Transcripts
1. Introduction: Hello, my name is Peggy Dean and I am an artist,
author, and educator. And I am so excited
to be here with you, to bring you what I know
about depth and Procreate. And we're doing
it in the form of a very FUN project
where you are going to create Self Portraits that
resemble paper doll cutouts. And we're doing it
all in Procreate. So not only will
you learn to create various forms that capture the character of your
cutout, if you will. But I'm also walking
you through some valuable to know techniques in Procreate that will
allow you to incorporate things like Stylized
drop shadows that make it look like you've got
that real paper lifting up and then torn paper edges. That will give your paper doll
a sense of being tactile. We're also going to
be incorporating some intentional
imperfect shapes to create that
hand-cut appearance. So you'll be walking away with an absolutely adorable
rendition of you. I can't wait to
jump in with you.
2. Sketch Your Self Portrait: Alright, so the first thing that we want to do is just set up our canvas and I'm gonna
make this easy enough. I'm just going to
Procreate open. I've got my gallery open. Go to this plus symbol
for a new canvas. And if you don't have a size already preexisting
that you like, you can create one
with this plus symbol. It looks like a little folder. You can choose
anything you want. If I did inches, I
could go ten by 14, let's say I'll do and 300
DPI that allows me to print. Without losing any resolution. I like to be at a
minimum of 300, but create any size
that you would like. I'm going to say
create and then that brings my Canvas open. And I'm just going to
start by sketching. This isn't going to be
anything that is to wild. We're just getting things down. And since we're creating like illustrating silly
fawn elements, they're gonna be
more exaggerated. They're not going
to be true to life. So don't overthink this part. In fact, the example
that I am using, I'll show you how you can do a side-by-side
example I'm using, I'm sitting, but I'm actually going to draw myself standing. So that's how much it doesn't
have to be realistic. If you want to pull
your image reference, you can to the side. I'm just, instead of swiping all the way up
to close Procreate, I just softly do it and it shows the bar at
the bottom hover over photos and then I can just drag it over to where
I want it to go. And then I can
adjust my Windows. You'll be able to do this regardless of the
setup you have. I did the new feature
that lets you have the different ways to size everything and I'm
not a big fan of it. But either way,
what I just showed you will get you to
what you wanna do. I can just pull this up
and use that as reference. I know I'm sitting
in this photo, but I am going to use it as reference because
I like the outfit. So that's what I'm going with. To get started. I'm going to use my
sketching pencils. So if you have my
vintage Texture set, you'll find pigeon
pencil right there. If you don't have
this, if you go into Procreate sketching and
you use six B pencil, that's going to work
for you just fine. I'm just partial to mine. Where is it? Whereas it vintage Texture. I've got that Brush. I want to pick a
color that I can just quickly get a sketch out on
and then I can build around. So I don't usually do
like a gray or black, although some people prefer
to sketch in those tones, but I always like a color. So I'm not drawing myself. No, no, I am just using this
as a general reference. So I have a circle as my head. Then you can see here I
want to focus on shapes, and that's how I'm
going to draw this. So I have a neck. Then shapes here, I'll
make this larger. I see my color. So it comes down and then it has this little viewpoint and
then it shoots back up. So this isn't perfect. I'm just getting it on the page. And I actually when I'm when I'm doing this for real and
not just sketching, I like it when it pops up and off where
it's supposed to be because I feel like it looks
more paper cut that way, which is very FUN. Okay, so I'm doing my shoulders here and then I'm
gonna come down. But before I do that,
I'm going to look at these two shapes That's going
to come down still open. And it looks like it's
going closer than that. It doesn't have to be exact, but it is helpful to
have it be similar. Similar enough. Okay. So there I have a vest. I know it's kinda cropped, although I also
have a high waist. Who would know? Alright, and then I have, I don't have a built-on, but I think I'll add one just
for fancies then in here. So I've got these shapes, right? And I have a short sleeve on. I need my these to
be wider a bit. And things are looking
a little weird. Not super proportionate
doesn't matter, we're just sketching
and if we need to, you can always go to
your selection tool, grab an item, close it with
the arrow tool and re-size. If you go to free form, you can re-size however you want to just know that's available. Then for I like to
do proportions of, I need to finish this part. I like to do proportions. Kinda like all the way in, you know, what I mean
is like triangular, like it's just weird or
maybe I'll do something that is just more enhanced
and not just so basic. I'm not great at people though. And so I've learned
these tricks on how I make mine look
stylized just by like, Okay, well I'm going to just
create this grounded area. And it's funny because on
my first one that I did, I'll show you an example. On the first one that I did. I some of you know, Laura, she was making
front of me so much because of my little feet. She thought it was hilarious
that I didn't finish them, but in my mind I did because if my pants are cut
off right here, There's my little foot like I thought it
was funny though. Okay. So I'm gonna do
some cropped pants, my legs continue and then
I will do the same here. Omega, omega them
more Shu, Shu like. So I'll just make them come
out into first position. Any ballet people in here? First position like this. Now. Okay. That seems fine. So sketch right now, arms, I'm just going to
put them down for now. I could come in, maybe actually, if I come out and in, that could be kinda FUN
and just group here. And then hair. I'm kinda all over right here. So I'll make it big and font, maybe not that big, vegan, fine, but I am going
to also just a loose, loosely do this because I do all the details
