Transcripts
1. Intro: Plan and Problem Solve Acrylic Paintings Using Procreate: Welcome to this class on using your iPad to plan and
troubleshoot paintings. I'm going to teach you how to save time and frustration in the studio while combining modern tools with traditional
art making methods. My name is Kristin Chronic. I have been a working
artist since 2019. I began to use my iPad in this way when I started live
wedding painting in 2019, and since then, it's become an instrumental
part of my process, saving me tons of
frustration in the studio. In this class, you
will gain the skills you need to use an iPad, procreate and A drawing
stylus in order to plan and prepare and
troubleshoot paintings. I will teach you this
through demonstration. First, we will conceptualize
an idea and combine photos, and I will be sharing you through my process
on how I do this. You will have access to
the images I'm using in case you do not want to
take your own to practice, but I would highly
encourage you to use your images that you find inspiring and do
this alongside me. After I demonstrate this in procreate, I will
then take it out, do a full length painting demonstration so you
can follow along. After I'm done
with the painting, I will actually take that back, bring it back into my iPad, and use the same
tools that I use in the conceptualization
part to then troubleshoot. I will then show you again how I apply that
to the painting itself. This class is for painters and artists beyond the
beginning level. I am not going to be emphasizing or teaching you
how to use your paints here. If you do want to paint
along, you absolutely can. But the class project
is going to be sharing your digital
collage with the group. The sky is truly the
limit with this method, and I can't wait to see
you in the next lesson.
2. Module 1.1 Tools and Supplies : In this class, the
tools you will need are an iPad with the digital
drawing app of your choice. I am going to be using
Procreate for this class. Also your digital drawing tool. So I'm using the version
two Apple Pencil. And in this course, we're
going to just be working on using the iPad to
construct a painting. However, I am going to be
demonstrating that for you. So I will also be
having my sketchbook and the Canvas and paint
that I'll be using. However, for this class, the goal is simply to create
your digital collage. So to follow along.
A you will need are your iPad, your drawing pencil, and the procreate app. You also need a couple of images that you can
use as reference.
3. Module 1.2 Gathering Images: Eight The first step in this class is to gather a series of reference
photos that could be used in a
painting or drawing and add them to a
folder on your device. I have mine in an album
I'm titling Skillshare. One tip in this process
is decide on what it is you would like to convey
in the painting or drawing. For this example, I'm
going to be using a series of photos I took
at the beach last summer. I find this a very helpful
process when building more involved
narrative style scenes where you might want to
show a few things going on, but don't have a perfect photo
that captures your vision. It helps be mindful of where the dominant light
source is coming from. It will, of course, depend on what it is you're
trying to convey. But in general, it
helps to choose photos where the light is
coming in the same direction. In this example,
the light is mostly overhead and slightly
towards the ocean side. This is on the east
coast, so that means this is probably
late morning, so you can tell by the shadows. And that for the
most part, that's actually what all of
these photos are. Which is going to make
things a lot easier, except for this one, probably, but we can figure that out. It's not the end of the
world if they all are not. However, you can
make adjustments in educated adjustments
in the painting later. However, some things
may be harder to infer, especially if you prefer to
paint more realistically. So as you're selecting
your photos, try to choose them where the light source is coming from mostly the same direction. It also can be helpful
to choose subjects that have a nice variety
of characteristics. In this example,
I love the gaggle of surfers and how
they're sprinkled in. I have a tall lifeguard chair, and Even some sunbathers
and surfboards, I take up space
more horizontally. For this example, I want to capture the relaxation
and playfulness of a perfect beach
day with plenty of shapes and variety
in my paintings.
4. Module 1.3 Creating a Canvas in Procreate: The next step you're going
to take is to pre prep your painting and create
a canvas and procreate. The most important thing at this point is to understand the size that you'll
be working in. This will help when you're
preparing proportions. You don't need to have
the actual canvas or paper at this stage, but it will help greatly to at least know how big
you want it to be. You're going to open
procreate like I have here and create a
canvas in that size. I usually keep it to 300 DPI, but this is really just a
draft for your reference, so it's not that important
that it's high quality. You can start with a blank white background and
build it up from there. It is not required to have
a photo of your Canvas, especially if you are starting with a clean white background. However, if you are
painting on top of a canvas that already
has some layers, it may help to use
the photo method. So mostly you can grab
those colors later. I'm going to hit this plus
sign to create a new Canvas. The canvas I'm going to be
working on is 16 by 20. I have a few things saved, actually have a lot
of things saved. But if you want to
create a new one, I will just show you
how. I do have one here. You can create a
new Canvas and I would like to change the
dimensions to inches. My canvas is going to be
20 " wide and 16 " tall. I have 300 DPI and hit create. This is where I have
the blank canvas and the dimensions of the painting
that it's going to be. I actually happened to already have a canvas laying around, that had a really
fun ground layer of paint already applied. Since that color will definitely
impact things later on, I actually am going
to use the photo I have and upload it
right to procreate. Again, you can do this before
if you have your supplies, but it's not necessary to
take a photo of your canvas.
