, add some of that in here. Okay. So now we're blending these colors in. Bring this up. And I'm going to lower this down. There we go. So he had made this part a little bit darker. I'm just bringing some of that up here. Zoom out here, so to see what's going on better. That looks a little wonky, I think maybe it's all good. Sorry, Paddington. I didn't mean to call you. Walk. Okay, We do have, there we go, noses, our nose. All right. So those things are roughly blocked in. We can come back in, like, for example, later on if you want to add in your like there's a little fleck there of dark color that's on the nose. And also, I think this is a bit darker up here, that's why it's looking a little funky. Like I was saying, we can add in this, whoops, there's a little fleck up here on the nose. And we can add in these details later if you like, or you can keep it as simple as you like. There's no right or wrong way to do this. We're basically trying to make our dog look like a nice painting. I don't like that little fleck that I put there, so I'm going to take that out. Okay, let's take a look at where we're at right now. A couple of things where we're at, we've got our eyeballs blocked in really well. They're starting to look good. The nose is coming along nicely. I'd make a few tweaks to that. The mouth is shaped there where we're at right now. What we need to do is we look at Paddington and we look at our painting. Our painting is a lot darker and of course, there's not as many details. We could essentially just leave it as it is right here. We could use a tool here and lighten the painting, adjust the color, and voila, we're off to the races. However, we will go through and we'll just add in another layer. And we're going to lighten this painting up a little bit and then we're going to make some final changes and then we're done. Easy. Easy. 10. Adding Highlights And Detail: Let's go through, we're going to choose some of these high light colors here. And we're going to grab our brush. We're going to make sure we've got our rough base brush here. Get our brush to a decent size, not too big, because we're going to start and block in some of these highlights here. You can see, okay, wow, that's pretty bright. But if we look at the edge of the painting here, there are some lighter areas there where the fur goes over top and starts to come down and we start to see things for there and these little highlight areas, the stuff like that, we're going to go through using a lighter color again than we were originally. And we're going to go through and we're going to block in some of these lighter areas there, essentially. It's a little bit darker and then it comes out. As it gets out, it gets lighter. We might do this twice, but we'll see how it looks after this one, we're going over the brighter areas and putting in the fur. Okay, we'll speed up the camera and we'll go through this. When we come back, we'll see how it looks. Here we go. Oh, there we go. There we go. There we go. There we go. Okay. Now you're thinking, wow, Paddington looks really funny, doesn't he? Yeah, he does. So, basically what we've done is we put in all these, look at those scratchy marks. Look how basic those are. So that's really important to pay attention to. Like we're not drawing every little piece of fur and every little line. We're just putting in this very, very simple, not difficult at all. You know, lightening it up, essentially putting light areas where we see light areas. Now again, guess what we're going to do. That's right. We're going to use our blending brush and we're going to go through, we're going to get the size right, bring out the capacity, maybe like 80% or you can use it at 100% if it doesn't really matter. You'll notice right away if it's too much. Now again, we're trying to make our fur come out of the darker areas and into the lighter areas if need be. Change the direction of it a little bit. We're starting at where the brush stroke started and we're blending that out more. We can pull it back too if we think that there's too much shadow. We're essentially just getting that fur, those lines there so they don't look like scratchy lines. See again, we're coming from the darker area there where we've got our fur. And see we can almost make it disappear. I didn't change the color, I didn't do anything like that. Basically, lightening up the painting and adding in some more like highlight details there. Okay, again, let's look right here. We can bring this back to lighten it up more. We're bringing the lighter area over there to lighten up the whole picture, but we're also taking away the hard lines here. Okay? All right. Okay. I'm goning to speed up the camera and get this done. There we go. There we go. There we go. Okay. So you can see how it's going here. I just wanted to point out a few things here. I'm using some of the colors here. So these areas in here where the fur is longer and twisty, I did make some longer lines in there. And I didn't point that out, I just thought of it as I was doing this. But also what I'm doing is some of the colors here to lighten