and pay attention to everything better when I'm
actually doing the real, the non draft version. Wow, I cannot draw this side
of my head right now. Okay. Then that's about it for drafts. So I can see that the
top part of my body is much bigger than the
bottom part of my body, so I can just grab that, re-size it so it
makes more sense. Maybe my hairs out of control. So let's just bring
that in. That's fine. This is fine. This is fine for now. And then that seems
pretty good given myself. More width here. At least a little more. Okay. Great. Okay. So once you have your
draft and you can see, I essentially just
looked at okay, I know I have
cropped pants done. I know I have a tennis
shoe sneaker style done. I'm wearing a watch. I might want to add that in. Just as a placement, like I put for this bolo, I put just a circle. I can define that more
later if I want to. It's so small. In the big picture, I think it would be distracting if I did something to ornate, but if that's the only thing
that is than it would work. I don't do any face
stuff until later. And honestly, when I do, it's usually just to ice. I don't do much with faces and I think that's
where I feel good. So let's continue on and
then the next lesson, we'll bring this sketch, start bringing it to life
3. Use Color Blocks to Draw Imperfect Shapes: Alright, so let's start applying our first
initial layers. And this is just going to
be easy Color Field shapes. And we're going to use
multiple layers to do this. And that's so we
have an easy way to edit each individual
aspect to this. You'll notice though
that's on some will have multiple layers
even for the same color. And that is so that when
we apply our Effects, it, it looks right. So you'll see what I mean
when we get into it. For now, let's set up our
first additional layer. So I'm going to go to my
Layers panel on the top right. I'm going to select the plus and then it
creates my new layer. You can have your draft layer on the bottom or on the top. If it's on the bottom, it's going to cover. So let's say here
we go, that layer, whereas if I do it underneath, if this layer is below, it will be below. So I'll still see my draft, but I'll also see
where I'm filling. So that's how I like to work. I'm going to drag that
new layer underneath. But you can also
choose to do it the opposite if it makes you
feel if it's easier. One thing I also do is turn down the opacity
of my draft layer, so it's not so bold. So I'll go to this
on my Layers panel. There's a little N next to the checkbox that
is representative, representative of
your blending modes. So we don't need anything
to do with that. We're just looking
at opacity slider. So I'm just going to
knock that down to 40 or 50 ish percent and then go to my make sure
I'm on my new layer now. I'm going to start
applying colors. So I'll start off with my
main color that calls out, which is kinda like a
peachy terracotta color. So I could just
pull directly from that image by importing
the image colors in, but I don't think I want
the exact, exact ones. I think I want to play more, so I'll go in here and I'll
try this color for now. I'm not going to
use the same brush. This is really important. And the reason why is I
need solid color right now. I want no transparency at all. And so the pencil,
pigeon pencil, and if you're using
the six B pencil, you can see all this
transparent quality to it, which is really FUN. It's great for
sketching and whatnot. But when we're filling color, when we're applying effects, we want every pixel
to be picked up. So I'm going to use
my vintage monoline. And if you don't have that, you can just use a regular
mono line and you'll find that under
procreates calligraphy. There's Irregular monoline. Mine just has a little bit
of a rougher edge to it, but you'll be able to achieve similar effects or
you can use any brush that an edge that you like. I'm just using this
one because there's no pressure sensitivity and
makes things nice and easy. So I'm just going to go along the edges where
this is very dark. I'm going to go along the edges where I put these
main shapes in. And I'm doing that in a
way that is imperfect. And there are certain areas to see how this is a
straight line down. I'm actually going to do a
straight line down and then a little bit of a
wonky connection, almost like I Cut and
then I cut with scissors. And it just makes it
look a little bit more like a scissor cut, which I think is really FUN. I'm going to bring it
in just a little bit more than my draft and
then I'll fill that. So if you're unfamiliar
with Color Fill, I'll do that again on this
side so you can see down. This is more brown, I
think then I want it, but I can also, it's very
easy to adjust color later. I'll show you how to do that once everything's
already in place. I don't like the shape of that. So I think I come down like
this and then like this. Yeah. So see how it looks. It definitely oh, sorry. I said I was going to show you
when you're Color filling, you just go to the color,
you just grab it quickly and then hover over where
you want and drop it. Then do you see how Up here
it says continue Color Fill. If you had a bunch
of shapes that were closed and you recolor filling, if you, if you tap that, you'll be able to just tap the other shapes and it will also continue to fill and then just the checkbox will make
it stop, which is handy. So what I like about the way that this is setup is that
it does look imperfect. It does look like
it's cut by scissors and I will make it
look even more so. But for right now, we're
just getting those shapes in place and we can play with
all the specifics later, play with different color
later, all those things. Now I'm gonna do these pants and I did a straight line there. But I think what I
wanna do is come down like this and then
create a baby. Alright. Come down here. And then create a
separate leg that's just on a different layer
that's maybe just a smidge lighter so I can see
the difference but coming from the middle and act as though I've cut to pieces and put them
on top of one another. And this will be a
lot more obvious lips when we start putting in The effects of the
shading and all of that. But for right now, I'll do that so I can see the difference and I might actually turn that, make it a little
bit later so I can really see and I can