5. Module 2.1 Inserting Photos into Procreate: This is the photo that
I took of my Canvas. I actually took this photo
in fairly natural light. I know the color is
accurate enough. It does not need to be perfect, but it does need to be somewhat realistic whenever
I'm looking at color. I had painted it with
this really hot pink wash because I thought it was
really fun to play with. It does need to be edited
though before I bring it in. I'm going to show you how
to do that so that it's s and c and ready for procreate. I'm going to click edit right
here and the crop button. And then basically
this painting, this canvas is a
little bit tilted, and so let me turn this over
and it's easier to see. So it looks like it's
a little bit askew. Again, this does not need to
be perfect at this stage, but it can help to get
it as close as possible. So I'm going to adjust
this how much it's skewed. It looks like it's a little
bit closer on this end. So I'm going to play with
the horizontal spacing. I'm going to try to
straighten this up, and it looks like the vertical looks like it's
closer on this end than that. I'm going to hit this and just adjust it till it
looks about right. They have these nice
guidelines that can help. That's close enough, it
doesn't need to be perfect. I'm going to bring
these crop lines in. Yeah, it's not perfect,
but that's truly okay. It's not going to
be very precise. Trim it. And then
I will hit safe. Here I am back in Procreate, and I want to input the
picture I just edited. To do this, you're
going to go up to this wrench icon for settings, and I'm going to
tap Insert a photo, and I'm going to go
down to my albums. And select the one
I just edited. This is probably going to
be smaller than the Canvas. That's fine. But it should be pretty close to the
actual dimensions. I'm going to get as close
as I can at the edge. Really, this is
just going to act as a background
layer. That's all. It is fine if it goes
over. I'm going to click the arrow key
just to unselected. Once I have the image
placed on the Canvas, I am going to go into layers and swipe to the
left and select lock. This will prevent any
accidental markings from happening on your Canvas. Next, we're going to add the
photos from our album in two different layers to
your document on Procreate. It really doesn't matter
too much at this point, which ones go first, unless you know for sure, maybe one will be going
in the background. Go ahead and input that one
first and then go on top, but it doesn't really
matter too much. To do that, I'm going to select that same settings
icon insert a photo. I'm going to scroll down
to my Skillshare album, and I'm just going to start
laying these in one by one. I don't know if I'm actually going to be
using all of them. But I'm going to bring
them in anyways. I'm just resizing them, but that's going to
be adjusted later. I'm going to speed up the
video as I insert my photos. Now that they are all inputted, we're actually going to go into each individual layer and
using the eraser tool, clear out the parts that
we don't want to use. And when I'm doing this, I'm going to start with
the back images. I am not entirely sure what I'm going to
need and not need. So depending on what
I'm working on, I might inc or less but I'm just going to do my best
just so there's not too much extra information. I if you've never used
the eraser tool before, I am selecting the eraser. I like the round brush under
the painting section of the inputted brushes
on Procreate. So I actually am going to keep a little bit more sue that you're selecting the layer
that you're working on. So I'm going to
select this image. I have turned off
all the other ones by going to the layers tool and selecting the check
marks under visibility. And actually, I'm
going to keep more in here than I am and probably others
because I want to get a little bit more background info because I know for sure, this is going to be
making up the background. I'm going to just basically
keep a bit of the sky and the horizon visible so I can get an idea of how I'm
going to compose this. If you want to make an
adjustment and move it where you think you might put
it from now, go do that. I really liked this image
because there's a lot going on. If you can tell they have
this kid surfing here, this was this cute little
surf camp I watched. Everyone's kind of standing around watching, you
have people looking. You have this really nice angle in this kid going over the wave. I like this gaggle over here. I just thought this was a
really strong story to include. I'm going to continue on.
Again, I'm not entirely sure. If I'm going to be
using everything, just to keep things simple, I'm going to deselect the ones
I'm not using at the time. Again, I'm wrapping
my eraser tool. I don't think I'm going
to use the chair. If I decide I want to later, I can just reinsert
it, but for now, I don't think I'm going
to use the chair. I'm going to get a little
bit closer around these kids and see I don't think I
really need anything else. The one thing that's
different about this photo is the perspective. The other one is looking down, this one I'm looking
up at these kids. I was probably
sitting down I took the picture and they were
whatever ahead of me. I'm just deleting the rest
and editing the rest out. If you make a mistake and say accidentally erase
part of the picture, you can just double tap or
you can hit this back button. I like that one. I don't think I want to use
that woman's sitting. I think I really just
like the lifeguards here. I'm going to go
and delete all of this info. Only
keep what we have. This little girl. So
in this situation, I obviously know that
this is going to be sand. I find this helpful, but I'm
going to a little bit of the sand with her
and delete the rest. And then I actually do want to get more of the
background because I like how I can
see the water and the foam and how there's
definitely a separation. I think when I'm going
to construct this, I'm sure I want to use her. She's such a great
part of the story. It's like this kid watching. She wants to go to surf camp. I don't know. Have this is like a parent
sitting in a chair, deleting out all of this. You can see some
of the surf cam. Obviously, I was standing in one place and getting a lot of pictures
that were similar. I actually like seeing
that in the background. If I use this photo, I
think I might use that. Then here's one more
lifeguard chair. From further away. Again,
lights all kind of similar. I think I must have taken
these all in the same morning. It really does help
to combine that. There are some people
here which I do like. I might just leave
them just just a little bit just in
case I like it. You don't have to
use any of these.
