Master Shading in Procreate - Draw a Furry Monster

1. Introduction: Shading is a crucial element in illustration that can greatly enhance the visual appeal and realism of an artwork. If you want to learn how to bring depth and dimensionality to a two-dimensional image with easy-to-follow instructions. Then this class is for you. Hi and welcome to my class. My name is Jutta Schneider. I'm a skillshare, top teacher, illustrator and designer from Germany. And then this class, we will explore shading techniques in Procreate on the iPad. Together, we will embark on an exciting journey of creating a cute furry monster from sketch to Stunning finished artwork. In the first part of this class, we will delve into the fundamental principles of shading. We'll cover topics such as light sources, value scales, and shading terminology that will help you bring life to your illustrations. Once we have grasped the shading basics, we will dive deeper into the intricate world of trying. Third, can be a challenging task, but fear not, I'll share valuable tips and techniques. And of course, a set of awesome procreate brushes that will enable you to add depth, volume, and texture to your furry creatures. Together, we will try our hands at an exciting case study, drawing a cute monster. Starting with a rough sketch, we will gradually refine our artwork, adding layers of texture and shading to bring out the unique personality of our monster. I will guide you through the process, providing insightful commentary and addressing any questions that may arise. As a special bonus, I'll share a video on how to create your very own fur brush in Procreate. I'll demonstrate the process step-by-step. So you can create a personalized tool that suits your artistic style. By the end of this class, you will have gained a solid understanding of shading principles and how to apply them, including to drawing fur. You'll also have completed your own adorable monster artwork and learned how to create a custom fur brush in Procreate. This class is made for you when you love drawing on your iPad with an Apple pencil. When you have already a little experience with the app, Procreate, when you are seeking to enhance your shading skills. Or you love monster and everything furry, as well as Procreate brushes and creating them. So join me on this creative journey as we uncover the secrets of shading and breathe life into our furry monsters. Let's get started. I will see you in class 2. Class Project: In all my classes, I put a lot of emphasis on the class project, and this class is no exception. In case you wonder why. Let me explain. First. I want you to grow. Completing the class project allows you to apply the knowledge and skills you have learned throughout the class. It gives you the opportunity to challenge yourself, experiment with different techniques, and explore your creativity. Second, develop your skills. The class project provides a practical platform to enhance your artistic skills. Art is a hands-on discipline and actively working on projects helps you refine your techniques, improve your understanding of odd principles, and develop your own unique style. Third, build your portfolio. Completing the class project contributes to building a robust portfolio of your artwork. Having a well-rounded portfolio is crucial. Each finished project adds to your collection. Demonstrating your commitment, dedication, and growth as an artist forth, receive feedback When you finish the class project, you can receive valuable feedback from me or peers. These Advices can help you identify areas of improvement and discover new perspectives. Fifth, get a sense of achievement. Completing any project, including the class project, brings a sense of accomplishment and satisfaction. It's a tangible representation of your efforts and dedication, boosting your self-confidence and motivation. Six, enjoy the community engagement. We are very lucky to have such a supportive community of fellow students who share a common passion for Art here on skillshare. By finishing the class project, you can actively participate in discussions, share your work, and engage with other artists. And lastly, Foster accountability and discipline. Setting a goal to finish the class project and following through with it, develops a sense of accountability and discipline. In summary, you see you can only benefit from accomplishing your class project. In this class, I would like you to follow along with drawing and shading a cute furry monster and upload it to the project gallery. You can do so in the projects and resources tab on the skillshare.com website, here you simply hit the create project button, upload your image and share your thoughts about your project or the class with us. Make sure you upload your artwork as a JPEG. As PNG files are usually too big to be uploaded. I am already very excited to see your cute fur-monster. So make sure you share it with us. Let's engage with one another in the project gallery. 3. Resources Download: As usual, I'm offering a lot of resources in my Skillshare classes. If you go to the projects and resources on the skillshare.com website, you will find my resources here on the right hand side. In this class, you're gonna get a cute monster brush set and also a cute monster color palette. For Download is fairly easy. You just tap the file. It asks you if you want to download the file, say yes. And as soon as this little arrow here has bounced, you will find the file within here. If you tap it. You're gonna find that in your Download section of your iPad. And by just tapping the file, it's gonna be imported into Procreate right away. You find it at the very top of your brush library. There you go. Here you find the cute monster palette, which is the colors I am using for our class project. Do the same. Hugest, hit the file. You allow the Download. Wait until this arrow here has bounced, tap it, and then tap the file. Tap the file again, and it's being imported into Procreate. And this time you'll find it at the very bottom of your color palette library. Here we go. There it is. How simple is that? I just wanted to add. Sometimes I receive a failure notes from students that weren't using the Safari browser when downloading their files? Well, that happens sometimes. If you have trouble downloading the files, why don't you just try out another web browser and see how it works there? And now we're perfectly prepared to dive right into the class subject, which is shading. And in our next video, we're going to learn more about the principles of shading. I will see you there. 4. Shading Principles: Let's first clarify the term shading. Shading is the indication of light and dark areas in an object to create depth and dimensionality, it is an important step to turn a to D flat shape into a lively and realistic object. By using shading techniques effectively, we can create illustrations that are more visually interesting, dynamic, and engaging. However, to administer shading correctly to our illustration, we need to understand the different levels of darkness in a three-dimensional shape. Let's first talk about acute shape to give you an idea of how to shade an angular object, which is fairly simple to do. There's our little cube. By now. We can't distinguish all the different phases because all the sides have the same brightness. Let's imagine now our light source is here. Obviously, the phase closest to the light source is the brightest one, the highlight. The face opposite the light source is logically that darker spot as not much of the light reaches it. This is what we call the core shadow. The other phase we see is medium bright, which is called the halftone. Our object also casts a shadow onto the surface where it is placed. This is our cast shadow. Lastly, we have the occlusion shadow right below or cube where it hits the surface. This is our darkest area. Both occlusion and cast shadows appear a little bit blurry. So now all shading is done. Then wasn't too difficult, right? Here comes an important side note, like all the drawing rules in illustration. Once we understood them and can apply them correctly, we can start bending the rules where we think it makes sense, where it adds to our personal style. It is however important to understand the principles properly before we can start to ignore them. To be able to ignore where it makes sense to me not to make an insignificant mistakes, there would lower the quality of our illustration. Now, let's move on to shading a sphere, which is a little bit more challenging as we need to use the gradient shading technique. Gradient means that light areas transit into dark areas gradually avoiding to leave visible increments as much as possible. So here comes us fear, which appears as a circle for the moment. Let's turn on the light and see how our circle needs to be shaded to appear three-dimensional. Of course, there is the lightest part facing the sun. This is our highlight. Opposite to that side, we have the darkest part also facing the surface on which our sphere is placed. Remember, that is called core shadow. The invisible border between those areas is our terminator. This is where the lighter part ends and the shadows starts. The area between the highlight and the darkest core shadow is called half on mid tone. This is basically the initial brightness of the you we used for our circle. Although the half tone is gradually fading towards both light and dark areas, since our shape is not translucent, also casts a shadow onto the surface. The cast shadow, we can basically think of lines coming from the light source across us fear towards the surface to see where it makes sense to place the cast shadow. The occlusion shadow is right beneath the part of our sphere that touches the surface. Finally, let's add the reflected light. For whatever reason, this is my favorite part of shading, and I think it adds the most to our illustration. Let me explain. Even though this is the darkest area of both our sphere and the shadow it casts, there is still remaining light that hits the surface and bounces back to us fear. This adds not only a nice shimmer to our object, but also adds contrast, which is often quite useful. Let's recap. The lightest area of our object is called the highlight, and the darkest part is called core shadow. The equator line in-between is called the terminator. And on a round object, the US change from light to dark gradually. On the surface, the object throws the cast shadow, As well as the occlusion shadow. And remaining light is reflected onto the edge of our objects closest to the surface. And in the next video, we're going to practice what we've just learned by drawing a furry ball. Because this class is about drawing a Furry Monster and shaded correctly. So see you in the next video. 