adjust it later. Okay. Then I think all separate
this a little bit. So I'll go to that
first layer and just erase this part here so that I can really see
that there's two sides. And then the other
thing I was gonna say is if it's like too much of a perfect
line and I want it to be more like it's cut. I'll actually go in with you can do Eraser tool
and see how if I hold it, it snaps to place
into a straight line. I will just pull that
down to the edge and then it creates
this little divot. It doesn't have to. I could do it straight off, but I did that on purpose
and let it go right here. Just so it looks like
if I did that more extreme and then I just
cut that off there. It looks like we're
getting more and more of that handmade feel,
which I think is fine. And then to also make it so that the bottoms
of the legs aren't the same. For maybe there's a cut
here and then a cut here, cut here, something like that. So these little tiny
things will make a difference as a whole when everything is said and
done, which is really FUN. Alright, so now that
I have that part, I'm gonna go underneath these
two layers for my shirt. And the reason I need
to be underneath is because if I go over this,
I'm going to choose, I'm going to choose just
off-white since I have white already on the background so I can actually
see what I'm doing. But if it's over,
it's going to cover everything and we want it
to be underneath the vest. So I'm going to pull it
underneath right here. Although I need to clear this layer if you
do all that and you have a layer
that you need to clear just as a quick tip, three fingers scrub
and it'll get rid of what's on the layer without
getting rid of the layer. Okay, so I need to
do color separately. I don't need to do sleeves separately even though I
would if I didn't have a vast just because
I like having those individual
pieces look like they're glued on separately, but since it's coming
outside of the vast, I don't need to do that. I'm just creating. It's kinda hard to see because
it's such a light color, but just basically easy
shapes like a triangle. And then I will do one here, but then I also want to go back in and do the color separately. So I can a new layer
on top of that. I'll go just a little bit. I would go lighter, but I know
it's gonna be hard to see, so I'll go darker, I guess for now. And then just I'm going to exaggerate the color and make it longer than the shoulders and even bigger than I
had it in my sketch. And then when that's done, I do I don't want that to be the only color where it's like the difference
in color shows up. So I have my sleeves
rolled right here. It's not something I
drew in my sketch, but I do want to include that
as a little FUN element. Now, another thing I want
to mention is if you're using a monoline brush and
it's too curved at the edges. If you go to your eraser and
just erase straight into it, it will create those hard edges. So see if I, if I
go straight in, it just makes that sharp
edge and that's what I want. Okay, so I'll roll
this just a little bit more and I'll clean all that stuff up
later for right now, I just wanted to get
the color and then I'll also do a strip right here that represents
where the buttons are. And I think that's what I want. I guess I need my pants
or my shirt to come. Syria. Probably my pants. That'll make it easier
selecting my pants layer. And then if you ever want to
make edits to the same area, you can, but it's onto
different layers. You can grab both the
layers by having one selected and then the other
one dragging to the right. And then because the
vest is also here, I will have to still
do a selection. So if I go to my selection
tool and just lasso around, then I can tap my arrow tool. And this can let me move it, but it will also
let me change it. I'm positioning to I want to be careful
for it not to touch the vest too much because this layer is
connected to that one and I want that
to feel separate, but I can pull it up a bit
and then pull the shirt down. Something to note
though, when you do these types of adjustments, I would stick to
doing it only once because every time
you move or resize, not if you move it, but if you re-size or stretch
it in any way, it gets more and more
pixelated every time. So just know that
and be careful. Okay, So this shirt,
I'm just going to grab this color and then I'm
on the right layer. Yes. And then just come
down and fill that. There we go. This Color, go to that layer and pull
that all the way down. And then I did say
something about a belt. I remember I'll do
that last though or later because right
now I just want to build from the outside in, and that's kinda
what I do is find the primary step,
find the accents, find the main areas, and then build and
build and build in until I have my details
like ready-to-go. It's just an easier
way for me to work. I also find that all these background parts
I end up putting later, later and later because I work from
front-to-back, I guess. Okay, so now I will do my skin. So new layer, I'm going
to drag it to the bottom. And I guess I could just nudge this to more of like a beige. Maybe. That'll work for now. So I'm just going to do an oval. Okay. Then I'm gonna do
a separate layer for my neck because
I want there to be a shadow there when
we get to that point. So for right now, I'll just finish
what's on the top. I just realized I said
drag that to the bottom, but I actually want
it to be on the top. Just underneath my draft. Okay. Then arm. Arm. I'm going to want
that to be sharper. So that's something
I'll just remember. And then I want my arms
to be on separate layers. And that is because there's gonna be an
overlap of my arms. And so I want that to also
have some shadow happening. I don't know what
that looks like because my draft
isn't the way but I can always adjust later. But I'm essentially
just same thing. I'm thinking about shapes. Like I gave myself a tiny thumb. But then I want my hand to
just have a general hand. Look. Doesn't have
to be anything super fancy. Okay, That's better. Then my legs. I'm going to want that to
be behind technically, but I feel like it would just
be such a waste of a layer to try to do that with
only one element. So if I can just line
it up really close so it doesn't overlap the pants. I should be just fine. I'll do that with both
of these two here. Make any adjustments