6. Module 2.2 Composing and Arranging Photos: So once you have the
elements that you think you may want to use trimmed
with no extra information. You'll want to begin to
arrange them on your canvas. This is where a lot of
creativity can come into play, and this is really the part that I love about using an iPad, because unlike a sketchbook
where you have to completely start
over if you change your mind here if you
change your mind, it's so easy to
rescale or to make changes without spending
a ton of time doing it. So the images that
you choose may look different than the
one that I am doing. So I'm going to show you what
I'm doing and talk through my thought process as I
begin to arrange them. However, if you're trying to make something feel believable, you'll want to pay attention to some basic rules of perspective. Perspective is the foundational
tool that artists use to make a scene appear
to recede into space. I'm not going to get
into details here because that does go beyond
the scope of this class, but I will be sharing a few
things to keep in mind. The first thing is to
identify the horizon line. I am very positive. I definitely want
to use this image, and this one I left
the most information. So make sure it's selected. The Horizon line is
in a beach scene, very easy to see
because it's actually where the water meets the sky. And other scenes, like
maybe a still life or anything without
a clear horizon, it's going to be
harder to identify. But one thing that can
help to understand is that the horizon line is always at the eye level of the viewer. Which means that
all these surfers are actually physically below the eye level of me when
I was taking this picture. So one thing to keep a note is that to make
something feel believable. You'll want to keep
figures fairly close to the horizon line if they
are on a flat surface. In this particular
example, there is, I think I'm taking this
picture from a hill, so I can actually see
quite a bit above them. But it will make the
most sense if they're not it wouldn't
make sense to have the horizon line way up here and then the surfer
is way down here, unless you were like
at a bird's eye view. So just pay attention to
where your perspective is. So I'm pretty sure that
I'm going to use this, and I kind of like having a really small amount of sky because that's not really
what I'm wanting to do. So for sure, I'm
going to include that I'm going to look at a
few different options here. I also am pretty sure I
want to include this girl. She is such a cute
little fixture and I just really like her. And the reason why I kept to see how I kept in
the foam in the water. It's not going to
match perfectly here, but I want to make sure
that it makes sense in the relationship
to these surfers. And so I want to just first place her kind of like where she would be actually sitting. We have the surf, the foam, then the sand, and then here, we have the surf, the foam, and then I
had cut off the sand. So she's probably going to
sit somewhere around here, and maybe I'll I'll
place her here for now. One thing to know when
it comes to perspective, as somebody gets
closer to the viewer, they're going to get
bigger and as they get further away, they're
going to look smaller. Relative to the surfers, her torso should be bigger
than this surfer's torso. Again, this doesn't
have to be perfect, but it has to be believable. I'm going to use the tip of
my pen to get an idea of her current torso size and
then compare it to this one. It is a little bit bigger.
It might be too big. I can always fiddle that later, but I think I'm going to
leave it here for now. Another thing that
when you're looking at this is when it
comes to perspective and having size and
relationships to one another is to pay
attention to the baseline. So the baseline is this horizontal imaginary line on which an object is resting. It doesn't necessarily have
to be actually in rest. The baseline of the
surfer would be here. The baseline of this
swimmer would be here, the baseline of this
girl would be here. But when it comes to the
rules of perspective, when the object is
below the horizon line, which is in this situation, the further down the canvas
that their baseline is, the closer to the
viewer that they are. The opposite would
be true above it. Say you had a bird here
and a bird up here. The bird up here would
be presumably closer. It does get a little more
complicated when it comes to birds have the ability
to go up and down, but if you want to
make it make sense, you can just use
that as an example. So I'm going to spend a
couple of minutes placing different objects and just
picturing where they could go. I have two different lifeguard
chairs, one big one small. I don't think I'm looking at
this lifeguard chair here. I don't think that
this is going to work. Make sure. See the hardest part is making sure these
are all selected. I think this would work
so much better if it was a different perspective,
but that's just I'm it's too far away and I'm too zoomed in
for that to make sense. I'm probably just not going to use this one and I
might just get rid of it. I'm going to put it
below this layer so it's not even tempting to me. From there, I have this girl. I have this parent who
seems to be watching. I'm going to select him and see if I can where
would it make sense? Maybe I move the girl over here. Place her. Do I like this?
It's almost like this parent. I'm going to put the parent
closer to the viewer. I'm going to bring it
down just a little bit and just make it a little bit larger and I'm
if I use this, I'm actually going to
make the tool smaller. I'm going to erase all the
extra info because this obviously scales it
lining up. That's okay. It doesn't have to because the situation depending
on how we place it, we're just going to
figure this out as we go. Maybe we decide we
don't use them. Just to not get distracted, I'm going to delete
more information. I'm going to tinker
with his scale. If he's a lot bigger,
maybe he's really close to us and he's
watching the surf camp. I don't know though. I mean,
if we don't have the girl, we have him looking.
I don't hate that. It's like he's. Maybe he's the center of attention
and he's watching this. What if he was
really big? What if we were really close to him? We saw That could work. I'm not sure that
the girl then would work as well, the
girl could work too. I don't hate that.
