Paint Expressive Abstract Art in Procreate

1. Welcome: Welcome to paint expressive abstract art in procreate. In this class, you will forget all the rules and allow yourself to be totally free. You will learn not to think as much and just to paint. You will learn that lines, shapes, color, and texture will make your painting more interesting and full of depth. Expressing your true self, your inner feelings and desires through your art, shares who you are. Without you having to say a word. You will watch me create two full expressive abstract paintings using a similar method as to how I work in my studio with multiple layers. Nothing can replace the feel of real pain. However, using multiple layers and the brushes I provide, most made from real paint strokes. A similar look can be achieved with your abstract art. You will come along with me as I create peace among the chaos, from building the initial Canvas, too expressive mark-making to painting layers and layers of color. Along with more layers of marks, you will watch this painting come to life. You will also join me as I create distant illumination in the same methods. This demonstrates a darker, more moody painting, as opposed to the first pain, which is created in lighter tones. The class begins with a discussion on building a base canvas layer and mark-making. You will learn how you can achieve a variety of different marks using the brushes I've provided you with. The class journey continues with both of these paintings as you watch me create them from start to finish. In the final video, I give you a tour of my layers for my painting, emerging energy. And you'll see me finish out this painting with a new stamp brush. I show you just how easy it is to make a stamp brush from a paint mark. So you can make your own marks, which you can turn into stamp brushes unique to you. In order to complete the class, you'll need an iPad with procreate installed. You will also need an Apple pencil. You will already need to have a basic understanding of using Procreate and installing brushes. And you will need to understand how to transfer photos onto your iPad before starting the class. Provided with the class is my new abstract painting brush set and a thick paint canvas texture to use as an overlay, which is optional. Are you ready to create your own expressive abstract art? Then please join me in this class. Painting freely and from within, like this allows you to explore yourself and your feelings in that exact moment in time. Consider it a journal, if you will, presenting itself without a written word. And in the end you will find yourself looking at a beautiful piece of fine art which represents pieces of your heart and soul. I look forward to seeing your finished fine art paintings. 2. Mark Making: Hello, hello. Okay, before we get really started in this class, I just wanted to show you the brushes and talk a little bit about mark-making. Mark making is how I begin. All of my expressive abstract art in procreate, in my studio. That's just a good way to get started on the canvas. Now normally. And we'll get to this a little later. I paint this canvas here and get some color down first. Because I just don't like to start with a bear white canvas. But in this case, just to go over these brushes and talk about mark-making a little bit. I just thought I'd start with the white canvas. The brushes in this set are divided into sections. I have dry media brushes to build the canvas, which we'll get to after a while. The oil paint brushes and some other painting brushes. Some texture brushes to add good texture. And then some finishing stamps to add some little finishing things to your work. At the end. The square ones down here at the bottom. Stamp 891011. Those are from Mano prints that I made. And they are a square stamp that would go on top. And we'll get to that later. But they add, basically add texture to your overall finished work and give you, I can give you some neat looks. But I just wanted to talk a little bit about mark making. And I'll just pick this rough pencil here. Now when I start mark-making, I usually just start scribbling something. And I've learned that it's, it's hard to turn off the brain when you go to paint, at least for me it is. And so I have a quote here. I'm going to try to write this with this brush. Don't think. Just paint. So C, those are marks right there. Words can be marks. If you have a favorite quote or a name or something, you're thinking about a place or a inspirational word. You can make your mark with something like that. And you know, as well as scribbles. You can make shapes. If you'd like, shapes, certain shapes, you can make certain shapes for your work. Like squares, circles. And I do them loosely. Don't try to do the things Procreate has available that will let you do a perfect circle. A perfect, this perfect, that at least not in my class. This is not about perfection. This is about forgetting all the rules and allowing yourself to be totally free. And I don't really have a lot of rules when I paint. I just paint and I just keep going until it feels like it's done. And there's no set way to do anything. In regards to these abstracts. If you'd like geometric shapes, you may want to put some marks like this down. The thing is, the marks you put down first are going to be covered up later. And I always do add more marks at the end. Just for some little touches here and there. And sometimes I will back some of the layers out via masking and reveal some of the marks underneath or parts of them. I will also blend marks, which you can do with the blending tool. I don't always leave marks as they are. I just mess things up to create a starting point. Just get something on the Canvas. So if you're having trouble loosening, I'm painting, I'm right handed, so I'm painting with my dominant hand right now. And, you know, I'm pretty structured. And the way that I work, when I'm doing things with my right hand, I tried to get things perfect. It's not it's just natural to want to try to do that. So there's a couple of different ways you can loosen up. One of them is just to close your eyes and think about what you're feeling and just start making some marks on the page and believe it or not, what you're feeling. Will come out in your marks. Like if you're feeling angry or whatever you might my grill dark, big heavy marks and any of these brushes can be used to make a mark. Any of them. If you're feeling happy, you might make really loose and flowing fun marks like this. There's, like I said, there's no set way. It's just try to try to go with what you're feeling at the time. If you're feeling loose like this, Then do, you know, do some loops and circular marks. If you're feeling kind of tight, you know, you might want to just do some straight lines and kinda just get the pen moving. You can also use your finger. Instead of the pen. You can also switch over to your non-dominant hand. So like this, this right here I'm doing with my right hand. Now, when I switch to the pen to my left hand, It's a lot harder to make that same kind of mark, but it looks a little bit more abstract and looser than this one on the right does, because I did it with my non-dominant hand. Another way, you can do Marx's to hold your pencil back toward the end. Like here's your pencil. And I know this doesn't look at all like this pencil. I'm just drawing. Just pretend is this the pencil on my pencil, I have a little rubber grip that I've put on it right here from a pen. I got the rubber grip off of another pen and put it on the Apple pencil. On the Apple pencil has around. And so I really need to fix that. See there's that perfection coming back in. But when I do my marks and paint, I usually have my fingers right here around this rubber grip. But if you hold it back here, at the back end of it, it will help you loosen up. So let's just do an example of that. Okay. On the left I'm holding it on the rubber grip. Just trying to make some lines. Now, I'm holding it further back. Notice the touches lighter. I'm really pressing about the same. It's just because I'm holding it further back. The touches lighter so that can alter your marks to make them different and unique even for, you know, you could do some rubber grip and then you could hold it back and do some with it further back and you notice they're just lighter and a little bit different. So that's another thing you can do. Another thing you could do is what I call blind mark-making. Put your pencil somewhere on the page. And I've put it on the top-left, right here. And then close your eyes and just move it around. And just see if he go off the page just fine. Just move it around and just feel the movement. And look at their you know, I never would have tried to draw that or tried to make marks like that. That's just because that's the way my hand moved. So that's another good way to really get into your feelings and loosen up. And let's see what else did I want to cover about mark making? And I did talk about how you can blend them. You can blend with any of the brushes and mess up your marks, which I do like to do. I'm like so I just take different ones and mess them up because they're going to be covered up a lot anyway, but it just gets something started on the canvas and that's the whole point of mark-making. And you can also use stamps that are in here to make a mark. That's a mark. And that's another mark. And that's another mark. So there's some marks that are made with paint. If you want to do those, the stamps. And then you can also use the oil brushes. And you can make marks with them. So don't be, don't think you'll have to be confined to the pencil. You can also change the color of your marks as if you're using colored pencils or crayons or something like that. And just use a variety of things just to make marks and get things on the page. But like I said, these will be covered up. And if you lose your marks, you can always reduce them and add some different marks back in. Like. Hello, what it is with me in this long tall, it's kinda scribble. I can tell you right now that I'm feeling real scatterbrained lightly just because of stuff that's going on with the family. So I tend to do a lot of scattered March. And I mean, this right now. And I'm very frustrated right now with some of these things. So this just looks like frustration to me. And then you can blend it with any of the brushes that you want to blend with. Change up the sizes of the brushes when you're doing things like this, mark making and blending. Let's just get something started. It's just a way to loosen up and get something on the canvas. So that's kinda what I wanted to cover about mark-making. It's really not hard. There's no secret to it. Um, it's just a matter of doing it and trying to be loose about it instead of structured, don't try to look at something across the room and draw it. I'm, of course, if you want to put a certain something in your painting, can, if you wanted to draw a certain thing or if you wanted to write a certain word, you could. Like, let's say I wanted to write the word love underneath everything. And then maybe we'll learn some of that end. And, you know, you all know what you've done. And that's I guess my advice is go with what you're feeling at the time or what you want to feel at the time. If you want peace in your life, you may want to write the word peace. Can't really see that, but, you know, and then mess it up a little bit. Kind of blended in and we got a whole loved peace, frustration thing going on here. It's a mess. And your paintings will look like a mess. They will, they will look ugly at some point during the painting. But if you keep going and keep layering, they will eventually become something. And you'll go, wow, I did that and it all started with marks. So just be loose and free and just have some fun getting something down on the canvas to start with. So that about covers. All I need to say about Marx. Because like I said, it's not that difficult. It's just something to get you going. And then later on we'll add some marks to the end of the painting. So we'll be back in the next video to talk more or a little bit about color. That'll be in the next video. 3. All About Color: Alright, in this video, I want to talk a little bit about color or talk a lot about color. Maybe. When I'm doing the painting, I try. After I get past the mark-making stage of starting my canvas, I think along what colors I want to paint. And I usually think of how I feel versus how I want to feel. Because these are expressive paintings that I'm coming at this when I do a painting from a place of I want to feel something, feelings. And I'm not trying to get mushy or anything here by feelings or anything. But I wrote a book years ago, a business book, and I had a whole section on color. And I really studied color quite a lot. And the colors, various colors have various traits or personalities, if you will. And on these little slides here that are made are putting this document to talk about the colors. I've listed the the good things. All everything has good and bad. If we didn't have good and bad, there would be no balance in this world. But when I'm using the color, when I'm choosing my colors, I'm after a certain feeling, you will often see me paint or use this color orange. And then not necessarily this color blue, but more of a turquoise blue because you can use any shade of a color. But the reason I do that is because I'm after some of these traits that are in these two colors. I want those in my life. I need to bring those into my life. So That's why I wanted to talk about the different colors and the different traits that they have, the good traits because obviously, I don't want to do a painting that reminds me when I look at it later on, if you know that if I was depressed at that time, like for instance, black can't, I don't have that in here. But black can signify depression, so can gray. But they also have good traits. And, but I don't want to do a painting necessarily in those colors unless I'm ready to really just kind of zone out and calm down or simplify things in my life. I usually am going for the bold colors because I'm trying to get those things in my life. So let's talk about purple. Purple is a royal color. It signifies self. Someone who's self-confident, who has self-acceptance. It's an energizing colors, so it's a high-energy color. Also a spiritual color. It's a color of luxury, and it's powerful. Purple is a very, very powerful color. Now, sometimes I'll do a whole painting with purples and sometimes they'll just use it as an accent. If I want to bring just a little bit of a trait into a painting. Let's go on to green. Green can balance out with purple. Green signifies