I need to and I get rid of my draft layer. And the last two on this one, our new layer here, my neck and my other arm
come down like this. And then I'll just give myself weird claw things. My pictures. Okay. And I'll edit that
one draft is done. Then my neck down and make sure it's connected
behind because if it's not, it will fill the entire area. Okay. That looks good. Then I just need to do the final parts before
we get into detail. So I'll need to add my shoes, my necklace, my buttons,
things like that. I'll do the main two areas and we'll get into details next. So I'll go to the top
layer, add a layer. I don't want to use black, but I do want to have something really close
like a charcoal. I don't love using true
black and illustrations. Okay, and then I'm just
going just gonna make some weird curved shoes. And then something I like to
do with the eraser is make any curves look a bit choppy so that it looks
like I cut it out. And then I'll do that
here and around. Feel that you use my eraser to both clean up and make CIA. And I also like doing this where it's obvious that
that should be right here. But when it's not, it looks like that
paper cut effect. Like I obviously didn't do
that perfectly because I was probably cutting them with tsetse time or scissors or
too vague for that area. One of those. Okay. Then I'll just create, I think I'll do just like
a basic shape like this. And then I can clean
that, are clean it up, rough it up, I should say
the edges with the eraser. And then I'll do two
strands coming down. I love doing these
because they're just like this sharp bottom. So it looks like
little paper strip, which I think it's
fine if you want to really make that emphasized. If you pull, pull and let
it snap and then do that, it gives you that really,
really straight line. I feel like mine
are pretty good, but something to think about. And then lastly, I'll
throw my hair ends, so just go to a dark brown. Seems fine. Do a new layer for that. And this is something
that I would say would be PFK-1 to do as as a separate piece, like two different pieces. So one would be here and then
the other would be there. If you want some overlap, especially if you
have lighter hair, darker hair, you can't really
see the effects as much, but I could also not make my hair actually be
so dark in this, we'll see you can always separate a couple of
layers if you want to. And I'll show you what I mean by that later. I need
to clean that up. I'm just going to do
it with the eraser. That looks okay. Alright, so now I can
sample and make sure I got everything by turning
off my draft layer. And that looks about right. And I know it doesn't look paper cut yet, but
just you wait, because we're getting into
the first set of our details on how we're bringing
this more and more to life in the next lesson. So I will see you there
4. Dress Up: Accessories & Flair: So we're going to add
some the final details before we get into the Effects. This part is FUN because
this is like basically where we're accessorizing
are paper dolls with the things that
we are wearing. I'm going to turn
my draft layer off. I don't need it anymore. If I needed a reminder maybe, but I don't use a lot of
the elements that are in my draft that are that I'm going to include
on the draft itself. I usually wait for this part, so I want to be mindful also of how many layers
I have going on. If you need to check, you can go to your
wrench icon here, go to Canvas,
canvas information. And then you'll be able
to go to Layers and see, okay, I've got 38 maximum, I have 29 available. I've only used
nine, so I'm okay. But it will depend on the
storage on your iPad, so you want to make
sure that you do know what you're working
with or you will be sad because there
are a lot of layers needed for this
particular project. So just know that if
at any point you need to create elements on different canvases or just
use a smaller canvas. You can also do that. But I can get rid
of my draft layer. I don't need it anymore. I'm not going to because
I like to keep them. I think it's fine to
see where it came from. So I just drag it to the
bottom and forget it. And then I'm going to, I'm actually going to add the details to a
layer just above the shoes and my bolo because that's going to be easy
for me to remember. And I will go lighter
for my laces, but I do want laces, so I'll pick a gray. I'll make this big and I'm just gonna do some crisscrosses. If I wanted to really
make this all the Fun, I would most likely
make each of these. So like all of the diagonals that are going one way
on a different layer than the others so that I could really enhance the shading. But that would be going a
little extreme for this. But just thinking
out loud so that you can also have these ideas. And then I'll go into my
eraser and just clean up or rough up these edges so they're straight and not as pretty because
we don't want them rounded. And then same thing here. Then. Yeah, so see how that
looks like they're a little cut strips of paper. I think that that's so Fund. Then I'll go and I'll do
the same to some buttons. So I have buttons on my vest. I'm gonna do them. I think there's three. Seems fine. I think I want those to be
the same color as this, so I can select this color just right
here and then Color drop. Remember if I say Color Fill, continue, tap, tap, that's done. But I do need to clean
up the arms right here. So I'm gonna get my eraser and just clean it up, clean it up. And then this one is
on a different layer. I can go to that layer
and clean that up. So it looks more like a paper could not a paper
cut, but you get it. I might want to add this part. I want to make that choppier. I think I like this color
to hold that and grab it. Your settings might
be different, but you can grab Color and
then I'm gonna go, yeah, same layer over the vest
here just to do the button. Holes. Are the buttons go into, drag this one down
and I want to make these look again, paper cut. So these are just
those little details and I want the buttons
to look less round to. So i'll, I'll make
those choppier. I'm Button layer. Where is it? Here? I'll just, I like the circles. I just gonna go in
and make a few, maybe not that extreme, a few little cut marks just so it looks like it's more Cut out. I think it's Fun. Maybe when I did a decent job. Okay, there we go. And then I want to add my watch so I'm gonna