Let's include. Here's the lifeguard chair. I am looking at this. Again. Again, I don't think this is two
sideways in real life. From this perspective, we probably will be seeing the
back of the lifeguard chair. Again, I'm not going
to use either of them. I don't think that's going
to work. The last one that we could use are
these kids running. Let me just blow them up. Maybe they're running
to the surf up here. Or we could have them
or we could replace it. Maybe they're really up close, and they're running the surf. What if we didn't have I
think what I'm going to do. This is a very
intuitive process. I'm going to duplicate this one layer and I'm actually going to move
one underneath my Canvas. I'm not going to be using it. If you don't have a background, you can just instead of
moving it underneath it, you can just deselect
the visibility. I want to see what
happens when I actually just include that
one taller surfer. I like the way he intercepts this all these
horizontals with the surfboard. I guess that the parent
viewing it also does. I think both of them could work. I'm just going to
delete a little bit more information so I can get an idea of what
this looks like. I noted earlier the sun, I'm actually going to keep the ether, whatever it's called. I noted before the direction
of the sun making note. And here it looks like it may have been a
different time of day. Doesn't look like it's
the same direction, so that may be some
educated decisions I have to make later
on when I paint, but I'm just making
note of that. What I think I'm not sure that
these would work together. I think it's going to
be a decision between the surfer kid who I want
to make them really bit. Maybe the story is about this
kid running into the water. This is a little girl
watching and he's excited to go to Curci or maybe the story is about this parent who is
watching surf camp. Maybe if I did it this way, I would have the daughter or the girl over here watching two. Let me hide that second one. Actually for this, let's
go ahead and group them as I think
what we're coming down to are two
different options. To group them, I'm
going to select, and I'm going to slightly
write sli and hit group, and I'm going to do the
same thing for this one. I think that is what
we're coming down to. You can add as many different
elements as you want, but I actually have
found that three is about the max I like to
add for it to make sense. Let's look at these two
different compositions. Here we have the surfers, we have this parent watching, and we have the kid,
and I'm going to now deselect that group
and select this group. This one, we have a
kid running out into the waves and we have this
little girl who was watching. I'm really drawn
towards this one. I think this to me feels more
playful than the other one. So I'm going to tinker with this one
just a little bit more. I want to make
sure that it looks really good before I commit it.
7. Module 3.1 Sketching Digitally (Part 1): Once you have your
composition mostly laid out, I like to do one final step
before I look at color and include a drawing just to make sure
that it looks okay. To do that, we're going
to go up to layers. We're going to add a new
layer on top of everything, and then we're going to
select our paintbrush. I'm going to go these are the imported ones for Procreate. You can use whatever
you would like. I'm going to go
under calligraphy and just use the model line, and I'm going to make sure
that it's a good size. Make sure that we're
a 100% capacity. I'm going to go a little
bit smaller than that. Be this a little bit more. What we're going to do here is go over these forms,
just as a drawing. I'm going to start with the area closest to me and just I'm going to lightly trace around it. This is not necessarily needing
to be actually perfect, but I am just going
over in black. Actually you know
what we could do. Let's choose something
really bright. That's easy to see
since this is so light. Maybe I'll o a
really light orange. Mm. I usually use a
really bright fuchsia, but our backgrounds fucia. Let's go with the bright green. We'll be able to see
that really well. I'm going to go back and just restart this so we can see it. I'm using green and
because it's pretty, this is because I just want to get the big shapes carried over. This picture is a
little bit dark. I'm going to have to
make a few things up, but I find this can be a
really helpful practice. And so even just the
act of tracing it helps commit these
shapes to your brains, whenever it's actually
time to paint. You have an idea of what
you're going to be looking at. As you can tell, I'm
not super precise with this part because I'm going to be painting
it later anyways. This is just to get an idea. Now, this tether, is that what it's called
on the surfboard. We have some room to play here. We actually can't see it. I might just I don't know. Maybe I'll do that. Maybe
I'll figure it out. Let's move on to the
little girl who is watching. Get these made shapes. I'm actually going
to notice the sun on her because we can see this really dark
and light section two. I'm going to separate
the big shadows. You can get tons of detail, but I think that actually is helpful because we're really just trying to see
this as a whole. I'm looking at these shapes. This part really
is just to double check that everything
looks right. What I'm going to do
actually as well, I'm going to have these
figures maybe in one layer, and I'm going to add a new
layer for the background. I'm actually going to just
move that layer below. Here is a little
bit more tricky. I'm going to establish
the horizon line. You can draw a line and then pos and it'll make it straight. I'm going to make it
straight. It's not quite perfect, but that's okay. Maybe I'll erase that section that goes underneath
the surfboard. And I'm not going to
include every little thing, but I am going to
do the figures, the broad figures
for the surfers, and I'm going to
just note the waves. So I think I'm going to
start with the waves. Those are kind of
the biggest shapes. It's kind of like making a
little squiggle for the wake. And then maybe mark that wave. I'm probably going to leave
this whole thing out. I think there might be
someone behind him. I can't see that person, so I'm going to pretend like
that doesn't exist, and I'm going to include a
little squiggle for the wake. Then I actually love this
foamy diagonal line. I think that adds a lot to it, but I don't like how
it intersects here. I might just bring it down, and then let me just bring it down and then bring
the foam over. This girl is like sitting
in here watching it. We're going to assume
this is all sand. Now I'm going to go in and just mark over where
the surfers are. Now I have this outline. I'm going to make the
images disappear, and I just want to see what
this drawing looks like. I actually know what
I'm going to do. I'm actually going to
make this go away too. I just want to see what does
this look like as an image? Do I like the way this flows? This is the assembling
part of this all. Do these shapes make sense to me in relationship
to one another? And if not, I can go
in and make changes. So this is where I
think the benefit of the iPad is so helpful
because trying to do all this in a sketchbook with a pencil can be very,
very time consuming. But here, I really liking it, and it's really easy to change, and I don't think I want
to change anything. And so I think I have my sketch for what will
be a painting soon.