5. Shading Practice: Let's get started with opening a new canvas. I'm here in my project gallery and I'm going to tap the plus button. And I will pick my square 3,000 pixel canvas. If you don't have anything like that, you can just go ahead and tap the plus button up here. Here we are with our canvas panel. And this is where you can insert all the numbers you want. So I've set my measurements to pixels, and you could just type in 3,000 by 3,000 pixels. And here it also tells you how many layers you will receive. So here we have 70 layers, which is fairly enough for me. However, if you have a smaller iPad, you might have weightless layers. And you can decide if you want to go with these small amount of layers, or if you want to decrease the size of your canvas, Let's go, say go with maybe to 2,500 by 2,500. And that gives me 103. And you need to check on your iPad if that is enough. If that gives you enough layers to okay, I don't need this kind of Canvas because I have mine already. Basically this highest doesn't really matter anyway. I just like to share my Art on Instagram. That's why I just like to go with square canvas. However, that is not super important for our practice. That's hit Cancel and I'm going to hit this one. Now. Here we have our new canvas. First, what I wanna do is draw a circle, and I will use one of the brushes that come with a set we just downloaded. Let me quickly show you what's in there. There's to sketch your brush, which basically works like a pencil. We have two liner brushes. The nice liner with a little bit of a taper, and the nice liner or mono, which has the same width from start to end. Then I've added, and I'm really proud of those brushes for different for brushes. The short one, the wonderful medium for foot long fur. And for curly for you can try them out there, pressure sensitive and then add the nice impression of reaffirm. Here we have to stripy brushes. I like to use them for my backgrounds, but you could also use them as shader. Then there is my soft shader, which I like to use for shading glossy areas. And then we have ten different texture brushes that helped me to give my monster features like just a little bit of a texture that it just doesn't look flat and, and all glossy. That's the brushes. So for now, for my circle, I want to go with a nice liner mono. And then from my color palette, the monster Paulette. I think I'm going to go with yellow. And I just draw a circle that has, have the ends meet, that it turns into a circle. And if I tap the canvas with one finger, it turns into a perfect circle. So let's fill it with color. Okey-dokey, that's how basic shape. It's just not super good to, to recognize right now as the air, as the background is white. So I want to add some background as well. I'm adding another layer by tapping the Plus button, grab it with my finger and just put it below our yellow ball. And then I guess I will fill it. I think I will fill it with this blue shape. Yes, that looks good. Okay. This is just a circle for now, but I wanted to look furry. So I'm gonna go back to the layer with a yellow dot here with a yellow circle. And I'm going to pick my first brush. Let's go with the fur medium brush. And now I will draw all around the circle. And that was the wrong color. I need my yellow. And then that will create nice and furry outline. You can see what it is. So what do we can do is we just press, go back and forth until we can't see the edges of the circle anymore. Just go all around until the edge is banished. Here we go. And it doesn't matter if it's not super, even, it is even more organic and natural. Wednesday or some, some lamps with a lot of fur and some gaps may be in-between. So let's say the light source comes from up here. And let me indicate with a little arrow that I don't forget. I want to add a new layer. Go to my mono line brush and just draw a little arrow here on the corner. So this is where the light hits the ball. So this is gonna be the highlight. And it's going to turn darker towards this area. And the cast shadow is going to go in this direction. Let's go and do it for shading with a, for brushes. We can use a lot of help of Procreate because picking the right color for shading can be quite challenging. We could just go ahead, for example, and shade with a dark color and white. But I'm going to show you what happens if we do that. So here's our yellow ball layer and I want to add a new layer and turn that into a clipping mask. I'm going to tap this layer and tap clipping mask. That helps me to only draw where the yellow ball is below, but not on anything elsewhere. So if I would use, Let's say black, go and pick my fur brush. I want to go with a long for right now. And start here indicating the darkest area of offer, both moving towards the top and as you can, as you will notice, when you use the brushes, they are pressure sensitive, so the harder you press, the darker they will get, and the lighter, lighter obviously. And then I'm going to add another layer on top. Turn it into a clipping mask. Pick a lighter color here. And then I start here with the highlight and move towards the dark area. So this looks good. We can distinguish different hairs. We can distinguish light and dark. However, the color has turned really dull. Yeah. But due to the fact that we've used black and white, that took all the liveliness, vividness from our yellow you. This is what I really don't like. So I don't want to shade with just black or white. It makes everything dull and boring and it's not bright and popping anymore. So instead of using that, we can use the help of procreate. So let me add another layer, turn it into a clipping mask. And now we're going to use the blend modes. We find the blend modes by tapping this little N. There's the opacity slider that makes everything on this layer more or less opaque. And here we see a full list of different blend modes. Usually it's set to normal, which we see with the N here above. We find the blend modes. It turns everything darker. And down there we find blend modes that turn everything lighter. And a lot of more blend modes, which I can't all describe today. However, my favorite ones at the moment, our Linear Burn, Color Burn, or multiply, and screen color dodge or add. Linear Burn Color Burn and multiply it to darken a shade, screen color dodge and add to light and a you. And I show you how that works right now. I want to set this layer to Linear Burn, and I don't have to think about any color I want to use. So I just go back to my yellow and start drawing over it and then you will see what happens. It turns my yellow color into a very bright and saturated. Wonderful look. How pretty that looks. Way more vivid and way more saturated. Okay, I'm going to add another layer on top. Here we go, set it into a clipping mask. We still are with the same year we started out with. And I will set this layer to, let's say, let's say screen and see what happens. Here is our light source. So here's where I start with the highlight with a lightest fur. And then I move my way up, my weight down, of course, to the darker area. And here we go. So I'm going to enlarge it and you see this looks like reaffirm. It's amazing. I'm so in love with these brushes. So here we can check if we shaded everything correctly. Here's a highlight which could be actually like even lighter. I think. I want to add a little bit more accent here with Wyatt. He just had this Hendrik tiny little bit. And this is our highlight. This is our mid-tone area. Here we have the trimming a line somewhere there. And down there we have the core shadow. What's missing right now is the cast shadow and the occlusion shadow on the surface below. And that's what we're gonna do right now. Let's just add another layer on top of our blue shoes are mono line brush and pick a dark color. So, and to follow this light source here, we need kind of ellipse down there in that area. Although I'm going to start out in the center and just move it where I needed to be. Just an ellipse and finger on my screen to make it horizontal. I dropped the color in and then I just move it to this side. If I turn off snapping, I can move it a little bit smoother here. And this is where we have room for our own artistic style or artistic choice, whatever we like better. Since the light source is here, we just cannot place the cast shadow on this side of the ball. That would look odd. But this is absolutely fine. And then we have another great function here. Under the Magic Wand Tool. We go to Gaussian blur. We want to blur the edge of our cast shadow a little bit by just swiping to the right. I like that. It's just a little bit too dark for my taste. So I'm gonna go and tap the N on the shady layer and turn down the opacity little bit. Kind of like that. Awesome. So the last thing that's missing here on the surface is our occlusion shadow. I want to add another layer. I want to go pick my nice liner and draw another ellipse, tap the canvas to make it horizontal and fill it with color. Then I tap the arrow tool here to move it around to where I think it should be. And also, I want to blur that quite a lot. That it fades into the cast shadow. Super. It looks already like really three-dimensional. The only thing that's missing is the reflected light and a little bit of a glow. So let me show you what I mean by that. I'm going to add another layer on top of the two shady furry layers and turn it into a clipping mask as well. And then I want to go and pick light just for that and my medium fur brush. And now I'm just carefully going around the edge here to just mark the reflected light. You can see right