grab the same color as my shirt because
it's a whitish color. I'll go to my shirt layer
and I'm doing this on purpose because I know that
it's already that color. Oh, except that my
arms are on top. Which means if I
was to put it here, it's not going to show up. So I can't use that same layer. But the reason why
I would do that is because I'm preserving
layers that way and using this little
layers as possible. Sometimes I'll go in and see
like what can be merged. Like for example, I
don't need the shoes. Oh, actually I do right now because I need to
do the shadows. But if the shoe
laces weren't here and it was just two
different colors for this and the shoes, I could merge those
together even if it's not the
exact same color. Just little ways to save that, but I'll do a new layer, create a watch band. I'm going to want to clean that, not cleaned it up,
rough up the edges. Then I'll just do, I'm going to drag this underneath
the layer that has these buttons
because then I can put the watch face on
that with the same color. Rough that up. Here we go. Okay. So now I've
got a watch on. I've got my bolo. I don't need to put rings on. That's just too much. I don't need nail
polish, that's too much. I have my shoes,
I have my laces. You can't see earrings, so no big deal there and
I'll just add my eyeballs. So I'll do it on that
same layer I'm gonna do. Just, I like to do, I'm real separated
and kinda down low. Let's grab that, go lower. It's just what I do with people. I'm not great at people. And so this is just something I resorted to on day and I
ended up liking a lot. Okay. So now I will just erasing. Then my hair I'm going to fix. I'm just bring that
down like this. Then that looks paper cut. So now I would just unclean up basically any parts that look like
they're too perfect. So right here, I want that to be sharper, sharper, sharper. Right here I want sharper. So see how that much different that looks when it's
just a little bit more like this looks like
it's cut with scissors. And that's the first part
of getting that shape down. It's like I didn't
fill this part. It would be PFK-1 to to have it kinda like coming
off a little bit. So imperfections and stuff that's I mean,
usually of course, we're trying to
smooth things out, but in this case, I want to do the opposite so that we
have that FUN effect. So go through and clean up or Nochlin of
unclean up any areas that look like they could use more of a paper
or of a scissor look. And after that, I will meet
you in the next lesson. When we start to add
some depth and dimension
5. Add Irregular Shadows and Torn Edges: Alright, we're going to jump into making this come to life. We're going to make it look
like it is actually layered. And this is pretty simple. There's a few ways to do it, so I'm going to show
you the few ways first. So that way will you can decide exactly what it
is that you wanna do for the technique
that you choose. So the first one I'm
going to show you is by using clipping masks. And to do that, I'm just going to my
bottom layer right here. So this is my shirt
layer and I'm going to create a layer on top of that by selecting the
plus sign on the top-right. Then I'm going to tap
the layer that it created and select
clipping mask. Now I want to go to white, so I'm going to double-tap
my colors for white. And you're not going
to see this very well because my
background is white. So if it helps you
to change your background color or
just turn it off, you can do that, but also the top is really,
really light anyway. So that's something I
have to keep in mind. Then just grab a small brush. I think I want to
actually use an airbrush. So if I go down to air brushes, I can grab a soft brush and
just make it real small and come to the edge here
and I'm just along the edge, you can barely, barely see it. Let me do it on the
vest layer real quick. So same idea, tapping it, new layer, tap clipping mask. Now you can see that I'm coming in here and
just making a slight, slight lake highlight
essentially. And this is going to, when it's paired with a shadow, it's going to make it
look like it is Torn. So that is I don't
want to put it along the whole entire way
for that reason. I want to just focus
on having this be isolated to certain areas. I don't want it to be
evenly spaced out. I don't want it to be the
same width the whole way. It looks like I have
a oops, right here. Let's see where it is. Got it. So essentially
it's just going to allow me to have
that effect in place. I was upside down. I'm right handed, so this allows me to see exactly what
it does I'm doing. But yeah, so it will make
it look like a paper. The second way to do this. So that was the first way. The second way, I'm gonna do this in the form of
adding a shadow. So you can do highlights
and shadows the same way. But I wanted to show you
this way for highlights. This is late. I like to
do highlights and then I do shadows the way
I'm going to show you. Now. Again, you can do either way for either
highlights or shadows. The main thing to note is that you need a
different layer for highlights and a different
layer for shadows. Go back to my vest layer. And the second way to do this would be to duplicate
that layer, select the one beneath it
and fill it with black. To fill, you can either go
to black and drag and drop. That might grab the whole thing. It looks like it only
grabbed one side so I can go and grab the
other side like this. If you know about threshold, you can hold it down and
drag all the way up. And that way it's
going to grab both. Another way that you
can fill is by tapping and saying Alpha Lock. Then going to fill layer and
then taking alpha lock off. It's just however
you want to fill. Now. You want to make sure if
you do use Alpha Lock, it's now off because
we want to blur this. I'm going to turn my
background layer back on so I can see this
better since black. Then I'm gonna go
to Gaussian Blur. And then I'm just going to drag my Apple Pencil along
toward the right. And you can see how it's going
to get larger and smaller. And you can see it at the top where it says Gaussian
blur or 2%, 3%. I just want this to
be like two to 3%. Then you can see the outline, but it's perfectly
surrounding the object. So what I wanna do