8. Module 3.2 Sketching Digitally (Part 2): All right. Now we
have our sketch. I'm going to do so you
can see it better here. I'm going to turn it black again because I think I'm
going to select the layer. Select each layer. I can choose alphac. I'm going to go into
my colors, do a black. Probably should have
just started with that. And then I'm going to
select fill layer, and that will make both layers black so
I can see it better. What I want to do here is look at my color palette and think about that
before I'm painting. This is absolutely
not a requirement, and if you choose to paint in a more natural and
realistic tone, you may not need to
even do this step. However, I want to explore a color palette that I was
playing with over the summer. This is the sketchbook I had
when I took those photos, and I was using a different
marker combinations. I'm looking at different colors that I thought were really fun, and I really want to try
this particular one. It's had these
pinks and purples, and it was just really fun. I'm going to use this as my inspiration and you can
do this one of two ways. You can either just go
into your palettes. You'll go into the
color, you'll click that surf right here,
click palettes, do new palette, and just go into the disc and select some colors that
look pretty close. You can also create a
palette from an image. Say I want to use this pink. I chose one that might be close. I don't know, and then
select down here. I'm going to do it that way. But another thing
that you can do. You don't want to select
colors on your own. You can also try to create
a palette from an image. To do that, you will
click this plus button and I took a picture of
this particular sketch, and I'm going to do
a new from photos. I'm going to select
the image I just did. And it's going to create just a couple of different options. I am not bound to these, but it gives me at
least a starting point that I can use to see
how this will look. As I start to build this, I'm actually going
to turn back on the background so I can
understand how it relates. I'm going to start using these. I'm actually going to
create a new layer on top of this drawing. I might even for now
turn back on my colors. I'm going to start with
the darkest darks, and that's this magenta
color in my sketchbook. I'm just going to choose one. This really doesn't have
to be super precise. It's just enough
to get the feel. I'm I'm really seeing
the magenta as shadows, my capacities down. I'm just going to start to note where these shadows
would probably fall. This is late morning high light, so there's not going
to be a ton of cast shadows and that's okay. And yeah, how I'm thinking of this
is that the sand is going to be more of the pink, and it's almost like I'm looking through when
I chose these colors. I was almost like I was
looking through a pink lens. So I'm going to
add blue to pink, which will kind of
turn it more purple. I'm going to stick
with the sand first. I like to work in layers, I usually start with
shadows, but this time, I think I might add more
of that peachy pink, honestly, whatever, we
can adjust this later. I'm going to change my
brush into something that's just a little bit bigger. Here's chalk. Yeah.
I'm going to just do a layer over with that
would represent the sand. This does not have
to be perfect. I want to see how
these colors interact. I'm actually going to bring
this down and color it in. I don't want this to
be too dark right now, so I'm going to
lower the opacity, and I'm going to
continue building this background layer by layer, so it's easy to adjust. I have the pink sand. I'm
going to look at the purple, maybe this middle value. I'm going to go over and
represent the water in this way. And I'm going to drag and drop, do the same where I
lower the opacity. Then I really liked how the
sky was like a deeper color. Actually, I think that my
sand might be way too dark. Maybe not. Let me bump up this opacity just so I can see
these color relationships. I'm going to choose
a darker pink, maybe can be that one for now and just
see how they react. I want it to be even brighter. Again, you're not
bound to these colors. Now you are bound to the type
of materials you're using. If you don't have pigments
that can get these hues, then you've got to be careful. I typically go a little bit
grayer because there's not that many pigments
that can get really fluorescent unless you
have flourescent paint. I'm just going to choose a pink that's a little bit brighter,
maybe a little more purple. I'm getting pretty
light here, but I think that should be okay. I know my pigments well
enough. Yeah, I like that. I'm doing a line,
I'm coloring it in and as I'm looking at it, that sand, I didn't make a new layer.
That should be fine. That sand might be
actually too dark. I'm going to choose
a lighter pink and just drag and drop it here. I don't like that
either. Is this the color that I used before? No. What color did we use? Is that it? That was the color. I'm actually going to go here and I'm actually
going to make it slightly brighter
and slightly lighter. I like that a lot. That's
going to be my background. I'm going to knock
back the opacity so I'm not distracted. Then I am going to start
filling in the shadow shape. I already had begun it before
and then I changed my mind. Again, if we're looking
through a pink lense, Everything is going to
have a pink tinge to it. I am probably going to have much more vibrant
pinks on the sand and then things are going
to have more of a bluish cast when
they are in the water. I'm going to start with the
shadow shapes and the people. For the people, it's
going to be tricky because they do have skin tones, and they're all in shadows. I'm going to choose
most likely L et's see. How dark would this be? Make a new layer for the person. I like that relationship.
