Transcripts
1. Welcome!: Hi and welcome to the
skillshare class, where together we're going
to create an oil painting of this really cute
border collie using the default brushes that
come with procreate. My name is Avraham and I'm
a professional illustrator. Besides creating art,
showing people how they can create their own beautiful
art is one of my passions. In this class, I will
show you that with a few simple brushes that you can readily find in procreate, you'll be able to create your own digital oil
painting of a border collie. Along the way, you'll
learn about layers to use layer opacity,
understanding alpha lock, and how it can really help
your drawing process and get a deep understanding and familiarity using the default brushes that
come with procreate. Once you know the brushes to use and the techniques to
create an oil paint, look with them, you'll
be able to apply the technique to create other subjects in
an oil paint style. I take you step by step through my entire process.
This class is great. Whether you're new to procreate
or want to learn how to create oil paintings using procreate with the
default brushes, All you need is an ipad, the Procreate app, and I highly recommend
the apple pencil. So if you write to begin,
let's get started.
2. The Initial Sketch: In this lesson, we're going to draw our initial sketch for our painting based on this
photo of a border collie. I'm going to include
the picture of the border collie for
reference as well in the projects and
resources section so you can have it to
follow along with. Additionally, you can bring it into procreate to trace over or I'm going to also
leave the sketch that we're going to end up
with also in procreate. If you want to use
my sketch to use as a starting point for
when we start to paint, we'll start sketching. Now. I'm going to start by
picking a dark color, black. Here is great.
Click on the bottom to click on the color wheel
to get the color you want. And then for the
sketching, we'll go to the bushes under library. We'll pick the six pencil to um, little bit to see
the full size of my canvas and we're
going to start, put it in a head here, room for the head and
its body like this. I'm looking to see
how close things are to the edge of the screen. So the borders like here is
like this type of distance. And that's how I'm
trying to rough out the approximate
size of everything. Also going by angles, like there's an angle like
this between the ears. So I see have to adjust
it a little bit. I move it down here perhaps. Okay, now that we have the basic shape of our dog, let's go and add in
the eyes a line first to approximate how the ankle
is going to be in his nose. I'm going to draw in
separating the areas of his face where the different
colors change area. Right his nose then between
the eyes marking of the area, first tongue at his mouth, then beneath his head is where the fur gets a
little bit darker. So I'm just marking
that off as well. I just want to go around
his head a little bit more and add in some more of
the texture of his fur. Let's go give him a little
pupils in his eyes. I'm just like how these
eyes are coming out, so I'm focusing on
them a little bit. Okay, I think it's the grin of start for our sketching and now we can begin on
the painting part.
3. Blocking in: We're going to make a new layer, put it beneath, change the top layer to multiply,
induce a little bit. What I want to do first is
put in the background layer since this dog is a lot of white to it, so I
won't be able to see it. So we'll pick a green. So much to what
we're seeing here. Um, okay, slightly brighter. And I'll make another layer and we're going to
lay down some colors. Let's start with the white area. It's going to be
white, but there's a, it's not completely pure white, It's got some, I think it has
a little b of a tint to it. So we're going to try
to keep some small tint in it for the brushes. Go to painting, I'll
put down a wet acrylic. I'll just throw down
some color here. One benefit of having a colored background is
that we won't actually, if we see if we see color
behind it like this, so we know we haven't
placed it down. We think enough coating. I'm doing two layers here to make sure it really
gets all covered. And then we make another layer, put down some black and turn the color way down
that won't be black. I'll have it close to black. Though we see our color wheel, it's a syllable of color. Let's start laying down
some of that darker color. It's actually right away, very obvious that the acrylic