away. It creates a great contrast between both of those dark, shady areas meeting the darkest core shadow area of the ball and the, the occlusion shadow on the surface. And that already gives it a little bit of a nice glow. That's enough. You can go and draw it as visible as you like. I like to go with just a tiny little indication, but if you like it brighter or thicker, that's perfectly up to you and your artistic choice. I guess I want to add a little bit more here to just indicate the highlight a little bit better. Here we go. And what I wanna do lastly, is I want to add a little shimmer from behind of the ball. And I wanted to show you what I mean by that. Let's go to our Layers panel and add a layer. Let's say on top of our shades here, maybe below, I guess below is better, right on top of our blue layer here. And I want to set this layer to Color Dodge. Maybe. I want to pick the same blue as my background by just tapping it. The color picker is going to pick the same color. I need my mono line brush. Here. We go back to the mono line brush. And now I'm just drawing a circle behind a yellow ball. Let it snap and fill it with color. We can't see it because it's hidden by it, by the ball. However, we're going to see what happens in a second. I want to go back to the Magic Wand Tool, go to Gaussian blur and blur it quite a lot. And now you can see the shimmer appears from behind. Maybe that's a bit too much like this. I hope you can see it. Here's the glow appearing. And I got That's alright. So we have a little shimmer behind our ball. Maybe we want to move it a little bit to the top. This end here we have our greatly shaded furry ball with its highlight is Mitch tone. Its core shadow, the reflected light, the cast and occlusion shadow on the surface. And this is gonna be really helpful, this practice for our class project, which we're going to start in the next video. So let's get ready for our final artwork and I'll meet you in the next video. 6. Let's Draw a Monster: Sketch: Let's get started with our class project. And as usual, we're gonna start with the sketch. As you can see, I've already opened a new canvas. It's a 3,000 by 3,000 pixel canvas. The size doesn't really matter. You just go ahead and open a size as you like. So let's now move on to the SketchUp brush from our cute monster brush set. It's the one that works like a pencil. We're going to pick a dark color. We could turn down the brush size a little bit. This is how I envisioned my monster to be. I wanted to be like an oval shape with 2 ft and two arms, a huge mouth separating the head from the buddy. And I wanted to have two horns and I tale, and I wanted to hold a balloon. So let's start out with drawing kind of a bean shape. Somehow it looks like a minion or so. And what I also want to achieve is the three-quarter position. I don't want it to be too much in the center and facing the camera directly. As I usually think, these are quite boring poses. So I want to make sure it's kinda facing this way. So here's the 1 ft behind. It's hidden from the body and the other foot is in the front. Here we have this huge Mao. And let's see, this is the lower lip down here. And what's really important for me for the mouth is that it has a little curved upwards to indicate a friendly smile. Here's one I, and here we have the other one. And that's what I mean. The eyes are not in the center of its phase. So it's not facing me directly, but it's kind of facing in this way. And that is very important for a more energetic and lively Illustration. And let's see, I want to create an axis to just show me where I need to place my horn and my arm. So this is just a guideline here. And I want who are number one to be high enough in here. And the first arm is going to be here, maybe like this. And here's the hand with a cell. And here's the other arm with his hand holding the balloon. Our balloon is here, quite tiny. That's supposed to be the nut. And then we have this flowy string here, which the monster is holding. And I want the monster to look at the balloon. So I need to erase some of these lines here to not be distracted too much. And the pupils are enough to indicate where it's looking at. It's looking like this to the balloon. And maybe we can place the pupils even higher towards the border of the, I kind of like this. So here's this other board. I also want his horns to have stripes following the roundness of the born. Oh, and I think it needs teeth, like really wonky monster teeth. I guess two are enough. Here. We have the little tail that's kinda looking like a crocodile tail. Maybe, maybe with some spikes on them. By X or scales. I don't really know what they are. And then I think this is the basic shape of our monster. So let's position it where we want it to be. If we have snapping enabled in our Canvas, then it's really helpful to place it in the center. Although the real center of this shape might not always be the visual center. So sometimes it looks better if you move it to the side for just a little bit. But that's working easier when we disable snapping And I guess that's very good so far. Now I want to clean up my sketch a little bit just to make sure I will use the correct outline later on. So I want to add another layer on top of this one. And from the bottom one, I'm just going to lower the opacity a little bit that it's not too distracting. Then I draw just nicer lines on top of my sketch. So I want my balloon to have a little taper towards the bottom, like this. And then I want the string to come down in a, in a nice curved flow because a straight line would be fairly boring to look at. Okay, then we have the monster's body here. And I guess we need to be careful that we don't have a too wide as the fur will add to its width us well, let's make it a tiny Ted, smaller. And clean out these lines here just to make sure we have the proper outline we really want to use later on. When we start inking out our shapes, we will make sure we layer are Illustration properly. That means we will start drawing the shapes that are in the back onto the bottom layers and then work our way up to the front, adding layers as we needed. Let's go on cleaning up our sketch as much as possible. I want to have an I here. And this time I want to make it perfectly round. Although I don't know if we'll keep that in our later finished artwork, but it makes it a little bit easier for now. I'm just going to duplicate this one with a double-tap on my Apple Pencil. To duplicate it. Then I just move it to the side and now I have to is right next to one another. But I guess I want the eyes a little bit higher. So let's move on to the Layers panel and merge these two layers. So I tap this from selection layer and merge it with the one below. Then I go to the selection tool and I just draw around those two eyes. Move them upwards a little bit. Maybe I change the angle. Here we go. Okay, let's follow the line of the monster and it smells further. Here's the foot in the back, and that's the foot in the front. One arm comes out here in a nice curve. That's really important. And he has its little hunch here. Other arm kind off. This way. Maybe. I've changed the angle a little bit just to make sure the flow of the line makes sense. See, Let's see which direction this little hand is facing. I guess, like this. And the thumb is going to be like that. So this needs a little clean up once more. So the thumb covers the string, but the rest of the string must be visible. So let's draw this line again. Like this. What I also noticed right now is that his left eye, the eye that's further in the bag, appears bigger than the right eye. And I guess that's the perspective problem. So I want to make sure I decrease the size of this. I just perspective why is it needs to appear a little bit smaller? So go to the selection tool and draw around this. I here. Go to the Move tool and decrease it a little bit. I need to turn off the old sketch. But yeah, I'm pretty sure I like that. But now I noticed my mouth is too far down and I need to get it a little bit higher maybe. Because otherwise, our monster loses its cuteness. I'm going to try and get my mouth a little bit higher. Because when I is and mouth are closer together, that just adds to the crudeness texture. And the further apart they are, the more mature it appears. So I want my monster to be cute. So I will make sure I placed eyes and mouth close to one another. And now I want to add the teeth. So let's turn on the old sketch once more. And here we have the monkey monster. Teeth and the eyes are kind of like here. Horn number one. And here we have the same problems with the eyes. So that means the Big Horn needs to be a tiny little bit smaller. As the front horn. Later on we can make sure we copy one horn and then transfer to the other side and make sure we're happy with this size. I guess that looks quite good. But this arm here needs to be a little bit thicker, kind of like that. And I also want the arms to have stripes. I guess that the shape of our monster. Now, the next video, we're going to ink out the basic Shapes of our monster. And I will see you there. 