energy, and it signifies growth and abundance, and vitality and health, also compassion and freshness. So if you want to freshen up and painting and give it a fresh look or a refreshing feel. You might want to choose green. If you're in a financial bind at the moment and you want to increase your income. You might want to focus on abundance. And so you might want to add some green to signify growth in your life and abundance. Then there's orange, which is one of my favorites. Orange is lively and energizing and warming and healing. Healing is a big thing for me right now. And my family. Joy, devotion and zest, like think orange juice, how it tastes. Zesty. Orange popsicles, orange. I'm always drawn to orange. If I have a choice of a popsicle or a piece of candy that's fruity, or any kind of fruit. I'm gonna go toward the one that's closest to orange. Just that's because oranges something I've been attracted to my whole life and I've maybe I've been seeking joy my whole life. I don't know. Maybe I'm needing healing right now. That is important in my family. Oranges, something I incorporate into a lot of my work. Then there's yellow. Yellow is happy, playful color, joyful, tearful, uplifting. Creativity. It signifies creativity. It's very creative and it's a vitalized in color. I'm kinda like the orange, you know, it just kind of reminds me of fruit that's vital icing. And then there's blue. Blues. I used to introduce some calmness in a lot of my work. Blue is restful. It's also truthful, and it indicates serenity. It's soothing. It's indicates protection. Think of the the policemen with the blue uniforms and, um, you know, back the blue, that kind of thing. It's a peaceful color and it's a culture of respect. I'm once again thinking of policeman, you know, you usually wanna respect to policeman. Then there's magenta. Now magenta is the wild color. It's outrageous, imaginative, innovative. It also signifies divine love. That's beyond regular love. It's divine. It's a competent color, harmonious and energetic color. So if you want to add any of these traits into your painting, if you want these traits in your life and you want to feel these things and have these things come to pass. Maybe think about painting with some magenta color. Then there's red, red hot. It's energizing, it's impulsive and emotional, and indicates passion. It's a courageous and spontaneous color. Red's really bold. I like red. I like bringing read into a painting because I think it shows my passion. And I do have a passion for all the work I do, and creative and otherwise. And so red is another color I'm drawn to. And then there's indigo, which is a dark, dark blue. It kinda has a warmer tone than, than regular blues. It indicates knowledge and power and integrity. It's an imaginative color, indicates insight. It has intuition and inner calmness associated with it. And so if I'm wanting to kinda get back into my intuition, if I've, you know, how, when you intuitively know, you know, you should make a certain choice or do a certain thing and then you ignore it and things go all haywire and you go, Oh, I should have gone with my instinct, what my intuition told me. If you want to get back to that where you can feel closer to that, you might want to choose this color if you, if you just need to calm down inside, if you're feeling really stressed out and you want to calm down, it would be a good color for that. There's pink. Pink is the color of love. Of course. It's also a divine color. It's a friendly colored, compassionate, and then it indicates faithfulness, caring and calming. It's a very caring and calming color. So if you want something like that, to bring something like that into your life for your environment, you might want to paint with pink in your painting. And then there's white, whites, color of peace, purity, salvation, awareness, relaxation, innocence and enlightenment. All of those things I would like, I tend to bring white in quite a bit into some of my newer work because I want all of these things to come to pass. And it makes me feel good when I finish a painting that I've used the colors that are attuned to how I want to feel at that moment versus how I do feel, where my marks tend to indicate more how I do feel, my colors are more how I want to feel. Why is introduced a lot into my work? Then there's black. I love black to. Black indicates constancy, prudence, wisdom. It's a silent color. So if I want a quiet, I will use a lot of black gets a mysterious color. And if you want to indicate mystery or something powerful or dramatic, black will bring that to your painting. Then there's gold, golden illumination color, a color of wisdom. Another abundance color along with green. It's a lucky color. If you want some luck in your life, maybe throw some goals. And the paintings. And whether painting with this color gold or using like gold leaf overlays and things like that. I've done that quite a bit. Gold is a curing color and strengthening and rich color. And I don't overdo it on the gold because it can be a little too much. But I do use a lot of goals in my work. I love the illumination factor that gold has. So I do use a lot of gold tones and colors in my work. And then there's silver and gray. Silvery gray indicates peace, persistence. It's a color of that removes troubles. I've been using a lot more gray lately because I've had a lot more troubles lately. I'm with health issues and things like that, so yeah, gray is going in some of my work. And when you mix colors together, a lot of times they will turn gray. It's a safe color in a secure color and a grounding color, and a neutral color. So introducing those neutrals in is always something that can be kinda good, especially if the painting skinning to wild, too vibrant, bring a little gray into ground it and neutralize things a little bit. It's always a good choice. And then there's brown, which is another favorite color. Actually all of these are favorite colors. I just love color. Brown indicates stability. It's an earthy color. So, you know, if I need to be brought down to earth or I feel like I need to get grounded with earth. Brown is a good one. It's a reliable color. Indicates bravery and nobility. It's a practical color. And once again, grounding. Um, so if I want to ground, you know, feel more grounded, I might choose to use this color. So that's just a quick little rundown on the colors and maybe give you a little insight into what colors you might want to think of using when you get ready to start your painting because you don t have to do what I do. I'm not giving you a specific color palette or anything like that. I'm going to paint with in this class. I'm with how I want to, what I'm feeling and how I want to feel. I'm going to go that direction. Would the painting as I go along. And so I'll pick colors that go with what I'm after at the moment. And I hope this gives you a little insight into each one of them and what they mean. And that you will enjoy the rest of this class. 4. Underpainting & Mark Making: Okay, I'm ready to start painting. But first I have to set up my Canvas. So I've opened Procreate. And I'm going to pick my canvas size square 6 thousand by 6 thousand. You can pick any canvas size you want to start an abstract painting. It's just up to you if you want square, rectangle, horizontal, skinny, wide, whatever you want to do. If you don't have the specific Canvas size set up, all you have to do is hit the dark plus button by new canvas. Make sure it's on 300 DPI so you get the best quality. Click on your width and your height in here. And put your numbers in. Let me get my well, select all 6 thousand and I already have 6 thousand, thereby type it in again. And that would give me ten maximum layers, which I do use a lot of layers. And these, if you do a smaller size, like 4 thousand by 4 thousand, look at I get 29 layers. So the amount of layers you get depends on your memory, on your iPad and the size of your painting. So I am not going to set up a new canvas, but you would just hit Create and it would appear and be already open for you to work on. I'm just going to hit Cancel and go back. And once you've set up one and it saves them all here as untitled canvas. So then you can pick the size you want. I have the square, 6 thousand by 6 thousand setup already. So I'm going to use that. And the main thing to start with is to get some color down, some color. And we're on layer one. And thinking back to my colors, I'm thinking I want the brown a brown. So I'm going to move the color wheel over here to find a good brown color. And I think I'll do a darker maybe not a dark brown maybe toward the gray side. Somewhere right in there. Maybe a medium to light brown. And I'm going to go down to the build Canvas section and I'm going to take the canvas brush. And I'm just going to stroke this canvas brush on here. Now if that's too big, you can lower the size. Like so. And I just go up and down. Most of this can be covered up. This just gives me a starting point to start with, to do my mark making on. And then I'll go across sometimes to make it look like a woven Canvas. Some of this may peak through. But a lot of this is going to be covered up. Just getting some color down. And if it's too strong, you can always blend this, which I might do a little blending on it. So let's go to the blending brush and pick. The mop brushes are great soft blender. Pick a size and you just kinda go over it to soften it up as if it's got a watery feel, but a little Canvas is still peeking through. I'm just doing this very lightly. I'm not pressing very hard. The harder I press, the more it will blend. And I just want to very light blend just to get started with. That gives, just gives me a starting point. And you could still see some of that Canvas through there. And now I want to put some of these acrylic random stamps on this page and I will, on this image, and I will build this canvas by just hitting this stamps, different stamps in different areas, in different sizes. And then I'll pick another stamp. I'll do the same thing, hit it in different areas, different sizes. And then I'll pick another one, tap it in there. And another one. I usually go through all of these when I'm starting just to get some starting marks down. And color, just going through every one of them. Just to get some variation in there. So I've got a good bit of brown down. Now, this is what I would do in my studio. I would add texture to my canvas or paper. And then I would use a light wash. And usually I usually use a brown or cream or gray. You can do, you could use black, you can use a darker color or any other color. Those are just usually what I start with to get moving. And then I might blend some of this a little bit. And let's see. You can blend with any of these brushes. I think. Let's try this procreate damp brush. This brush is kinda cool. Just takes away some of those hard edges. Going in different spots and softening certain areas up. I've lost some of my canvas feel to this and I did not do this on a new layer, the stamps. So what I might do here is pick that lighter color, brown. It actually ended up being a gray. After I blended it, let me find something that's close. How about we just stick with that gray and go back to the canvas brush and bring a little bit of that canvas texture back in there in some areas. Just to get a good starting point. So that looks pretty good. Yeah. I could sit here and fiddle with this all night, but I'm just trying to get to a starting points, so that looks pretty good. And we're all that's on the same layer. So now the next step that I would do would be to begin mark-making. And I usually do my mark-making in black or white. Sometimes I do it in gray. I'm going to pick black on the color wheel. If it doesn't go directly to black, if you just double-tap near where the black is or where the white is, it will hop over there. I'm gonna go with black for right now. I'm going to take that rough pencil. And I'm going to hold my pencil way toward the back and my dominant hand. And I'm just going to start moving it around and making some kind of marks. And I feel like I'm thinking about it. So I'm going to keep them with the same pencil. I'm going to switch to my non-dominant hand. And I'm just going to move it around with my left hand. You can tell. After what I went over in the first video, I'm feeling kinda scattered like there's a lot of things going on right now. A lot of threads going through my life that I just I don't know they need to be settled down. Maybe take another brush. Let's go down and pick one of these add texture brushes. A couple of different ones here. Let's just see what any of these will do. And I'm back to my right hand again. And there's a dark dark mark there. And I usually don't undo a mark on this stage, I just make some marks. Now what if I switched over to that gray to make some marks with a different brush about the fan brush and just scrape it like that. That just kinda ended up that way. I didn't intend it. Now let me go back to the black. If you hold down on the color, it'll go right to it. But let me pick me, pick one of the oil brushes, but a small one. And I'm gonna go back to my non-dominant hand and just make some marks here and there. Make that brush a little smaller. Is it more of an inky? Look when you get a little smaller with it. I want to bring back some of the gray marks. And this time I'm gonna go back up to my little thin pencil. And this time I'm just going to close my eyes. But my pencil, I'm holding my pencil way toward the back and my dominant hand. And I'm going to close my eyes and just tap it on the canvas upper left corner. So I usually start and I'm just going to start moving it around with my eyes closed and just feel the the painting and feel how I'm feeling. And just I have no idea what I'm doing. You're seeing it before me because my eyes are closed. I'll just do this until I feel like I've had enough. And basically until I feel relaxed when I sit down to paint my abstracts, I'm looking for relaxation. Didn't make very strong marks at all. So Let me go back to the rough pencil and do the same thing with my eyes closed and I'm going to press a little harder. This one. That looks like a mess, doesn't it? All right. How about a blend, some of that, what you can do with your marks, It's no different than painting with a watercolor crown and adding some water to it. Let's do the scatter paint and blend and just kinda get a real big brush and put it on there and just kinda swoop it around in a few spots to mess this up. I'm trying not to think. I'm just trying to blend it around some hug. I need a little white marks in there. So I'm gonna go to white. And let's see what some pastel