now is offset it. So I'm going to tap my arrow, which is my selection, and just to the right of it. So not inside the box, but just outside of it. If I tap my finger a couple of times in the direction
that I want it to go. So I tap on the top-left, it's pulling up top-left. If I tap on the right, it pulls to the
right, just tap, tap. So that's going to
make it so that it moves pixel by pixel versus dragging it around
with my Apple Pencil. So it's just a smudge pulled. So that's what I like
to do for shadow. But the last part of this, to really make it look more
like it's actual paper, is by going to my Adjustments
tool and going down to liquefy and then make
sure it's on push, which is the, on
the very left side. And then you're going
to change the size. And when I go close to here, if I push or pull, it will adjust just certain
areas of that shadow. So for example, if
I go closer here, a closer where it's
closer to the vest, where the sleeve is, but just further
away right here. It looks like there's
more distance between the vest and the background than there is the
vest and asleep Which would make
sense because it is it's further
away. Essentially. The other thing, this
is looking pretty dark. And so I can go into
my Layers panel and select N and decrease the
opacity a little bit. It's going to decrease the
opacity for all of it. So just know that
if you wanna do it individually or you wanna do
a concentrated on one area, I'm going to turn
the opacity back up. I'll show you how to do that. So I'm on airbrush, that's what I want because that way it's not going to have any hard connections
are hard transitions. There we go. And I can go to my
Adjustments tool, and I can pick saturation
and brightness. So I'm just going to do
this with brightness. And so basically I go in
and I go to the top here. So there's this menu
and I say pencil. And then anything that I
increase the brightness here, anything that I Color over. So look right here. It's
going to affect this, but not the other parts. So that's how you can do like Isolated selections to change the hue or the saturation
or what have you. They have that menu right
here, which makes it easy. I usually don't bother with it because it's
just an added step. I don't want it, but it
is available for you. The other thing I
like to do sometimes is grabbed the blur
tool right here. So it's in-between the brush
and the eraser. So Blur. And then I'll come in and just blur that
a little bit more. If it's further away, that's a little too much. I just want to do
like a you can't really tell but the
difference is after, before, after
before. It's subtle. But sometimes that'll just
give it a little bit softer. Transition. It's up to you. Okay? So those were
the two ways to do it. So I'm going to continue
doing that now. I'm going to show
you the head and neck and wildlife
to separate those. So if it helps you
to group things, I would recommend doing
it at this stage. I'm not usually wanted to do it because I like to
work kinda sloppy. But I do end up
grouping when I have a highlight and shadow layer. And then I can just say, okay, this is the vest and it
makes things a lot easier. So I'm gonna hit
the head area now, I'm going to duplicate this, go to the bottom layer, pull my black in and
just go all the way up. So my color thresholds
all the way up. That's making sure I grab
everything on that layer. Go to Adjustments,
go to Gaussian blur, bumped that up to two
or three per cent. Probably go to
three for this one. Actually, I'm gonna go to
four just because it's underneath the neck or underneath the heads so that
it has even more depth. And I'll do that more with texture and shading
here in a bit as well, but that's going
to help with that. Then I'm going to do
my selection tool. And so this has the
arm, it has the leg. I just want to pull
down slightly. So see, that's gonna
do what I want. I don't necessarily
want that for the arm. I honestly don't
really want that for like that much of a blur. So I'm actually going to
undo my blur by two fingers. Tap, tap. Okay,
It's, it's undone. What I'm gonna do
is I'm going to set the blur like I normally
would. So just like 2%. There we go. That's fine. I'll tap
it and just come out to where it's not to over
the top, but it's offset. Then algorithm into my selection tool,
freehand selection. And I'll grab just
the head part. And from there because
it's selected, I can tap Gaussian blur and it's only going to affect
the head part. And then I can tap it and push
it where I want it to go. So that's a way you can also
isolate certain things. So instead of doing
the pencil selection, I can select it and then
change things accordingly. So lots of different ways to
do all things in Procreate, but it's helpful to know them. Then I'm gonna go to
liquefy and I'm gonna do the same thing where I
just pull that Shadows. And what I like is when it
has these bends like this, it makes it look like before
we even get to this shapes. It makes it look like It's especially when you
disconnect like this. If you come smaller, it makes it look like the paper is bending. And I think that
that's really FUN. So we can enhance that later on. But for the shadows layer, it just kinda puts
things into place, how we want it to
be and see how it already makes it look
like it has movement. So it's a lot of Thun than
the leg had that on there. Both of them. I don't do this too much. I don't want it to be
like super wobbly, but it's just enough
to where it has Some movement. Now that I'm in this area still, I'm going to group these now and then I'll
add the highlights. So I am on the main layer, tap and clipping mask, and then I'll grab white. And I want a very
small brush for this. Come in here. And again, just a little
bit here in there. So I don't want it to be too intense or it's not
going to look realistic. It'll just look like
you highlighted it instead of it actually
looking like it's paper cut. And so some of them I don't even put it on there or it's just like on a small edge
like this and that's it. Okay. So that's done. And so this is head,
legs, left arm. I wouldn't have to
do all of that, but this is an example
that it's going to help. So I will continue doing this
to the rest of my layers and I'll just let's see. Okay. I got distracted my myelin
work process process. Okay, So I'm gonna
duplicate this one. Come in here, grab the black. Wait, where am I?