7. Basic Shapes: Our sketch is finished. And what we need to do now is to create the basic Shapes starting from the back of the monster, moving towards the front. So that means, I don't think we need the old sketch so we can turn off its visibility. And I want to create my first layer above this old sketch. That's this one. And on this layer, I want to place this horn, the balloon, this arm, and maybe also his foot. I guess my monster is supposed to be pink. Arms and horns. I want to have in yellow, as well as the scales and semilunar supposed to be green. So I want to start with my yellow tone and I'm using my nice line are mono brush. I start to follow the lines of my sketch. Although right now it is very distractive. So I turned down its opacity and I turn the blend mode to multiply that I continuously can see it even though I draw other shapes and colors below. So let's go and follow this line here. And for the arm, I guess, Let's see how thick we want our line to be. Maybe a tiny little bit more. I'm just going to go with a very thick stroke to make sure my arm has the same width throughout. It's important that I don't draw the thumb as of yet because the thumb needs to be on a different layer because technically the thumb is in front. And I guess I will place it on the same layer as the other horn and arm. But I still don't like it. I guess I wanted a little bit thicker. So let's go with a thicker brush size and try it again. Here we go. The balloon can also be on this layer, and I want the balloon to be green. Alright, and on the next layer, we can draw them monsters foot, the foot in the bag and the monsters tail, and I guess also the monsters head. So let's go on, add another layer and start following the outline of the next pieces. It's not super important that we have a very, very proper and tidy looking out nine here as we will cover it with her anyway. So don't worry about that as of yet. And on the layer on top, basically, we can place the monsters torso. Let's add another layer. And to make it easier for us to see, we want to turn off the layer with the head and foot and the tail just to have it easier. Now, what's really important is that we keep this upward curve here just to indicate a little smile. We want our monster to be happy. On the next layer, I want to place the front foot. So let's go and turn off the visibility of this layer. Add another layer and just follow the line of the foot underneath the torso. Actually, this is where we want to place the eyes and the teeth of the monster. And it needs to be below the torso. Because we want the torso to cover the teeth. That's very important to create this depth. Again, this is the point where we have to add the blue color to our background just to have the eyes and the teeth visible. So let's add another layer above our sketch layer, the messy sketch, and just fill it with our lighter blue shade. Very pretty. And now we need a layer, as we said, below the torso. So let's add another layer. I guess this is a great moment where we can just name our layers to have it easier later on. So the blue layer, we're just going to name background by tapping it and this Windows appears. Then we say Rename and name it background. I'm usually really bad in naming my layers and I keep my illustrations messy. But when they are only for me and not for any customer, I'm fine with that. However, it really makes sense to name your layers because as soon as it's getting more complicated or it is worked for a client, it is really important that you keep your Illustration tidy and name your layers. So please don't follow my bad example. So you always name your layers to help you finding the right layers where to place your things. So this is the back, arms and back Body Parts. Let's call it back Body Parts. And then we have had Feed Foot at tale. But for now we want to stay on the eyes and teeth layer and draw those. I'm still not very happy with the placement of this I here. I guess the problem is now that it's too close to the horn, I want to place it a little bit further down. And I'm going to start with this is first to just copy this one onto a new layer. And I'm not letting this circle snap because I'm not so much of a friend of the perfect shapes in my illustration as usually it appears not natural. And remember, it's a Monster. Monster always are looking wonky and other layer above, I'm going to place the pupil and name it right away. I use my black color. And now we want to just group these two layers to duplicate it. So we just need to swipe to the left and tap duplicate. And now we can just use the duplicated group to move it over to this size, make it a tiny tab, smaller. I guess that's all right. But I want to replace the pupil. So I just rotate the eye. And now I want to check and see how it looks. So I'm going to turn off my sketch. Turned on its Body Parts. Yes, that makes more sense to me. So right now it's not touching the foreign and there's a little bit of space in-between. So I guess I really like that. And now I want to clean up my layers again. That means I'm want to merge certain layers. So I want to make sure that this layer out of this group is going to be merged with the other eyeball layer. So I just place it above and merge. And now I have both eyes on the same layer. I'm going to do the same with the pupil here. And now we have this empty group which we can just delete to save on layers. All right, let's turn on our Sketch and go back to the eyes and teeth layer. And with white color, we draw our teeth so they can be wonky and have whatever shape as monsters teeth and radius trade. And I've really never seen a monster wearing braces so that they can just look whatever we want them to. So let's now add a layer above. And this is where we want to place the front horn and the other arm. But actually, we said we want to duplicate the horn that's already there. So we just draw around this horn, flip it and place it in this position. Let's check I'm on the right layer. Go to my selection tool, draw around the horn and double-tap on my Apple Pencil. Just say, Duplicate. This is the copy and paste menu And if you didn't change your default settings from a Procreate, then you probably will find this copy and paste menu and not on your Apple Pencil, but you will find it with a three-finger swipe down. Let me just quickly duplicate this horn and move it up to where it belongs to. And then I'm going to show you how I did that with my Apple Pencil because I quite often use the duplicate function and I find it quite handy to have the function on my Apple Pencil. So you just open the wrench tool and go to Preferences and then Gesture controls. Here we have the copy and paste menu. And as you can see, I enabled Apple pencil double-tap, that's toggled on. And by default, this function is the three fingers swipe down. You go pleased with whatever you prefer. I just find it super handy with a double-tap. Now you know how to find a copy and paste menu with a three-finger swipe down. I still need to flip the horn on this layer. That's the layer we just copied. So I need to flip the worn flip horizontally. And then I'm going to move it over there and rotated a little bit. I want to check if this Horn appears too small or vice versa. The other one appears too big. And I guess that's the case. So I want you to go back to the bag Body Parts and decrease the size of this horn a little bit. A tiny text smaller, I guess that's enough. Let me just check quickly if it's in the right position. Oh, sorry. We need to turn the sketch on first. And I guess we even need to, need are messy sketch. So let's move that up to see here our axis. Yeah, and I want to put it a little bit more towards the front. Yes, I liked that a lot. Awesome. Sketch off. And on the same layer, we can also draw the arm. And if I remember correctly, we had the brush size with 38 per cent. That's just quickly check. Yeah, that's kinda the same width, just not the same color. So let's go back to yellow. And I guess I want to go with 40 per cent as this arm is in the front. So it needs to appear bigger anyway. So maybe let's turn on the first sketch once more just to meet our axis. Alright, that looks fantastic so far. Turn off the sketch. What's still missing is the scales, and we can neither place them on the back, arm and back horn layer. Then they would be hidden by the parts of the tail. So that means we need to place them between the torso and the tail there as I want them to be partially hidden by the torso, but on top of the tail, I want them to hide part of the tail for depth reasons. So I guess I want to place them on the same layer as the eyes. Yeah, I guess that's alright. We'll find them there. I need to decrease my brush size and just basically just draw like soft rounded triangles. So the inking part is basically done. And in our next video, we're going to go ahead and give our monsters furry part. It's for its texture and another outline. So I will see you in the next video. 8. Shading Fur Pt. 1: Alright, now let's move on and give all of our furry monster buddy part. It's shading and its texture. That's gonna be so much FUN. You'll see we're going to use my fur brushes now. And to be honest, I'm really proud of them. They are so cool and create a gorgeous effect. What am I going to do first is going to the head, foot and tail layer and give each shape of Furry outline. That is very important to create a realistic look. So we are going back to our pink fur color and pick the first short brush for now. See how that looks. Yes. So we just want to redraw the outline of its head, and we just use the first short brush to create this fairy outline. And I want to make sure it's probably easier to see when I toggle off the visibility of the body and the sketch. What is important for me right now is that we can't see this trait outline of our shapes we drew in the previous video. So I'm gonna go back and forth with my brush to make sure this line disappears. Now it all just looks furry. Then we're going to do the same with its back foot. But I guess I want to decrease the brush size a little bit. We basically need for only on the top of his foot because where the foot touches the ground there it is just pushed flat. Or maybe he even has skin only on his soul. Who knows? We can see that because it's standing on it. I just want to erase those tiny little pieces here. They look kind of odd. So that's much better. Maybe just add some. Some are short hair to have it fade out. Yeah, I guess that's super cute. And the last part is the tail. I need to mention. The only thing that doesn't work with our furry brushes is I can show you right now, the brush, the hair are following the stroke, but for whatever reason, it doesn't work anymore. When I rotate the canvas, the for just lays flat. I can't tell you why that happened. I couldn't find out yet. So if you have the answer, please let me know in the discussion. Because this is a real, real to me and I really want to figure that out. So the fact is that you need to know if you draw with your fur brushes and only with a Furry brushes, you can't rotate the canvas. Otherwise, the fur just lays flat and doesn't follow this trope properly anymore. So again, if you happen to know the reason, you can really help me out and let me know, please