marks might look like. I'm just tapping it wherever my hand lands and making some marks. I'm not thinking about composition or where this is going. I'm just scribbling a little and then make it a little wider. Make it a little small, real small little flow going here. Most of this you won't see by the time I'm done. I go back to the blending brushes. Or any brush can blend. How about we do an oil flat square as a blender and let's see what happens. Oh, that's it. Testing. It's really oily. Look. I'm just kind of lightly dragging this over. ****** were made the white. Just kinda all around. So I got some good marks. And I'm wondering if I need to put C here I go thinking. I need to stop thinking and just paint. But I just feel like I need some skinnier marks involved. So I'm gonna go back to the small pencil, but this time instead of keeping my eyes closed, I'm going to just keep my eyes open sank. See what I'm doing. A lot of marks on top of this canvas. And what do you know? I did that all on the initial layer instead of on a new layer. But that's okay. There's no rules about this that you have to do it on a new layer. I kinda made a intersection right here. Now I will say when it comes to composition, if you're going to think at all. During this, you might think right here when it comes to composition. If you divide your painting right down the middle, when is the square? You can do that like this. Put something inside the squares, not directly in the center. A lot of times I do stuff directly in the center. But to make it more interesting, if you put it off center, whatever your focal points is going to be, then it'll make it more interesting. And I don't want the orange in there like that, so I'm taking that off. But I do like my little intersection here with the white. I do like that. Let's see if I can see. I'm trying to I'm thinking too much now. I'm trying to get a sometimes if you go along your other marks with a new a different brush, it will add some interest. And I do like that little intersection I ended up with. I don't usually undo marks, but I just did. So there's my starting point. It looks pretty bad, doesn't it? And it's going to until I do more to it. Which in the next video, we will get to that part about doing more to it. Which will be two. I turn my page here and make sure I've got this right. I'm going to add some color, some different color. The color I want. The color I want. That goes with the traits that I want to feel at the time. And I'm really thinking, look at how crazy this looks. This is my brain right now. This is why this came out like this. If you're feeling pretty column, you probably won't make this many marks at all. But when you're feeling like I've been feeling lately little haywire. That's kind of what this looks like, that I could end this now and give it a name, call it haywire. And it'd be good to go, except it's ugly as all get out, in my opinion. So I can't stop there. I have to keep going. So in the next video, we're going to add some color. And then we're going to blend that color and we're gonna do it on a new layer. Because right now I'm putting on the new layer right now. Because I may want to scrape back down to this layer, which is exactly what I do in the studio. I'll do a layer. I'll let it dry. After it's dry, I'll do another layer, let it dry at some point I will scrape something down to reveal what's underneath. That. That's kinda cool. So we're gonna do that here with these layers. So I've got my new layer in place. When I come back, we're going to start adding some color. 5. Building Painting 1: Okay, I'm ready on the new layer to start adding some color. Of course the question is, what colors do I want to add? Well, I can tell you right now and the little piece. So I'm gonna go with some kind of blue first. And I do like the turquoise shades of blue. And I'm thinking about dragging it more to the gray side of that because gray neutralizes. And I really just need some neutral piece. Is that a thing? And I'm just going to start painting with the oil flat square. No reason. Just that. I haven't liked having to like it. I'm just going to start scooting the brush around in different sizes and just painting over some of this, just some different places. Let's try to get that color in the Canvas. And another color I might like is white. But I also like yellow because I need some happiness. So if you mix white and yellow, you get a cream. And here's a cream color. I might get a little this creamy color in there and pick a different brush. Maybe let's go with a brush with a little texture, but not a huge brush. And if you want to, you can lower the opacity of the brush to get some color in there, but not as strong. Just going to move it around. I'm not trying to plan anything specific. Just kinda trying to introduce some new colors. Now I might also like in these colors to bring in once again, some of these acrylic stamps, because they're fun. And just stamp a few, stamp a few of them around. Here in there. Off the sides. Normally get the blue again. Stamp a couple with the blue. Let me stamp on kinda right there. And you can sap the same stamp in several places. You can go off the edge and just around different places. So now I've got a little color going on there. I'd like to blend it a little. And one of my favorite brushes to blend with is this rough edge paint and blend. Because it just kinda helps things blend in without getting too solid of a blend. It's got that rough edge. And I'll just alter the size and move around. And I'm on its own layer. So if I decide I don't like any of this, I can scrape it back off. This brush has some nice edge texture. If you start the brush on the color and pull outward, you'll blend that color outward. And if you start it away from the color and pulled downward or inward, you'll remove the color. Basically. It softens it up. I don't like this little section right over the circle and blend that out a little bit. Looks too structured. Now what about a different shade of this blue? Let's pull it down and get a darker shade of the same blue. Let's see what the Procreate damp brush does. This isn't real strong. I mean, it's very, very subtle marks here and there. I'm just, I'm doing it lightly. This is a it's just a cool brush. I just kinda found it recently. And it's in your program when you get it. But I'm not really used to how it works. You kinda have to press hard and it grabs in blends some of those colors that are there. All right, let's switch over to a darker. I made a different brush. How about the textural one brush and let's see how that works now the textural one. I can tell you from experience on these textural brushes you want to drag lightly. You drank too much and you're going to cover up stuff you don't want to cover up. Because it gets really, if you press really hard, it gets real solid. So if you drag lightly, it will introduce a little bit of fine texture in there. Um, of course, right now this whole painting looks very busy. And I do know that if it's too busy and you don't have a place for the eye to rest. It will not create what I want to create, which is peace and serenity and calmness. This area in the upper right. I think I'm going to try to leave that area pretty smooth and not a lot of marks in there. I'm just drag this over it to not make that upper right side so busy. I want to keep that area to rest. And I really think this area where the circle is that I've drawn, that area could be fun to make that a little busier. Right now, I still want to move this one around a little bit. I love this brush. And I can blend that as well with the paint blend and blend some of that end. But it's got some really good real paint texture in there with that brush. And that's what I'm after. I need to decide what to do with my little area down here, where the circle is, I may bring some white in there. So let's go back to the cream, but go more toward the white like that. And let's pick the fan brush and kinda squishy little. Just do a little sweep there. Oh, that's kinda neat. And I don't want to overdo that. I want the I to kinda go there. So that's why I chose the lighter color. I'm gonna go back to the blue. And I've already gone to a darker shade. I'm going to go to an even darker shade now and see what else I can do. How about the oil wet soft. Let's play with that. Appear at the top. You got to press kinda hard for that particular brush. Darken this upper area a little bit. I'm just kinda scrubbing it and pressing hard. And that might have been a little too much, but rather than erase it, Let's go back to the blue color. And let's get a little scatter in their big brush. Same, bring some of that color in there like that. Let's kind of interesting. I'm lacking some cream and it's more of the cream in there. So I'm gonna go back to that. And i'm, I'm gonna decide now whether I want a new layer or whether I want to keep going on this layer. I kinda liked this layer as it is. So I think I'm gonna go with a new layer. And let me go back to some of these stamp brushes. Oh, that's kinda cool. I like that brush. Pick another one. Let me get some of this cream down here on the bottom. When you tap this brush, it'll turn different ways. So if you don't like the way it's turned, you can always turn it again. I mean, tap it again. Like to get some of that in down here as well. There we go. Get one, a little cream over near this other one. Now I'm going to blend these, um, let me try the rough edge to blend some of this. Pull some of this one down and out and up. So it doesn't look quite so random. I don't want them to look like they were stamped on. I want them to look like they were. Painted on and then blended rather than stamped on. I like parts of the marks being in there. But I don't need the whole mark being in there. Just working around it. Starting to take a little shape now. Alright, I'm gonna go with another new layer. And let's go back to this light blue, soft blue, which is such a peaceful color. And see what the streaky oil does. It's on its own layer. So if I screw it up, that's kinda neat. Put a few little sweeping streaky marks in there and then blend them as well. Blend some of them out. So there's no rhyme or reason to this. It's just happening. Well, if we go even lighter with the blue, maybe even a little more to the gray to get things grounded a little bit more. Does this one do? I forget when my own brushes do? I make them? I love them. I use them one time and I'm making marks and taking them off. I think I'm taking them off. Ah, thought it was I think I've taken off more than I wanted to. Oh, I don't know what I've done. Let's just blend it in. Back to that. Let's go with a mop brush. I need that softer up there. This is the area of rest. The mop brush will create a very soft blend. Get some of the tone in there, but it's not real strong. Mark. I think I unblinded some of my streaks when I hit the Undo. So I'm gonna go back to the rough edge and the streaky areas and work on them a little bit more. There we go. So we've got a little movement with the streaky brush, bringing the eye down here where I drew that circle, which is still kinda showing. And let me go with another new layer, that same light blue. But what happens if I take what am I looking for? What happens if I take one of these stamps? This one and put it right there? I can undo it and a recap. If I don't like the angle that tap debt, I could tap to. Well, of course now it's not wanted to do a different angle. Oh, no, I like it in that position. And this is a lot of tap undo, tap, Undo blend. I need to grab some of my turquoise back again. And at this point, I think I want to add a pencil mark or to let me do that on a new layer. I'm just going to focus on this area right here. Add a few little marks in there and then blend them. But if I blend them with the scatter, Let's see what that does. Just kinda go over. I'm a little bit where they're kinda there, but they're not there. Looking a little interesting. Now I'm going to squeeze all of these layers together at this point. So now I have one layer on top of this layer. And I think I want to scrape back some of this layer two. So I'm going to create a mask on it. Tap mask, it changes to black. And I'm going to, let's go with a rough pencil. And let's see what happens if I just kinda move it around. It reveals. Some of what's underneath. That's a little too much down there, so I'll just do a little lighter here in this corner. And if you don't like what you've done, you can turn off your layer mask. But if you want to bring someone back, sorry, I took away too much. Just tap on it and go to white. Make sure you're on white by double tapping near the white. And then you can go back over it with the white. And you can use a different brush if you want to, like the charcoal brush here. Go back over some of that, some of those marks. Basically what it's doing is it's putting it back because that's what a mask enables you to do. It's putting back that original paint on, I mean, the paint on that layer. Just kinda going over this in a few spots. I like had revealed some of it. I think it revealed a little too much. I got a little wild with it. But I do like some of those marks. Okay. So I'm going to squeeze these two together. Now I'm going to make a new layer. And it's a lot of making a layer squeezing them together, making another layer squeezing them together. You see we're building a painting here. I still have my little focal point down here, but I don't feel that there's enough contrast there. I think I'm going to grab some black from the painting. Is that black or is that dark green? Well, black and turquoise and mixed together and sort of made a dark green that's more black. And let me try this pastel texture down here. See if I can scribble in some marks. Just to create a little bit of contrast down here on this bottom corner. Just do some little marks. This is on a new layer, so I'm gonna go over here to the left side. Bring your feet a little marks in there and then even appear at the top. And now I can blend those marks. I'm gonna go back to the rough edge because it really has a good edge to spread some of this color out and blend it in real nice. Where it's not such a strong charcoal line. Just messing with it now, messing around with it. But we're getting a pretty cool abstract look that's on its own layer so you can take it off and on. And you can also reduce the opacity. Like so. Kinda like it at the 75%, it was a little bit strong. But around the seventy-five percent range, it was pretty good. So when I decided okay, I'm satisfied with this part. I could merge these together, but I'm not sure yet, so I'm going to keep going with another new