brush doesn't lay down 100% opaque layer because you can see a lot of this
green background through it. That's okay. We're going to
go over it again another time to really lay down
a strong black color. To explain, I didn't choose
a pure black because in reality we don't encounter
pure black very often. Also, I want to later
add in a little bit of color variations to
make it more realistic. We'll be adding a little
bit more highlights and things like that. In any case, I'm not looking
for a solid one color. It makes it a little
bit more realistic just following our rough
sketch, filling it in. You'll see after the second
pass, it's much darker. It's like doing fill in a
coloring book right now. Just filling in the shapes, getting the basic idea, and then we'll refine it later. I'm also going purposely over on the white side
because I'm going to be pulling the paint
around over there. I know that the white is going
to show up underneath it. I want to already have paint of the color I want beneath it. Touch up a little bit. Touch up the ear to make it a little sharper Using the eraser tool. I'm now doing a second pass on this side of the dog's face. Make the brush really small for the top of the dog's
head to get in there. And some other small areas
that need smaller brush. Just looking at the
reference picture to get an idea of where we
need to lay in our colors. The blocking color is still
things will look more and more realistic or like the
picture as we move along. His nose is also block. When we do that on
the same layer, there are numerous ways
of managing layers. When you're drawing, I typically draw with a
color on each layer. You can try different
approaches and see which method works for you. In order to see his
eyes a little bit, let's reduce the opacity and make a new layer
to pick something. He is a very bright
yellowy part of his eye. I'm thinking here like
layers that I'm putting down a large yellow circle area even though I know most
of it's going to be covered up by black soon. But I want to just get
the general shape in. Then I'm going to build on
top of it another layer. I'm going over the
eyes numerous times because I really want to be
very bright and vibrant. I don't want any of the other
colors showing through. I want to go back and I see that I want to add in a little
bit more distance. This area isn't as it comes in a little bit more distances
to the black area. Put that in, make
another layer on top of our yellow layer and start
to color in the pupil. I want to be really circular, smooth, make the brush smaller. Try to really smooth out
the edges of the pupil. It looks pretty good.
So let's go onto the second side and
repeat the process. I'm covering up most of the color of the yellow
because that's in reality, there's so much big black eyes. Just color that in looking nice. Now, put the other layer
back up to follpacity. Let's also add in a
layer for the tongue. We'll pick a pink
color, pink color, and start placing blocking in the tongue in the area where
we've left space for it, under the doggies nose. Looking at the source photo, I see that there's some area that needs to be colored in with either
the black or the white. Like the tongue doesn't extend all the way out to those areas. We've got to fix
that afterwards. But right now we're just going
to lay in this color and try to get an even
full opacity of pink. That's pretty good, just to erase a
little bit out of the tongue where I went
a little bit too far. Now let's go back to the black layer and sample
the black or the dark color. And fill in the area that
needs to be around the tongue, because we shouldn't
be seeing any green within the
shape of the dog, just as can be in
the background. That's a good way of knowing, especially when it comes
to the white of the dog. We don't want to
get confused what's the background and
what's actually the fur. Just making little refinements. Now that we can, now we
have our basic shape, we can start to make some
refinements and make it more accurate to what we're
seeing in the picture here. We're going to add white, or the light color to
come up over there. So I'm looking at the source
photo and I want to make the contour of where the
white and the dark line meet to be more representative of how it's sing in the photo. I'm just going to make some
adjustments here and there. Going back and
forth, adding white, adding black until it
looks closer to the photo. To me, it looks like we have the basic shape of the dog now. And next step is
going to be adding in the textures and details. I will do that in
the next lesson.