up the pitcher as well by going backwards. I'm not just going at the start and blending it in. I'm pulling back some of the lighter color here and bringing it down into those darker areas there. I hope that makes sense. Another thing I notice in here, if I look at the eye over here, my eyeball, oops, I messed that up. I'm make this a little bit smaller so I have more control. I made my fur this way. See this piece of fur here? It comes down. I made it come in too much. I just wanted to correct that because it more or less comes straight down. And it comes down more this way, doesn't it? Yeah, too. These little characteristics will really make a difference. This again, I'm using the smudge tool. I'm not using the brush. I once you get to this stage and you've got all the colors there, you can just sort of pull them and push them down and around and how you want them. Okay, we'll finish off getting these colors, just getting rid of these hard lines and the blending. I'll speed up the camera again quick and we'll finish this off and I think we're going to come back and then we're going to do a bit more detail areas and we'll lighten up the picture and then I think we will be done. Here we go. There we go. There we go. Here we go. Here we go. 11. The Final Details: They're starting to look really good. We're starting to look like Paddington. And I mean, we're doing more than looking at padding. It does look like Paddington. We got rid of those, all the hard edge lines there, most of them anyways, probably still some poking out about there. But, I mean, the hard edge lines is where the brush strokes started. So you can see, again, if you look at all these colors now, remember we went in through, we didn't choose that many colors, and we didn't go through and pick all these like minute little colors. But you can see they're all starting to be there like here. Look at this area under here. We've got those dark lines under there and different things under there. And all we did was roughly block them in and then blend them out so we can see up here where it's not blended. So we can come in and go over top of that with our blending brush. But you know, again, you're not going to zoom in on the picture, right? It's amazing how this is one of those things about oil painting, it's almost magic how once you learn the process of it, it's really just a matter of following these simple steps, right? And it's very easy to do. So let's look at our eyeball here. We're going to zoom in. And this line here, for example, you know, that is not how Paddington looks. So, but there is some, those colors are in there. We just want to make sure that they're a little bit more natural looking. Right. I'm just blending them in a bit. This color here, I think it looks pretty good. There's a few high light areas here. I'm going to grab my brush and I think we just go in a few bits in here where define that area a bit more. Those lines there. I like the lines there. I'm going to go right up here into the white. I'm just going to start adding in a few of these little loose fur bits that just catch the light. Also here while we're here, I think I'm going to lower the capacity on my brush and decent size here. This area underneath the mouth here was just a little too dark. There wasn't enough white color in there. Same thing here. Some of these come this way. This isn't very accurate, is it? Let's just smudge that out. So we're just basically going over some of the final details here, trying to make it look a little bit more realistic. Now, some of those bright highlights I just put in just now, we're going to make sure the blending properly, going in the right direction. You can use your smudge tool there to get your fur going in the right direction. Okay? All right, so let's look at Paddington here. Right now, our colors are a little bit. I'm going to look here at this piece of fur here that I had pointed out before, and it is still bugging me. So I'm just going to a draw that over top there. I'm just stuff around in here. No particular rhyme or reason. I just wanted to straighten that out a little bit. I also wanted to come in this way a little bit more. Gives Paddington there's something in that expression, right? Think about like the Mona Lisa, where it's all in that expression and it's just looking at the picture and saying, okay, what is there in that expression? What's causing that? What am I looking at that is making me see that? I'm looking at the eyes here, for example. This white line here on mine goes up and on Paddington it goes straight across. Let's fix that. Let's go in here and we'll grab this so much tool. We're just going to straighten that out a little bit. We may have to brush it in, which I think we will, but that's okay. We'll grab the small flat brush for this one. Just using it for more detail here. We just want to get that shape right because that really defines the expression. Some of these in here, there we go. That made a huge difference, just that little bit there. Now in here, there's a bit fur down in here. Let's grab something from Pre. I'll grab a