layer. I've got my nice area of rest up here in the right. Busy-ness over the left, which is to me that's drawing the eye more than what I originally intended my focal point to be. But that might be okay. A lot of times what I will do if I'm not sure if I like things is I will grab the painting with two fingers and turn it around and see if I like it in a different orientation. I actually like this orientation a little better. Now the area of rest is on the upper left, upper right. But you know what the upper left needs is a little bit of texture. I'm going to grab the light blue. I don't want to overdo it with the texture, but I'm gonna go to one of the texture brushes that light blue. And on the upper left I'm just going to drag some of that texture, brush down in there. So it's on its own layer. So I can then soften that because it's a little strong. So I softened with the mop brush a lot and just kind of go in there and soften some of that down because I don't want it to be too busy, but I wanted a little bit of some marks in there. Might be fun to get a little cream up there. I've selected the cream. And, uh, what about the mop brush with the cream? Now, I need texture or oil. Oil flat wet or flat round. That's going to create too much busy-ness. How about this? How about just some with the oil flat wet right there. Then let's see, maybe bring some of that same oil flat wet brush down here in this bottom corner and float over to the right side. Now let's blend it. See, I'm, I'm really getting into the feeling of the painting now with these colors, I'm starting to feel more peaceful. Even though I'm talking. I'm just kinda blending over those same marks I just did. And even just do a general sweeping blend. Okay. I feel like this color which has come out of blending, might be good to bring in on its own layer. Let's see. I'm getting close to where I'm liking things pretty good here. So I'm thinking about going down to the finishing stamps and and bringing in a few of these right now. And seeing what happens. I think I would like a drip somewhere up here towards the top. It's a stamp brush. I'm just going to tap it in there. I think the drips too dark. Let's go with the cream. There we go. That's kinda fun. And then I can blend it with the rough edge, blending brush, blend some of that. Now let's say I want, Let's do that again on another new layer with the other drip. And let's tap up off the top. Like so. Now that might be a little strong, but it's on its own layer. So you can play with opacity. And you can also, because it's on its own layer, resize and move it around. I actually like it right there. And it's on the opacity of 52. So it's not full opacity, but now I have a few little drips in there. Sticking with the cream color. I'm going to get my dots. Stand for, I love my dots. I'm going to stamp them in a couple of places. Down near the lower left. And another one I really like is my streaks. Number three. And I'm just going to stamp them in there. On the left and on the right. Just done a couple of places. And I zoom out to see how it looks from a distance. I feel I might have a little too much Russ going on in that upper left. So let me grab the dark blue and tap some of those streaks in there. Let's tap a bunch of them in there and you can resize them and making them different. They're on their own layer while they're on a mixed layer. But then you can blend them. Let me go with the scatter for this one. And just sort of blend those streaks in a little bit. So some of them are there. They're not like super strong. Zoom out trying to picture how would look on a wall. I don t think I'm there yet. It still looks kind of messy. So this is the point where I step away for a little bit and I come back and look at it. And I sometimes will stand across the room and look at it. And it will just jump out at me what I need to do. And other times I'll be sitting there going what the heck do I need to do? What is standing out to me that doesn't look right. And what can I do to change that? So when I come back, maybe I have an idea of what to do next on this. In the meantime, I do like all of these layers, so I'm going to squeeze them together and they're still on top of that base layer. So if I wanted to lower the opacity down, I could if I wanted to reveal all the craziness. But I don't I want to start what I'm after. I'm, I'm after bringing peace and crazy to my craziness. So I'm getting there, just not there yet. So when I come back, we will continue on and we will make more marks, add more color, blend things. Maybe add a little more texture, and just keep going until it feels done. Right now, it's not there, but it will be. So join me in the next video. 6. Finishing Painting 1: Okay. Now that I've took a little break and came back and looked at it. I'm actually kinda liking it. I do feel that area of rest up here needs a little texture, but it doesn't need to be very strong. So I'm going to pick one of the blues, it's there. I'm going to do this on a new layer. And I'm going to go back to the canvas brush. I'm going to try this. I'm going to try and they might not be dark enough. I don't think it's dark enough to go a little darker. I'm going to try to bring in just some slight canvas texture up there to darken that down a little bit. Just very slight, gives a little bit of interesting color. And I may bring some of that down here. Down here on the cream area. And then let's see where else I might want that. One thing that's bugging me is this. I've got two of the darker colors here with this lighter color, I think the lighter color needs to be spread out a little bit more over those darker colors. They're kind of standing out like two blotches. And don't really like that. I don't want it to be too busy. Um, let's just try bringing the canvas texture in there a little bit into those colors. What about the textural brush? My favorite one, which is number one. What if I grab that and drag it slightly over those areas? That looks a little better than I have this one here that oh, that's a nice little mark there, textural mark. And maybe over here, which kinda dragging it around slightly and maybe blend it in. Where I did that just a little bit. I try to zoom out and look at it. I feel like there needs to be some energy coming from my little focal point there down this direction. So how can I do that? Maybe with some of this cream. And let's go to the finishing stamps. I have a couple of splatter brushes that may be able to help with that. Well, that's interesting. Maybe a little big. So undo it and she tapped some of it in there. Let's go to the second one and tap some of that in there. These on their new layer. Not really. So let's do that. Set up a new layer. Because he, I liked that, that mark that this is making but I don't like the direction is going. So by it's, it's on its own layer. I can turn it and direct it. And I can also resize it. The direction I want to go. See how that looks. That's kinda cool. Let's do another little layer and go to, um, let's go to, what about these texture brushes and drag one of those over in. They're bringing a little texture on top of that. Give it some variation. In some different spots. I feel like the area of rest up here's two restful but might be able to fix that. I'm happy with this. I'm squeezing those together. I'm going to add a new layer. And I'm gonna go a little lighter with the cream, almost a white. I'm going to go down to the finishing stamps and pick. One of them was the big number 11. Now these will stamp in a square like that. And it's smaller than my canvas size. It's on its own layer though. I can rotate it 45 degrees and I can re-size it. Then. If you click free form, you can resize it exactly the size of the painting. Now that's kinda interesting those marks, but it's, it's too light. So let's try some layer mode play here on that. Which is what I do with these a lot is I'll play with the layer modes. Oh, look what lightened did. I liked that it put those nice streaky marks across there. Of course they're a little strong, but back to a blending brush. And let me go with the scatter paint and just kind of go over it Some. So it's not quite so strong. In certain spots where I feel it's a little strong. Why do like what the lightened mode did? Zoom out. Okay, that might, that might actually work. Let me put another new layer on top. And let's go grab the blue color. Let's check another one of these stamps here. How about this one stamp eight. Stamp that on there, of course that's way too dark. It's still selected on free form or I can drag it out. It's way too dark and way too much. Let's play with layer modes. Multiply, darken the whole thing. I'm just going to drag through the layers, the different modes, and see if anything looks interesting. Overlay soft light. I always love soft light. It's one of my favorites. Soft light. Let's take a look at that and I'll turn it off and on. It gives a nice blue tone to the whole painting. So let's zoom out off on. I kinda liked that it's a little strong. So if I reduce the opacity and just kind of slide it around, let me zoom in so you could see it better. See this is with no layer on top. And then as I pull it you can see I get bluer and bluer. But I don't want it to go too far to blue. So maybe around 3835% percent off on. I like the hue that has given that. I'm not really getting the marks out of it. But let's do another one. Let's go with the dark. And I don't even know what that's a mixed color right there. Let's just see what it does. And of course, this is probably going to be way too dark. And once again, grab it and move it and resize it. And then play with opacity, play with layer modes. That's kind of an interesting look nitpick. Now let me tell you if you ever get to something that looks interesting that you might want to save, right then go ahead and click Share and save it. So you'll have that image later. That looks very interesting to me. That right there. Okay, Let's go through the layers and look at it. Now, what is lightened do with that? Didn't really do anything. That's what I thought. Screen color dodge really brightens things. And a lighter color. Overlay is too strong. Soft light is it's still too dark. It's making it darker than I want it to be. But boy, that's giving me some interesting looks. I do like the one I saved. Difference. Just really darkens it. See what I'm talking about. This saw play and just working from your expressive side. Like the way it changed that color hue. All right. I did like the one I saved, but I don t think it's going to work for this painting I'm doing so I'm going to take that back off. And that is why we do new layers. So let's see here. Let me go ahead and blend these because I like those that blend to light. Oh, I I ended it and I'm trying to squeeze these together. It's changed it. Say as soon as I squeaked, watch this painting when I squeeze those layers together. And this, you know, because they're on different layer modes. And it changes the look of it. Watch. It actually brought in some white streaky marked down here at the bottom. Which is kinda interesting. And I like it, so I'm gonna keep it. But that's something to be aware of when you squeeze those layers together, make sure it doesn't change the look of your whole painting to a look that you don't want. What if I blend with the streaky oil in it mainly added this white line right here. And just blend some of this around. Mess it up a little bit. Now let's add, just get the cream color. Add a new layer and I want to add some more of my dots right in here. I really liked the dots and then I think I'll add some over here to the right as well. Worst my streaks. I like them to go smaller. And as some of those here, this is turning into quite the interesting painting is still, has my scattered, as I described it. Look, but I'm getting more toward the peaceful feeling from it. It's turning into a very interesting abstract. Alright, let's see. Let me go get my light blue out of that. And let's see about adding a drip more. Do I have a drip? I have a drips on the right. What if I add some on the left now? That's going to make that side too busy. What if I add some right over top on the right? I kinda like that and it's on its own layer. So I can stretch them out, extend them out, move them around, move it over. She could see lower the opacity. We're just brings a little bit of mixture of color in there. That's interesting. Let's add another new layer. And we look at these textural brushes again to see if I want to bring some of this texture. That's two huge of a brush back off and do that again with those smaller. Brings a little texture in there. What if I'm bringing a little texture in with some white me? Don t know that I liked that blue layer I did. Instead of taking it off, I'm just going to clear the blue layer. Let's, let's try bringing some in with the white. I don't like that brush for this. Let's try number one. Number one textural one has the heaviest texture. Of course, if you press too hard, it's gonna do it too much. I just want a little hint like that. To give that race to paint. Look. Let me make that a little smaller. Try to come out from this area right here with some of that heavy paint. Look. There we go. I like that. Let's add another new layer. And what I wanna do now, what if, what if, what do I want to do? How about the thin pencil? And make some, I want the eye to flow from here to here. So how about if we make some interesting little marks? They're bringing some marks down here. I'm just scribbling. And then I can always lower the opacity of that. Which I kinda like. It's, it's brought a little flow in there. I like to zoom out so I could see it. See it when it's up too high on capacity, it's too much. So I'm thinking maybe around 66. Kinda liking the way this is looking. Let's add another new layer. Let's see if any pastel marks will look right in here. When we go to big size that now we'll notice in most of this painting I have been zoomed out when I'm doing it. Instead of zoomed in real super close. Because I'm not painting detail work. I'm painting from my feelings, from how I want to feel. I'm trying to just be expressive. And I don't know if I like that. I'm just trying to move things around, brushes around and be expressive. No, I don't want to cover up my dots saying if this pastel mark will work somewhere else, maybe the cream. Bring some of the cream over here. There we go. Maybe over here too. Let's look in pretty fun. I, and at this point I always start thinking about a title. I'm thinking peace among the chaos or something like that. I mean, that probably sounds real corny. Alright, I'm like all of these, I'm blending all of those. Now I still