I'm going to go back, lower that opacity, and I'm just going
to use one tone to cover the entire body. I might actually when I paint do an entirely different
color scheme. I might make blues or teals
or something like that. But just for here, I'm going to use these
just more simple colors. I'm still in that big fat
brush. Let's make that smaller. I'm just wanting to see how these color relationships
behave and then I can Add flare from there. You don't want to lose too
much info in this kid. Maybe I'll just do
a darker version, just distinguish the hair, and then I'll do the
same with the shorts. These are not colors that I'm necessarily going to stick to, but they're just helping me
see how these colors react. Same with the girl. She's
in a little bathing suit. Is going to include that
and she has some dark hair. This is like these very
simple darks and lights. Maybe I include I know, I might add some fun and include I like this color
a lot when I do things at the beach because it's
not exactly correct if we had a a pink filter on, but I like the way it looks. I'm just playing
with these ideas. I want to also include
the highlights. Let's go back into here and I almost want to
make this more a yellow. I don't have this in my sketch, but I almost want to make
this a more yellowish highlight on their skin because
it's a really bright sun. This is going to be
very, very bright. I know that we've got
some light there. I mentioned before that
this particular figure didn't exactly have the
same lighting situation, but I can tell from this example that the light is going to
be falling at the same. Maybe I'll do just
a little highlight to go over his face. Maybe there's some on that back shoulder and probably
some going over his knee. I'm just using really
basic shapes just to give myself some idea of
what this looks like. Before I do the water, I'm going to work on the surfboard. We have an opportunity at
the surfboard to add in some color and I know I definitely want that one edge to be pretty this
is me a white edge, but it's technically in shadow. I'm actually going to choose
more of a medium gray and draw over that edge
so that makes sense. Then I forgot this
guy's hand over here. These are not really specific. I'm going to work on that
more in the painting. It's just to get a feel
for how this looks. This part is going
to be in shadow, but there's going to
be a light edge here. So I know this is going
to be a very pink story. I actually think I just
want to intercept that pink just a little bit and bring
in maybe this darker blue. It doesn't really matter
what the actual color is. I like to use color as
in surprising ways. While I'm picturing this
being through a pink lens, you don't have to be completely
married to that idea. I'm going to draw
that back shadow area and then I'm just going
to grab a lighter color. This is just how I
want to picture this. I can change things
really easily here, a lot more easily than
what I'm painting. We have the foreground. I'm going to bring this
back up so we can see it. Did I forget anything? I lost
a little bit of his leg. It's fine. That's fine. But how do we liking these
colors? I'm happy with them. Now let's go into the surfers. We know that this water is going to be a more
blue version of pink, so it's going to be more purple. That means that the
shadows will also be a little bit
more purplesh blue. I'm going to choose a
maybe on the ring here. I can use that as a baseline, but I'm really liking
this more bluish purple, and I want to get more gray. I just want to make sure that
I'm choosing a color for the shadow of this wave that's darker than the actual
color of the waves. Before I commit to that,
I'm just going to test it. That's not that much darker. It's going to need to be a
bit more. Yeah, I like that. I'm going to knock
back the opacity, so I'm not distracted and I can actually see
what's going on. I am going to just make a very simple shape for
these darker moments. Go around the surfer for here. We have this wave again. I'm going to completely
there is someone behind him, but I'm not worried about that. I'm not going to include it.
We have these darker shapes. Keep it simple. I'm
making it broad. We also have this slightly
lighter band up here. I'm going to just
as a mental note for myself, just include it. Once we turn back on the opacity of the water,
we will see better. Then down here, this
is that same dark. We know that the water more pink because you're
starting to see the sand again. I'm going to just similar value, choose a pinker version and then lighten it up just a tiny bit, and just make a note of what that phase of the
water looks like. Then all of a sudden,
things get a lot lighter. I'm going to include a little
bit more of the sand and then fairly light to
hint at the foam. I'm like, Okay, here's the foam, here's that washy line. You're really just notes for me. These are going to
translate the brushwork. I don't know exactly how, but it helps sometimes
to figure out what this looks like before we
actually commit to it. I'm just making some marks that indicate what that foam of
the water might look like. I'm also going to use
the same color to indicate the wake
of the surfboards. I knew that there is a
little bit down here. We see some here.
It's probably fine. I don't want to do too much.
9. Module 3.3 Sketching Digitally (Part 3): The last thing I'm
going to do is create one more layer and
paint in the surfers. I already know the color of my figures was about this color. However, since they
are on the water, they are impacted by atmosphere and by the
reflection of the water, which means that
there's going to be slight more blue in
their skin tone. I used this grabber tool, I selected on the squa and I grab the color of these figures. I'm going to make it a
slightly bluer version, maybe more on the purple ge, and make it a little bit grayer. I think may be darker. I want to make sure these are actually dark enough to see. I have this darker color that I'm going to use just to
represent these surfers, and it's like this
darker purple. I'm actually going to
make it even darker. I want to make sure that
I can see it really well. It's going to be a
little bit more red than the water because obviously people have more
red in their skin, they're more red
than they are blue. I'm just using this to
go over these shapes. You're going to see. These
are almost just like blobs of masses, that's okay. When you paint,
they're going to have their own shapes, take forth. I may not include him
in the real painting. We'll see. These
represent people. Then for the boards, I really
like that bluish color. I'm just going to get a
little bit more blue. At this point, it's so subtle. Again, these are going
to be decisions I'm mostly making on the Canvas. It's not like it really. Has
to be something I commit to, but this is just an opportunity to see what it will look like. I'm just making some line marks to indicate where
the surfboards are. I am paying attention
to the dark marks more. Then I'm going
to do the same. I'm going to grab a lighter
version. I like this gray. I think the gray tells you, Hey, these people
are farther away. As you get further into space, you're going to see
vibrant colors. The contrast of colors
will become more muted. I just want to indicate
that instead of using a really bright color out there, maybe a little more gray. Maybe we'll toss in
a few bright colors. This is your place but it's
a gray version of blue. Yeah I like that blue. Let's
see what this looks like. I'm going to make sure the opacity of all
of these are high. I think that's the
only one left and get a feel for it. What do
we think about this? Let's get rid of this. I'm really happy with it.