create a discussion below the class. But for now, let's move on and give our tail and nice very outlined just without rotating our Canvas. Oh, it looks already so fluffy, so fat. All right, let's move on to the next furry layer with the torso. And here it is important that we for now keep the visibility of the head, foot, and tail layer as we want to have those ends here meet perfectly. I just want to turn down the opacity a little bit. That is still can see with a mouth starts and the head end. So let's just make sure now that we meet the line of the head perfectly. I just need to check how long buffer brush needs to be. I guess that's alright. Here we can pick out a little bit more just to indicate it's lower lip, which stands out a little further. Now, we follow this line here. As you can see, parts of the teeth are gonna be hidden by its fur, which is exactly what I want. So we have all body parts but the foot. So I'm going to toggle off the visibility of its torso and move on to the front foot. And I guess we decrease the size for that a little bit once more. So as you can see, we can still correct that outline in case we're not happy with it yet. Let's turn everything on again and set the opacity to max. That looks so cute and chubby, friendly. But actually we can see the friendly smile as of yet because there is no shading yet and we can't distinguish any light and dark areas. That means we're ready for the front part, the shading of the furry parts of our monster. And for the ad, we need to first indicate our light source. And I'm going to show you what I mean by that. It is important that we can quickly refer back and forth to where our light is coming from. And for me, it's helpful when I just draw some arrows. I want the light source to be up here in the top-right corner. I'm going to add another layer on the very top. And just with my mono line brush, I'm just going to draw a few arrows pointing downwards just to help me understand the angles of the light rays and which parts need to be lighter areas in my object. So this is the light source, that means here is the lightest part of our monster. Whereas here it's gonna be the darkest part because the light from over there doesn't reach much of its tummy and also not of its feet. So we keep that in mind. When we start with a shading, we need to build up the value from pretty dark to quite light. Alright? We want to start with a head of our monster. We go to this layer. And what I'm gonna do now is just adding a clipping mask, tap the layer and turn it into a clipping mask. Because what we draw on this layer will only be visible where there's pixel in the layer underneath. So that's very helpful. And I need two different clipping masks, one for the shady parts and one for the highlights. So I'm just going to go back to the head, foot, tail layer and hit the plus again. Then we have just created another clipping mask right away that saves us sometime. So the bottom layer is going to be for the dark values. And this is what I'm going to turn into, let's say, Linear Burn blend mode for now. And that we just check if we are happy with the colors. The top one, I will turn into Screen blend mode. Alright, so I want the fur on his head and on its torso to be long because it looks so cute and fluffy. So I pick my foot long brush and go back to the pink color. And now, as I already said, I want to build from the darkest well you app to the lightest one. That means since this part is the furthest away from the light source, this needs to be the darkest part, especially since it's also covered by the lower lip, which also cast a shadow. So let me show you what I mean. I'm gonna start at the bottom here and just move my way up. But I think the first a little bit too short, I wanted to be a little longer. Here we go. And then I start from the bottom and move my way up. You will notice the brush is pressure sensitive. So the harder you press, the darker it's going to be. And I want to make sure that I don't have those visible increments in-between. Here, we'd see a lot of dark hair, so cute. And I guess I will carefully at dark hair around its eyes to create some, some shadow here to the eyes on like balls that stick out of the fur. And they also cast a shadow, especially towards this direction. And as well as this horn here that also casts a shadow in this direction. So here is where I mark a little bit of a darker area. That's great. And now we move up to the screen there. But let's increase the brush size once more. Then we start here, as here is our light coming from. And then we move our way towards its mass. Alright, let me zoom in. And now you can see all those Fun hair in different values. Some are darker, some are lighter. And that's just looks so natural to me and I really loved that. And it looks all fluffy. So let's add some more lighter here. Here. Always following the shape of its head to indicate that it's a round shape. Maybe some highlights here. And then our next video, we're going to continue to shape the rest of our monsters Body Parts. So I will see you there 9. Shading Fur Pt. 2: Let's continue our shading for the foot. I want to change to the firm medium brush as it's a little bit earlier than the first short Brush. And here, again, we need to go to the Linear Burn layer. But maybe this is a good moment to check. If we like a different value better than linear burn. So let's just go and check how Color Burn looks. Now, that's not so vivid. Dark and either, and multiply also not, that's too dull. So I guess Linear Burn is the best option. So I like that. Alright, so let's go back to the Linear Burn layer and let's shade our back foot. And also the foot is rounded this way and it's torso also casts a shadow onto the foot. So this must be the darkest spot where the tummy hits the foot leg here. And of course, the bottom is also the darkest area. However, I really don't like the brush size, so I need to increase it a little bit. So Cute. Very, very nice. And then on the next layer, we go with the lighter value, move our way back. And here's probably the lightest spot. Here. It's probably gonna be the reflected light from the bottom. If we're not happy with that, later on, we can still make some changes. Alright? The next part is the tail. And this is also curved. So we need to draw this kind of curved lines. And again, we are going to start at the darker part. The bottom part of its tail has to be darker, as well as here behind this spikes. And also here where the tail kind of grows into its torso. There's also the darkest part. Let's see if that's the right brush size or we want to go maybe with the for long brush. Yeah. I guess I want to go with referred lung again. And on the next layer we create the lighter you. And that's for sure, since the tip of the tailors facing the light source directly, this must be the lightest spot. I'm not going to draw all the way down as we want the bottom part to be a little bit darker. That looks so natural. Awesome. All right, let's move on. The next part is its torso. So we're going to do this same with the torso. We add a layer, turn it into a clipping mask at another layer below, and turn the blend modes, the bottom layer into linear burn, and the top layer into Screen blend mode. Here we go. Here with its body. The belly needs to be darker, whereas is back is going to be lighter. And we also want to make sure that we create a lighter area here below his arm, where the tail hits its torso that we have just enough contrast to be able to distinguish here this line between tailored torso. Let's see. Around the bottom layer, we are with our furry long brush debts are right, and the roundness is like this. So we need to draw this kind of curved lines. Here sits darkest part. The further upwards I get, the lighter I press. And then on the next layer, we're going to fade in the lighter value. So the bag is probably the lightest part. Because I said, I want to create this like a visible contrast line between tale and torso. And what I really like is that the first points in different directions that's also supernatural looking Then of course, the top part of his lower lip has to be lighter. Also to create the contrast again. How cute? I also want to add on the layer below, maybe with a smaller brush size. I want you to create a little darker shade here below its arm to also indicate that there's space in-between his arm and the body. That means I'm going to draw a little bit of a darker area here. Just a tiny indication. So that creates the shadow under its arm. Shadow the arm casts onto its torso. So the last part that's missing is the fur of the foot. We're going to move on to the front foot, add two clipping masks, and get started right away. Go back to our furry medium brush. And of course, the darkest area is the bottom part of its foot and the very light part here around this area. To also create again, this outline is contrast. And again, we follow the shape of the foot. The bottom part needs to be darker. And the top is going to be the lighter. Wonderful. So we're able to distinguish each body part and also the way it's curved and positioned and pointing towards. So that makes it super three-dimensional and it creates this wonderful deaths. I guess what I want to add right now is the reflected light here on the bottom. And I guess I want to do that on its tail as well. Later on, I'm pretty sure we will do some refinements urine there at some reflected light. As we notice that we need more contrast or glow to create more interest. And that's just what we're going to do in the end. For now. The Furry part looks fantastic. So let's move on. In our next video. We're going to shade the rest of its body parts, which are smoother and more glossy. So there's a little bit of a different process and I will explain more in the next video. I'll see you there. 