have the bottom layer available. If I would like to. Oops. I don't obviously don't want to lower the opacity, but if I'd like to scrape something back off or even stamped something back off, I could do. I'm going to duplicate this layer. And notice it just made everything stronger. When I did that off on the duplicate layer on made everything stronger. What if I duplicate it again? What if? What if I duplicate it again? Lots of what if something, it's dark, as dark as it's gonna go. That's too many duplicates. But notice it did make things stronger. I only did that because I wanted to do a little masking on here to see if I wanted to reveal anything from underneath. And I want to do it on this duplicate layer here. I'm going to click it and click Mask and get a brush. What happens if I just do a stamp, random stamp in here? Is it revealing, oh, I'm on white, I gotta be on black. Gotta be on black to do a mask, folks. White brings it back. There we go. That would reveal some of the stuff underneath if I wanted it to. It's a little strong though. So not real tickled with that. One. If I just did a little scatter in their smaller scatter to reveal some of it. So then you can turn the mask off and on. No, I don't think I want to reveal that there. I'm going to clear the mask. All right. Do I want to reveal anything anywhere else? So the best way to figure this out is to look at what's under here and see if there's anything I want to reveal. The only thing that I might want to reveal, it would be this little section right there. Were there's that texture. And I don't know if that'll even work. It's in here somewhere. Right there. No, don't like that. I like my blues over top of the browns. The browns or grounding it underneath it. I do like the duplicate. I'm going to delete the mask. I do like the duplicate layer effect though, how it really pumped things up when I had both layers on. I'm going to zoom out, turn the duplicate off and on. Now. I'm keeping it the original way. Let's add another new layer though, because I might want to add something on top. And let's do among the cream color, go a little bit lighter. Let's check these stamps down at the bottom. Know if I've used number ten yet. I like to play with them all. See what I can get. Like I said, if you get something you like, save it. All right, There's multiply. The darker layer modes are. Making things too dark. I gave a creamy texture to the whole thing. Soft lights to light, and it's the color that's probably wrong. And if the color is wrong, you all you have to do is go up here to the Adjustments button and click on saturation and layer. Reduce the saturation of the layer. And then you can play with layer modes without the color you're stamped it with. Overlay is kinda interesting. I don't know if it's interesting enough to save. Let me look at it. Off on, zoom out. Now. Don't like it. I do like what I've created here though. Yes, I do like that. There's only one thing I might want to try doing and that is bringing an overall texture into the piece. So I'm giving you this texture. I'm going to insert the photo as soon as I find it. There's that one I saved. By the way. I've got to find the texture. There it is. Right there. That's got some really good heavy paint texture. I'm going to scan through here and I'd like to do multiply At about 30 or 40% range, duplicate it. And then do soft light. And then zoom in and see if the multiplier may need to be darker to make. Here it is showing up right here. You see that paint texture. Okay, multiply 100%. Yeah, that paint texture showing up good. Now, is that real thick paint texture? I liked that. But is it changing my color too much for him off and back on? I think it's changing my color too much. This darkening it too much. And I do have enough texture in the piece already. So I'm not even going to use that, but you have it in the resources in case you want to use it on your piece. If you have more, not as busy, not as much busy-ness and texture involved in the painting is as I've done here, you might want to add that on top in multiply and soft light to see how that goes. This looks really cool At this point. I'm I'm really liking this. And I think that I think I want to sign it. And when I sign it, always, usually do that in the bottom corner and I zoom in real big so things might not look right. And I'll either use the pencil or the rough pencil. I guess I had the pencil setup really big. I just pick a color that's in the painting and sign it with that. It's on its own layer. So if my signature is too big, all I have to do is grab it, resize it down, move it around where I want it. I also like to blend my signature a little bit. Wonder if I could blend it with the streaky oil. Just to mess it up a little so it doesn't look so structured. Now. I don't like what the streaky oil did. So I'm going to undo that. That backward goes. What I might do is just paint a little line with that streaky oil brush, sort of underneath there. And maybe even right along the edge of it. So now I'm painting my signature. See I'm dressing it up. There. I like it. I'm calling it done. So what do you think? Squeeze those two layers together. I can squeeze all of it together now. Now it's time to save it. So I've saved it. So let's go to my photos here. Take a look. There's that other one I saved, which turned out kinda interesting. I can do something with that at some point. And there's the new painting. They look totally different because I say this in process. Yeah, I'm happy with it. I think that's gonna do it for this painting. So I encourage you guys to have fun with all of this. And just just do like I didn't sit there and just paint. Pick your colors, paint your marks. Make a mess. Make a huge mess. Pick your colors and just start layering layer after layer after layer until you get to something that you like. I'm sure you will, because it, it'd be coming from within you. And that's the most important part with expressive abstract painting is that it comes from within you and it's, it's not about pleasing somebody else because the public is fickle. I mean, they can say, oh, I want painting in these colors and you do them in the exact colors, in the exact way. And they say, I don't like it. It works much better when you paint for yourself. And you paint what you feel and what feels good to you at the time, what you want to paint, what colors you want to use. It will always work better if you're paying for yourself. And you'll feel you'll feel more satisfied. I'm not saying it won't work if you're painting for a client, but it will. But you'll feel more satisfied because it's a true expression of who you are and that's what expressive abstract painting is all about. And procreate gives us a wonderful avenue to do that digitally. And what you can. If you have a real paint Studio, like I do a lot of times I will do something in Procreate, not sure of the colors, how they're going to work together of if I can get a certain look that I want. But I'll do it in here and then I'll try to redo it with my paint in my studio and see what comes about from that. And a lot of times too, I just don't feel like getting down in the studio. I don't feel like getting my hands dirty that day. I have too many other obligations. I have to be on the road. I have to be sitting in a waiting room somewhere or something. I can take my iPad with me and do art anywhere. So procreate has opened up that opportunity for us to do so. And you can create fine art in Procreate. It doesn't have to be digital looking by using brushes like this that have texture from actual painted pieces. It really helps to get that fine art look to your finished Procreate abstract paintings. So I hope you guys have enjoyed this and maybe learned a little bit. Um, I didn't really know how it's gonna go about this class because it's hard to teach. It's hard for me to teach you how to paint what you feel and what, what you know. You can't just say put a mark here, put a mark there. It doesn't work that way. With these paintings. They're just a full expression of yourself. So just let loose with these brushes. Don't be confined to these brushes either. Use any brushes you got that you like uses other stamp brushes, use other paintbrushes. I will do that often if I'm unsatisfied and I'm drifting along and I'm not quite sure what I wanna do next. I'll just go to my brush list and start scanning to other brushes I've made or other brushes I've bought from other people and integrate marks from other brushes into the painting and sometimes that will do it. That will be what just that little thing that it needed was a switch. So don't feel tied to this brush set. I just thought you needed a good overall set to start with, and you can definitely do that with these. So I hope you've enjoyed the class and watching me create this abstract piece and maybe picked up on a couple of things. And that you will have fun making your own abstract paintings. I can't wait to see what you create. Thanks for watching. And you have a great day. 7. Begin Painting 2: Okay, I'm ready to start another painting. And this is early in the morning. I'm still sleepy, but I have some things on my mind and I just feel like painting would be a great way to start the day and helped me get grounded. So I'm going to start with already got my six thousand six thousand Canvas open. I'm going to start with picking. I'm really wanting to go more toward that. Indigo. They're really super dark blue. I just need to get something on the Canvas before I start making some marks. So I'm just going to take my canvas brush and this color and get something on here with some beginning Canvas marks, blending. Just to get some color going. On the base. I'm drawn toward indigo this morning because I really need some inner calmness. I need some power to deal with some situations that are really out of my control, but I need some knowledge and power to help deal with them. Alright, there's some canvas marks and then I'm gonna do a new layer this time, unlike the last time or I accidentally forgotten, I'm going to start building the canvas with some of the stamp marks and just tap them around different places. These are gonna be blended, so I'm not really concerned about using the same mark. Let's get this big one right here. I like this one a lot. So my favorite ones in this group. Then this one too, because it's got some really good heavy canvas. Alright, that's enough of that. Now I'm ready to blend a little. Normally I'd use my blending brush, but I want to see what happens if I use this one. Maybe a little too much. I don't know. I kind of liked that real watery. Look. There's some good marks that just appeared right there. I'll just start this and just keep building. Until like blend in with this brush. It's kind of a cool brush to blend with. Let me put some more stamps on there. Like I said, it doesn't matter if I'm using the same one because they're gonna be blended, I'm going for the really, really dark background. And this one, the other one I worked from excuse me, from light to dark. This one I feel like working in different way. Let's try this one. See what happens. Blending with its got some really nice texture in that brush. Get some color down. Dark, rich, indigo. Alright, now I'm ready to make some marks. I like my base canvas, so I'm going to squeeze these two layers together. Keep that in place. Now remember what I said. If you like something, you can save it. And I really liked the way this looks. I might want to use this as a beginning for another painting. So I'm gonna go ahead and save this image out right now. Well, I have it. Alright. Now I'm ready to add a new layer and make some marks. And I want to go with them lighter color. I'm thinking about just going with one of these oil brushes to do some mark-making. What about sort of a gray? See what that looks like? I'm just laying my pen. Flow. Alright, let's do the streaky oil like this on to add some interests on the go, big as I can with that. That's a cool. Brush. Maybe you didn't go a little bit lighter. Any course you can mark make with any of these. I'm thinking I liked my little streaky lines there. I'll put some of them in here. Like so. Just to break things up and then I'll blend, whoops, that's too big. Blend some of that. Give it a more watery look. I think I like to bring some of the indigo mark back in with one of these trips. He can't really see it there. But I'll leave it. There we go. There's no reason you can't bring drips in in the beginning if that's what you want or splatters like that. And then I'll lend some of that. Just gives depth to it. Worse. Scatter paint and blend. Let's see what see if I can soften up some of this was blending with that kind of have a focal point going on with these marks I've made. Some may try to stick with that. I think I'm ready now to move passed the marks. And let me go ahead and squeeze those two together. Add a new layer. And I'm really drawn to the blues, like I said in the previous painting, I'm looking for some serenity and peace. And I'm thinking I like to bring some blue marks and on this more toward the turquoise side. How bright I want to go. But, um, about if I use one of these stamps early on, of course, that changes the whole look. I don't know about layer mode on that. Maybe a little too much early on. I liked that vivid light color, but I don't like it over the the white. I'm going to choose that color though if I can, while I'm in here, is going to roll it around until I find there. Let's select it. I'm not sure if it's selected it there it goes. How about that one? Okay. I'm going to clear that layer back out and put it back on normal is I don't want to use that that early, but I do want some get some blue in here. And I think I might go right back to the stamps and add a stamp or two in here. And then blend some of this. Let us go with the blending brush since I find it. Well. How can I lose my own brushes? Third is Among rough edge. It a little bigger blending brush and get some of these edges, blend it out in with the rest of it. I like that color. How about let's get a little lighter shade of it and go with the oil flat square. Let's see if I can work some of this in. And then blend. Lot of putting paint down and blending and I really like that color. What about the Old West soft oil brushes are so cool. Thinking I'd like on this bottom left corner. And the top right and the left. Bring it a little cream, which is along the lines of white piece and purity and relaxation and awareness and more towards the yellow side where I get a little happiness going on. Let's try. Let's try that bold texture one again, just see That's a little strong. Actually, I need to do this