4. Refining the head, part 1: We're going to start adding
in some textures now. The first thing I
want to do is lock our layers turning on alpha lock by slipping to the right. That way, whatever we're drawing is going to
stay within the layer. The turpentine brush likes
to pull colors around. We'll have to worry
about the contra is changing when the
alpha lock is on, we'll go back to our color
picker and choose a pure white by double clicking on
the color for our brush. We'll go with the
turpentine brush and a fairly large size and start putting in the fur and texture of our
porter Collie. I'm with, my strokes
are going to be along the way the fur goes. I'm going up and down, not side to side
because I want to follow the contour and
the shape of the fur. I'm finding the sketch a little
bit distracting because I think I know basically where we're filling things
in right now, so I'm just going to turn
off the sketch layer. I'm in general, uh, it's almost like blocking in
right now with turpentine. But because I'm
using this brush, it's adding up a bit of
the texture that I want. We're slowly make
our way across, filling in the whole area, using this brush to have
the desired effect. Just adding in more of
the fluffy texture. I'm trying to do curvy lines
as well, not just straight. It's a little
challenging sometimes, but this is a general idea, the more we go over it and
the more textures we add in, the better it's going to look. Laying down some bigger strokes, just filling the
whole front part of the dog with his fluffy fur. I'm going to make that
brush a lot smaller and go back to the
dark fur color. And we're going
to switch back to the dark layer of our
layers because I see that the source picture on that left side of the
photo, we have darker. I won't put that in off alpha. So we can actually draw on it, because you can
only draw an Alpha, you only draw an alpha
lock channel where you have paint already. Since we haven't
drawn in this area, I'll have to turn
the alphalock off. Was going to use the turpetine brush and try
to pull in some color here. Try to give that feeling of fur. On the other side here I'm pulling into
the black section, so you'll see that there's
some places that the green shows through in the background because there isn't white there. The way the turbine
pulls the color, look the hair of the white
hairs coming through. So you can see here as a real nice way of
crating a hair effect, do the same technique on
the top of the dog's head, pulling the color we're
drawing with black, but pulling it away so that we can see the
white underneath. It's good that the white
layer is underneath the black layer because
that means whenever we're pulling the black
away, so the white shows up. And I'll give the appearance of the white hairs merging in with the black hairs just
going all the way around. I want to try to keep the hairs moving in a direction
that is realistic for the shape of the dog's head because we've been
pulling the way a lot of the black and rebuilding the green underneath
the green background. So I want to go and fill that in with some
white to cover in. So we're going to pick a white color and go to
the white layer and paint the white back in to fill in cover up where the
green is showing. That I think got
rips in the green, but it's not really showing up as brightly as
I'd like it to be. I think the black layer is still the majority
dominant color here. I'm going to go paint, I think we're just
going to paint some white directly on
this black layer. We switch to our back layer. Go back to the turpentine brush, we get that nice feathery
effect paint, just like this. Yeah, this is really
strong whites. It's looking like the fur color and the fur texture
that I'd like. Take a little more delicately. Sure little hair
is going through. We're go back over the area
we did before and just adding a little bit more
of this stronger white. Make the brush
really fine to have like those really thin
hairs here and there. Because in the source
picture, again, it's very delicate and I'm trying to match
that as much as I can. I think that really
bright white added a lot really strong and successful
at the same time. I want to go back now and continue what we
were doing before of pulling the blacks to reveal white, the white
layer underneath. Because for the majority, I think the white that's showing up in this picture is a little bit more
delicate and refined. So I don't want to be putting too much, very strong white. So I'm just going
to continue going around the nose
area of the dog and pulling away the blacks to
reveal little areas of white. Very delicate and small strokes. That said, I still
think there might be a little bit of advantage
of going back to the white brush or
picking the white color again and putting down
some strong whites, especially at the lower
part of his nose, because I think the white hairs are a little bit more
prominent over there. So I'll switch back to
the white to do that. And drawing a very delicate
white fur over here, I think it's pretty
obvious that at this point we're very much finishing
this area of the dog. We've gone from the
whitest brushes down to the fine brushes
and we're adding in the most fine details that
we're going to be adding, I think, in the
painting, to this part. We're just going to finish
off here and there, around the different
parts of the nose. Once we've done that, then
it's time to move on. And we're going to go
to the main black area of the dog's face and add
in details there for that. I'll see you in the next video.