I am on the neck. Okay. Grab the black all the way
through some areas too because of overlap and It's not going
to show up the same way. I can see that my the neck is over the color
which I don't want. So if I rearranged stuff, it wouldn't be probably wouldn't sit where
I want it to sit. This might let's just see. Yeah, so see it
went over which is fine because I can
clean this up as well. So I can come in here, lips do my layer select, clean that up so it is more intentional like
how I want it to be. But see now it's sometimes this just isn't possible though, like the way that you've
layered things in the way you need it to
show up. It isn't. So that's okay too. Just keep in heat
that in mind so that you're able to make those
adjustments as you need to. I'm going to finish
doing this part. It's just tedious to
watch the whole thing. So I'm going to continue. Just as a reminder, I'll just do this last layer, so duplicate and
fill it with black. All the way through. I'm going to go to
my Adjustments tool, go to Gaussian blur up to 3%. 2% is good on this, especially when they're
smaller shapes. I will select it. Tap. That's an seems good. Then I'll go to my liquefy
and I'll just push that in some spots so that it has
some lift and some recession. And looks a little
bit more organic. There we go. And then finally, I'll go to the top of it. Tap, I'm going to
group these three. This will be my clipping mask, and that will be
where I grab my white and go in there and just get a little
bit of highlight going. And that's it. So continue that
process until you have highlights and shadows
on all of your layers. And I will see you and you
have to fix this one too. I'm and I'll see you as we this is gonna be a
three-level cleanup. There we go. You'll find that this
happens sometimes too, as you move layers and
as you manipulate stuff, but it's all fixable. When we catch it. There we go, finish that up and then we can add some texture
6. Create Paper Texture: Welcome back. So we're
going to add some texture. And to do that, you might have, your layers might look a
little bit messy right now. That's okay if they do. It might be if you're happy
with how everything is looking and you have
too many layers open. There is a work-around
that you can do, which would be to I'm just grouping things
right now for organization. But what you could do is duplicate this canvas so that you still have
all the layers. They're still available to you, but duplicate the Canvas and
then open the new one and then flattened some of these layers just flattened
maybe what the groups are, anything if you need to create more layers and if you want
to check, you can remember, go into your Canvas, go into your Canvas
information and then it will tell you what you
have left in layers. And so you can see I have
one layer available. So I am going to do that. I'm gonna go to gallery, slight swipe to the left, say Duplicate, go back in. And then I will
group those layers together because I am happy
with where they're at. Although this I
think needs to be a little more transparent. There we go. Otherwise, just
make sure you like everything because it'll be more work to have to go back
and then redo this part. So I'm just going to group these are excuse me,
flattened my groups. You can also tap the
group and say flatten. Tap a group, flatten, tap, flatten and do
that the whole way. And then what it's
doing is holding all of these items together
or flattening them. It's making it so
that your highlights, your shadows are
your Torn Edges, whatever everything is now together so they can't
be edited independently, which is fine
because we preserve those layers in
that previous one. But this will give you
a lot more versatility. So now, if I go to Canvas
Information Layers, I now have 24 available,
which that's super-helpful. Alright, so what I'll
do now is I'm going to give this a textured finish. And if you don't have my
texture pack, that's okay. We can look at some
texture options together. If you do have my
vintage Texture Pack, I really like using just
like the grit for it. So basically, it just depends
on your finish style. So I'll just use something
on the vast right now. So I'm creating a clipping mask, so another layer tap
clipped to the vest. And then I can grab this
color and go slightly darker. And so you can see it just
adds a little bit of grit to it and that's just a
texture that I really like. So that's in my pack
if you have it. I also like ancestry for
this because it kinda gives it that warn look. Now if you don't have those, I found I think under sketching, sketching it the very bottom, there's something
called bonobo chalk. That one has a nice texture. It's a little less. I mean, you kinda have to go. It builds up a lot quicker. So you kinda wanna do it sparsely and it's good
for shading and shadows. I like that texture. I don't know about many of these other ones that work
for what I like them to work, which is why I made my own pack. But you could play around and see if you have a particular
one that you really like. I would say charcoals
would be a good go. But you can see how you can see it has a little
texture in there, but just play and
see what you like. Otherwise. Of course, I've linked
to these brushes so that you know
where to find them. But I'll just go with, I think I'm gonna
do the ancestry Brush and my vintage pack. And I'm just going to hit all of these areas with this texture. Now, another thing I can do, since I know I'm going
to want that there. And if I'm happy with the color, I can start using this in alpha lock instead
of clipping masks. It does affect the full layer, but it's fine for what I'm doing because it's really easy
to, that did not work. Alpha Lock. It's really easy to fill the layer with
just a solid color if I need to undo anything. Okay, So that looks good. And then I'll go slightly
lighter for this one, grab this color,
and then come here. And so i'm, I'm
applying the texture. I'm not doing it on
the something darker. The entire thing. I'm going toward where
the shadows are. So it's like it is
on the whole area, but it's more so it's leaning toward having more of that
effect toward the right. Because it brings that shading in a little bit more of a realistic way if you can be
realistic with paper dolls. Okay, So I'm just gonna do that. So basically grabbing the color of what the item
is that I want to shade and then finding a color that's just a little
bit darker than that. I'll put this under alpha lock and just put in that Texture. Same thing here. Grab that layer alpha lock. That one's too late. The other thing to be
careful of though, is when you flatten
all your layers, you're going to be also adding. Why can I get a good color here? You're gonna be adding color to the shadow and the