10. Shading Body Parts Pt. 1: Now we're ready to shape the rest of its body. And the balloon. That's a little bit of a different approach. We are going to start with its back Body Parts, which is the balloon, the back arm, and the horn. We're going to add a few more clipping mask this time, not just two. Because first of all, the arms and horns should have stripes. I needed layer for that. Then on the next layer, I want to give the monster a little bit of a texture because right now it looks super flat and super digital, and I don't like that at all. There comes my texture brushes in quite handy. So we're going to add one layer for this Tribes, another layer for the texture. And then of course, two more layers for the shadows and the highlights. And we're going to play a lot with a blend modes again. So let's just do it. I add another clipping mask and three more below. The bottom layer is going to stay in blend mode normal because I want to draw the stripes there and they're going to be a dark pink shade. So we don't need any blend modes at all. The next layer though, is going to be a Linear Burn layer again for the texture, as well as the layer on top. Linear Burn for the dark shading. And the last layer is going to be Screen blend mode, highlighting if that's a word even. So first of all, I want to start with it's stripes. And this is what I used the dark pink for. And go back to the mono line brush and make it a bit thicker. I'm going to just add some stripes following the roundness of its arm. That I don't have to change the brush size every now and then. I want to do that on the top RP right away. So let's just go ahead and do the same process here at a clipping mask. And three more underneath. Leave the bottom at normal. Can the second one into linear blend mode as well as the third one, the top one into Screen blend mode just to save us some time. So here we go. This looks at here where the arm reaches the fur. And this is what we're going to change in the next step where we come to this layer, what I want to do is I will erase part of the arm, having it fading into the fur. And that looks way more natural. But for now, That's alright. So let's go back to the layer above our back Body Parts and draw the horns stripes here. Here we go. I just don't like the tip of the horn here. That looks somehow odd. I want to erase a little bit of that. Yes, that's better. But it also saw we didn't draw until the very top of it. Yes. Alright. And I guess I want to do the same on the other horn right away. Go back to the other normal layer on top of the front horn. Alright, let's move on. Then we go back to the back Body Parts on the next layer, which is the linear burn one, we want to give our Body Parts some texture. So this is what I've added the texture brushes for. There's texture pay per crackle, leather cords, RAF, and so on. You can play around to see what you like best. I want to use now, I guess for its horn. I'm going to go with the course. And I guess I'm going to go back to the yellow color. And then I just draw over the horn with a texture brush. And you can see what happens. It just at some subtle texture For its arm, I guess. I want to go with letter maybe. I'm just drawing over its arm. Oh, no. Look at him. He forgot to cream. For him. He needs some lotion, I guess he next. Great. So for the balloon, I go over to green and I guess I want to go with grunge texture. I don't like the crunch here. What about course again, yeah, that's better. Just a tiny subtle hint of a texture and that we don't forget what texture brushes we've used. We're going to move on to the front Body Parts again to do the same there. So that's our first linear burn clipping mask on top of this tribes and the front horn. Here week. Oh, oh, and I noticed I also don't like this tip here. So let's go and make that a little bit pointier. Erase this kind of thumb. That's way better. Alright. So I also noticed something within stripe here. This tribe looks as if we've accidentally erased some part of it. So sorry, I need to go back and fix that first. Go back to my nice liner mono. It's just sometimes when I move my Apple Pencil, this copy and paste window appears because this Apple Pencil is very sensitive. I don't even notice that anymore release, so I just tap the X to get rid of it, so that's better. And since we're in the fixing part, I can show you right away what I meant by letting it fade into the fur and fur that we're going to go to the eraser and we want to pick the soft shader brush. This is what we're going to use for shading later on, but also for erasing and having the Parts kind of vanishing into the, let's see, what's the brush size? And what I'm gonna do is just start to erase with the soft shader, this harsh line of the horn to have it fade into the fur. And that makes it look super natural as if it would be covered partially by the fur. Here we go. It looks like the Horan just grows out of the for. I think I could erase even a little bit more. And that way it looks way more natural. We can do the same here with the arm. That looks so realistic. So we're going to do the same later on with its eyes as well as with the bottom of the scales. Now let's go back to the texture. And now, now it happened what I tried to avoid, I can't remember. I guess we had course for the horn. And the yellow color. That's the red one. And for its arm, I guess we had leather. Let's see. Yes. That's the one. We go back to the back Body Parts. And now we're going to indicate the shady areas. And for that, we want to use either the soft shader, we're the stripy. It depends on how you want it to look. For now, I guess I will go with a soft shader to just create a very soft and glossy surface. You could also go ahead and use this try b1 and then that looks a little bit more course. So that's a matter of taste. But I guess for now, I will go with a soft shader. And I guess I will also let say change too dark pink. And I will shade on the second Linear Burn layer. I will mark the roundness of the monsters arm to indicate kind of like a pipefish shape. So obviously here, the part of his arm facing the ground, darker because they don't get the light. And also its torso casts a shadow as well. So here it has to be dark as well. And to create this kind of pipefish outline I marks some shade here, just to indicate the roundness of its arm, as well as around his hand. And here in the middle of his hand. And I notice we forgot to draw. It's going to come in the next layer with the other body parts like this. You can see we already created some sort of a natural highlight here. And let's move on to the horn. I guess we want to increase the brush size a little bit. This is definitely going to beat the Dark Side of the horn. And this is going to be the lightest area. Although since it's round like a cylinder, we also need to give a little shade to indicate a little bit here, just where it fades towards the background. And then here, as well as its head, also cast a shadow onto the horn. Awesome. Then we can also move on to the balloon right away and go and pick the green color. Then for the balloon is clear, this is the lightest area of the balloon, and this must be the darkest part. Let's go on and start here. I want to erase a little bit down here where the NADH is. And I guess I want to change the eraser back to my nice liner mono brush. And I see I missed a little bit of color here as well. So I want to go back to this layer and draw that in right now that I don't forget. So let's pick the nice liner and just draw it in. And now let's go back to the second Linear Burn layer. And actually, we should name all those layers. You see what a messy Illustrator in, please, please don't follow my example and always name the layers correctly. So this is our first shading layer. Let's go ahead and go back to our soft shader brush. Marks the bottom part here. What I also didn't draw yet is this tring of the balloon. We're going to do that when we draw all the rest of thumb and the other parts that are missing. Alright, let's move on to the highlight. This is the Screen blend mode layer. I'm still on green. And now you'll see what happens if we start drawing the highlight. I just want to make sure that I draw the right angle here. You can see even though it's the same green color, the same you, the brightness is so much brighter. So this is going to be fading in towards the dark. And this year is the terminator line where the balloon is the widest and then decreases again towards the bottom. And in case it's not light enough for your taste, you can still change to the white color. Make it really bright. Oh wow. That makes it super glossy right away. Since we are missing the contrast here, I will add the reflected light right away. I'm just going to go with the white color. I also want to erase here down with and not. And then I can indicate the highlights on the nut as well. Shading the reflected light actually is the most flexible part in our illustration because there's room for our artistic choices. So as long as we don't make those huge mistakes like when the light source is here. And we placed the cast shadow in this direction. That would be like a real visible mistake. That would show that we have no clue about shading. But since we do, we will put the cast shadow here. And with a reflected light, we can just add as much glow and as much shimmer and also as much contrast as we think that illustration needs. So here we have the room for flexibility and it really adds to the illustration. So that's why I'm going to go ahead and just add the reflected light here to create this wonderful shimmer. And I'm adding this basically mainly there where the Body Parts up facing away from the light source towards the bottom. Alright, this looks already fantastic. And in our next video, we will continue shading our front horn and arm, the scales or spikes and the eyes and teeth. I will see you there. 