on a new layer. So I don't mess up what I've already done. Kind of scribble down here, get a little bit of it up here. Maybe a little too bright, but that's where the blending or come in, blend it out. And because it's on its own layer, It's not really messing up my blue. And all of that is still a little bright. Tone it down a little bit. Mainly need it a little smoother. Let's bring it more down toward the gray and get a little smoother paint in there. Maybe even some of this pastel texture. Still a little too bright. Tone it now, There we go. Now it's too light. Backup, altering colors quite a bit. If the layer is too bright, which I feel it is you can pull down the opacity. And just it, I'm thinking around 80%. I'm going to add another new layer at this point and keep going. What if I go toward the more turquoise side of that blue and put some marks in here. Blend those in, just get a different shade going in there. How about a stamp or to blend those? One of my blending with that. I liked that. I liked that color. Go a little darker with it. Getting back more toward the Indigo and do a few more stamps that's a little too green and bring it back toward the blue. There we go. A couple of stamps. Let's kinda interesting that little drip. It looks like a drip. So instead of a rough edge, if I go with the oil wet soft as a blender, there's sort of softly blend some of that end. I really liked to blend some of the edges of the stamp brushes because they kind of look to structured. I want them to look accidental. It's blending it in some, but I'm still not. Happy with it. The streaky all as a blender to small. Oh yeah, I like that and get some of that more oily look in there with it. Dragging it around. You can drag some of it out this way. Kinda interesting. Let me go back to the cream. Actually it picked a medium cream and put a little bit of a stamp in here around this area. Feel that needs to be tied in a little better. I don't know if that's streaky brush is the best choice for that blender, I want a little softer load. So how about if I blend with the canvas brush? Right there has got a Canvas texture anyway. Blend some of that out and put some of this color back in but with a different mark. What about the fan brush? And then get the turquoise color and do some of that too with that same brush. I'm just working from the heart here. And get some of that color up in here too. Just feeling what I want to feel. Dancing around this painting. I think I want to bring some indigo back. And maybe darken this section a little bit and find it. Grab the color. There we go. And do this real quick with some stamps. Right in this area. Now I want to blend that. And where is what happens with the oil flat round as a blender? I'm not sure about that one isn't blender. Right there anyway. What about with some of this texture? As a blender? There we go. That's suiting me better. Kind of spread that color out a little bit. Let's put a couple more of those dark stamps there. That's kinda nice like it is. Let me go with the rough edge one for this one. Oops. A little bit smaller. I'm just I'm not pressing very hard and very gently kinda mess up those edges some I don't know, I took away my little drip. They're kind of like the little drip. I don't wanna get some of this blue. And bring in the stamp mark. Get little, little texture in there like that. Me too much. Come back this way. Now I can blend some of that in. So those strips aren't too obvious. I really liked the way this is going. Okay, I'm going to take a break for a minute and then I'm going to take a look at it from a distance. So I come back in the room and see what I think it needs. I'll be back shortly. 8. Building Painting 2: Okay, in taking another look at this, I think the lighter areas are just too bright. Even though I've turned down the opacity. If I turned down the opacity much lower on that layer, it will definitely tone it down, but I liked some of it in there. I think what I'm gonna do is grab this little darker color right there on a new layer. And I'm going to somehow work some marks into these brighter areas. What about a stamp? Let's kinda interesting about this one. That's interesting. If I just take the scatter brush and try to blend out some of that stamp a little bit, tone it down. This bottom one looks pretty good. I don't want to blend that too much. So if you turn that off, you see that definitely tones it down. I think I need some more marks with those colors though. Let's just go with another new layer. Um, how about some textural one marks in here? Get a little texture in there. Over here at the top of this stamp, Morgan kinda went over my darker blue streak that I liked, but I can blend that. If you blend toward it, it will blend it back out a little bit. I think my dark mark has gotten a little bit too soft, so I'm going to put another one in there. I'll just do it right on this layer. Make the size smaller. And then blend that with the rough edge and darken that back a little bit for some reason that particular mark is kind of important to me at the moment. I might want to bring some of this blue next to it in with another mark. As too big. If the mark goes to the wrong way, I just keep tapping and undoing until I get it to look right now, you could do this on a new layer. Let's do that. That way I can turn it the way I want because I know which way I want it. And then flip it there. Then I can blend that in there. For some reason. That little dark drip as appealing to me. I do feel I've toned down the lighter areas. Except for this bottom down here. Might need to put a little bit right there. And I've got a lot of layers going on. I'm going to add another one. And what if I just paint with the streaky oil right there in this area, just over top of that. Varying the size, basically making some marks and then blend some of that end. There we go. I'll think I'm ready to put some Indigo marks back in here. I'm going to go that really dark. Indigo. And I'm, I'm liking all of this. I'm going to squeeze all these together. So I one solid layer and make a new layer for these marks. And let me go to my rough pencil and just kinda scribble around here and there. It's real loosely holding my pencil toward the back. So it's not quite so strong. And then blend nice. And I'm still on the rough edge paint blend. I use that mostly for most of my blending. You can just tap over the marks and it will work them in. I'm not sure about that one. I need to go with a little finer line on some marks. So I'll just go with the other pencil and do my non-dominant hand on this one. It's kinda like a few marks on there. Those marks look pretty fun. And I got with the rough edge paint and blend smaller just to kinda gently move over those two. Work them in. I don't want to obliterate them, but I want them to look, worked in a little better. And then maybe do some more of those marks. I'm sweeping, marched in blend. Like in that liking that a lot. Fine line marks are really cool. I could even grab a different color nearby and add in some marks for that color around that color. Just kinda move in the pan around and blend some of it. What about the pastel texture? Can I work this in somewhere? And then blend that? I'll know if I like the pastel texture right there. Maybe I'll put it somewhere else. How about up here at the top? Tone down that lighter area a little bit. Maybe bring it a little bit down there. No rhyme or reason here. I'm just blending and putting March down and blending and putting marched down and blending. Now I feel like my area with my blue mark here and the light mark on top of it. I think it needs some of this blue brought over that light mark to tie it in a little better. So I'm going to go to just go with the canvas brush with that color. That's too big. And just paint some canvas texture in there over top of that. Kind of work it around. And then blend. Just tone it down a little bit. Maybe with that same color extend out into the lighter blue area with some kind of mark. About the bold texture. I lower the opacity on that. There we go. Work some of that in there. Then the indigo grab some of that and work some of that in there, the same brush and work it down. And get my blender brush a little bigger. Just tapping it in there to introduce some texture right there. I still feel like over the blue mark down here, I need some more blue. So I'm thinking a splatter new layer. And go down to one of these stamps and do a splatter, but not that big. Not that being either like that. And then blend it. Maybe even do another splatter. Blend it. It'll just work some of that color in there. I think I'm ready to introduce a new color. I think I'm going to try to get the gold. That's what I'm feel. Right now. I need some illumination, wisdom, curing. We need curing here. Some luck. Need a little bit of luck. I'm going to merge these layers all together, add another new layer and I'm going to go find some gold. Gold. You would think, might think gold is way over here to the right, and that's a very bright gold. And I'm thinking more of a tone down version. If I don't like it, I'll try it. Try something else. Just trying to pick the best I can. I just needed a good strong mark right there. And it's on a new layer. So I'm just going to stamp this and its largest size and it, because it's on its own layer. Now I can remove this, turn it, reshape it, turn it to free form. So let's say I want it skinnier and I want to turn it. And I want to flip it and move it. Move it over. It's a little gold in there. And then I'm going to blend it. Of course. I'm just going to try to blend it. I'm going to try to pull the blue torn to golden blended in. It's kind of interesting, but I want another Goldmark, I think so I'm gonna do another layer. And the stamp. I really like, I like that. I just accidentally touched that there and went off the edge. That's kinda cool. I don't even think I want to blend that. I do think I need a little bit lighter shade of it in the middle of that. I'm going to scoot the color up a little and pick, pick a brush about this bulb texture brush. Just paint over some of that with a little lighter shade. I might even go lighter. There. We got to get a little illumination going on there. And just play with that color gold. That particular brush. Working over into the middle a little bit. And then blend it. Let me merge these two together. Now when I blend the edges, I'm getting all of it blended. Even blend some of that up a little bit right there. Now see gold is pretty strong, as you can see, that's a pretty strong mark there. I might want to turn this back down, bring a little indigo in, back in. Let's do a new layer. And let's see what about the textural brush right here. It's a little strong. Go more toward the gray side. No, two purple. Try this, grab a color. Still pretty strong, but I'm on a new layer. So I can reduce the opacity. Flip it, flip board I just painted. Rotate it. Rotate that mark, stretch it out. Bring it around. Like so. When you move it around, you can see it makes a whole different look. I kinda like it right there. I need to bring some of this blue back over in here too, I think so. New layer. What about that bold texture one again, some of that down. And then dark indigo again. And this time I want to go with drip stamp. I don't want to do it on a new layer. And if you've used the stamp before and you don't want it to look the same. This is when you adjust, adjusted, flip it around, squish it down, stretch it out. Let's do that's too big. And then of course, one did London in working in around the edges. I think I want to bring back some more of the gold that I covered up. Now, I have the gold down here. I could simply duplicate this layer, which makes it stronger and pull that layer up on top. And just opacity a little bit. Play with that. Or because it's on its own layer. I can re-size it, work it in, move it around with my fingers. Make it really big or really small. I kinda like that. But it's going to have a hard edge right there on the edge. So I'm going to it need a blender that big, softly blend some of that out. Let around the edges of it. That works some of it in. Be fun, I think to make some little gold marks. See if I can get a pastel. Small pastel. There. It's on a new layer. Some work, some of that in. I worked most of it away. Maybe I didn't like that size brush. Let's try the rough pencil. And then let's try the fine line. Then blend some of that. Okay, I like that. Just adds a little special touch to it there. Almost kinda looks like a landscape. I didn't intend that. I think I want to get another new layer, go in and get the dark indigo again and go to my where is it? Streaky all. Pretty large size. And up here at this top, I'm going to just put my pen there and Dre make some streaky marks. Then blend some of that end. I like those streaky marks. What about getting this blue? And doing the same repeating the same thing, same kind of movement down here on the bottom. And blending it. Maybe with a bigger brush. London, some of that in. I think I kinda lost some of it brings some back in there. Glenn. Like this top one might be a little too strong right there. So I'm going to blend it a little bit. I might need a little shading variation in this blue. Another new layer. And let me paint with all flat wet in there and just, well, maybe go lighter while I was after shading variation. And where else isn't even right there. Now I'm going to blend this in. Let's do M's if we bombed and the streaky oil right there. A little too strong of a blend. But then if we go with the oil wet soft, which is really good for softly blending in things. It's got a nice little canvas texture. Work it in. I think I want some of this color and blend that as well. Alright, let me get back to the lighter color and go with my pastel texture. That's pretty cool. Bring some of that texture in there in this brush as you press on it, it gets bigger. We got too much shading variations. So I'm gonna go back with a darker color and go over some of that. And maybe even this darker blue and mark over some of that. Because I brightened it too much. Now, I'm really liking this now. I still fill in and pull some of that darker blue cross though where I just made that lighter. And I, I love the streaky all for doing this because it's nice, cool, streaky lines. I'm just going to put it in here and gently drag some of it. And then I'm still using the flat west soft to blend, but I blend it a little too much with a big brush Selma. Tone that down and get some different shades of blue in that one area. Now, need a little texture though. Go with that blue and my textural brush. And just pull. We put that on a new layer. Probably at my