5. Refining the head, part 2: We're going to add in more
details for the dog space. Now we have our white color
selected and I'm going to start laying down
some of the fur color. I want to show the highlights, the lighter parts of the fur on the darker area of
the dog's face. This whites a little
bit too intense. Let's go to pick a more of a gray color to make sure that I'm
staking the same color. I'm picking the black
colors or source. Then going to the value
option in our color area. And then I'm just
going to increase the brightness of that block,
becomes a little more gray. And then I'll use that to paint using a medium size brush and following around
the contours. I'm using the reference for constantly referring to it and seeing how the light is
playing off of his face. To get the highlights and shadows to make a more
realistic type of look, I'm just going around
picking up those colors. My eye right now is drawn to the hair coming from his ears. I just want
to work on that. So we're going to
switch to a black color and start painting that in trying to show the hairs that are sort of
flying out from his ears at all different
directions. It's a bit of a long process and I want to speed up the video here just to get through it all, but just going around
and trying to look at the reference photo and seeing and see how
the fur comes out. To bring clumps just going
around every part of the ears and the top
of the dog's head to make it more
realistic like that. So we'll pick up again
when we're done. Now that we have the outline of the dog ears and
everything done, let's go back to a gray color and start adding in
on the other side of the dog's head to put in the fur to give a
little more volume. Again, I'm following
the pattern. I'm making sure my brush I use in the direction that
the hairs are going, it's going around to make a shape following the
shape of the dog's hair. I'm looking the reference
picture and trying to make sure I follow the contouring
the way I see it there. Just going back and forth
gently with the brush, the same turpentine
brush to pull out the suggestion of fur and try to follow the way the light areas are showing up on the
border collies head. I was going around,
it's a process. I don't want to take it too
fast and miss something similar to getting the hairs around the periphery
of the dog's head. So this is a another
process that takes a bit of time, enjoy it, actually, I'm going to take
some time and work on this and continuing
pulling the fur, bringing it out, and giving
different definitions here. My goal is that I really
don't want any chunk of a particular block of area on the dog's head to
be a solid color because that's not so realistic. I want to try to introduce a
little variation in most of the different parts of the
dog's head because that will make it more realistic and also help with
the definition. The volume of the dog's head. We're pretty much
wrapping up this. I see most of the Dod
looks like it's much done. Now, just in the final last
few touches, different areas, I see that when I look at the reference photo
that I think we can add in still I won't go. I'm not trying to
do ultra realism, I'm just trying to hint
to different areas. It's enough that we touch on the major parts
of the dog's face. In that way we'll get a pretty good definition and representation of what our
border collar looks like. In the next section, we're
going to get into the more, the next section we'll into even more specific details including its nose,
eyes as tongue. I'll see you in the next lesson.
6. Details on the head: Now it's time to get into the really fun part where we get into the details and really
make the dog come alive. We're strong over the ears and using that gray that we have to put in some strokes for the, the inner
part of the ear. Now we're going to pick
a pinker color for the inner part of the ear
to add some pink warmth. There you can see, I guess, the skin
of the dog's ear. A smaller brush to make a
little finer fur brush strokes. Now let's move on to the nose. Let's go back to the color
wheel and the color picker, and I'm going to pick a slightly brighter gray or lighter gray. The top part of the dog's
nose is very shiny and wet, so it reflects a lot
more of the light. Therefore, it's definitely
a brighter color, closer to white. I'm using the same, the
same tepertine brush. Slightly challenging
because since it's a wet and very smooth, we don't want any lines that would show fur or
anything like that. I want to blend
everything altogether. Using this brush is a little bit challenging if you want to use a different brush or switch over the blending tool to
blur things together. Right now I'm sticking with the turpentine and
it's working out. Okay, so far, let's go to the underside of the nostril where there
is light hitting it. And we're going to
put some of the color there because of the strong contrast