11. Shading Body Parts Pt. 2: We're ready now to shade here the rest of its Body Parts. So let's move on to the layer where we created all the clipping masks already. So we're here on top of its front horn and front arm at the Linear Burn layer. And we're going to go back to our pink color and start the shading with our soft shader brush. I'm just going to add some shade here. This is the darkest part of its arm, as well as here around his hand. And to indicate where the thumb is, we just create a little line here. And also we need to shade here a little bit to indicate the roundness as well as the horn. And here with the horn, this is the darkest area because this part is facing the light source. So let's add some highlights here. And I just saw that we forgot the highlight at the other horn. So we're going to do that in a second. I'm going to go over it with my white color because this is facing the light source and I want it to be really bright. And here I want to create a little bit of a reflected light. That looks good. So let's just quickly jump back to the other horn and give it its highlight as well. Let's go back to the pink color first. And this is going to be the lightest part. And now let's go back to shading the arm. So go back to the screen layer on top of the front arm. Decrease the brush size, go back to pink and just draw a tiny TED of a highlight here. And also on its hand and thumb. I guess this is also the layer where we can add some of the other arm that's still missing. So let's go to the layer which we didn't name. Thick yellow. Pick the nice Schneider. I'm all know, brush in a pretty small size. Yeah, I guess I want to drag that little bit upwards. So it basically holds the string like this. I don't really like to draw finger. That's why a lot of my characters just have like a mono finger hand thingy, but that's just me. Alright, so let's move on to the shading. That means we need to give it the texture first, which was I guess leather. And then the shading and pink with the soft shader brush. So this is probably the darker part of its thumb. And this is going to be the lighter part up here. So we can make it a little bit lighter because it gets more light from the light source. We can also indicate a little bit of a reflected light here, just to create the contrast and make the thumb more visible us. What's missing now is the eyes and the spikes. So let's move on to this layer and add three more clipping masks. This time, I don't need a fourth clipping masks because I don't want to add any stripes or any other pattern. I just want to add texture and shading. So let's add two more below. The bottom ones, I want to turn into linear blend mode. And the top one end to screen. Here we go. Now let's start with a texture. And I guess for the I is, I want to go with a texture of grunge again. And I will pick my light gray here, up there in the corner. And let's just see how that looks. Just some subtle texture to just not have. It's so flat and digital. And I also want to add a texture to the spikes. And here I guess I want to go with the dots. We have dotted spikier spikes here. Let's see Oh, yeah, that looks fantastic. Great. I like it. And since it's still not natural looking for me, I want to erase parts of the eyes and the spikes that they fade into the fur. Let's see. We need the soft shader as our eraser. And we just want to erase these kind of Parts of the eyeballs to have them fading into the fur. And the same here. Kind of in the same area. Yeah, wonderful. And now they don't look so unnatural round and sitting on top of everything, but now it's sinking into the fur. So we need to do the same with the spikes as they are also picking out over for. Alright, so let's move on with the shading. On top of this, we're going to start the shading part. And I think for that, I will go, especially with the eyes. I will go with a dark gray first. And then let's see how that looks. I'm on my soft shader brush and I will just draw around this area here to indicate where the eye, it comes out of the fur. And you can give as much contrast and shade as you'd like. It can get as dark as you want. It's up to you. That's also where we have artistic freedom again. Yeah. Grade. I just think the gray looks kind of dull for now. So I want to have some sort of a reddish tone in it. And I think I tried to go with the dark pink shade a little bit. But but no, that's not dark enough. So I'm going to my color disk and just turn that a little darker. I just want to the pink to cost a little bit of a colored shadow onto the eyeballs. Because it looks way more natural and the colors are a little bit more vivid. Yeah, great. I like that. And I don't think we need any highlights here because the white of the eye is already quite bright. So let's move on to our scales. And we go back to the pink color again. So here where the spikes come out of the It's probably the darkest part here where it's vanishing into the first well. And to indicate the roundness, I also want to draw all around the edges. We also need to give some highlights here where the scales are facing the light source. Here I'm not going to mark the edges as the scales or spikes are kind of round as well. Wow, looks fantastic. So we're almost there guys. We're almost finished. I guess the only thing that's missing right now is the string. So we can, I guess we can draw the string onto the pupil layer. Let's see. So this is where the thumb is, exactly because we want the string to be covered by the thumb. So if we draw it on the pupil layer, we are good. I'm picking my dark color and the nice liner mono, pretty small. Then I'm going to draw something like a like a flowy line down there. But I guess that's too sick. So let's decrease the size even further. Then drove flowy lines down. Here we go. Our monster holds the balloon. And it is so pretty amazing. Alright, Where are we gonna do in our next video? Is we take care of the background because that's still quite boring. And I will see you there 12. Background: Alright, the last thing that's missing for a wonderful class project is the background. The background is still quite boring. So what I wanna do now is disabled the arrows. I move down to the layer with the blue background color. In my opinion, the blue is still too bright. So I guess I'm going to go ahead and pick the dark blue color. But I want to have a separate area here where the monster standing on the ground. So I'm going to add another layer on top of our background. And for that, I will pick the light blue color. I'm on my nice line and mono brush, and I'm just going to draw a line here. Super simple, habit snap, put my finger on the screen to have it perfectly horizontal. And then I just fill it with color. So that's already a little bit more interesting, but still quite digital. So I want to add some texture now. And we will work with blend modes again. So on my background layer, I will add another layer and turn it to linear blend mode. Again. Please always play around with the blend modes to check what you like best. So add another layer in Screen blend mode. And now we're going to use the other brushes. I've added the stripy and the stripy brush brushes as they create a very pretty texture that at the same time indicates something like light rays coming into our illustration. Let me show you. I'm with a blue color and go to the linear burn bottom layer here on top of our background. And since the light source is coming from here, but darkest areas are here. Whether monsters throws the shadow onto the wall. So I'm just going to create random stripes. I really like that. I wanted to be a little bit darker here too, because I kind of like imagine also the balloon to cast a shadow. And if I move on to the next screen layer, then you can see I do the same just with a brighter whew. Alright. I'm just not super happy because this blue seems to be too dull. I want to play around. Maybe. What about if we use colored dutch? Let's check. Or add. I think I like add. It is nice and vivid. Yes. That looks better. If we find that too bright, we can still turn down the opacity of this layer. But for now, I guess that's pretty nice. That looks good for the wall behind the monster, but we still need to take care of the bottom where our monster standing. So let's move on to this layer. We can rename it. We just name it ground. Everyone to add two more layers above. And now we have to turn them into clipping masks. We didn't have to do that with the wall layer because that layer basically fills the whole canvas. That's why it wasn't necessary. For the ground layer. We need clipping mask again, and we still need to change the blend mode. So it turned this one into linear burn at the top one into screen. And let us just check how that looks. And now I still want to use this stripy brush, but I want to change the angle a little bit. So to just indicate the shadow the monsters casting. And that's going to be of course, in this direction. Let's go ahead and just draw the darkest areas here. And the lighter area on the next layer here. Maybe here the bit where the monster doesn't cast the shadow. Oh, yeah, that looks great. We need the cast shadow on the floor. I'm just going to add another layer and we can turn it into a clipping mask And then I'm going to go and pick the dark color and my nice line-up mono brush. And then I just want to draw some sort of a blob in this direction here. Oops. What just happened to his? We didn't close the shape. So I'm going to make sure that we close the shape and then we can fill it with color. And this of course, is way too harsh. So let's add some gaussian Blur, which we find under the Magic Wand tool. So we just tap it and now I just swipe to the right with my pencil to blur it as much as I like. And then since it's too dark now, I'm just going to turn down the opacity of this layer. So that's the cast shadow. We need the occlusion shadow as well. So let's go back, add another layer and turn it into a clipping mask. And then we just draw an other kind of a blobby shape just down here underneath the monster and throw in the color. And now we add some Gaussian blur as well. Here we have quite some room for artistic choices again, in regards to the shape and where exactly we want to place it. As long as we stick to the basic rules of course, and don't put it into the wrong direction, for example, I right. I guess we need to turn down a little bit the opacity as well. That looks fantastic. So I want to add a little glow behind my monster. Now, just to achieve some shimmer from behind, add another layer. Then we have to play around a little bit. I want to choose one of the blue tones again, and I'm going to go with a darker one right now, also the nice liner mono. And let's say we're gonna go with add as a blend mode. So I'm drawing a circle and see how the color