maximum layers. Pull some of that over there. Maybe reduce the opacity. Pull some of that over there. Pull it over here too. In this area. Let me get it a little darker blue and pull some of that. A little bigger. Might be too much. Let's kinda cool. Wholesome down here on this bottom corner to then get this lighter brown, cream. Same brush and pull some of that. I'm just gently putting this on the canvas and pulling with this brush. Whoops, see that was too strong. And do that. You gotta be gentle with this brush and you may have to do it several times, but look at that really cool texture. It brings in. Now somehow I've ended up with this blue across the gold. I'm going to see if I can find where I've done that add or maybe from the gold layer. Yeah. The goal layers under okay. Let me I don't know if I can duplicate this. I maybe out a letter. Yeah, I'm out of layers. So I'm going to squeeze the bottom five layers together. Then I can duplicate this gold and bring it back on top. Maybe turn down the opacity, or just leave it there. As he has, let's say, I want to zoom out. Okay, I kind of like it as is, is definitely stronger. Maybe about 80%. Now I think what I wanna do is I want to put a little bright white light in the middle of that gold, some kind of bright mark that matches this brighter green color. I don't know how bright I need to go. I'm just going to pull color from painting. So it ties in, well, it's on its own layer. I'm going to make some kind of mark, probably some kind of stamp mark. Let's try this one. I don't think that's bright enough. We're gonna have to go brighter and more towards the yellow side. Okay, that's on its own layer. So I do like the mark, I'm going to stretch it out, turn it the way I want it, and move it where I want it. And then blend it in. Go back to the blending brush and rough edge. Make sure it's small enough. Softly blend in those edges right there. When you blend it, it changes the look of the mark and makes it look like a totally different more than it was. I liked that, but it's a little strong. So let me scoot it overseeing see tone down the opacity of it. I think I want to underneath it at a couple of little pencil marks. I'm going to put a new layer underneath it with that same color. Go to the really fine line pencil and just scribble a little bit in there. Let's do the scatter paint and blend right here. I don't know why I had just thought it would be fun to use a different blender. It makes alteration in things. A little more pence off here. I liked that, but I think the lighter color nice to come out more to the left under that one. So I'm gonna get under the pencil layer, add another new layer and do a different stamp. Or maybe do some rough pencil right there. Let's try that. Blend it in. Really big blending brush. I still think I need a little stronger mark, but I think I could go a little bit darker on town. Charcoals just too strong. Me get this stamp. I like this one. Too big, but it's underneath the other. I think. Yeah. The size down. Got it too dark. There we go. Two stamps, one little darker and a little lighter. Let's go back to the rough edge. Paint and blend. Whoops, too big. Soften those edges a little bit to blend that in. I like that. I think I still need a little pencil marking in there some more. So which layer did I do that pencil line? Well, this 19. Go back to layer nine. Pencil. Sketch a rough pencil, but make it a little smaller. Loosely. Scribble in a little bit of March there. And same blending brush. Blend that in a little. And maybe then take a little bit of the gold color like that. Wait, I don't think I got the right color. I wanted like that. And I'm going to squeeze all of these together. Well, I don't know what I did. I squeezed part of them but not all. Squeezed them all. Now, add a new layer. And I'm going to bring in a stamp brush from down here, right over top of the lighter area because it's on its own layer. I can turn it around, resize it, put it where I want to put it there. I like that. And then blend out some of those little marks right in the middle. Oh yeah, I like that. Alright. I'm going to take a break. And once again, I'm going to come back and look at what else I want to do to this painting. 9. Finishing Painting 2: Okay. I'm back and I'm looking at this and this dark blue marked down here that I really like. I still feel like it's kinda just sitting out there in the middle of everything. And I think it needs to be tied in a little bit. So I'm going to choose this textural one brush. And I'm just going to get on top of that and slowly pull out, holding it down, but not pressing real hard to bring some of that texture over. And I'm doing this on a new layer and bring some of that over onto this other side. It gives it some fun texture too. And maybe even connected to this part on top a little bit. While I liked that, I had made this other little blue mark here. I think I'm going to take that and just kinda work those edges in that area. Pull some of that down, some of the cream up. Now I feel it's tied in a little better. So that's before and that's after. And if it's too much, you can click on it, click mask, it turns the paint to black. That's what you need to be on. Using another brush or the same brush. You can paint on there and pulse some of that color back. So if you turn the mask off, yeah, I like that. Then I think I'm going to add another new layer. And with the same dark blue color and the same my own the fan brush. Yeah. Just come in here and do a little. I know it doesn't look like it's doing anything, but it is still a fan brush marking in there. Where else can I bring this fan brush? And maybe here at the top left corner. Maybe here at the bottom. Like to bring the brush marks into other areas. I've used the fan brush here in the center. I like to bring him in somewhere else as well. A few other places just to have some consistency through the piece. Now I'm thinking, do I want to bring a lighter color like that and gray? Or let's do a cream. But go lighter. Go more cream. Don't want to bring any kind of big bold marks in as a texture. Brush. Just kinda dragging that around. I'm just playing now to see if I kinda like that. Bring it down this way. Alright, let me get the balloon and bring some of that on up. In this area with this same textural brush, just very lightly touching. And of course this is on its own layer so I can zoom out. I like what it did and so I think I'm going to leave it, but I do think this top piece right here needs a little blending. So we'll just go right there and blend that back down a little bit too strong. Remember there needs to be a couple of areas of some area of rest that I focal point is right here where the gold is. Then I want this upper corner to be sort of arresting corner as you get away from the gold. I really loved the colors in this piece. I have not worked with indigo in a long time. I think. I'll just keep going like this until I'm done. I'm going to pick that darker indigo. I think I'm going to bring some splatter marks right in through here with one of these stamps. Sure, which stamp? Or maybe even some of my dots. I love. Oh, that's cool. I like my dots. And then maybe make a smaller version of the dots. Them. A couple of other places. There are put some down in the bottom right corner. And then I can blend some of that in. These over here on the left. Blend those in. Yeah, I really liked my dots. Gosh, I didn't think this would turn out this good, but this is the way I think it's good. You may hate it. This is what I feel right now. And I kinda like the way it's turned out as I built it. Let me squeeze all these together. Let's try to put a texture on top and just see what it looks like. So I'm going to go to that texture I've given you. I didn't use it in the last painting. Just see if it'll do anything in this painting that will benefit things. Play with a different layer modes. Usually like multiply. And soft light is multiply, making it super dark. But if I duplicate that, I really liked that dark look. Then put it on overlay. About 50%. So the multiply layers, a 100% overlay is 50. If you turn them off, turn them on. Overlay, maybe need to tone down a little. I'm getting away from my original color, but you can see when I did that, I really got some good real paint. Thick texture in there. Not just zoom out and click them off. Look at it and click them on. Still feel overlays to bright. Tone it down. Alright, click them off on. Am I like that? Maybe bring that overlay down just a little bit more. Off on like that. And it's got some of that good thick paint texture in there that I really like. Okay, I am going to use this overlay in this one because I liked the thick paint effect, it's showing up there. So sometimes that works to put that on top. Sometimes it doesn't it didn't for me in the last one. It is for me in this one. So squeeze all those together. And I think I'm ready to sign this one. This turned out really neat. I'm going to grab a lighter color here. Just kinda move this around until it gets only color I want. I still don't think it's light enough. Let me try this color, the cream color, and it may be too bright. How about if I just grab a color from down here? Because this is where I normally sign it. How about that one? And it'll blend in real while. So put a new layer on top. And I usually signed with a thin pencil. I can you can sign with the rough pencil. It's a little bit rougher. I'm not sure I'm liking it. It's not really that one doesn't. When you first start the stroke, it doesn't go down as strong as this one does. So I'm gonna go back to thin pencil, sign it. Then. I could actually go to the rough pencil loops, use it as a blender. I have it as a blender, yeah. Sort of blend along this bottom edge. The signature to rough it up a little bit. I tried that in the last painting and I didn't like it. I did a little too much. What about the pastel texture as a blender? When you don't have to blend the signature, It's just like to work it in if I can. It's so small. All right. I'm gonna quit messing with that. I'm just going to make the signature smaller or go down in that bottom corner like that. And you see when you zoom out, you hardly see it, but when it's printed big, somebody will say it. I think. I think I might be done with this. Maybe let's put another new layer on. Just try something here. Let me get this blue. Get that rough pencil. And just kinda make a few marks down there and up here at the top. And then go to my regular blending brush, the rough edge paint and blend. And kinda just go over that there. And then down here. I mean, this is just a little bitty extra things. You get a few more marks in there. I don't want to really mess with that upper corner too much. So these are very, very subtle. Just to add a little more interests with some marks in there. If you turn it off and just see what is done there. And you can lower opacity, which I might do. Just to give a little hint, maybe about halfway 50%. I mean, that's not a necessity. None of this is a necessity. It's just I'm doing what I feel. And I just know when it's done. And right now I think it's done. So I'm going to save this one out. Save. And then remember, we had we had that from the first painting that I saved out. That's a nice texture that can be used. You could bring that into a future painting. Let's kinda created some night nice marks, they're lighter color. Let me scoot out and turn it off and on. Did not intend on doing this. Now it's taken away my blue too much. But you can flip these. Flip them, stretch them out. Like so re-form. Stretch it out. If you'd like a mark, you can kind of move it around. So that's another texture used on top, right there. And just opacity a little bit. That's why I save out something that looks good. Because it can be useful in another painting. And you could even start a painting with one of these that I saved out, like the dark indigo color that I originally started with. In fact, I, you see now how far he strayed from that color toward the lighter blues. So I think I'm going to stop right there with this painting and call this one done. And as always, I thank you for hanging out with me and I hope you found something useful out of this. I'm going to blend these together. And I'm gonna save this out. Because I can't remember if I saved it out already. There we go. And I'm going to stop right there with this painting. As always, thanks for watching. You guys have a great day. 10. Make Stamp Brushes Easily: Okay. I'm back yet again because I thought it was something else I wanted to show you guys. I've started working on another painting. And here's my layers. And I'm just going to turn everything off. So I'm kinda go over what I did on the base layer. I painted with the Procreate damp brush because I don't really know that brush very well. It's kinda cool. And I thought I need to experiment with it and that's a good way to learn your brushes is to paint a base layer with a brush that you've never used before. Just don't have a lot of experience with and just see how it works as a painter and a blender. So that's what I did. And then I just started adding some of my paint stamps on top and some of my mark-making and came up with this mess. And then I did another layer on top with some stamp brushes and work them in by blending the edges to get this dark blue area. And then I did another layer on top of that where I added some more light to the left side with some stamp brushes again and blending them in and also the textural one brush. I was using that quite a bit. And then I use another brush here, the painting well shoot the scatter pain blend. I did a big did it in full size here and just stamped it down a couple of times. And it made those wonderful little marks right in there. And then I used one of the full stamps on the bottom. I think it's number nine that I used and I stamped it in black and I put the layer mode on soft light at 56%. And that just darken things down a little. And you can see it added some streaking marks in the dark blue area. And I really liked that, so I decided I wanted to keep that. And then I did another layer where I put some of the drip stamps, two of them side-by-side down here at the bottom of that dark blue area. And now I'm on an another layer and I'm, I really don't want to do too much in overwork this piece, but I just have an idea for a splash of red in here. Stamp brushes that I have here. The acrylic stamps. I don t know. I just I wanted something different. So I found another paint mark and I wanted to show you guys how you can make a stamp brush based off of one of my stamp brushes. So what I'm gonna do is turn off all of these so they won't be