between light and dark. So it looks very bright
and it looks like it's really shiny, which
is what we want. Then there's a little bit of a, I guess reflection of light coming on the
underside of the dog's nose. So we'll just to add that in. Two, go back and continue working
on the smoothness of the top of the dog's nose. Still working with just
a turpartine brush. I haven't resorted
to smoothing yet, but it's looking pretty good. I'm pretty happy with it so far. Now, on the underside
of the dog's nose, there's a it's both a combination
of shadow from the nose and also it looks like maybe the hair color is just
a little bit darker. I want to paint that in now too. I'm pulling the brush down
from the nose because that's how the fur goes here. I am trying to get
the fur texture using the turpentine brush. I don't want to overdo it because when it
comes to painting, sometimes less is more. I just want to have an indication of the
darker hair color underneath the nose when you, when you get into
the nitty gritty, you can spend a lot of
time working on it. At the end of the day
when you come back, you won't really notice it. It'll look fine, honestly. If you come back later, actually the effect you get from
less is usually fine, at least in my opinion. I will suffice with that. With that, let us go and add in some catch lights
in the dog's eyes. So we're going to make
a new layer for this. I'm going to choose
pure white by double tapping on the color wheel, because I want this
to be specular and as high bright
white as possible. So we're using a small
turpentine brush, just going to paint in, we see the white using our
reference photo as a guide. Of course, even with the eye, I'm trying to draw
the strokes in the way that it goes around, the shape of the eyeball. It's coming around
and not side to side. If I look at this, iris is not pure yellow like
we have in our photo. We're going to go and change, that's like the yellow. And then go and modify
that to make it a little bit more orange like I see in the reference photo. And start painting not on the layer that
has our highlight, but switch back
to our iris layer and start painting there, which is underneath
the pupil so we don't have to worry about painting
too far because we hidden. And we can start to add in a
little bit of that orange. I'm going to turn
on Alphloc now, so the orange doesn't cover up the fur when we draw
on the other side. I got paint in on
the other side, leaving the center,
the center yellow. And then it coats closer
to the people more orange, switching to a bit
darker orange. Right now, I'm turning
the alpha lock on and off based on if I'm coloring on the inside or the
outside part of the iris here, I'm
on the outside. I just want the outer
rim of the iris to be colored by turning
alpha lock on. I don't have to worry about
coloring over the dog's fur. I'm going to lower the capacity because I want to be a
much more subtle effect. I don't want to be
so bright orange. We'll just lower the
capacity and paint that way. And hopefully will also give a variations in the
colors on the dog's eye. And also make it a little
more realistic too. Continuing on the other eye, going back to the eye on
the right side of the paper which is the left Port
Collis, left eye. And add it into I
think that's good. Now, we'll merge
all that together. I think we have we've
finished all the eye layers. Next up is the tongue's
switch to the tongue layer. We're going to
sample the pink of the tongue as our
starting point. I want to add in
some shadows first. Let's go some darker parts. I'm going to switch
to a much darker red, increase our opacity again because I want to lay
down a lot of color. I'm switching back
to the wet acrylic, where I lay down our data. Once we have the main idea of how our shadow
is going to be, we can switch back to
the turpentine brush, change the color slightly
for some variation, and then start to paint
with that as well. We'll put in the center line of the tongue and then some other areas that
are particularly dark, the different ridges of the tongue muscle
and how that is. Again, using the reference photo because I don't know
much about tongues. Using the reference photo to see where the lights
and darks are and trying to mimic that
on our painting, where the shadow ends and we still want
to have this ridge. I go back and pick
a paler color. Go back and resample
our tongue color, and then choose a
more lighter shadow. You can continue drawing
the ridges when they aren't as intensely
dark as the ridges that are within the shadowed
area of the tongue. For here, I'm again
following the contours, going in this case
side to side to show that there's like a ridge for the tongue going around to the different
areas of the tongue, have this tone of shadow working my way around the tongue to
the different areas. We had a very dark
tone for shadows, then this is more of
a middle tone for the shadows that