appears. That's all right, but let's play a bit with the blend modes. What about color, dodge, screen, too dull, I guess. Let's go back and forth. Now. I don't like that yet. So let's try the lighter blue tone. Just erase what we drew on this layer and draw another circle. I guess I like that much better. What about screen or what about add? Not colorful enough. I want some tinted glow. It's I guess Color Dodge. It is. Just erase the shape we have right now. And now we just want to draw a rough kind of shape behind the monster that has kind of the same shape as the monster itself. Fill that with color. Yeah, it looks good. It's there. And I also want to have the same behind the balloon. Alright? And now we just give everything a Gaussian Blur. You can see it here. This shimmer that comes from behind. Awesome. I just want to move it a little bit like this, but I'm still not completely happy with how it looks. Maybe I just go back to add. Yes. So let's turn down the opacity of the layer. And now I think we still need some reflected light here on the monsters, Tommy. So let's go and find that layer. It's this green layer. And I want to go with white. And I guess it's time I will pick the soft shader. Great. I guess I also want some shimmer here around his eyes. So let's find that layer. It's also the screen layer on top of the eyes. Just some reflected light down here, just to add some shimmer. And it creates so much more interest. And you guys, it's finished. It looks fantastic. And as usual, please always go with what you like. Best go with the intensity of lighting and shading. Make is as bright and as dark as you like it best, there is the room for your artistic choices. And then our next video, I will show you how to make your own fur brush. So I will see you there. 13. Bonus Video: Make Your Own Fur Brush: As promised in this bonus video, I want to show you how to make your own fur brush. For me as a teacher, it is always very important to share all my knowledge. So it is also a very important part of Procreate Art to be able to make your own brushes. A few very important notes about brushes when you make your own ones. And you also draw the template. That means you will always have to work in a square canvas. So this canvas is again 3,000 by three pixels. And I showed you in the lessons before how to make your own Canvas. The second important part to know is when you draw your own shape, you will always have to draw it in a very extreme black. You, if you're not at a very black, at a pure black, you, your brush won't be as opaque as you want it to be. So let's go to our color picker here and change to value. The value area. You just pull all the sliders to the very left here in this RGB area. And when all the numbers here are at zero, then we picked a pure black till. So I'm going to use my nice liner mono again. And since we draw offer, we want to think about how our fur is supposed to look like. Do we want each hair to be a little thicker or very thin? Do we want it to be a bit curved or straight? And I think I'm gonna go with a fairly half moon crescent shape. That could be like a nice single hair. And I want to place it in the center of my canvas. So I'm gonna go to the arrow tool, enables snapping. And then I just pull until I see this yellow cross here in the middle. So that means now my shape is in the very center. Next, I will do my pet Apple pencil trick again. I just double tap on my pencil n-tier we go. And now I want to say copy all. This is very important that we don't only copy the shape, but the whole canvas with a white background. Then it's time to go to the brush studio and make our setting. I'm in my cute monster brushes, brush set, but you can go in any brush that you want. And then I just tap the plus button which opens up the brush studio with a complete new rash, and it has all those default settings. I want to start by adding our shape. Here we go to shape two, shape source and tap Edit. Here we're in the shape editor. And now we want to import our canvas we just copied. So let's tap Import. Let's paste NTU Ico. Right now. The shape is just vice versa. We needed, we need the colors to be inverted, like the background has to be black. And the shape we want to draw later on needs to be white. And we can achieve that by just tap with two fingers. Here we go. Now we hit done and our shape source is set. It's of course not exactly what we want, so we need to make further adjustments. So first of all, I wanted to start with a scatter. And I guess I want to scatter it by kinda 13% or so. And it is very important that we set the rotation to follow stroke. We want, I think we want to have more hair than just one. So we set count to go with for maybe. And right now it looks super equal, which is also not nothing we would like. So I want to toggle on Flip X and now it's facing this way and it's also facing the other way. And something weird I encountered, which I can't explain. I just do it because that's what works is we need to change the angle for whatever reason, 90 degrees. You're turning this wheel here. The next settings we need to do is in this trope path, I want the spacing to be a little bit bigger. And I want to add a jitter. Quite a lot of a jitter because now it looks way more natural and fluffy I guess, yeah, 39%, 40 maybe. Let's move on to rendering. We want to make sure that it said too intense glaze and flow is at max. Wonderful. We don't have to change anything else here. But we want to go further down to Apple Pencil. And here we want to set the opacity to max. That means if you just hit the Apple pencil lightly, it's gonna be very light. And if you go and press harder, it's going to be darker. So that's very important. We don't need to change anything else there. But with the properties we need to enable oriented screen, the preview size can be maybe, Let's see how that looks later on. We need to bump up the max size. I'm usually going with 350, 400%. The minimum size is usually kind of three-ish parcel. See, that takes beautiful. Let's tap done for now and try out what we've gotten here. We want to make sure we got to do that on a new layer that we don't destroy our initial, initial shape. So cute. Let's make it a bit smaller. Maybe we're going to choose a color. Let's go with green. And here you go. And you have a cute furry ball. If you add another layer and change the blend mode to, let's say Linear Burn again, you can add what we really need to turn it into a clipping mask. You can add the shading. And it just adds this nice texture. And it looks like you've drawn each, each hair like individually. But you've not because you were able to make your own fantastic brush that does the most of the work for you. Thanks to Procreate. This is really amazing. Add another layer and change the blend mode. And here we have an amazing fur texture. What we should not forget about is we shouldn't name our brush and make sure no one can just copy it. And as you see, this is what this hatching preview size is. We can turn it smaller or bigger or whatever you prefer. It doesn't really matter. It's just what appears in the window in your press it in your brush library. We need to change a few settings in about this brush. So we want to name our brush. For medium, curly. It's made by you, so you tap your name, then use sine. And the most important part is if you don't want other people to copy your brushes, you need to add a photo. As soon as you've added a photo, you will make sure that this photo appears in every copied version of this brush. So you just tap it on and wait until it's uploaded. And there you go. Don't forget to tap Done. Now you have your fur, medium curly brush. And I encourage you to go and try out different shapes, different sizes, different width maybe if you want to. And maybe you can use it for whatever else shape that you can make some plant brushes or leave brushes or whatever. So I really hope you've learned a lot about the brush studio right now to, and you are able to make your own great signature brushes. And in our next video, we will have a little conclusion of what we've learned in this class. I want to see you there 14. Conclusion: Congratulations on completing this class and thank you so much for staying with me. Throughout this journey, you have gained valuable insights to shading Principles, explored the intricate world of fur, broad your imagination to live on the digital canvas. By understanding the fundamental principles of shading, you now possess a powerful tool to add depth, dimension, and realism to your digital drawings. As a bonus, he would have learned how to create your own custom fur brush in Procreate, having personalized brushes that suits your style opens up, enters possibilities for creating unique and stunning fur textures and enabling you to infuse your artwork with your own artistic flair. Of course, the journey of artistic growth, never truly and practice experimentations are key to honing your skills and discovering your artistic voice. I hope you'll continue exploring shading techniques, experimenting with different subjects, and pushing the boundaries of your creativity. And remember to upload your finished class project to the projects and resources tab. This is a fantastic opportunity to receive feedback from your fellow classmates and me, engage in discussions and inspire others with your unique artistic style. Don't hesitate to ask questions, provide insights and support your fellow artists on their creative journey. In addition to Skillshare, I encourage you to share your item social media as well. Use the hashtag furry monster and techniques in your post. So I can see an honor your furry creations. You might also want to subscribe to my YouTube channel where I regularly share procreate tutorials, of course, for free. Thank you for joining me on this creative adventure. I hope you've enjoyed the class and founded enriching and inspiring. If that is the case, please consider to leave a review as it helps other students to find this class. Now, armed with your newfound knowledge and skills, go forth and create your own furry masterpieces. I can't wait to see what you guys will come up with. Happy drawing. I will see you in my next class.