distracting. And I have black selected. Not that that matters at the moment. What I need to do is bring in my picture of mark, which is this mark right here. And that's a pretty cool thick paint mark. And it's already in black and white because after the photo was taken, a shot I mean, I I can I desaturated it, converted it to black and white, but it doesn't matter in Procreate, it will convert it. What I do want to do is make this a really good size. So I'm going to just squeeze this out. And I also want to turn it because I envision this mark going in my painting. But I need to have the brush mark there so I can paint it in red. So I've got it sized pretty big and I'm going to save that on this big 6 thousand by 6 thousand Canvas. I'm going to share JPEG and save image. Now it's saved. So now I can clear this layer. So now I'm gonna go to the first acrylic stamp, which is this one, this random stamp right there that makes that mark right there. Say, before I do anything this, I'm going to duplicate this. So just duplicate that and it gives it a number one after the name. You can always change the name later. But now that it's duplicated, I click on the duplicate and there's the mark. I want to go get my new mark that I just did. So I'm going to click on shape editor, import, import a photo, and click on the photo that I just saved, the image I just saved and hit Done. And it's there, but it's got a black box, which means when you paint it, it's going to have a black box. It's backwards. So just click, Edit and tap two fingers one time. And it changes it, it inverts it, save that. Now I have a paint marker. And of course it's painting very small though there, but that's okay. So now I have a new paint mark. And there it is. So I can turn all my layers back on. And since I have this new brush, I'm going, I want red. I want red in here. I'm envisioning a deep red right there. And I'm going to make sure I'm on the new brush, on the new layer. I'm just going to stamp it. And there it is. And it's It's not the direction I want to go. These'll stamp randomly, like so. Undo that. So just stamp it in whatever direction it stamps. If it's on a new layer, you can click that arrow and you can rotate it around and move it exactly where you want it. And squeeze it down to the size you want. I might even want it going off the edge a little bit or close to it. And then just click on the layers panel and there will be. So there I have this little splash of red there. Of course it looks like it's just floating there. So we need to blend that in a little bit. So I will go back to how about we try the textural one and just see how this will blend. And I'm just going to get on the edge and press down and kind of gently move this around. If you press too hard, It's going to drag is going to have too much color on these brushes. I don't press that heart and I'm just going to work, work in a little bit and mess up those edges with this textural brush. And I'm coming from the blue area into the red, like so. And then come back down from the top and did a little too hard. But that breaks even more texture in there. And I can even stretch this little out by positioning on the red and gently pulling. And then if I get too much, I can go back towards it instead of from it. That's what I'm after, more, something like that. And then even the end I can grab some of that. Kinda just work at. I'm just doing this very gently and very slowly. And it's creating some nice texture in there. But I want a little bit more control than that offers. So I'm going to go with the rough edge paint and blend. I don't wanna do it too big. I just want to mess up these edges a little bit to trim it up. More of the way I see it. In my mind, the way I'm feeling it and seeing it. I really liked this red. Then I may go back to the textural one and get on the dark blue area a little bigger and just sweep along that bottom side of that. That worked at paint mark right on in there. And I do think I want to do a little blue with the drip stamping in. So I'm gonna go to that stamp. Or let's say where is it? All the way at the bottom? Let's do this one. It's on its own layer. Need to make it a little smaller. I'm just tapping over the bottom edge of that. May need to go a little lighter on that color. Let's try this. No, that's too light. Okay. I kinda like that. Can even drop from the top and then I can blend in that edge of the drip. Mark. And I don't even know what brush I'm using. Their paint, rough edge paint and blend and blend in some of that. Okay, That's looking really interesting. Might want to make a little red marks. So I'm going to grab the red. And what about the stamp with the lines? That might be interesting, that's a little big. Let's put it right in here and do multiple lines and even alter the size of it a little. Well, that's kinda neat. Now, can I blend that and break that up a little? Let's try the textural two and see if it will break some of that up. And it's on its own layer or so. If I blended away, it's just going to reveal the part underneath that, that, that's kinda interesting. I'm just softly pulling this over those lines, but those lines are really neat in there. But I do think I want some red pencil marks in here somewhere. And I've still got it selected on red. So I'm gonna go to my rough pencil, but I want the pencil marks under the initial red streak. So I've pulled that layer down. So when I make those marks, they'll appear under here. A little freehand marks in there to give it a little excitement. Now let's blend with a rough edge and sort of blend that out a little on the tail end. And wherever it's too strong, mess up the marks, make the marks that mess them up. And maybe even, Let's try it. Let's do a pastel texture mark underneath here. Oh yeah, I like that. And it's under the initial red paint mark, so I don't like that. Undo that. And so it's appearing underneath it. That's pretty good. But now I think I've need to bring a little bit of blue over that. So I've got too many layers over here because I'm only allowed ten with my size and the iPad I have. So I'm going to squeeze all of these together. And then I'm going to make a new layer. And I've got the blue, the dark blue selected. And I'm going to find a brush. I could do another mark with this, but I don't want to use that market right now. I want to do maybe this mark. That's a little big. That's a little small. Course. I can always move it around. It's on its own layer. Move it with my two fingers and reshape it where I want it. I actually like how that has flowed down onto the bottom portion. It took a covered up a little bit too much of the red. So I can lower the opacity or I can mask on that and using, make sure it's on black. And let me try using the bold texture brush at about a medium opacity on this brush is very strong. And let's just sweep over this blue area. Maybe just make it a little smaller. Sweep over some of that. Me try a different brush and try the textural one is the masking brush and see what it does. It should bring me undo some of that. Attend to know the look I'm looking for and I think I like that one a little better. I might even go back to the red and on another new layer using the textural one brush. Just kinda sweep it. I thought I went back to red. There we go. That's too strong. Kind of dusted over there. Sweep and sweep it out to the sides a little bit. It gives a little bit of flex there. Now this top part here or it did that, I want to blend that in. The rough edge, should take care of that. Just real gently sweep across there. But I really liked those textural marks it put right there. Not sure if the reds too much. So maybe I will bring that new stamp back in there with a blue. Let's try new layer and go to that new stamp I made, which is this one. Put the blue there, turn it, squish, resize, turn. Let's turn it a totally different way. Use move it all around. Now. Okay, now let me go back to the textural one and use it as a blender. Blending brush and work. Some of that new stamp mark down, bring some texture in through their work in the edges of it. And he's taken away a lot of that stamp, but I can actually pull that color down and up. Maybe even get on this color and go to that textural. How about the fan brush? Let's just pull down with the fan brush right there. Okay, That kinda put that red back in there as if it's in the distance. Who I like that. And just use the fan brush and a couple other spots here and then blend those a little bit in. Okay, I may like that. I really loved the splash around. So, but basically in this video, I wanted to show you how to make that. How you can make your stamp brush from one of my other stamp brushes. So we use that to start with. Then we brought the new mark in. And you can do that with any paint mark you make. Just make it you know, it's better to make sure it's really black. And I mean, if you look at the original image here, you can see that the paint is really dark black and the background is really super white. If you have any little gray flex and things like that in your background that could convert over into your brush and you might not want those. So I tried to make sure the paint is super black and the background is super white. But you just make a paint mark and this is really thick. Paint is wet so it has a shine to it. But you just make a paint mark and take a picture of it and do what I just showed you how to do here as far as, you know, putting it on a big file, saving it out, positioning like you want and duplicating my brush and then inserting in under the Shape, your own brush mark that you've made and you can also make brush marks with the program. So let's say that. Let's just pick this random stamp. Let me squeeze all these layers together and turn them off. So I've got the random stamp here, Pixel a sash stamp this, a bunch of times like this. And of course I'm not, it's not black. It really needs to be. If you have color variation, that color variation will show up. But let's say like that pattern, you can actually save that out. And in fact, let's just, let's just do a little more to this and make a whole whole bunch of stuff here. Just tap a whole bunch of stuff you can use any brush you want. So let's use a canvas one. So there's a, there's a mark, it's a big mark. But you can save this out. Share JPEG, which will save it. Now this one does have some color variation in it, but it will change it to black and white. Let's turn that off. Make a new layer. Duplicate the random staff again. Click on it, Shape, Edit, Import, import, photo, and there's the new mark. There it is. Click Done. And say once again, it's the wrong direction, it needs to be inverted. So edit, tap with two fingers one time, one. There it is. Done. Now I have another new brush mark. And there it is. Now it's going to be a little smaller than your initial one. But notice the initial one has the blue in it. The new one does not. That blue has turned gray, but you do see that color variation in there. But there's another new marks. So let's say I wanted to make that mark in red. And it's randomly turning it as well, so it gives a different interesting mark. And the harder you press, let me back up and get that off there, the harder you press, the bigger the mark will be on this brush. If you press smaller, it gets a little smaller. Say it's just random. But you can make a whole, just tap on this and make a whole cool canvas out of that, change colors. You can use the same brush and do a little blending. So let's, we've tapped three colors down there and go to that texture, a one rush, which is a great one. Make it real big and just kinda grab on there in different spots, put it down and drag very gently down and drag, straying the colors around off of those stamps. And we have a new canvas work in here already. And then you can go back and say you want to get some turquoise in there. You can stamp some of that in there and blend that in. Stamping, blend, stamp and blend. You do this long enough. You'll you'll get a whole, a whole new canvas background. And when you do this and you have these Canvas backgrounds, remember what I said about saving them? Because that's another tip I wanted to give you. Let me delete these, add a new layer. There was one I saved. Back here. It was a couple I say, but here's one, this purple one, the indigo. Remember I saved that background. I thought that looked pretty cool. That can be the beginning of another painting. And if you don't like the purple or the color hue of it, you can change it by clicking this and move this around. And you can change to a totally different, totally different view. And you can also do color balance to change things up with the background. Of course, that's not really the colors on wanna do, but you just undo it if you don't like it. There's the original again and gradient map. I haven't tried that. I mean, there's all kinds of things you can do in here. But you can use your, your saved out beginning backgrounds for the beginning of the next painting if you want to. And I do that quite a bit. It just saves a little bit of time. If I'm ready to get right into the painting, it saves a little bit of time. But in the meantime, I'm going to sign this one with light if I can get it on there. Well, I'm worried about it. I'll just move it up. A light blue. And my pencil. And I'm going to sign that one, re-size my signature now and save this one. So there's another painting with a new stamp brush involved. And it's got that little bit of vibrant red that I really wanted in there. Okay, Well, I hope you picked up something good from this video on how you can go to town making stamp brushes. And that's exactly what I do. If you see Jay, Jay, Jay, Jay, Jay all down. These are all marks. Marks and things that I've made using Procreate, using painting in my studio, just all kinds of different marks that I made and I'll just duplicate one of my stamp brushes and input that new mark, like I showed you in this video and get a new brush. And I just love creating brushes. They're just so much fun, especially the ones from the real pain. Because they give your procreate paintings that really nice thick paint look because that's usually what I'm after. Thick paint splatters, scratchy, things like that. And it's really neat to have those already made and ready to go so you can build a beginning of a painting with stamp brushes really quickly. So I hope you enjoyed this. You guys be sure to share your abstract paintings that you do on the projects page of the class. And I would love to see them and I'm sure everybody else would too, just to see where your creativity lead you. And I look forward to seeing all of your work. Thanks for watching.