we're adding in now. Then after this, we're
going to go and pick a very bright color for our
highlights on the tongue. The very tip, it looks a
little more pink to me. I'm going to go and re, sample, get a little bit more red color for the edge of the tongue, that way we can draw it in again as we see it
in the reference photo. And I'm trying very
carefully when I'm using the turptine brush to have more of a smearing effect and not
the individual bristles. And brush strokes, because
a tongue doesn't really have that type of fur
texture or hair texture, I'm looking for any more
areas that have that red. And I think we could
put a little bit more. I think we can put just a
little more on top over there. We're just to a darker
red though more of a shadowy red with a very fine brush because
it's such a small area, very fine lines on the other
side of the dog's tongue. We're going to add
that in as well. Remind me a little
bit like veins or something just following the lines and
see what we see there. Now it's time to
add the highlights. So we're going to pick a very
bright light red or pink. And we're going to start
adding that in also to where we see it on
the dog's tongue. Very small back and
forth movements because that will help lay the color from the
turpentine brush. Some brushes don't
work like that, but for the turpentine,
you have to move a little bit
to get it going. I find that little back and forth motions work really well. We're going to do a first
pass of our highlights with this because it's a
little bit translucent. You can seize through it just continuing all the way down
to the edge of the tip of the tongue and then
going back over a second pass over that area of the tongue more highlights
a little shinier. Another area that we see that there's the saliva or whatever, making it very
shiny, reflective. Going to a very
small brush here, making the brush a
little bit wider. And then going
back to the middle part of the dog's tongue, we also a reflective area
and then again by the tip, just moving around and setting in the highlights very
gentle at the edge. By putting the very
bright highlights next to a darker area. The contrast accentuate
one from the other and makes it
hand out even better. It happens naturally as you can see from our
reference photo, but also it's a very
nice effect because it gives a really strong,
powerful contrast. Add a few more highlights
on this side of the tone. As you can see,
before this point, it was just one
large pinkish area and didn't look so good. Anyway, so I'm going to put in a little bit
of these highlights, which we see in the
reference photo. I think we have our tone.
7. Details on the body: So next thing we're
going to do is add in the underside of
the dog's tongue. For that, we're going
to go the layer that's beneath the tongue,
which is the black layer. Which is convenient
because we're choosing a black color because
we're going to block in. First going to pick the
wet acrylic paint brush and go around the tongue and
block in where see the black of the dogs apart
underneath the tongue. Just going around all
the edges trying to get approximately what the
thickness is, looks correct. To match what the
reference picture showing. Just touch up a little bit
over here. A little bit. Maybe too wide. So we're
going to take a boat away. Now, we've blocked it
in. Let's go back to the turpentine brush and
we're going to pull out from that area to make it
look like the low hairs and to show the part that's
a little underneath it. Just going around this area of the underside of
the dog's tongue or whatever it is called, very small subtle flicks of
fur here that we finish that. Let's go get to the main part of the dog's coat and the front
and start adding that in. We're going to work
on the white layer. That way the turpentine
brush can mix in. When we're doing the
dark color blending, we lower the opacity
because I want to be gray. But actually we'll go with a pick gray at low opacity and try that
out and see how that goes. It looks a little bit too
light, so let's increase, make it more opaque and see what that looks like now. Yeah. Okay. So I'm liking how
this brush is working. So we're going to
paint in the fur following the contours. And you guessed it. Using our reference layer to guide us to know how the
shapes are going to be, I'm using a smaller brush. I like the idea of
how the individual, it mimics individual
fur a little bit more. Right now I'm just going to
put down smaller strokes, just going around the
different parts of the front of the dog's coat. I'm trying to make the strokes curved because that's
how the fur is going. We have a process of going
around the different parts of the body of the dog
until we have that. I change the size of the
brush back and forth because that way it
doesn't look so uniform. We'll have a little
bit more variation. Similarly, I'm trying
to do some strokes a little more dark light, again using the