highlight as well. So you can see I covered
up some of my shadow, so I don't want that. And I can either just
be mindful of it and then go in and erase it or I
can just do not erase that. Oh, see now I'm on alpha
lock, so that's the problem. If I do alpha lock, I can't clean that edge up. If I ended a clipping mask
and then colored that in, I could go in with an eraser and clean up that edge to
bring that shadow back in. So that's kinda like the
benefit of working in layers is that you can really have
full editing capability, which is why I like to
as much as possible, but we also have to be mindful of how many layers
were allowed to have. It's a happy balance
that we get to find. I like to go a little bit darker on my neck then I will on my face because it shows
that separation more. See what I mean. So I'm going to need to use that eraser right here to clean this up so that I still have
that nice shadow. And it's not going to
affect the shading underneath that because
those are separate layers. See right here, same thing. Just clean that backup. So another option would be to keep your shadow
layer separate still, which would prevent this. But there's a, there's a
ton of ways to work on it. Just a matter of what works
with your workflow, the best. Like on these, I can easily go right over it because what I'm putting
on it as dark anyway, but except for the light area. Another way to work
around this though, is to go back to a solid brush. You're still on Alpha Lock. And so those pixels, you can just bring them back. With that hard brush again. It looks like it's being erased, but if I turn this up, so if I turn my
background layer off, you'll see I'm actually just
adding that white back-end. So like, like that. So another way to
do another thing. Once that's done,
add your texture in, and then we will add some Realistic Folds and
Bends in the next lesson
7. Make Realistic Folds & Bends: Alright, so we are almost done. This is our last step and
this one is so much fine. It is something so simple we
can do to add a huge effect. And I can't wait to show you. What we're gonna do is all in the form of clipping
masks yet again, but we're not gonna
do it to everything. I would say pick some areas on your doll that could use a fold or could use
some sort of imperfection. So an easy one for me
would be my pant leg. It's a longer piece of
paper, if you will. It would make sense that it
would have a band or a fold. And you can make
these as creased or as just bowed as you want. So I'm going to create
a clipping mask on top, tap it, clip, and
then go to airbrush. So that's under
your airbrushing. And I'm just going to
grab my medium brush, bring it up larger. And so I'm going to, I'm going to show you here. If I was to draw in
a line like this, I'm going to erase
on both sides. So I'm going to tap this, I'm going to turn
this around and make this large and softly. I don't want that to be too much of a rough edge going even softly go into where there's just a line of that airbrush and I could I could draw it in that
way with a smaller tip, but I just prefer to have this
really soft gradual fade. So this is just the
way that I do it. And then I'll come in with a
little bit of a smaller tip. Here we go. Then it makes it look like. So the smaller tip,
I get nice and thin and then I'll come in with
the larger brush again. And I'll get into that crease area so that's
it doesn't stay super dark, but it's just enough to
create that dimension. So see how now it looks like it almost has
a ripple in it. And this is so much
fine because it just adds that extra texture. So I'm gonna do a little bit to maybe my color right here. So I'll go to my color layer, create a clipping mask. Okay? I want this to be a lot smaller. I'll just do the
edge right here. And I want to actually bring
this up above the texture. There we go, an airbrush
and I'm down here, the airbrush is larger. You can see it's
still working to get that crease in this one
since it was a smaller, rougher edge, I don't even really need to do much
to the other side. But now you've see it
looks like it's folding. If I wanted that to
be even sharper, I could just bring this
down and comment a lot closer when I'm in. So these little things, I wouldn't go crazy
with this part. But you can do it enough
in a few places to make it look like you have
these little Bends. And then from there we
can add our background. And I usually just drop
a color in and then I change it in lifetime with re-color because I like to see all the different
options here. I think I think I liked that kind of like a periwinkle color. That's really FUN. Then I'll go slightly
lighter than that and choose that Texture brush again. Or new texture brush
whatever you prefer. And I'm just going to put a little bit of texture
on the background. Then I can go in and use a
blend mode so that this isn't, I can play around with
how this shows up. I think I want to actually
make this the color that is underneath it because
I liked that better. So I'll turn this
off, grab this color, and then lettuce and then the underneath I can make
darker or lighter will see. I think I like it lighter. Almost looks like there's
paper fibers or something. Let's see what the
Blend Modes do. Might not do much, but it could, could be phon. I think I will leave it on. I'll do multiply. It gets a little deeper. I could change the
color for that, but gets a little deeper that
way and it's pretty FUN. And then I think I will
make this background just like a tint of that color. So it's not super, super white. And just like that, we have this super cute
paper doll of Your Self, Self Portrait for you. And if you want to
have even more fine, you can create some cutouts of the letters of your
name if you want to create little additions. So you have your family. That is also very FUN. And then you could have your
families surname, anything. It just is such a FUN
project and I really cannot wait to see what you have done with your own
self-portrait. In the next video, I'm gonna
give you a FUN assignment. So let's move over
there. I can't wait
8. Your Project (so fun): Alright, you guys, it is
time for your project. What you are going to do now that you have your
own self-portrait is create one for
your favorite person, maybe one of your
favorite people because you don't like
to play favorites. But it is so much FUN to
just randomly send over a little paper doll
of your friend and obviously share your project because I know I wanna see it. I know everybody else
wants to see it. This is such a fun1 to see
how people interpret it. So I can't wait to
see what you do. I will see you so soon
Peggy Dean, Top Teacher | The Pigeon Letters