I feel like this could easily be a painting that
I translate to my Canvas. I am going to make sure that my background is
turned on, it is. There's going to be little
pieces that poke through and I think that's going to work really well with
the pink background. The goal of this
class is to assemble your own digital
painting that you can use for a painting
in the future. If you have gotten
to this point, please share your work in the class projects that we
all can see and admire it. This is not meant to be a
finished painting other than it's just a digital sketch that I can use as reference now. I love this because I
have already tested out the colors and I have an idea of how everything's
going to interact, and I have an idea of how I
want to place everything. So I will be demonstrating how I'm translating
this to the painting, but that's not the
expectation of this class. The expectation is just to
share the digital painting that you have worked
out on your iPad. When it's time to translate
this to paintings, sometimes people will
project the image on, I personally prefer to use
this as a starting point. And draw free hand, which means that when I'm
actually working on the Canvas, it's probably not going
to look exactly the same as it does on
here, and that's okay. I think that those degrees of separation makes the
painting more interesting. However, what I'm going to be doing is looking
at the big shapes. I'm going to pay
attention to where the horizon line is in
perspective of my Canvas. I am going to pay attention to where the shoreline is in
relationship to my canvas, and then I'm going to start
placing the major masses. I'm going to place this kid
who's walking to the beach, this girl who's looking, and then probably make sure I start with this dark
shadow of a wave, and then from there, I
will add in the surfers. I'll be mixing color as
close as I can to this. Again, it doesn't
need to be perfect, but I'm really enjoying the balance in the
way that it is. If you finish this
to this point, please share it with the class
and let us see your work.
10. Module 4.1 Acrylic Painting Demonstration: [No Speech]
11. Module 4.2 Troubleshooting Painting with Procreate (Part 1): So you just got to see
an observation of how I approached the painting
for this digital sketch. And I wanted to show you a way that I use the same
technique to make corrections. I noticed after I painted that my figures
were just a little bit off, and honestly, just with
how I approach painting, that's usually the case for me. I typically go with a really
gestural and loose approach, and I usually make
corrections later. That's why I love working with opaque mediums such
as guash and oil. So I wanted to show
you how I can use the same method to correct. Before I do though,
It's important to note that sometimes when
things look wonky or off, it doesn't actually necessarily
need to be perfect. And what I mean by that is, if it still so you're doing a portrait of somebody and still kind of
gives the likeness, even if it's not exact,
I wouldn't touch it. However, as I'm looking at
the painting that I did, I think that it's a little bit too obvious
and noticeable, so I want to make some
changes. So how I do that? This is the sketch
that I have before. I took a picture of the
painting as it stands, and I'm going to insert it
again into my artboard. I'm going to bring it to the
front just so I can see it and bring it back
up all the way. Here we go. I want to go I think that my figures just a little bit. I'm not
really loving it. I'm going to select it and
make it about to scale. I use the corners that way. They don't get too warped. I'm going to bring it as
close as I can to the edge. Again, if it's not perfect,
see how there's some of that. That's fine. How I approach this is never to
be too exact. That's okay. I'm actually going to just
knock back the capacity. I expect a lot of things
here to be different, so I'm going to do
this carefully. Lo at already. I can tell, I'm just going
toggle in between. I mean, I have placed this figure at a different
spot, and that's fine. But I do think am
though maybe I shod. This is a good opportunity
to take a look at this. I might actually I
was thinking that these figures might
be too big and he looked a little
bit off as well. As I'm looking at
it, I actually think my surfers are a little bit big. I think what I'm looking at, I think these guys up here need to be a
little bit smaller. And especially here as well. How I think I'm going to do that is actually just
paint over it with a really simple gestural line to just consolidate them a little bit with
the background. I'm going to I'm going to
use that grabber tool, hit that square and pick up just maybe one of the
purples in the background. Make sure I'm on a new layer, and I have let's go to I really like the streaks brush
under the calligraphy. I just have this like
purple. This doesn't necessarily have to be the exact same color that I'm using. I just want it to be
something that blends in. I'm honestly this is the
reminiscent of the mark. I probably am going to make these colors will probably blend in just a little bit more, but I just want to make them
just a little bit smaller. I think, unfortunately, I
don't really want to redo him, but I think I'm going to
have to just a little bit. Can knock back the opacity
to see the difference. Let's see. How big is that? I use my tool to measure because I like the
way it looks in the image. Yeah. Got it. I'm going to trim this just a little
bit, and that's okay. You know what? I tell my
drawing students all the time. If you can do it
once, you can do it again, and that's okay. I just basically
painted him out. I'm I really like the
way the figure looks, so that's why I'm
bummed, but that's okay. Then I'm just going to make
it a little bit smaller. I think that will
be about right. These are supposed to be
gestural mass figures. It's really okay if
they're not perfect. These definitely
need to be smaller. I'm going to pick up
that background color. And when I'm making
a correction, I'm picturing how I'm
actually going to approach it in the
painting itself. So I'm going to basically
pick up this color, paint over those shapes, and then pro just a little bit. This is probably the
exact method I'll use. Them really small. I probably
even make them smaller, maybe just like these
little squiggles. As well as over here,
these are all way too big. They're just like
these little shapes, but when you take a step back, they give the impression,
I like that so much more. Probably need to make
that even smaller. These are really just going
to wind up being shapes too. But they need to
make sense visually. I think this guy is pretty good.