reference as our guide, but it also makes things look. I don't want everything to
be so uniform because in reality that the fur doesn't
have a uniform look to it. There's areas that
are a little bit more in the light, a
little more shady. The fur itself is different,
a different quality. And there are some areas
that are very much where the fur is very
dark, black almost. And that could be
partially because of the shadows or that's just
the color of the fur. I think you have the idea
of what we're doing here. So I'm just going to speed up this process and then I'll see when we're
doing this part. Now that we've finished
the medium level of color for the fur the
of the border collie, we're going to add in now
a little darker color. Adding something darker,
it'll help bring extra depth and bring more
dimension to the fur. We've got this
little area here in the center of the fur
that's quite dark. I'm using much darker color and basically filling in the shapes of how it's
going to it looks like. Constantly referring back to the reference photo to make sure I get the shapes so much to what they look like
in the reference photo. I'm going to go back now and work on an area
that we neglected, which is the white fur that's between the
eyes of our dog. There's a bunch of small
little additions we can make to add in some of the fur that we're seeing
in the reference photo. The darker fur that's just above the dog's nose and
work our way up. Then there's also the area, the white and dark fur meet to make the transition
a little bit more realistic or more similar to what I'm seeing
in the reference photo. Some of the edge points where the black fur is overlapping. It just doesn't look so
realistic to me at this point. So I'm just going to
touch that up and go over those edges a little bit to make it a little bit more like how the fur might really fall. So I'm just going to go around all area and make sure
that it looks pretty good. And I'm going to go back and add a few more spots
on the front part of the dog's coat
that I'm seeing. Now that maybe we could add to make it just a
little bit more, just add a little bit more
character and details. Something else we never really
took care of on the edge. We have a how the fur is falling over here also. We never really worked on. I'm going to go back
and fix that up first. I'm seeing that the
basin reference photo, that there's a lot more black than we had originally
drawn in here. I'm going to paint in using the white acrylic to lay
down the color of the black. That makes it approximate
a little bit better the blocking in of what the black versus the white
area that looks like. Then once that's done,
I can go back to the turpentine brush and then start to pull the
fur over so that we have the interaction between
the light and dark fur. That's a little more like
the reference photo. Lower the capacity that way the pull of the turpentine brush isn't going to be as strong. It makes it a little
bit more delicate, the way that the fur
is going to overlap. Also, trying to press very
lightly with my pen as I'm drawing with that, I think we've finished
our Border Collie, and all that's left is
to add in a background.
8. Adding a background: Let's start with our background. We're going to go on
our background layer and choose a little bit darker green than we're
starting off with. For the brushes, we'll go nico roll and start laying in here, the background, the brush, a nice big brush
down a lot of color. At the same time going
over the whole area, we'll go back to
the original color of the background to make it
a little bit more subtle, just keeping the stronger
color at the edges. Let's go a little bit more
of a color variation, focusing on the edges, more
like a vignette effect. I want to keep the strokes that are, that they seem to fit in. I want anything that's
standing out too much. If there's any stroke that's a little too strong and heavy, then I'll just undo it for a little bit more lighter color for the inner part
of our vignette. Put that down and blend some more with a
little more darker color. Again, just going back
and forth to that looks like a nice background backdrop
for our border collie. And with that, I
think we did it.
9. Thank you!: Congratulations, I'm
so proud of you for successfully creating an oil
painting of a border collie, using a default
brushes a procreate. I'd love to see what you made, so be sure to upload it in the projects and
resources section. That way we can all enjoy seeing each other's
work and get inspired. If you enjoyed this class, I'd really appreciate it. If you left a review, it will enable my class to reach
more potential students. Lastly, please follow me
here on skill share to be notified about future
class releases and other exciting
announcements. Thank you so much for watching. I look forward to seeing
you in another class.
Avraham Nacher, Photographer & Procreate Artist