lighter color. I mean to lower my opacity right down. Lower my size down. And I just want to get, I'm just really just scribbling on here. I'm using this almost as like a drawing tool now, getting that lighter area up in there where there were some areas that were a little bit lighter because the opacity is down, you can change how it looks. Okay. Okay. So much tool again. All right. Now, I think we've got our expression correct. Now, when I'm looking at it, what else do I see? I see that the mine is darker, my Paddington is darker. I've got all these great colors under there, but it's a little bit darker. And actually this area in here underneath the mouth is still too dark. Using the same brush, we're going to see the capacity is way down. If I put the capacity right up and I put my brush mark on, I get that right. Once you lower the opacity down, you can basically use your brush. Am I on the eraser? You lower the opacity down? I'm going to go to the soft blending brush. Keep the opacity right down. And I can use my brush now as like a wash, like a light wash to go over top. Really, I'm not changing the texture of the detail. I am just very gradually and slightly lightening the color. See what's happening there. You can still see underneath because it's transparent. But I'm lightening that color up there. I've lightened down the capacity and I just put a light wash over top there. You get that? Right now, some of this is made up because we don't have the bandana and I don't like including things like that in the pet portraits. Unless people specifically point out, make sure you include the bandana, you never know. Is that just in that picture? Most dogs don't walk around with bandanas on all the time. And if they do, then no one's ever complained to me about not including it. I just find it's blue color. It'll take away from the depth of the portrait. Just smudging out a few bits there. Okay, now let's go on now. Let's say we're done here with our drawing bits and our fur bits. We're going to go over here to this little magic wand. And we're, you can use either you want to be really simple. You can go to hue saturation, and brightness. You could brighten this up and get the color that way, but you start to lose some of the blacks. When you do that, it makes it look more washed out. So we're going to go over here and we're going to click on this button here called Curves. This is a standard tool that's used in Photoshop. The first thing I want you to do is I want you to click right in the very middle and put a little dot there. And what this will do is keep where the dots are. They hold their position up here. You've got your highlights, right, so the whites, we can see what happens when I slide that over and over here, you've got your blacks. Oops, If I slide this over, you can see those shadow areas start to fill up. We want to use this little area right in the middle here, by using the curves. We're not adjusting the blacks, we're just at the mid tones here. And we're opening that up a little bit. Not warming it, we're lightening up a bit. We're keeping the same shadows and highlight areas that we have because you can see those are here and here. They didn't move again. We go back to the middle here, you can see where we are at. Now, we can slide that up and w, we're really close. Now, click on this magic wand again to make it go away, and I am going to say, we're done, Our Paddington dog as finished. Now, by all means, feel free to go in if you wanted to keep adding details. For example, you could add in some more like little fur bits that are up there. Even go almost like directly to the white and grab your brush and go back to the rough brush, put it up the highest capacity, make it nice and small, and get some of those little furry bits that are you highlight details that are all around. But for the most part, I think this is pretty good. What would I change on this one? Not too much. I'm pretty happy with it actually. I would probably blend this in a bit more here and fix this. Looks a little bit messy there. It's going to be messy. We'll mess it up proper. I like using this to finish off the painting I guess, or make it not just a stark and there we grab that in and gradually go into like less and less detail. This is how I painted, traditionally with oil paints. When I blend in, the bottom there just smooth away, brings your attention back into the eyes and keeps them there. And I'm looking over here and I think we look pretty good. I can't wait to see what you paint. Please be sure to post your picture in the Projects and Resources section. Reach out to me any way you can with any questions that you have through the discussion section. I monitor that regularly and I always reply right away if I get a question. If you are stuck, please and your question might help someone else as well. I hope you enjoy. This is my first procreate class. I use procreate all the time, but all my other classes have been in watercolor, traditional watercolor. But I do paint in procreate all the time and I quite like it. I hope you do as well. Thank you very much.