12. Module 4.3 Troubleshooting Painting with Procreate (Part 2): O. Let's take a look
at the girl now. This is my layer of corrections. I can toggle it on and off and I think already that
looks so much better. What I do is when I paint. I'm going to then
take these colors and toggle this layer on and off and basically make these
corrections as I see them. They won't be
perfect. That's okay. They don't have to be. I'm going to now take a look at this girl. These may not be exact
and that's okay. However, I think her torso
might be a little bit tall. And I'm going to instead
of using my sketch, and I'm actually to
go back to the photo. Now, this is dangerous at times because if you copy
the photo too much, it can appear really stiff. But sometimes can be helpful when it comes
to problem solving. I just moved her up here. I'm going to select the layer, select this pencil tool, and I'm going to move her over. Now, in this
particular instance, I do have her quite
a bit bigger. I think I should
keep her bigger. I think that makes sense
because these guys are a little bit. I'm going to make her a
little bit bigger and just overlay let's knock
the capacity back. I can see through
it. Basically, I'm going to match up the
length of her leg. At least I'm looking
at something comparably. That's way too big. That's way too
big. Okay. I think if we're making her this size, and he needs to be a lot
bigger, and that's okay. Let's do that. It
always is worth it I have found to
make the corrections. So essentially, what I'm seeing here is her head is a little
bit too small. I don't mind her feet. They're not quite
the same. Her legs. Basically, I need
to adjust her head, the back of her
torso and her arm. Again, I don't like to go
exactly with the photos, but sometimes it
can be so helpful. I'm going to go back to
this layer of corrections and it doesn't I'm
going to just pick up that darker color
because I know. I'm actually just
going to trace over. Remember, I'm on the
layer of corrections. I'm going to trace
over the profile of her head and then use this dark color to remind
me where this back is. I'm going to hide the girl. And then I'm going to
use this lighter color. It looks like there's
a little bit of errors and once I did that, this is just so I
can see this better. I'm going to just do
a little outline. This is more just
visually. I like that. I like that so much
more. I'll add the highlights of her here. I sun. That makes sense. That feels really warm. It feels appropriate in size, but that means the sky is going to need to
be a lot larger. I was hoping to avoid
that, but that's okay. Again, if you did it once,
you can do it again. I always tell my students
that and it's truly okay. I'm actually going to
do the same thing here. He was the one that was
bothering the most, I'm going to bring him in
between these two layers and I'm just trying to overlay and I want to avoid
as much rework as I can. And I have him up high here. I think he needs to be down low. So I think if I can keep
the top of the board about the same, that
will look right. That's probably different than what we did in our
initial sketch, but I'm working with
what I have here. And in this instance, I am going to now
basically re draw him, and I'm going to just
pick up this color because I will try to match it. I'm basically just
redraw him in my iPad. And this will help me make
corrections just more clearly. I much prefer to paint first
and then correct as I go. Oftentimes it does
lead to rework. However, when it doesn't lead
to rework, it's like magic. So it's one of those things. It's always a risk, and
I'm happy that this one did require some
corrections because I can show you how you can use the same
technique and it's okay. I also think my guy's
foot was a little bit too small or too big
and the other one, too. Let me make sure that
I've got it all. Okay. So remember, I'm
on the correction layer. I'm using this
image to readjust. And I'm going to go and pick up these background colors
and just kind of over, remember, I'm not
on the painting, I'm on the correction layer. I'm just going to
go and, like, kind of bring out those purples and those backgrounds around it and kind of just bring it out. These will end up being
intuitive brushwork as I go, so it doesn't have
to be perfect, but it just is kind of given me a clue of
what I need to do. I find it easier
here to just pick up the colors then create
a whole new palette. The photo transfer isn't exact. The colors in real
life are a little bit duller than what
my camera took. But you'll I'm using
the same pigment, so it's not like it's
going to be too different. Just kind of going
over some of this. I'm not using again that
those same colors because I'm just going to make a mental note of what these colors
actually are. I pick up it's a
little bit more green. I did I like that green. I'll have to repaint
him and that's okay. Sometimes that that
ends up bringing in some really interesting
little shapes. I'll pick up the skin color of the girl and just make notes
as to where his torso is. Here's the underside of his jaw. I think before, we had
had a little highlight. On the side of his face and
probably that shoulder. If the sun's coming
from this direction, that's assuming that
what would happen. It will not actually
be these colors, but it's close enough to help me make a mental note and
just to really see it. If I move this guy back
down in our planning layer, you should see more clearly what I wouldn't
be working with. This easier to see define
that a bit more. You know. I want to make sure that
I'm not getting confused either. So now
let's look at that. How does that look?
Obviously, this will be painted and more secure, but do these feel
more in proportion? Does she feel more correct? Let's check her torso. She's further away
and she's a child. Her torso shod be a good amount smaller
than his and it is. I think that's going to be fine. So when that actually
comes time to paint. I will probably be using this again as my
reference image, but I will go through
each individual 11 by one and just
toggle this on and off. I'll probably start from probably the left
then go towards the right and make these
minor corrections. So I'll look at this area, I'll go on and off and
make sure I kind of get those addresses needed. Probably the background.
I'll probably then do the girl, and
I'll probably do. It'll probably do the guy
first, and then the girl, I'm right handed, so I
don't like to smuch. That's how you can use the
same technique to make corrections on something that is bothering you in your work.
13. Module 4.4 Painting Corrections in Acrylic Demonstration: Eight Oh. Oh
14. Conclusion + Share your work! : T hank you so much for
joining me in this class, I'm using your iPad to plan
and troubleshoot paintings. In this class, you learned
how to take procreate, a drawing pencil and
your iPad to plan and assemble a composition for
a narrative style painting, and then use the same tools to troubleshoot when the
painting is in progress. If there's one thing I want you to take away from this class, it's that it's
absolutely okay to combine traditional art making
methods with modern tools. My goal for you is to be confident and to paint
as much as you can. So anything that makes that
easier, I am here for. So go ahead and upload your collaged image
into the class project. And if you did
happen to paint it, I would love to see that too. If you like this class, follow
me here on skill share, and I can't wait to see
you again at the next one.
Kristin Cronic, paint with curiosity
